A high-octane story rife with action, from U.S. streets to Guatemalan jungles.

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HOUSE OF JAGUAR

In Bond’s (The Last Savanna, 2013, etc.) military thriller, a former U.S. Army pilot witnesses soldiers slaughtering a village in Guatemala and makes himself a target when he starts asking questions.

Vietnam vet Joe Murphy is earning money by flying to Guatemala to pick up a load of marijuana. But before he can get his plane back in the air, the Guatemalan army attacks, and Murphy flees into the jungle. The pilot, injured and taken in by villagers, evades the army again but watches as they massacre the village. When Murphy makes it back to the States, he goes to the press with his story, but there’s evidently no media interest. A short article, however, is enough to catch the attention of Col. Lyman, who was in Guatemala on a CIA op and who’s been obsessively pursuing Murphy, blaming him for the murder of another CIA insert, Kit Gallagher—a death that Murphy heard while hiding in the jungle. Murphy is now dodging killers, including cops, in his native country, hoping to learn what the CIA was doing in Guatemala and determined to go back for Dona Villalobos, a doctor he fell for during his recovery. Bond’s kinetic novel abounds with intense scenes—Murphy trekking through the spider- and snake-laden forest with a broken arm; Dona and a group of guerrillas raiding an Army base for medicines, a plan that has unexpectedly bloody results. But even without someone running or ducking bullets, characters are rarely given a chance to stop and take a breath. The adept Dona simultaneously tends to Murphy, who’s aggravated his injury, and a pregnant woman who needs a cesarean section. Bond also includes elements of mystery; readers are aware of the CIA’s presence in Guatemala but learn most things right along with the protagonist. The characters are fully limned, though none is more delectably warped than Lyman. His fixation on Murphy borders on psychotic and leads Lyman to enact seriously disturbing deeds. Not surprisingly, the novel ends with a shock, one that might have a few readers gasping.

A high-octane story rife with action, from U.S. streets to Guatemalan jungles.

Pub Date: Nov. 25, 2013

ISBN: 978-1627040105

Page Count: 387

Publisher: Mandevilla Press

Review Posted Online: June 5, 2014

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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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