Fans will love the endlessly knotty complications; those unable to commit their full attention to the problem at hand may...
The smothering of a supremely unlikable woman provokes a conspiracy, a false confession, a hysterical outburst and round upon round of sifting through the evidence by DC Simon Waterhouse and his wife, DS Charlie Zailer (Kind of Cruel, 2013, etc.).
Francine Breary was no prize even before the stroke that left her unable to move or speak. She’d taken accountant Tim Breary away from Gaby Struthers, the brilliant, wealthy tech developer he loved, and persuaded him to marry her, then proceeded to make his life miserable. So it’s no wonder Tim has confessed to her murder, adding parenthetically that he doesn’t know why he did it. Every detail of his confession is backed up by the other residents of The Dower House—former caregiver Kerry Jose; her husband, Daniel; Francine’s caregiver, Lauren Cookson; and Lauren’s brutal husband, Jason. But Gaby, stranded overnight in Düsseldorf with an obnoxious stranger who turns out to be Lauren, hears her unwanted companion insist that Tim is being sent to his death for a murder he didn't commit—then sees her escape into the night before Gaby can question her further. Lauren's outburst throws new light on the man Charlie, watching from the sidelines, has dubbed the Don’t Know Why Killer but raises a host of uncomfortable new questions which are meat and drink to Hannah (The Orphan Choir, 2014, etc.). Before the curtain finally comes down, Simon will have heard unwelcome revelations from his boss’ daughter, questioned Gaby about who assaulted her moments after she walked out on her live-in lover, and contemplated a second body cooling in the morgue. Hannah bores down deep into her tiny cast’s secret lives, then still deeper, pausing along the way to cite or reprint a dozen poems, some of them clues, some not.
Fans will love the endlessly knotty complications; those unable to commit their full attention to the problem at hand may well quit in exhaustion before the denouement.Pub Date: Jan. 13, 2015
ISBN: 978-0-670-78586-5
Page Count: 480
Publisher: Putnam
Review Posted Online: Nov. 5, 2014
Kirkus Reviews Issue: Nov. 15, 2014
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Amateurish, with a twist savvy readers will see coming from a mile away.
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
BOOK REVIEW
BOOK REVIEW
One small step, no giant leaps.
Weir (The Martian, 2014) returns with another off-world tale, this time set on a lunar colony several decades in the future.
Jasmine “Jazz” Bashara is a 20-something deliveryperson, or “porter,” whose welder father brought her up on Artemis, a small multidomed city on Earth’s moon. She has dreams of becoming a member of the Extravehicular Activity Guild so she’ll be able to get better work, such as leading tours on the moon’s surface, and pay off a substantial personal debt. For now, though, she has a thriving side business procuring low-end black-market items to people in the colony. One of her best customers is Trond Landvik, a wealthy businessman who, one day, offers her a lucrative deal to sabotage some of Sanchez Aluminum’s automated lunar-mining equipment. Jazz agrees and comes up with a complicated scheme that involves an extended outing on the lunar surface. Things don’t go as planned, though, and afterward, she finds Landvik murdered. Soon, Jazz is in the middle of a conspiracy involving a Brazilian crime syndicate and revolutionary technology. Only by teaming up with friends and family, including electronics scientist Martin Svoboda, EVA expert Dale Shapiro, and her father, will she be able to finish the job she started. Readers expecting The Martian’s smart math-and-science problem-solving will only find a smattering here, as when Jazz figures out how to ignite an acetylene torch during a moonwalk. Strip away the sci-fi trappings, though, and this is a by-the-numbers caper novel with predictable beats and little suspense. The worldbuilding is mostly bland and unimaginative (Artemis apartments are cramped; everyone uses smartphonelike “Gizmos”), although intriguing elements—such as the fact that space travel is controlled by Kenya instead of the United States or Russia—do show up occasionally. In the acknowledgements, Weir thanks six women, including his publisher and U.K. editor, “for helping me tackle the challenge of writing a female narrator”—as if women were an alien species. Even so, Jazz is given such forced lines as “I giggled like a little girl. Hey, I’m a girl, so I’m allowed.”
One small step, no giant leaps.Pub Date: Nov. 14, 2017
ISBN: 978-0-553-44812-2
Page Count: 320
Publisher: Crown
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 15, 2017
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