Just in case you miss the point on your own, Jon caps his wild tale with a homily about how the whole country is living on...

THE ACCOUNTING

Twenty-five years after three teenagers swiped over $1 million from their neighborhood drug dealer, it’s suddenly payback time.

Jonathon Willing hasn’t been close to his friends Augie and Ben for a long time. But the three phone each other every Tuesday, mostly to make sure they’re all still alive. One Tuesday, Augie doesn’t answer his phone, and Jon flies out to Vegas to find out why not. It’s the best of all possible reasons, of course, and it would probably spell imminent danger even if Jon weren’t dumb enough to answer Augie’s telephone while he’s standing over the corpse. From that moment on, the life Jon’s constructed for himself—his business as a lately unemployed mortgage broker, his upscale tract house in a Virginia suburb, his nodding acquaintance with his wife, Caitlin, and his children Shelby and Eric—is over, and he’s a man on the run. The precautions Jon takes to prevent Clevenger, the man who killed Augie, from tracing him back home prove pitifully inadequate, and his 1,000-mile lead over his dogged pursuer keeps getting slimmer and slimmer. This is exciting stuff, but it would be even more exciting if this stand-alone from the creator of Philadelphia lawyer Victor Carl (A Killer’s Kiss, 2007, etc.) didn’t feel the need to provide a long flashback reviewing the six years that led up to Augie, Ben and Jon’s initial harebrained scheme and if everyone Jon asked for help, from Jon’s ex-girlfriend to the grandfather from whom he’s long been estranged to the neighborhood kid whose scary brother the trio first ripped off, weren’t so eager to tell the story of his or her life.

Just in case you miss the point on your own, Jon caps his wild tale with a homily about how the whole country is living on borrowed money, just like him, and the reckoning looms for us all. Makes you think.

Pub Date: May 14, 2013

ISBN: 978-1-611099355

Page Count: 506

Publisher: Thomas & Mercer

Review Posted Online: Oct. 8, 2017

Kirkus Reviews Issue: April 15, 2013

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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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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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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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