An intelligent thriller teeming with vigor.
A CIA agent working at the U.S. Embassy in Beirut fears his past has caught up to him in the riveting second volume of the Beirut trilogy.
Higher-ups transfer Walter Lukash, a seasoned CIA officer, from his tour of duty in Jordan to Lebanon to act as a liaison for a fragile political party. Lukash’s orders are to inconspicuously gather intelligence in hopes of increasing the party’s cooperation with the U.S. Embassy, but that task quickly proves problematic when Lukash’s girlfriend from Jordan shows up in Beirut with ties to a wily Syrian national and an assassination plot. Conrad Prosser, the protagonist from Fleming’s (Dynamite Fishermen, 2011, etc.) previous novel, travels to war-torn Beirut at the behest of a source looking for his daughter’s missing husband—whose name happens to be an alias used by Lukash five years earlier. The winding plotlines make for a gloriously elaborate story as Fleming adeptly weaves through genres amid the rubble: suspenseful distrust among the conniving characters, window-shattering action sequences and the understated romantic tension between Lukash and Muna, the woman he left behind. The drama plays against a fiery backdrop of civil war, a setting well established in Fleming’s prior novel and aptly recreated here. This time, the inescapable violence acts as a foreboding presence: a cease-fire breaks the night Lukash arrives in Beirut, where he sleeps in a building riddled with bullets as explosions light up the sky. The rapidly developing plot burns through pages faster than the first time Fleming took us to Beirut.
An intelligent thriller teeming with vigor.Pub Date: July 27, 2011
ISBN: 978-0982959427
Page Count: 162
Publisher: PF Publishing
Review Posted Online: Jan. 31, 2012
Review Program: Kirkus Indie
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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