Appealing mainly for well-rounded characters, not plot.
In Perry’s latest Daniel Pitt mystery, the young barrister and his friends grapple with a serial killer terrorizing London.
It’s a cold, wet February in 1912 London, and the forecast calls for murder. A thorny assault case has landed on Daniel’s desk, and the second casualty of the so-called Rainy-day Slasher is now in the morgue being examined by Daniel’s friend Dr. Miriam fford Croft, a newly minted pathologist. Lena Madden, the second victim, like the first, Sandrine Bernard, was in her 20s. Like Sandrine, Lena was viciously stabbed, and part of her index finger on her dominant hand was severed. Soon, a third body, that of middle-aged banker Roger Haviland, is found, similarly mutilated. All the crimes occurred during blinding rain, in late afternoon or evening darkness. The police, spearheaded by Daniel’s fellow Cambridge alum Inspector Ian Frobisher, focus their investigation on what, if anything, connected the three in life. Much prevarication ensues as Frobisher and his ad hoc team of Miriam; her boss, Dr. Evelyn Hall; and Daniel mull over whether or not the murders could have been random, committed by more than one person, copycat crimes, etc. The only commonality that emerges, in an information deficit seemingly intended to enhance suspense, is that each victim had been, at one time or another, a Cambridge student. Two were acquainted with suburban vicar Richard Rhodes and his wife, Polly, who also have Cambridge ties. An apparent red herring is Daniel’s new case defending Cambridge history professor Nicholas Wolford, who, in a scuffle over a groundless accusation of plagiarism, broke his accuser’s nose and jaw. Much backstory about Miriam’s and Dr. Eve’s struggles to succeed in a field closed to women, and many interviews among and between the above characters, warmed by those English creature comforts of tea, shortbread, and coal fires, drain tension from the story until the hurried and minimally foreshadowed close.
Appealing mainly for well-rounded characters, not plot.Pub Date: April 12, 2022
ISBN: 978-0-593-35873-3
Page Count: 304
Publisher: Ballantine
Review Posted Online: March 29, 2022
Kirkus Reviews Issue: April 15, 2022
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.
A young woman’s experience as a nurse in Vietnam casts a deep shadow over her life.
When we learn that the farewell party in the opening scene is for Frances “Frankie” McGrath’s older brother—“a golden boy, a wild child who could make the hardest heart soften”—who is leaving to serve in Vietnam in 1966, we feel pretty certain that poor Finley McGrath is marked for death. Still, it’s a surprise when the fateful doorbell rings less than 20 pages later. His death inspires his sister to enlist as an Army nurse, and this turn of events is just the beginning of a roller coaster of a plot that’s impressive and engrossing if at times a bit formulaic. Hannah renders the experiences of the young women who served in Vietnam in all-encompassing detail. The first half of the book, set in gore-drenched hospital wards, mildewed dorm rooms, and boozy officers’ clubs, is an exciting read, tracking the transformation of virginal, uptight Frankie into a crack surgical nurse and woman of the world. Her tensely platonic romance with a married surgeon ends when his broken, unbreathing body is airlifted out by helicopter; she throws her pent-up passion into a wild affair with a soldier who happens to be her dead brother’s best friend. In the second part of the book, after the war, Frankie seems to experience every possible bad break. A drawback of the story is that none of the secondary characters in her life are fully three-dimensional: Her dismissive, chauvinistic father and tight-lipped, pill-popping mother, her fellow nurses, and her various love interests are more plot devices than people. You’ll wish you could have gone to Vegas and placed a bet on the ending—while it’s against all the odds, you’ll see it coming from a mile away.
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.Pub Date: Feb. 6, 2024
ISBN: 9781250178633
Page Count: 480
Publisher: St. Martin's
Review Posted Online: Nov. 4, 2023
Kirkus Reviews Issue: Dec. 1, 2023
PERSPECTIVES
BOOK TO SCREEN
SEEN & HEARD
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.
A retelling of Pinocchio from Geppetto's point of view.
The novel purports to be the memoirs of Geppetto, a carpenter from the town of Collodi, written in the belly of a vast fish that has swallowed him. Fortunately for Geppetto, the fish has also engulfed a ship, and its supplies—fresh water, candles, hardtack, captain’s logbook, ink—are what keep the Swallowed Man going. (Collodi is, of course, the name of the author of the original Pinocchio.) A misfit whose loneliness is equaled only by his drive to make art, Geppetto scours his surroundings for supplies, crafting sculptures out of pieces of the ship’s wood, softened hardtack, mussel shells, and his own hair, half hoping and half fearing to create a companion once again that will come to life. He befriends a crab that lives all too briefly in his beard, then mourns when “she” dies. Alone in the dark, he broods over his past, reflecting on his strained relationship with his father and his harsh treatment of his own “son”—Pinocchio, the wooden puppet that somehow came to life. In true Carey fashion, the author illustrates the novel with his own images of his protagonist’s art: sketches of Pinocchio, of woodworking tools, of the women Geppetto loved; photos of driftwood, of tintypes, of a sculpted self-portrait with seaweed hair. For all its humor, the novel is dark and claustrophobic, and its true subject is the responsibilities of creators. Remembering the first time he heard of the sea monster that was to swallow him, Geppetto wonders if the monster is somehow connected to Pinocchio: “The unnatural child had so thrown the world off-balance that it must be righted at any cost, and perhaps the only thing with the power to right it was a gigantic sea monster, born—I began to suppose this—just after I cracked the world by making a wooden person.” Later, contemplating his self-portrait bust, Geppetto asks, “Monster of the deep. Am I, then, the monster? Do I nightmare myself?”
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.Pub Date: Jan. 26, 2021
ISBN: 978-0-593-18887-3
Page Count: 208
Publisher: Riverhead
Review Posted Online: Sept. 29, 2020
Kirkus Reviews Issue: Oct. 15, 2020
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