Sketch out some exotic, ephemeral settings, make every villain as nasty as possible, and it’s another of Cussler’s...
Cussler’s conglomerate (Built to Thrill, 2016, etc.) gives fans their money’s worth with 500 pages chronicling Dirk Pitt’s Black Sea adventures while hopscotching back to the Russian Revolution, then up to today’s Iranian quest for nuclear weapons, and throwing in a rogue terror attack on the United States for good measure.
Dirk and his longtime lieutenant, the rugged Al Giordino, are sailing the Black Sea because his National Underwater and Marine Agency has been contracted by Bulgaria to seek an Ottoman-era shipwreck. They answer a distress call from a ship they find full of dead bodies and highly enriched uranium, which turns out to have been purloined from unstable Ukraine by cohorts of Valentin Mankedo, a Bulgarian black-market smuggler, and destined for Iran. Meanwhile, Dirk junior and twin sister Summer work the Baltic Sea, where they stumble on shadowy hints of a trove of 1917 Romanov gold bullion. The second nefarious Mankedo enterprise troubling Pitt’s crew is the salvage of an atomic weapon from a Soviet 1955 bomber crash. Mankedo’s been financed by Martin Hendriks, tech billionaire and cutting-edge Peregrine drone manufacturer, whose devious plans include an elaborate false-flag operation. The A-bomb is usable because it’s been submerged in "anoxic waters…loaded with hydrogen sulfide," so oxygen-deprived that it prevents corrosion. There are the usual esoteric Cussler-style science and historical factoids to spice up the story, but to spark the hunt for the czar’s gold, he imagines a Proposed Treaty of Petrograd which send the younger Pitts seeking the bullion in secret tunnels burrowing through the Rock of Gibraltar. In one storyline or the other, there are cinematic boat chases, nighttime commando raids, dueling research submersibles, a secret trip to Bermuda, and a Chesapeake Bay battle involving the Civil War sloop USS Constellation.
Sketch out some exotic, ephemeral settings, make every villain as nasty as possible, and it’s another of Cussler’s cinematic-style entertainments spinning out at hold-on-to-your-hat speed.Pub Date: Nov. 15, 2016
ISBN: 978-0-399-57551-8
Page Count: 496
Publisher: Putnam
Review Posted Online: Oct. 18, 2016
Kirkus Reviews Issue: Nov. 1, 2016
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
One small step, no giant leaps.
Weir (The Martian, 2014) returns with another off-world tale, this time set on a lunar colony several decades in the future.
Jasmine “Jazz” Bashara is a 20-something deliveryperson, or “porter,” whose welder father brought her up on Artemis, a small multidomed city on Earth’s moon. She has dreams of becoming a member of the Extravehicular Activity Guild so she’ll be able to get better work, such as leading tours on the moon’s surface, and pay off a substantial personal debt. For now, though, she has a thriving side business procuring low-end black-market items to people in the colony. One of her best customers is Trond Landvik, a wealthy businessman who, one day, offers her a lucrative deal to sabotage some of Sanchez Aluminum’s automated lunar-mining equipment. Jazz agrees and comes up with a complicated scheme that involves an extended outing on the lunar surface. Things don’t go as planned, though, and afterward, she finds Landvik murdered. Soon, Jazz is in the middle of a conspiracy involving a Brazilian crime syndicate and revolutionary technology. Only by teaming up with friends and family, including electronics scientist Martin Svoboda, EVA expert Dale Shapiro, and her father, will she be able to finish the job she started. Readers expecting The Martian’s smart math-and-science problem-solving will only find a smattering here, as when Jazz figures out how to ignite an acetylene torch during a moonwalk. Strip away the sci-fi trappings, though, and this is a by-the-numbers caper novel with predictable beats and little suspense. The worldbuilding is mostly bland and unimaginative (Artemis apartments are cramped; everyone uses smartphonelike “Gizmos”), although intriguing elements—such as the fact that space travel is controlled by Kenya instead of the United States or Russia—do show up occasionally. In the acknowledgements, Weir thanks six women, including his publisher and U.K. editor, “for helping me tackle the challenge of writing a female narrator”—as if women were an alien species. Even so, Jazz is given such forced lines as “I giggled like a little girl. Hey, I’m a girl, so I’m allowed.”
One small step, no giant leaps.Pub Date: Nov. 14, 2017
ISBN: 978-0-553-44812-2
Page Count: 320
Publisher: Crown
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 15, 2017
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