Ignore the literary and philosophical pretensions and hang on for the ride.
An intricately plotted but thematically belabored German thriller.
The narrative momentum accelerates into a page-turning climax, one that makes it tough to distinguish the good from the bad guys and to keep the shifting identities straight, but the elaborate setup requires a suspension of credibility. The novel introduces four characters who were friends in high school, where they all had ambitious hopes for the future, but each is somewhat adrift a decade later. Kris has just lost his journalist’s job, Tamara has relinquished custody of her daughter, Wolf has seen a whirlwind romance turn tragic with his lover’s overdose death and Frauke has become estranged from her mother, who is committed to a mental institution. Kris and Wolf are brothers; Tamara and Frauke are best friends. There is also some romantic complication between the men and the women. Fortune strikes after they team to form an agency called Sorry, which—and here’s the part that strains credulity—becomes an instant success by offering to make apologies for people who don’t want to do it themselves. Some sort of amends—financial or otherwise—occasionally accompany the apologies, and the central conceit allows the author to meditate on the implications of guilt, atonement, redemption and responsibility. There are other characters, including one introduced on the first page as “You,” who commits a brutal crime in which the agency becomes involved and just may be responsible. “You” are morally ambiguous, perhaps the devil incarnate, perhaps an avenging angel, and though you are given a name as the narrative proceeds, it may not be your real name. Whoever you are depends significantly on the identity of a character generally referenced as “The Man Who Wasn’t There,” who complicates the proceedings in a manner unknown to the agency but increasingly evident to the reader. “You have an agency that apologizes, but there’s lots that you can’t forgive yourselves,” explains the character more often known as “You” to the most reluctant member of the agency’s quartet.
Ignore the literary and philosophical pretensions and hang on for the ride.Pub Date: Sept. 22, 2011
ISBN: 978-0-307-27355-0
Page Count: 352
Publisher: Knopf
Review Posted Online: Aug. 1, 2011
Kirkus Reviews Issue: Aug. 15, 2011
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
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. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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