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MOTION TO SUPPRESS

Legal suspense thriller from first-time sister-writing team O'Shaughnessy draws to an inside straight in the demiworld of Tahoe gambling. Nina Reilly has lost nearly everything—her job, her husband- -and seems on the verge of losing her self-respect as well. Once she and her young son relocate to the Lake Tahoe area to stay with her brother, things begin to look even worse. Nina can't establish herself as an attorney without courting the displeasure of well- placed ``all-men'' firms. Worse, she can't attract clients without the help of her secretary, a woman who once worked for the competition. One client, Misty, a bimbo/waitress of the first order, hires Nina to oversee divorce proceedings from her abusive husband Anthony. But Anthony is nowhere to be found. Until, that is, his body is located at the bottom of the lake. As Nina tries to pin down the real culprit with the aid of Paul, her private investigator, she makes several strategic errors that incriminate Misty even further. It's on Misty's questionable suppressed memory of the murder night and her childhood that the plot hinges—a little creakily. A valuable defense witness comes to a brutal, unbelievable end. Nina herself is nearly killed. Amazing coincidences stack up, even vital information easily surfaces—from the Philippines! Meanwhile, Nina is a Marcia Clark clone, and she's not the only element in this thriller to remind readers of recent and/or current high-profile crimes—giving O'Shaughnessy the problem of seemingly being compelled to delineate court procedures instead of carrying the story on through action scenes. Even so, a highly artificial courtroom sequence does end with a twist that's truly surprising. Characterizations are skimpy, and the plot could use a diet, but the talented sisters O'Shaughnessy are newcomers to watch. (Author tour)

Pub Date: June 16, 1995

ISBN: 0-385-31410-8

Page Count: 400

Publisher: Delacorte

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 15, 1995

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PLEASE SEE US

A lyrical, incisive, and haunting debut.

In Atlantic City, the bodies of several women wait to be discovered and a young psychic begins having visions of terrible violence.

They are known only as Janes 1 through 6, the women who have been strangled and left in the marsh behind the seedy Sunset Motel. They wait for someone to miss them, to find them. That someone might be Clara, a teenage dropout who works the Atlantic City strip as a psychic and occasionally has visions. She can tell there's something dangerous at work, but she has other problems. To pay the rent, she begins selling her company, and then her body, to older men. One day she meets Lily, another young woman who'd escaped the depressing decay of Atlantic City for New York only to be betrayed by a man. She’s come back to AC because there’s nowhere else to go, and she spends her time working a dead-end job and drinking herself into oblivion. Together, Clara and Lily may be able to figure out the truth—but they will each lose something along the way. Mullen’s style is subtle, flowing; she switches the narrative voice with each chapter, giving us Clara and Lily but also each of the victims. At the heart of the novel lies the bitter observation that “Women get humiliated every day, in small stupid ways and in huge, disastrous ones.” Mullen writes about all the moments that women compromise themselves in the face of male desire and male power and how they learn to use sex as commerce because “men are always promised this, no matter who they are.” The other major character in the novel is Atlantic City itself: fading; falling to ruin; promising an old sort of glamour that no longer exists; swindling sad, lonely people out of their money. This backdrop is unexpected and well rendered.

A lyrical, incisive, and haunting debut.

Pub Date: March 3, 2020

ISBN: 978-1-9821-2748-0

Page Count: 352

Publisher: Gallery Books/Simon & Schuster

Review Posted Online: Dec. 22, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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THEN SHE WAS GONE

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

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. 5, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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