Feeling somewhat out of his element, Spenser nevertheless hires on when Walter Clive, president of Three Fillies Stables, offers him this horse-watching gig. Which is a good thing indeed, since in his 27th entry (Hush Money, 1999, etc.) the Boston-based p.i. romps home a winner, effacing his recent series of also-rans. The Clives—dashing father, dazzling daughter—are worried about the safety of Hugger-Mugger, the two-year-old that racing insiders are beginning to compare to Secretariat. Scoundrel or scoundrels unknown have made an attempt to do him harm, and the Clives want Spenser in Atlanta to find out who and why. Spenser can barely tell a Secretariat from a receptionist, but he does know what a string of pro bono jobs can do to an exchequer, so south he goes. There, he quickly discovers that horse country can match mean streets any day in the villainy department. Jon Delroy, for instance, who heads the Three Fillies security system is quintessentially black-hearted, and when murder happens, Spenser has every hope Delroy will turn out to be the perp. Unfortunately, there are others—people Spenser has come to like—with even juicier motives. As is his wont, Spenser spins his wheels for a while, but then aided and abetted by his main squeeze, Susan the wonder shrink, he finally ratiocinates sufficiently to do in whodunit. The famous dialogue is polished to a high shine, and though Hugger-Mugger gets a bit helter-skelter down the stretch, it's a terrific return to form.
Pub Date: April 3, 2000
ISBN: 0-399-14587-7
Page Count: 320
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2000
As in summer movies, a triple dose of violence conceals the absence of real menace when neither victims nor avengers stir...
Dr. Alex Cross has left Metro DC Homicide for the FBI, but it’s business as usual in this laughably rough-hewn fairy tale of modern-day white slavery.
According to reliable sources, more people are being sold into slavery than ever before, and it all seems to be going down on the FBI’s watch. Atlanta ex-reporter Elizabeth Connolly, who looks just like Claudia Schiffer, is the ninth target over the past two years to be abducted by a husband-and-wife pair who travel the country at the behest of the nefarious Pasha Sorokin, the Wolf of the Red Mafiya. The only clues are those deliberately left behind by the kidnappers, who snatch fashion designer Audrey Meek from the King of Prussia Mall in full view of her children, or patrons like Audrey’s purchaser, who ends up releasing her and killing himself. Who you gonna call? Alex Cross, of course. Even though he still hasn’t finished the Agency’s training course, all the higher-ups he runs into, from hardcases who trust him to lickspittles seething with envy, have obviously read his dossier (Four Blind Mice, 2002, etc.), and they know the new guy is “close to psychic,” a “one-man flying squad” who’s already a legend, “like Clarice Starling in the movies.” It’s lucky that Cross’s reputation precedes him, because his fond creator doesn’t give him much to do here but chase suspects identified by obliging tipsters and worry about his family (Alex Jr.’s mother, alarmed at Cross’s dangerous job, is suing for custody) while the Wolf and his cronies—Sterling, Mr. Potter, the Art Director, Sphinx, and the Marvel—kidnap more dishy women (and the occasional gay man) and kill everybody who gets in their way, and quite a few poor souls who don’t.
As in summer movies, a triple dose of violence conceals the absence of real menace when neither victims nor avengers stir the slightest sympathy.Pub Date: Nov. 5, 2003
ISBN: 0-316-60290-6
Page Count: 400
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 2003
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
It’s hard to think of any writer since Flannery O’Connor, referenced at several key moments here, who’s succeeded as...
Slaughter’s latest break from the punishing travails of Dr. Sara Linton and Will Trent (The Kept Woman, 2016, etc.) uses a school shooting to reunite two sisters who’ve had compelling reasons for avoiding each other in the years since their own childhood horrors.
Twenty-eight years ago, two masked men broke into attorney Rusty Quinn’s Georgia home looking for the man of the house, the kind of lawyer who gives lawyers a bad name. In Rusty’s absence, things went south instantly, leaving Gamma Quinn dead, her daughter Samantha shot in the head and buried alive, and her daughter Charlotte fleeing in terror. Sam somehow survived and rose above her brain damage to become a successful New York patent attorney; Charlie remained in Pikeville, joined the criminal defense bar, and married ADA Ben Bernard. But she and Ben have separated; she’s taken solace in some quick sex with a stranger in a parking lot; and when she goes to the middle school where her one-night stand works as a history teacher to pick up the cellphone she left behind, she walks into the middle of a shooting that brings back all her own trauma. Goth girl Kelly Wilson admits she shot and killed Douglas Pinkman, the school principal, and 8-year-old Lucy Alexander, but Rusty, whose inbox is already overflowing with hate mail provoked by all the lowlifes he’s defended, is determined to serve as her attorney, with Sam as a most unlikely second chair. In addition to the multilayered conflicts among the Quinns and everyone else in town, Sam, who urged her sister to flee their childhood nightmare, and Charlie, who’s had to live with fleeing ever since, will have to deal with memories that make it hard for them to sit in the same room.
It’s hard to think of any writer since Flannery O’Connor, referenced at several key moments here, who’s succeeded as consistently as Slaughter at using horrific violence to evoke pity and terror. Whether she’s extending her franchise or creating stand-alones like this, she really does make your hair stand on end.Pub Date: Aug. 8, 2017
ISBN: 978-0-06-243024-3
Page Count: 512
Publisher: Morrow/HarperCollins
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 1, 2017
BOOK TO SCREEN
BOOK TO SCREEN
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