As with all of Greaney’s work, this is a fun read. If only all our wars were fiction.
Russia launches war in Europe and Africa in this military thriller reminiscent of the late Tom Clancy.
A small group of Chinese communist special forces sneaks into Taiwan to assassinate a politician and provoke a war. This attracts intense U.S. attention—perfect timing for Russia to launch Operation Red Metal and “retain its proper place in the world.” The Russians' ultimate goal is to keep control of a rare-earth mine in Kenya, for which they need to wield “a scalpel through the heart of Europe” to destroy AFRICOM, the U.S. Africa Command headquartered in Germany. They kill Western satellites to take out GPS and make Europe deaf, mute, and blind. On Christmas Day, Russian trains disguised as civilian transport deliver offensive forces into Europe, unloading troops and tanks. They also attack in Kenya, where battles rage. NATO hasn’t detected this military buildup and is taken completely by surprise. A Russian general opines that the U.S. can’t fight a conventional force anymore, embroiled as it’s been in Afghanistan. Ha! Tell it to the Marines, like Lt. Col. Dan Connolly, who knows “this world’s a damn dangerous place” and figures out what the enemy is up to. The war lasts about a week, plenty of time for intense battle scenes and the distinct possibility of tactical nukes. Having produced well over 600 pages, Greaney and Rawlings, his Marine co-author, had a bout of logorrhea, but the collaboration has yielded plenty of realism. There are some good lines, as when an A-10 pilot strafes the ground while screaming “Die, Commie, die!” (He apparently didn’t get the memo about the USSR.) But the best line: “And as long as we get to pop a bunch of those Russkies, death ain’t but a thing.” Readers will be humming "The Marines’ Hymn” after finishing this paean to the U.S. Marines. Hoorah!
As with all of Greaney’s work, this is a fun read. If only all our wars were fiction.Pub Date: July 16, 2019
ISBN: 978-0-451-49041-4
Page Count: 656
Publisher: Berkley
Review Posted Online: April 27, 2019
Kirkus Reviews Issue: May 15, 2019
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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