An action-packed murder mystery, buoyantly written and suspenseful.


Two detectives investigate a family’s mysterious murder and encounter a network of sex and conspiracy. 

Detectives Mitchell and Sandovan are given a tip from a petty criminal so implausible it rings true: During the burglary of a posh home, he discovered a family of four dead at the dinner table. The detectives find the Harbmans just as described—the parents, their son, and his girlfriend—seated in funerary stillness, presiding grimly over a partially eaten roast beef, a scene chillingly depicted by author Williams (Shank, 2017, etc.). Angela, the 20-year-old daughter of the Harbman family, is missing and is later found hiding in a panic room within the house, nearly dead. A toxicology report reveals that the family was poisoned with Carfentanil, an opioid that dwarfs heroin in potency. The Harbmans initially seem like an innocuous clan, but as the detectives dig deeper, they find a long list of suspects, a colorful spectrum of humanity intelligently depicted by the author. First, their insufferably aristocratic neighbors openly detested them for class jumping; the Harbmans became uber-rich by winning a lottery. Neighbor Mr. Kovich claims Angela nearly ruined his son by seducing him. And the Harbmans’ housekeeper, Ms. Lindstrom, once served prison time for poisoning a prior employer. But a cloud of suspicion hangs over Angela as well. Her sexual appetite is purported to be “insatiable” and nearly indiscriminate. To make matters more complicated (and increasingly dubious), someone who is clearly trying to obstruct the investigation plots against Mitchell’s girlfriend, Mya, attempting to destroy her career. Williams vividly constructs a morally confounding world in which good and evil are messily intermixed: “The unpredictability of humanity puzzled Mitchell. He saw more shades of it than most. People were capable of exceptional generosity but also exceptional cruelty. Sometimes they were interwoven in the same strands of DNA.” The writing is acidly sharp and often laced with wit, though the author isn’t above indulging in detective-talk clichés: “He’s going away for a long stretch.” The plot strains the reader’s credulity for the sake of gratuitous complexity, but the characters are so deftly drawn, and the drama so lucidly described, it simply doesn’t matter. 

An action-packed murder mystery, buoyantly written and suspenseful. 

Pub Date: N/A


Page Count: 347

Publisher: Kurti Publishing

Review Posted Online: May 31, 2019

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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. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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