Lawson’s matter-of-fact tone, walking a fine line between satire and reportage, propels his tale forward despite its limited...
Bagman/fixer Joe DeMarco, who has a law degree but has never practiced law, gets to see a whole new side of the legal system when he’s expertly framed for murder.
DeMarco’s minding his own business, working late in his subbasement office in the Capitol, when an assassin shoots House majority whip Lyle Canton, who’s also minding his own business in his spiffier office upstairs, to death. The ubiquitous security cameras strewn throughout the building catch little of note. But since DeMarco’s patron, House minority leader John Mahoney, has been a frequent target of Canton’s attacks, and since the killer sticks around for long enough to plant some highly incriminating evidence in DeMarco’s office after he leaves, it’s not long before he’s arrested. DeMarco, who, incredibly enough, has heretofore spent only a single night in jail despite his checkered career (House Witness, 2018, etc.), can now expect a stay of at least a year while his attorney, Janet Evans, prepares his defense. The most likely way his stay can be shortened lies with billionaire businessman Sebastian Spear, the lover whom the slain politician’s wife, Jean Canton, had been on her way to meet when she wrapped her car around a tree. It’s pretty obvious to pretty much everyone except the police and the FBI that Spear hired Canton’s murderer; now he’s trying to reach inside the Alexandria jail and have DeMarco killed, too. So the story quickly settles into a high-stakes groove of thrust and counterthrust: Bill Brayden, Spear Industry’s head of security, keeps hatching more and more inventive schemes to get DeMarco’s fellow prisoners to kill him; Mahoney and his well-connected allies do everything they can to head off most of these attempts, foil the ones they can’t head off, and bring down Brayden, Spear, and the actual killer before they succeed.
Lawson’s matter-of-fact tone, walking a fine line between satire and reportage, propels his tale forward despite its limited capacity for surprise. And his final sequence, both blackly comic and ineffably sad, provides the perfect conclusion.Pub Date: Feb. 5, 2019
ISBN: 978-0-8021-2930-7
Page Count: 336
Publisher: Atlantic Monthly
Review Posted Online: Nov. 12, 2018
Kirkus Reviews Issue: Dec. 1, 2018
Falls short of Crichton’s many blockbusters, but fun reading nonetheless, especially for those interested in the early days...
In 1876, professor Edward Cope takes a group of students to the unforgiving American West to hunt for dinosaur fossils, and they make a tremendous discovery.
William Jason Tertullius Johnson, son of a shipbuilder and beneficiary of his father’s largess, isn’t doing very well at Yale when he makes a bet with his archrival (because every young man has one): accompany “the bone professor” Othniel Marsh to the West to dig for dinosaur fossils or pony up $1,000, but Marsh will only let Johnson join if he has a skill they can use. They need a photographer, so Johnson throws himself into the grueling task of learning photography, eventually becoming proficient. When Marsh and the team leave without him, he hitches a ride with another celebrated paleontologist, Marsh’s bitter rival, Edward Cope. Despite warnings about Indian activity, into the Judith badlands they go. It’s a harrowing trip: they weather everything from stampeding buffalo to back-breaking work, but it proves to be worth it after they discover the teeth of what looks to be a giant dinosaur, and it could be the discovery of the century if they can only get them back home safely. When the team gets separated while transporting the bones, Johnson finds himself in Deadwood and must find a way to get the bones home—and stay alive doing it. The manuscript for this novel was discovered in Crichton’s (Pirate Latitudes, 2009, etc.) archives by his wife, Sherri, and predates Jurassic Park (1990), but if readers are looking for the same experience, they may be disappointed: it’s strictly formulaic stuff. Famous folk like the Earp brothers make appearances, and Cope and Marsh, and the feud between them, were very real, although Johnson is the author’s own creation. Crichton takes a sympathetic view of American Indians and their plight, and his appreciation of the American West, and its harsh beauty, is obvious.
Falls short of Crichton’s many blockbusters, but fun reading nonetheless, especially for those interested in the early days of American paleontology.Pub Date: May 23, 2017
ISBN: 978-0-06-247335-6
Page Count: 320
Publisher: Harper/HarperCollins
Review Posted Online: March 6, 2017
Kirkus Reviews Issue: March 15, 2017
Slaughter (Cop Town, 2014, etc.) is so uncompromising in following her blood trails to the darkest places imaginable that...
Twenty-four years after a traumatic disappearance tore a Georgia family apart, Slaughter’s scorching stand-alone picks them up and shreds them all over again.
The Carrolls have never been the same since 19-year-old Julia vanished. After years of fruitlessly pestering the police, her veterinarian father, Sam, killed himself; her librarian mother, Helen, still keeps the girl's bedroom untouched, just in case. Julia’s sisters have been equally scarred. Lydia Delgado has sold herself for drugs countless times, though she’s been clean for years now; Claire Scott has just been paroled after knee-capping her tennis partner for a thoughtless remark. The evening that Claire’s ankle bracelet comes off, her architect husband, Paul, is callously murdered before her eyes and, without a moment's letup, she stumbles on a mountainous cache of snuff porn. Paul’s business partner, Adam Quinn, demands information from Claire and threatens her with dire consequences if she doesn’t deliver. The Dunwoody police prove as ineffectual as ever. FBI agent Fred Nolan is more suavely menacing than helpful. So Lydia and Claire, who’ve grown so far apart that they’re virtual strangers, are unwillingly thrown back on each other for help. Once she’s plunged you into this maelstrom, Slaughter shreds your own nerves along with those of the sisters, not simply by a parade of gruesome revelations—though she supplies them in abundance—but by peeling back layer after layer from beloved family members Claire and Lydia thought they knew. The results are harrowing.
Slaughter (Cop Town, 2014, etc.) is so uncompromising in following her blood trails to the darkest places imaginable that she makes most of her high-wire competition look pallid, formulaic, or just plain fake.Pub Date: Sept. 29, 2015
ISBN: 978-0-06-242905-6
Page Count: 400
Publisher: Morrow/HarperCollins
Review Posted Online: June 30, 2015
Kirkus Reviews Issue: July 15, 2015
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