A slight variation on the whodunit—a whomightdoit—but with all the trimmings of a satisfyingly complex murder mystery.
In Fritze’s debut legal thriller, the undiplomatic actions of an antitrust lawyer in Toronto may result in murder—namely his own.
Someone wants to see attorney Peter Bradley dead. Cryptic journal entries, revealed only to the reader, detail an unknown party’s animosity for Bradley, but there’s certainly no shortage of people with motives for murder. Walter, a member of Bradley’s antitrust group at his firm, keeps getting passed over for partnership; Bradley’s wife, Amy, is on a short financial leash; and his brother-in-law, Reggie, a struggling musician, doesn’t appreciate how his sister is being treated. But Bradley has problems of a different sort: Managing partners have pushed Tony, whom Bradley hates, to be his successor as the group’s chair; Bradley’s uncovered discrepancies in his bank account; and he learns that Amy is frequenting Maximus, a swingers club. If Bradley has any hope of overcoming his odds, he’ll have to straighten quite a few things out—as long as someone doesn’t straighten him out first. This mystery doesn’t let up; the identity of the journal writer is neither revealed early nor blatantly obvious. In fact, the potential murderer seems of sound mind, debating both the legal and psychological ramifications of killing Bradley. It’s Bradley who’s off-kilter, obsessively watching his wife, who openly flirts with his colleagues, and eventually concocting a plan that’s just as dangerous as the diarist’s but much more methodical. Fritze’s strongest scenes aren’t ones of violence (though there are several of those) but manipulation: Bradley meets with Tony and fakes elation about the attorney joining the firm; Amy pretends to dote on her husband so that he’ll log onto his bank’s website, giving her a chance to learn his password. A school of red herrings is expected to accompany a cast this large, but the author successfully wraps up a good number of them. He further develops the lead character with a full back story: His first wife died, and he had an abusive, alcoholic father.
A slight variation on the whodunit—a whomightdoit—but with all the trimmings of a satisfyingly complex murder mystery.Pub Date: March 24, 2014
ISBN: N/A
Page Count: -
Publisher: Dog Ear Publisher
Review Posted Online: May 17, 2014
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
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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