One prays that this genius will write the great novel he has in him, something like A Death in the Family or The Violent...
After last year’s Odd Thomas, well-shaped but less than gripping, the amazing Koontz hits some brilliantly stylish pages, but just some, those among his best since 1995’s Intensity.
A winner, yes, many will think, especially after its superb opening that will keep many deeply riveted for the distance. But as one bloody horror piles onto another, others might ask: Do I really want to read this? At which point finishing the last half becomes a slog through strongly chiseled details, all the more disheartening because so well done. Molly and Neil live high up on California’s San Bernardino Mountains near the town of Black Lake. She’s 28, has published four well-received novels that went nowhere. Her mother wrote even better novels but died of cancer at 30. Neil is a lapsed priest turned first-rate cabinetmaker. One night a thunderous Niagara of rain hits their roof, rain so heavy that it drives coyotes onto their porch. This is a supernatural rain, luminous, scented with varied fragrances, including semen. On TV they see dozens of gigantic waterspouts forming on every ocean, global cities collapsing. Strange black figures dart about the landscape. Power fails. Radio is poor, darkness visible. Molly feels something colossal flying above the rain clouds, and it doesn’t take long for them to accept that ETs are wiping out humankind. They go to Black Lake to join neighbors in fighting off the ETs, but they’re overwhelming—and ghastly in their killing. For once, Koontz needn’t introduce a serial killer or child murderer into his narrative—but does anyway, in Molly’s father. In any case, the second half groans with messy killings as Molly and Neil save children. Molly’s face-to-face with the first ET is delayed until the last few pages. By then, all interest has faded.
One prays that this genius will write the great novel he has in him, something like A Death in the Family or The Violent Bear It Away.Pub Date: May 25, 2004
ISBN: 0-553-80250-X
Page Count: 352
Publisher: Bantam
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: May 1, 2004
BOOK REVIEW
BOOK REVIEW
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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