Abrahams (Their Wildest Dreams, 2003, etc.) creates palpable empathy for the bruised Nick, and his pitch-perfect prose is a...

READ REVIEW

OBLIVION

After losing his memory, high-profile investigator Nick Petrov returns recklessly to the dangerous case he was working on.

Pricey p.i. Nick (his claim to fame is a TV movie in which he was portrayed by Armand Assante) accepts the small case of missing teenager Amanda Rummel because something touches him in the demeanor of Amanda’s distraught mother, Liza. But from the beginning of his investigation, he finds that Liza, who works for Candyland Escorts, is less than candid with him. For starters, Amanda’s friend Beth says that Amanda claimed to be adopted, her real mother mysteriously killed. This facet of the case resonates with Nick, who’s divorced and has a shaky relationship with son Dmitri. Ex-wife Katherine is still bitter about the breakup and Nick’s affair with police chief Elaine Kostelnik (Kim Delaney in the TV movie). Bad headaches, unlike anything Nick has ever experienced, periodically interfere with his work, but he methodically searches Liza’s house while she’s away and makes copious lists of his conclusions and theories. He learns that Liza had an older sister who died years earlier, and his guess is that she was Amanda’s biological mother. He finds the girl but blacks out in the middle of explaining his identity and mission. He wakes up in a hospital with no memory and a diagnosis of brain hemorrhage. After getting his bearings, he realizes that the fastest way (maybe the only way) to get his memory back is to retrace the steps of his aborted investigation. Abraham draws extra tension from dicey scenes that put the reader two steps ahead of the oblivious Nick. There’s also an offbeat romance with his African-American nurse, Billie (he’s drawn to the clacking of her beaded braids), as Nick’s splintered probe runs through a large cast of unpredictable characters, including a chain-smoking madam, volatile p.i., and skittish volleyball coach.

Abrahams (Their Wildest Dreams, 2003, etc.) creates palpable empathy for the bruised Nick, and his pitch-perfect prose is a joy.

Pub Date: April 12, 2005

ISBN: 0-06-072657-1

Page Count: 352

Publisher: Morrow/HarperCollins

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 15, 2004

Did you like this book?

No Comments Yet

Now that Coben’s added politics to his heady brew, expect sex and religion to join the mix.

Our Verdict

  • Our Verdict
  • GET IT

  • New York Times Bestseller

  • IndieBound Bestseller

THE BOY FROM THE WOODS

Coben’s latest darkest-suburbs thriller sets a decidedly offbeat detective on the trail of a crime with overtones unmistakably redolent of once and future presidential elections.

Wilde is called Wilde because nobody’s known his real name from the moment a pair of hikers found him foraging for himself in Ramapo Mountain State Forest 24 years ago. Now over 40, he’s had experience as both a lost boy and a private investigator. That makes him an obvious person to help when his godson, Sweet Water High School student Matthew Crimstein, expresses concern to his grandmother, attorney Hester Crimstein, that his bullied classmate Naomi Pine has gone missing. Matthew doesn’t really want anyone to help. He doesn’t even want anyone to notice his agitation. But Hester, taking the time from her criminal defense of financial consultant Simon Greene (Run Away, 2019) to worm the details out of him, asks Wilde to lend a hand, and sure enough, Wilde, unearthing an unsavory backstory that links Naomi to bullying classmate Crash Maynard, whose TV producer father, Dash Maynard, is close friends with reality TV star–turned–presidential hopeful Rusty Eggers, finds Naomi hale and hearty. Everything’s hunky-dory for one week, and then she disappears again. And this time, so does Crash after a brief visit to Matthew in which he tearfully confesses his guilt about the bad stuff he did to Naomi. This second disappearance veers into more obviously criminal territory with the arrival of a ransom note that demands, not money, but the allegedly incriminating videotapes of Rusty Eggers that Dash and Delia Maynard have had squirreled away for 30 years. The tapes link Rusty to a forgotten and forgettable homicide and add a paranoid new ripped-from-the-headlines dimension to the author’s formidable range. Readers who can tune out all the subplots will find the kidnappers easy to spot, but Coben finds room for three climactic surprises, one of them a honey.

Now that Coben’s added politics to his heady brew, expect sex and religion to join the mix.

Pub Date: March 17, 2020

ISBN: 978-1-5387-4814-5

Page Count: 432

Publisher: Grand Central Publishing

Review Posted Online: Dec. 23, 2019

Kirkus Reviews Issue: Jan. 15, 2020

Did you like this book?

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

Did you like this book?

No Comments Yet
more