All the Leonard fans who wisely boycotted last year's old dog of a parable, Touch, can rest easy: this—as the high-hip title announces—is vintage (if not stellar) Elmore, another edgy tale of crime and punishment in Detroit's outer limits that crackles with cool street-smarts and dark-humored urban ironies. Leonard's archest opening ever sets the tone, as bomb-squador Chris Mankowski answers a call to rescue a drag kingpin who's sitting on a dynamite-packed armchair wondering whether he can dive into his Jacuzzi before the chair blows. Turns out he can't: and that explosion is only the first to punctuate Leonard's knowing narration as he limns Mankowski's shift out of the bomb squad and into the Sex Crimes unit, where the tough but decent cop takes on the case of fledgling actress Greta Wyatt, who claims rape by a rich man named Woody. Even as Mankowski romances Greta, he finds that fat Woody is more victim than villain, a booze-befuddled sot who's a perfect mark for the school of sharks circling him, looking to eat his fortune. The sharpest teeth belong to ex-cons Robin Abbott and Skip Gibbs, former bomb-throwing 60's radicals hired by Woody's disinherited brother, Mark, to blow up Woody. When Mark fatally stumbles into the blast set for Woody, mean-spirited Robin and Skip go freelance, hatching an extortion plot that's helped along by Woody's loyal but all-too-greedy valet, ex-Black Panther Donnell Lewis—and run smack up against Mankowski, who's taken a shine to the hapless Woody. As Woody wobbles in his drunk's haze, cop and extortionists play out a game of wits that winds up as a lethal war of explosives in a wickedly inventive, droll climax. Leonard's usual superb pacing, uncanny ear for patois, and menagerie of quirky characters are here in full force; but this fails to match his best for its want of a truly riveting villain or hero (Woody and Donnell, sparkling creations, steal the show from the more thin-blooded Skip, Robin, and Mankowski). And, crucially, at bottom this is formula Leonard—a well-done variation, sure, but of a theme that's beginning to lose its bloom, if not its commercial appeal.
Pub Date: May 16, 1988
ISBN: 0062120352
Page Count: 352
Publisher: Arbor House
Review Posted Online: April 4, 2012
Kirkus Reviews Issue: April 15, 1988
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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