A reporter obsessively chases a story about obsession.
On their second birthday, adorable twins Shane and Liam Boyle are snatched from their home in Chicago. When no ransom note follows, freelance reporter Jase Deering’s nose for news goes instantly into twitch mode. “The story found me,” he insists. A story so compelling seems to justify every investigative means. So Deering remorselessly tracks down every figure in the case, however peripheral, for hard-driving interviews. Eventually his quest leads him to Graham Morick, and suddenly things take a turn toward a side so dark that even as shrewd and practiced an observer as Deering is blind-sided. Morick is the embodiment of mystery. On the one hand, he’s charming and plausible enough to seem almost normal. Even so, Deering understands from the outset that he’s being skillfully manipulated. To what end? What do the dark arts have to do with the twins’ abduction? What is the messianic subtext that slowly begins to redefine the exercise? As Deering pursues answers, he suspects that his life will be irrevocably altered by finding them. And he’s right.
No doubt about it: Sidor (Bone Factory, 2005, etc.) writes brilliantly. But some readers will find it an uncomfortable ride from noir to borderline sadistic to unequivocally repellent.