ALL THROUGH THE NIGHT

Lottery winners Alvirah and Willy Meehan are the guests of honor in this second helping of Christmas turkey from megaselling Clark (Silent Night, 1995, etc.). Seven years ago, rising-star violinist Sondra Lewis, following an unwise dalliance with a married pianist, had the misfortune to abandon her newborn baby outside St. Clement’s Church just as low-level thief Lenny Centino was looking for some cover after stealing St. Clement’s prized silver chalice. Oblivious to its cargo, Lenny grabbed Sondra’s stroller before she could get through to Monsignor Thomas Ferris, and took stroller and baby home to his aunt Lilly, who raised the little girl as Jimmy’s. Now the time is at hand for Providence, in the form of retired cleaning woman Alvirah and her husband Willy, to set things straight by restoring Stellina Centino to the forlorn mother who’s come back to town in the hopes of picking up some word of her. And there’s more work for the redoubtable $40 million winners this Christmastide. Alvirah’s friend Bessie Durkin Maher, the housekeeper who married widower Judge Mayer to keep her job, has died; but instead of leaving her house to the after-school center run by Willy’s sister, Sister Cordelia, an 11th-hour will leaves it to her house-proud tenants Vic and Linda Baker—or so it seems to duller wits than Alvirah’s. Vowing to think like Poirot, Alvirah goes to work righting wrongs and slaying dragons. Though Alvirah and Willy are both toned down from the oblivious consumers of The Lottery Winner (1994), the dragons themselves are so winded—neither Lenny Centino nor those precious frauds the Bakers have enough presence to headline a third-grade pageant—that their misdoings are less like crimes than detours, temporary swerves from the way of true happiness. If the resulting tale doesn’t provide the menace or suspense of Clark’s full-length novels (You Belong to Me, p. 418, etc.), though, it does succeed—as the Epilogue tell us—in providing a “human-interest story” that’s “especially appropriate for the Christmas season.” Pass the fruitcake. (First printing of 1,500,000)

Pub Date: Oct. 19, 1998

ISBN: 0-684-85660-3

Page Count: 176

Publisher: Simon & Schuster

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 1998

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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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