Forget comparisons to other books. The closest you’ve ever come to Nick’s experience is sitting in a Florida drive-in...

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RANCHERO

A hapless repo man’s quest for a defalcating consumer turns personal in Gavin’s debut, a testosterone-fueled romp.

Nick Reid is just minding his own business, putting the bite on Percy Dwayne Dubois for the 42-inch flat-screen TV he’d missed three payments on, when Percy Dwayne lays him out with a fireplace shovel and helps himself to Nick’s wallet and cell phone and the 1969 calypso coral Ford Ranchero he’s driving. Because the car isn’t even Nick’s—it was the pride and joy of Gil Jarvis, the late husband of the landlady who loaned it to Nick while his own wheels were under the weather—Nick chivalrously vows to retrieve it in mint condition. Enlisting the help of Desmond, a hulking African-American colleague, he slips the traces of K-Lo, his enraged Lebanese boss, and high-tails it after Percy Dwayne, his wife Sissy and their diapered baby PD Jr. His sort-of-plan is to head to Yazoo City, the reputed home of Luther Dubois, who just might be a relation. Percy Dwayne, meantime, has other plans. Calling Nick using his own cell phone, he offers to ransom the Ranchero back to him. All these plans come to naught when a meth cooker named Guy runs off with Sissy, PD Jr. and the car. It’s not clear whether Sissy, like Helen of Troy, is cooperating with her abductor. In fact, nothing much involving psychology or narrative causality is ever all that clear. What’s certain is that no one normal will appear and nothing normal will happen until Nick catches up with the Ranchero—maybe not even then.

Forget comparisons to other books. The closest you’ve ever come to Nick’s experience is sitting in a Florida drive-in theater circa 1958.

Pub Date: Nov. 1, 2011

ISBN: 978-0-312-58318-7

Page Count: 272

Publisher: Minotaur

Review Posted Online: Oct. 3, 2011

Kirkus Reviews Issue: Oct. 15, 2011

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Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.

A CONSPIRACY OF BONES

Another sweltering month in Charlotte, another boatload of mysteries past and present for overworked, overstressed forensic anthropologist Temperance Brennan.

A week after the night she chases but fails to catch a mysterious trespasser outside her town house, some unknown party texts Tempe four images of a corpse that looks as if it’s been chewed by wild hogs, because it has been. Showboat Medical Examiner Margot Heavner makes it clear that, breaking with her department’s earlier practice (The Bone Collection, 2016, etc.), she has no intention of calling in Tempe as a consultant and promptly identifies the faceless body herself as that of a young Asian man. Nettled by several errors in Heavner’s analysis, and even more by her willingness to share the gory details at a press conference, Tempe launches her own investigation, which is not so much off the books as against the books. Heavner isn’t exactly mollified when Tempe, aided by retired police detective Skinny Slidell and a host of experts, puts a name to the dead man. But the hints of other crimes Tempe’s identification uncovers, particularly crimes against children, spur her on to redouble her efforts despite the new M.E.’s splenetic outbursts. Before he died, it seems, Felix Vodyanov was linked to a passenger ferry that sank in 1994, an even earlier U.S. government project to research biological agents that could control human behavior, the hinky spiritual retreat Sparkling Waters, the dark web site DeepUnder, and the disappearances of at least four schoolchildren, two of whom have also turned up dead. And why on earth was Vodyanov carrying Tempe’s own contact information? The mounting evidence of ever more and ever worse skulduggery will pull Tempe deeper and deeper down what even she sees as a rabbit hole before she confronts a ringleader implicated in “Drugs. Fraud. Breaking and entering. Arson. Kidnapping. How does attempted murder sound?”

Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.

Pub Date: March 17, 2020

ISBN: 978-1-9821-3888-2

Page Count: 352

Publisher: Scribner

Review Posted Online: Dec. 23, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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The racism, classism, and sexism of 50 years ago wrapped up in a stylish, sexy, suspenseful period drama about a newsroom...

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LADY IN THE LAKE

Baltimore in the 1960s is the setting for this historical fiction about a real-life unsolved drowning.

In her most ambitious work to date, Lippman (Sunburn, 2018, etc.) tells the story of Maddie Schwartz, an attractive 37-year-old Jewish housewife who abruptly leaves her husband and son to pursue a long-held ambition to be a journalist, and Cleo Sherwood, an African-American cocktail waitress about whom little is known. Sherwood's body was found in a lake in a city park months after she disappeared, and while no one else seems to care enough to investigate, Maddie becomes obsessed—partly due to certain similarities she perceives between her life and Cleo's, partly due to her faith in her own detective skills. The story unfolds from Maddie's point of view as well as that of Cleo's ghost, who seems to be watching from behind the scenes, commenting acerbically on Maddie's nosing around like a bull in a china shop after getting a job at one of the city papers. Added to these are a chorus of Baltimore characters who make vivid one-time appearances: a jewelry store clerk, an about-to-be-murdered schoolgirl, "Mr. Helpline," a bartender, a political operative, a waitress, a Baltimore Oriole, the first African-American female policewoman (these last two are based on real people), and many more. Maddie's ambition propels her forward despite the cost to others, including the family of the deceased and her own secret lover, a black policeman. Lippman's high-def depiction of 1960s Baltimore and the atmosphere of the newsroom at that time—she interviewed associates of her father, Baltimore Sun journalist Theo Lippman Jr., for the details—ground the book in fascinating historical fact.The literary gambit she balances atop that foundation—the collage of voices—works impressively, showcasing the author's gift for rhythms of speech. The story is bigger than the crime, and the crime is bigger than its solution, making Lippman's skill as a mystery novelist work as icing on the cake.

The racism, classism, and sexism of 50 years ago wrapped up in a stylish, sexy, suspenseful period drama about a newsroom and the city it covers.

Pub Date: July 23, 2019

ISBN: 978-0-06-239001-1

Page Count: 352

Publisher: Morrow/HarperCollins

Review Posted Online: March 31, 2019

Kirkus Reviews Issue: April 15, 2019

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