A tired spot-the-mole Washington story, laden with too much gunplay and unconvincing twists. The flyboy thrillmeister hits a...
Skirt-chasing burglar-turned-CIA black bagman Tommy Carmellini (a minor figure in Cuba, 1999) has his first solo adventure, with Coonts’s hero Rear Admiral Jake Grafton in a supporting role.
That this spin-off series debut involves the federal government, with most of its plot happening outside the Beltway, is the first of many small let-downs in an adequate but disappointing effort for fans of Coonts’s flyboy military escapades. After he effortlessly burgles a safe-deposit box to retrieve sex videos featuring his former lover, the wealthy Dorsey O’Shea, Carmellini, who normally hangs out in a lock-shop with his wise-cracking black sidekick Willie “the Wire,” is told to inspect security at a Virginia mountain CIA safehouse. He arrives in time to find the complex under assault and on fire, though he’s lucky enough to kill one assailant and rescue CIA translator Kelly Erlanger plus a suitcase full of old KGB files before the bad guys give chase. A feisty Erlanger tells him that the safehouse’s guest, former KGB archivist Mikhail Goncharov, had been spilling all kinds of insider info before the attack. Someone, obviously, wanted to shut him up. Coonts then begins one of several jarring shifts, changing from Carmellini’s flip first-person narrative to a more basic third person portraying Goncharov as he hides out in a nearby vacation home. Carmellini gets almost no sleep as bad guys try to kill everyone close to him, including his CIA boss, Willie, and O’Shea. Erlanger, Carmellini, and O’Shea now flee to the Rehoboth Beach vacation home of retired Rear Admiral Jake Grafton. It’s Grafton who’ll find out that highly placed government figures are blaming Carmellini for the attack on the safehouse—figures who fear that Goncharov’s old files might expose a long-simmering scheme to take over the country at a New York political convention.
A tired spot-the-mole Washington story, laden with too much gunplay and unconvincing twists. The flyboy thrillmeister hits a grounder.Pub Date: May 11, 2004
ISBN: 0-312-28362-8
Page Count: 400
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2004
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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