A good premise that’s long on promise, but the choppy writing, dominated by melodramatic one-liners, and stilted repetition...
Carver’s debut novel, a thriller with a decidedly British flair, isn’t for the squeamish or easily frightened.
Something’s decidedly not right in Colchester: Four women, three of them pregnant, have been brutally murdered. In the cases of the pregnant victims, the murderer cut the babies from their mothers’ wombs and police believe the last child is still alive. The case falls to Detective Inspector Phil Brennan, chief investigating officer of the Major Incident Squad (the British equivalent of chief of detectives). Brennan and his officers, Anni Hepburn and Clayton Thompson, are trying to make sense of killings so brutal that even veteran officers find themselves sickened by the gory crime scenes. Colchester is unprepared for the homicides; it’s a peaceful, family-oriented place where homicides like these simply don’t happen. Officials, scrambling to solve the killings and find the missing baby, call in psychologist Marina Esposito. Marina is Phil’s former lover; they met over a case that turned sour and dangerous. Marina moved on and is, in fact, pregnant herself, although she’s not yet showing and doesn’t share her news. Soon, the investigation takes them to the last victim’s strapping former boyfriend and a woman with secret and deadly ties to police. While Phil, Marina and other investigators race against time to save the life of the infant, the killer is out again, looking for another victim. Graphic violence may turn off readers who prefer their thrillers less bloody, but the action is both convincing and necessary to the narrative arc. What’s less convincing is the plodding pace at which the police move in this case, with Marina providing dubious expert input, but plenty of emotional conflict. The book, a success in Europe, may also prove too heavily laden with English colloquialisms for American audiences. No attempt has been made to explain much of the slang, leaving those unfamiliar with the King’s English scratching their heads.
A good premise that’s long on promise, but the choppy writing, dominated by melodramatic one-liners, and stilted repetition of phrases (no one simply drinks anything, instead they take mouthfuls of their drinks) prove more distracting than thrilling.Pub Date: Sept. 24, 2011
ISBN: 978-1-60598-256-4
Page Count: 448
Publisher: Pegasus
Review Posted Online: Aug. 1, 2011
Kirkus Reviews Issue: Aug. 15, 2011
BOOK REVIEW
BOOK REVIEW
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
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
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