A comic-strip cast, confused plotting, clichéd prose: Running on Instinct is runaway mindlessness.

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RUNNING ON INSTINCT

Inept debut thriller about an evil genius out to purify the species.

To err may be human, but the Selector is not of a forgiving nature. In his view, those who err need to be eradicated—along with those unlucky enough to be physically impaired in any way. Near-sightedness will do it, so will premature baldness, walking pigeon-toed, or simply rubbing the Selector the wrong way. In point of fact, the Selector’s purification standards make Hitler’s look downright permissive, though there is a pervasive vagueness about them. “I select who lives or dies,” he arbitrarily informs one of his intended victims, giving her to understand that Selector subjectivity is all that matters. Not content with mere mass murder, the Selector is into soul-snagging as well. Precisely what this is remains equally ill-defined, except that it’s to be differentiated somehow from soul-hooking and that both are forms of advanced mind control. While the Selector doesn’t like anyone very much, he particularly despises members of the Kithkin Club, a.k.a. the Futurists. This rather bumbling but basically benign collection of seers and seeresses is ill-equipped to cope with the brilliant if megalomaniacal Selector, who can shift shapes or personas faster than you can say: Gee Wizard. Why the Selector takes so dim of a view of these wusses is also on the fuzzy-wuzzy list, which includes such items as his own derivation and the sources of his potent paranormalcy. At any rate, in self-defense, a splinter group of right-thinking Futurists bands together to take on the Selector and his wicked minions. Skirmishes, chases, a pitched battle here and there, and then finally, in what amounts to a virtual-reality Gunfight at the OK Corral, the forces of pretty good confront the forces of truly rotten. Guess who prevails.

A comic-strip cast, confused plotting, clichéd prose: Running on Instinct is runaway mindlessness.

Pub Date: Aug. 1, 2001

ISBN: 0-312-87344-1

Page Count: 416

Publisher: Forge

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 1, 2001

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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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