Readers may guess the ending, but the sheriff’s diligent investigation is worthy of cheers.

READ REVIEW

A Season to Kill

In Mucci’s thriller, a sheriff in a Philadelphia suburb surmises that a string of missing people is actually the work of a serial killer.

Christian DeAngelo is the new sheriff in town, promoted from deputy after Sheriff Holbrook succumbed to a heart attack. During Holbrook’s legendary reign, the town of Macon didn’t have a single murder in over 20 years. But Macon’s had its share of mysterious disappearances: a local reporter points out to DeAngelo that Roger Sharpe is the 11th missing person in as many years. Evidence suggests, however, that someone killed Roger, and DeAngelo, noting that at least some of the vanished have committed infractions (like meth-dealing/-manufacturing Roger), believes the others are murder victims as well. DeAngelo, a notorious drunk, may have to step away from the barstool if he wants to stop a murderer. Author Mucci sets up a juicy murder mystery, opening with a coldblooded murder and an early indication of conspiracy, with DeAngelo uncovering someone’s sizable deposits (i.e., payoffs). The sheriff’s investigation largely comprises DeAngelo perusing the files of the 10 preceding cases, making headway only when more than one witness steps forward and there are additional murders, these with actual bodies and crime scenes. Readers will likely piece together all the information and name a killer well before DeAngelo does. But the novel’s latter half really ignites. DeAngelo starts to overcome the town’s uncertainty of its latest sheriff (even Holbrook’s widow and the mayor had described him as an inept boozer). When he decides not to drink, DeAngelo and the story focus on the nitty-gritty particulars of the missing person cases, which might lead to a serial killer. Deer-related metaphors abound since the alleged murders happen at the height of deer-hunting season and readers are privy to a murder that resembles a hunt. But Mucci ensures that most of these are subtle and often playful; an anxious man’s panting, for example, is equated to a struck deer “lying on the ground, waiting to die.”

Readers may guess the ending, but the sheriff’s diligent investigation is worthy of cheers.

Pub Date: Nov. 4, 2015

ISBN: N/A

Page Count: -

Publisher: Rook Publishing

Review Posted Online: Oct. 27, 2015

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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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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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THE VANISHING HALF

Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in white society, is shedding her fur coat. Jude, so black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her white persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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