A fast-paced thriller with some troubling undertones regarding race and gender.


In this novel, a Canadian woman who travels to Pakistan is forced to serve the dark political purposes of men from her past.

Valerie Steinman has a difficult enough life in Toronto, where her marriage is falling apart. The abusive Paul loves his Jewish mother, who will never accept the gentile Valerie as a member of the family. Then things get much worse: Ruby, a friend from Valerie’s childhood, reappears with unwelcome information. It turns out that Valerie’s father, Carl Miller, deserted the American military years ago and that she was born in South Carolina. As such, she is not a Canadian citizen. In fact, she has recently (unbeknown to her) been made a citizen of Pakistan due to her recent in absentia appointment to that country’s National Assembly. Ruby insists that Valerie accompany her to Pakistan or else her father’s true identity will be revealed and he will be imprisoned. Valerie goes to her new country with the understanding that it will only be for a year: “Valerie wondered how such a place possibly existed today. It survived on the border between the lawlessness of the wild west of American history and the rigid structure of its English colonial past. Pakistan. At least it was still on this earth, a part of the world, but just barely.” In Pakistan, Valerie becomes the prisoner of Ruby’s brother, a cruel man with a disturbing blend of Islamic and Nazi beliefs. Valerie hopes that her brother, Robert, can save her—unless he’s been part of the plan all along. In this thriller, Rana’s (A Model Wife for a Gentle Imam, 2012) writing is sharp and polished, and the narrative always feels propulsive due to the urgency built into every scene. But the fact that every piece of information needs to be wrestled out of the characters leaves the book feeling more confusing than mysterious. The horrible treatment of the female protagonist and the alarming racial politics of some of the male characters are not fully condemned by the narrative, which makes their use feel exploitative at times. The reading experience becomes unnerving, but it’s often not in a good way.

A fast-paced thriller with some troubling undertones regarding race and gender.

Pub Date: N/A


Page Count: 323

Publisher: Time Tunnel Media

Review Posted Online: Nov. 11, 2018

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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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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