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CHINA BASIN

A CRIME NOVEL

A thrilling tale of crime and political intrigue, as intellectually astute as it’s dramatically exciting.

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A pair of grisly murders initially looks like the result of warring drug cartels, but the implications turn out be much wider and darker in this sequel set in 1950s San Francisco. 

When Carlo Steffano’s corpse is fished out of the bay, Inspector Andrew Johnson, a homicide detective in the San Francisco Police Department, doesn’t shed any tears. Steffano was a mob lawyer and “a vortex of corruption, dirty money and underworld scum—a bottom feeder of easy money.” Still, Johnson’s professional curiosity is piqued—who would want to kill him along the docks of the China Basin and why? To muddy already blood-drenched waters, another victim is found in the trunk of a nearby car—the body of Hector Arroyo, a well-known “heroin wholesaler” running drugs into the country from Mexico. Because the mob and the Mexicans are savage competitors, these dual deaths are intriguing. Johnson and his partner, Charles Camozzi, can’t turn to the feds for help, as the FBI is only interested in combating Communism and is happy to see black and Mexican people addled by drugs. All clues seem to lead to Xiang Lao, the brutal head of a Chinese gang known for drug and human trafficking, whose illegal activities may be protected by the United States government if he uses a portion of those profits to fund anti-Communist insurgencies in South Asia. Niles (A Layer of Darkness, 2014), in this second installment of the Andrew Johnson series, artfully portrays a nihilistic underworld of drugs and prostitution so ungodly it seems bottomless: “How did they fall into lives in the darkest part of society? Where were all the picket fences and happy families free from the threat of fascism, communism, voodooism and zombies. It would always be something.” At the heart of the tale is a grippingly complex protagonist: Johnson grew up on the mean streets of the South Side of Chicago. When he was 5 years old, he witnessed his junkie father get gunned down. A bookish detective who dislikes cops, he walks a fine line, delicately drawn by the author, between compassion and disgusted indifference: “Victims don’t normally bother me, that doesn’t mean I don’t think of them as people. In fact, it’s who they were that is usually the most important part in solving their murder, but it’s a tool more than a sentiment.” The context of the murders—the nation’s preoccupation with the Cold War—is unfurled provocatively, fueled by a volatile mix of idealism and opportunistic cynicism. The prose and tone of the novel are evocative of a long pedigree of realistic detective fiction, but it delivers more than the genre traditionally promises: a thoughtful exploration of how the thin line that separates good and evil is so easily blurred. This fine work can be fully appreciated without any knowledge of its predecessor in the series. 

A thrilling tale of crime and political intrigue, as intellectually astute as it’s dramatically exciting.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: Manuscript

Review Posted Online: Nov. 30, 2019

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DEVOLUTION

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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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. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

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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

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