Skip Chapter 42 and this is a powerhouse of a labyrinthine read. You may be fearful of sleeping again.
This translation of a bestselling German novel is a 352-page nightmare in which dreams and reality are indiscernible to the end.
Chapter 41 of Fitzek’s thriller is an exact duplicate of the book's prologue, giving the book a feeling of reality—we're told something is going to happen, and then, when the time comes, it happens. That would normally give the reader a feeling of closure, but in this case it's unsettling, as all along we have been masterfully led to believe that the horror, the psychological damage that's been done to Leon Nader and his wife, Natalie, have been night terrors, sleep paralysis, sleepwalking nightmares on a never-ending loop. So maybe not. As a child Leon lost his birth parents in an automobile accident. He was kicked out of a foster home when he was found standing over another child's bed with a knife in his hand—while sleepwalking. Eventually, psychiatric counseling put Leon's nightmares to bed. As an adult, an architect, and husband, Leon begins experiencing night terrors again and one day wakes to see his wife packing her bags, bloody and limping away. The ensuing action is a nonstop psychological chase scene in which Leon straps a motion-activated camera to his head in hopes of figuring out what happens when he sleeps and of finding his wife safe and sound. Fitzek creates a nightmarish page-turner. The apartment building where Leon and his wife live is a labyrinth of gothic fun-house doors and mirrors where Leon can enter other apartments and realities by following the maze. And then the author missteps: Chapter 42, the one right after the duplicated chapter, which takes place "some months later," is supposed to tie the dream world, or the “third stage” between sleep and waking sensibility, back to reality. The premise of this resolution is so out of character with the entire novel to this point, so other than the raw progression of the dreams, that it seriously damages the continuity of the novel. Leon's final words only leave us unnervingly in doubt of the outcome.
Skip Chapter 42 and this is a powerhouse of a labyrinthine read. You may be fearful of sleeping again.Pub Date: Feb. 7, 2017
ISBN: 978-1-68177-327-8
Page Count: 352
Publisher: Pegasus Crime
Review Posted Online: Dec. 7, 2016
Kirkus Reviews Issue: Dec. 15, 2016
BOOK REVIEW
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
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
BOOK REVIEW
BOOK TO SCREEN
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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