DEADLY PLEASURES

Firmin’s first novel is a first-rate murder mystery.

Megan Riley’s circle of friends includes Rachel Feinman, Alexandra Grant and Kathleen Rosario—all wives of wealthy California men. Their lives revolve around the Bayside Yacht Club, their yachts and the club’s activities. But unlike her friends, Megan is working girl—she doesn’t own a yacht, makes her living selling real estate and has recently ended a serious relationship. Despite their cushy lifestyles, Megan’s friends are not without their problems; all of their marriages are in various states of decay, some in graver condition than others. While sunbathing on Alexandra’s yacht, the friends learn of the death of mutual acquaintance George Fisher; he had suffered a heart attack while in the company of a hooker. All are shocked by the news, but none are surprised. The ladies discuss their husbands’ proclivities for obtaining sexual favors through nefarious means, as well as the ladies’ shared desire to retaliate against the guys. The ladies bandy about the idea of finding a gigolo that they can share and agreed upon it—at least in principle. Meanwhile, detective Matt Donovan is busy investigating the Bondage Murder, a grisly case in which a prostitute’s mutilated body was found near the house where George died. It seems George’s hooker was close friends with the murdered prostitute. In attempting to track down Alexandra’s husband to question him about the murder, Matt winds up on the yacht with the sunbathing ladies. Megan is instantly smitten with the handsome detective, and it seems the attraction is mutual. As Megan’s relationship with Matt progresses, her naughty gigolo pact with her friends and Matt’s murder investigation intertwine. This juicy tale moves at breakneck speed, making for an exciting read. At times, however, this rushing speed results in underdeveloped story elements, such as a dog that suddenly shows up in Megan’s life and then plays a crucial role in the plot. But this is a minor issue that takes little away from what is overall a terrific novel. Because Firmin gives equal time to her female and male characters, the book should be equally appealing both sexes—no small feat. A swiftly paced tale of lust, seduction, duplicity and horror, Firmin’s debut easily keeps the pages turning.

 

Pub Date: Oct. 12, 2011

ISBN: 978-1462042388

Page Count: 293

Publisher: iUniverse

Review Posted Online: Jan. 12, 2012

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

DEVOLUTION

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. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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