This thriller from the author of The Thorn Birds (1998) makes up in entertainment what it lacks in verisimilitude.
Third in McCullough’s set of thrillers starring harried college-town police captain Carmine Delmonico.
Amid the racial and political strife of 1968, Holloman and Carew, the towns surrounding Chubb University (McCullough’s stand-in for Yale), are being stalked by their worst threat yet. A rapist has been serially attacking accomplished young women. After the seventh of his victims reports the crime—she was bound, raped and choked by a masked man who gained entry to her apartment—the other women come forward. Carmine and his team piece together the MO of this madman, who calls himself the Dodo. He studies his victims, cases their apartments in advance with pilfered keys, then dons a bizarre disguise to strike, usually every three weeks. With the law now on his trail, the Dodo has apparently decided to silence future prey. A young black doctor is the first to die. A neighborhood watch group, the Gentleman Walkers, are about as helpful as the Whiffenpoofs. And Carmine’s newest detective in training, spoiled, lovely apricot-tressed trust-fund baby Helen, is upsetting her working-class co-workers. But when Helen’s boyfriend, physics phénomène Kurt, scion of West German industrial chemical tycoons, is kidnapped, Helen’s knowledge of Kurt’s family politics helps Carmine crack the case. Carmine’s hunt for the Dodo is beset by other distractions. His wife Desdemona’s lingering postpartum depression has left her at the mercy of a tyrannical toddler. His underling Corey overlooked a junior detective’s drinking problem, with tragic results. In a nearby luxury mall, a vandal has targeted a glass shop owned by woman-with-a-past Amanda, to the chagrin of her would-be fiancé, mall owner Hank. Could the vandal and the Dodo be one and the same? And what of Amanda’s effete twin nephews, who may, as youngsters, have been not-so-accidental parricides? McCullough’s omniscient narration builds suspense by cutting away from the POV of the guilty party just in time. The '60s atmosphere, however, is less than convincing.
This thriller from the author of The Thorn Birds (1998) makes up in entertainment what it lacks in verisimilitude.Pub Date: Jan. 1, 2011
ISBN: 978-1-4391-7831-7
Page Count: 352
Publisher: Simon & Schuster
Review Posted Online: Dec. 2, 2010
Kirkus Reviews Issue: Dec. 1, 2010
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.
Another sweltering month in Charlotte, another boatload of mysteries past and present for overworked, overstressed forensic anthropologist Temperance Brennan.
A week after the night she chases but fails to catch a mysterious trespasser outside her town house, some unknown party texts Tempe four images of a corpse that looks as if it’s been chewed by wild hogs, because it has been. Showboat Medical Examiner Margot Heavner makes it clear that, breaking with her department’s earlier practice (The Bone Collection, 2016, etc.), she has no intention of calling in Tempe as a consultant and promptly identifies the faceless body herself as that of a young Asian man. Nettled by several errors in Heavner’s analysis, and even more by her willingness to share the gory details at a press conference, Tempe launches her own investigation, which is not so much off the books as against the books. Heavner isn’t exactly mollified when Tempe, aided by retired police detective Skinny Slidell and a host of experts, puts a name to the dead man. But the hints of other crimes Tempe’s identification uncovers, particularly crimes against children, spur her on to redouble her efforts despite the new M.E.’s splenetic outbursts. Before he died, it seems, Felix Vodyanov was linked to a passenger ferry that sank in 1994, an even earlier U.S. government project to research biological agents that could control human behavior, the hinky spiritual retreat Sparkling Waters, the dark web site DeepUnder, and the disappearances of at least four schoolchildren, two of whom have also turned up dead. And why on earth was Vodyanov carrying Tempe’s own contact information? The mounting evidence of ever more and ever worse skulduggery will pull Tempe deeper and deeper down what even she sees as a rabbit hole before she confronts a ringleader implicated in “Drugs. Fraud. Breaking and entering. Arson. Kidnapping. How does attempted murder sound?”
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.Pub Date: March 17, 2020
ISBN: 978-1-9821-3888-2
Page Count: 352
Publisher: Scribner
Review Posted Online: Dec. 22, 2019
Kirkus Reviews Issue: Jan. 15, 2020
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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