STAINED GLASS

Blackford Oates, the Yalie CIA smoothie who was busy bedding and Saving the Queen in 1976, returns—in a slightly less giddy but still light, terribly bright piece of tongue-in-chic 1950s intrigue. With his engineering degree as a cover, "Black" is sent to oversee the Marshall Plan renovation of a war-ravaged 13th century German chapel—which just happens to be the family chapel of Count Axel Wintergrin, the charismatic anti-Communist leader of a movement to expel the Soviets and reunite West and East Germany. If Axel beats Adenauer in the upcoming election, he's likely to bait Stalin into a WW III-ish confrontation, so Washington and Moscow both want to make sure that Axel loses. . . or dies. Trouble is, Black comes to admire Axel ("the great hope for the West") and is mighty torn when he loses the draw—he and a brilliant KGB Mata Hari actually cut the cards—and must therefore be the one to "eliminate" Axel (via electrocution, as Axel examines stained glass for the chapel at the chromoscope). Suave Mr. Buckley fumbles now and then, waxing overcute (a Soviet lackey is called "Stepovich Fechitov") or wearing his conservative heart on his perfectly tailored sleeve. But his clean, unpadded plotting and his literate relaxation should prove a relief from the tortured efforts of the Le Carré imitators, and anyone who can make conferences between Allen Dulles and Dean Acheson sound like vaudeville routines deserves the audience he's bound to get.

Pub Date: April 7, 1978

ISBN: 1581824629

Page Count: 260

Publisher: Doubleday

Review Posted Online: Oct. 13, 2011

Kirkus Reviews Issue: April 1, 1978

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

DEVOLUTION

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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  • SPONSORED PLACEMENT

A killer thriller.

THREE HOURS IN PARIS

Black takes time out from chronicling the neighborhood-themed exploits of half-French detective Aimée Leduc to introduce a heroine as American as apple pie.

Kate Rees never expected to see Paris again, especially not under these circumstances. Born and bred in rural Oregon, she earned a scholarship to the Sorbonne, where she met Dafydd, a handsome Welshman who stole her heart. The start of World War II finds the couple stationed in the Orkney Islands, where Kate impresses Alfred Stepney of the War Department with the rifle skills she developed helping her dad and five brothers protect the family’s cattle. After unimaginable tragedy strikes, Stepney recruits Kate for a mission that will allow her to channel her newly ignited rage against the Germans who’ve just invaded France. She’s parachuted into the countryside, where her fluent French should help her blend in. Landing in a field, she hops a milk train to Paris, where she plans to shoot Adolf Hitler as he stands on the steps of Sacre-Coeur. Instead, she kills his admiral and has to flee through the streets of Paris, struggling to hook up with the rescuers who are supposed to extract her. Meanwhile, Gunter Hoffman, a career policeman in a wartime assignment with the Reichssicherheitsdienst security forces, is charged with finding the assassin who dared attempt to kill the Führer. It’s hard to see how it can end well for both the cop and the cowgirl. The heroine’s flight is too episodic to capitalize on Black’s skill at character development, but she’s great at raising readers’ blood pressure.

A killer thriller.

Pub Date: April 7, 2020

ISBN: N/A

Page Count: 360

Publisher: Soho Crime

Review Posted Online: May 4, 2020

Kirkus Reviews Issue: May 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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