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AVENUE OF REGRETS

A NOVEL

Zigzagging plot rife with suspense and character detail.

Awards & Accolades

Our Verdict

  • Our Verdict
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A man becomes entangled in a conspiracy of murder and deceit with ties to a years-old murder charge for which he received an acquittal in Pineiro’s (co-author, with Joe Weber: Ashes of Victory, 2018, etc.) thriller.

David Wallace’s encounter with Kate Larson at a San Francisco bar ends with her cryptic note: “Things were not as they seemed 7 years ago.” Back then, in his hometown of Austin, cops arrested David for the murder of Heather Wilson, with whom he’d had an affair. Though evidence later exonerated him, he’s still wracked with guilt: his wife, Evelyn, presumably distraught over his arrest, died shortly thereafter in a car accident that killed her and their son. Soon after meeting Kate, David witnesses a thuggish man and an Asian woman accosting her. He intervenes but is knocked unconscious and wakes up near a body (not Kate’s) that, according to police, goes missing. Things only get stranger back in Texas, where David runs Hill Country Haven, a shelter for battered women. He’s fairly certain he spots Kate at the airport, and, sure enough, he gets a note telling him to go to Heather’s old place at a specified time. Before long, he and his HCH assistant, Margaret Black, catch the attention of Detective Beckett Mar, who had worked Heather’s case and still considers David guilty. New murders in Austin complicate matters along with an abduction, the FBI’s involvement, and a shocking number of secrets David uncovers revolving around the series of grim events that unfolded seven years earlier. Pineiro’s novel thrives on copious plot turns. But the author wisely doesn’t save every twist until the end; the identity of the thug in San Francisco is one that readers learn relatively early, and it’s a doozy. The narrative eventually reveals a massive conspiracy that involves David’s former place of employment and a long list of cast members. Pineiro maintains cohesion by fully developing characters and relationships. For example, FBI Agent Jessica Herrera eases into the story with her connection to David—she had introduced him to Evelyn and therefore has a reason, perhaps, to despise him. As a protagonist, David is an even mix of sympathy and character flaws. His guilty conscience, for one, is understandable. But he’s also a man with a somber past. His father had regularly abused David and his mother for years before beating his mother to death. Other characters likewise shine: Ryan Horowitz, David’s supportive friend and attorney; and Margaret, a strong woman who survived a gang rape. The prose, in the voice of narrator David, is simple but potent; a line from HCH’s ad campaign, “Be Not Afraid,” becomes a refrain for characters (not just David) to prevail over deterrents. The steady pace sags under a surfeit of exposition in the final act. But high-stakes perils unfold throughout, and surprises persist all the way to the epilogue.

Zigzagging plot rife with suspense and character detail.

Pub Date: Nov. 16, 2018

ISBN: N/A

Page Count: 273

Publisher: Auspicious Apparatus Press

Review Posted Online: Nov. 1, 2018

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THE MOST FUN WE EVER HAD

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

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THEN SHE WAS GONE

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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