A tale that should appeal to fans of medical fiction, particularly those who’ve undergone the real-life rigors of hospital...

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Code-One Dancing

MEDICINE MURDER REVENGE

Short story writer and retired physician Ellman (Let Me Tell You About Angela, 2015) offers a novel about a wisecracking medical resident.

The subtitle of this first-person narrative is “Medicine Murder Revenge,” which successfully summarizes the themes that the author weaves through the text. Readers first meet Tadeusz “Dr. Ted” Shluzkinski in the fall of 1960, when he’s severely beaten on the street by two thugs. One of them delivers a parting explanation: “That’s for Betty.” He’s referring to Betty Schmidt, a patient whom Ted treated in the Chicago hospital where he’s currently doing his residency. Betty died suddenly and unexpectedly one night the previous summer, and Ted is convinced that her abusive husband, Tim Schmidt, murdered her. He orders an autopsy over the husband’s strenuous objections. Although the coroner finds nothing suspicious, Ted is undeterred and decides to approach a police detective, Sgt. George Esposito, whom one of his patients, an attorney, recommended. George tells Ted to stay away from Tim, a bad guy who he says is “connected”: “So, watch your step. Doc, be careful. Be extra careful!” The ongoing relationship between Ted and George forms the nexus of the novel’s murder and revenge subplots. The bulk of the text, however, revels in hospital antics and internal politics, as well as medical diagnoses and treatments. The story’s pace sometimes becomes bogged down with heavy use of professional jargon and detailed descriptions of the minutiae of hospital life, such as the bullying of residents by Mrs. B., who manages the cafeteria; the quick sexual trysts among staff members in between patient evaluations; and the affectations of various hospital personnel. It also takes a while to acclimate to Ellman’s habit of navigating back and forth in time. That said, Ted is an engaging character, outwardly cocky while inwardly fully aware of his own hype. Although the author never builds serious suspense, he nonetheless manages to come up with a believable surprise ending.

A tale that should appeal to fans of medical fiction, particularly those who’ve undergone the real-life rigors of hospital training. 

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: Windy City Publishers

Review Posted Online: Oct. 21, 2016

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Now that Coben’s added politics to his heady brew, expect sex and religion to join the mix.

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THE BOY FROM THE WOODS

Coben’s latest darkest-suburbs thriller sets a decidedly offbeat detective on the trail of a crime with overtones unmistakably redolent of once and future presidential elections.

Wilde is called Wilde because nobody’s known his real name from the moment a pair of hikers found him foraging for himself in Ramapo Mountain State Forest 24 years ago. Now over 40, he’s had experience as both a lost boy and a private investigator. That makes him an obvious person to help when his godson, Sweet Water High School student Matthew Crimstein, expresses concern to his grandmother, attorney Hester Crimstein, that his bullied classmate Naomi Pine has gone missing. Matthew doesn’t really want anyone to help. He doesn’t even want anyone to notice his agitation. But Hester, taking the time from her criminal defense of financial consultant Simon Greene (Run Away, 2019) to worm the details out of him, asks Wilde to lend a hand, and sure enough, Wilde, unearthing an unsavory backstory that links Naomi to bullying classmate Crash Maynard, whose TV producer father, Dash Maynard, is close friends with reality TV star–turned–presidential hopeful Rusty Eggers, finds Naomi hale and hearty. Everything’s hunky-dory for one week, and then she disappears again. And this time, so does Crash after a brief visit to Matthew in which he tearfully confesses his guilt about the bad stuff he did to Naomi. This second disappearance veers into more obviously criminal territory with the arrival of a ransom note that demands, not money, but the allegedly incriminating videotapes of Rusty Eggers that Dash and Delia Maynard have had squirreled away for 30 years. The tapes link Rusty to a forgotten and forgettable homicide and add a paranoid new ripped-from-the-headlines dimension to the author’s formidable range. Readers who can tune out all the subplots will find the kidnappers easy to spot, but Coben finds room for three climactic surprises, one of them a honey.

Now that Coben’s added politics to his heady brew, expect sex and religion to join the mix.

Pub Date: March 17, 2020

ISBN: 978-1-5387-4814-5

Page Count: 432

Publisher: Grand Central Publishing

Review Posted Online: Dec. 23, 2019

Kirkus Reviews Issue: Jan. 15, 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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