The perfect bonbon to pick up for distraction during those long production numbers at the actual Oscars.

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BOMBSHELL

Think the competition among Oscar nominees is a blood sport? You have no idea.

Desperation at Dawn has snared Academy Award nominations for writer/director Peter Barrington; his wife, composer Hattie Barrington; lead actress Tessa Tweed; supporting actor Mark Weldon; and Tessa’s husband, Ben Bacchetti, who, as head of Centurion Studios, would bask in the award for best picture. Tessa’s nomination is nice for her, but it grates on Viveca Rothschild, the blonde bombshell who, determined that her own third nomination will be the charm, resolves to do whatever it takes to undermine Tessa, beginning with getting hired on Trial by Fire, Tessa’s aptly named new film, and planting snippy items about her in gossip columns. But that’s far from the biggest problem lurking beneath the tinsel. Viveca’s boyfriend, Iraq War vet Bruce, has PTSD and a much less nuanced approach than his girlfriend to stopping Tessa in her tracks. Even worse, crime boss Gino Patelli, suspecting that his uncle and predecessor, Carlo Gigante, was offed by Centurion producer Billy Barnett, hires a series of variously hapless underlings to find and kill him. As Billy tells his attorney, Peter’s father Stone Barrington, when he’s arrested for a rare murder he didn’t commit, “It seems to be open season on Billy Barnett.” But the predators’ job is considerably complicated by the fact that Billy, like Mark Weldon, is an alter ego of former CIA operative Teddy Fay, who effortlessly spots every Patelli employee early on, switches identities in a flash to escape them, and shoots them when he can’t. So the suspense in this enjoyably weightless tale is focused on the climactic Academy Award ceremonies. Who wants to bet that Tessa or Teddy will get killed or that Desperation at Dawn won’t sweep the categories in which it’s nominated?

The perfect bonbon to pick up for distraction during those long production numbers at the actual Oscars.

Pub Date: June 2, 2020

ISBN: 978-0-593-08325-3

Page Count: 320

Publisher: Putnam

Review Posted Online: March 2, 2020

Kirkus Reviews Issue: April 1, 2020

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Now that Coben’s added politics to his heady brew, expect sex and religion to join the mix.

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THE BOY FROM THE WOODS

Coben’s latest darkest-suburbs thriller sets a decidedly offbeat detective on the trail of a crime with overtones unmistakably redolent of once and future presidential elections.

Wilde is called Wilde because nobody’s known his real name from the moment a pair of hikers found him foraging for himself in Ramapo Mountain State Forest 24 years ago. Now over 40, he’s had experience as both a lost boy and a private investigator. That makes him an obvious person to help when his godson, Sweet Water High School student Matthew Crimstein, expresses concern to his grandmother, attorney Hester Crimstein, that his bullied classmate Naomi Pine has gone missing. Matthew doesn’t really want anyone to help. He doesn’t even want anyone to notice his agitation. But Hester, taking the time from her criminal defense of financial consultant Simon Greene (Run Away, 2019) to worm the details out of him, asks Wilde to lend a hand, and sure enough, Wilde, unearthing an unsavory backstory that links Naomi to bullying classmate Crash Maynard, whose TV producer father, Dash Maynard, is close friends with reality TV star–turned–presidential hopeful Rusty Eggers, finds Naomi hale and hearty. Everything’s hunky-dory for one week, and then she disappears again. And this time, so does Crash after a brief visit to Matthew in which he tearfully confesses his guilt about the bad stuff he did to Naomi. This second disappearance veers into more obviously criminal territory with the arrival of a ransom note that demands, not money, but the allegedly incriminating videotapes of Rusty Eggers that Dash and Delia Maynard have had squirreled away for 30 years. The tapes link Rusty to a forgotten and forgettable homicide and add a paranoid new ripped-from-the-headlines dimension to the author’s formidable range. Readers who can tune out all the subplots will find the kidnappers easy to spot, but Coben finds room for three climactic surprises, one of them a honey.

Now that Coben’s added politics to his heady brew, expect sex and religion to join the mix.

Pub Date: March 17, 2020

ISBN: 978-1-5387-4814-5

Page Count: 432

Publisher: Grand Central Publishing

Review Posted Online: Dec. 23, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

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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