The wilderness adventure part of this book is excellent; the heart-of-darkness horror movie in the third act less so. Still,...
A gal-pal vacation goes over the falls and into hell.
“I folded my arms. Felt my friends’ eyes burning into me. My God, I thought—how old do you have to be to listen to your gut?” Older than food-magazine art director Wini Allen, apparently, because despite the clanging alarm bells in her head, this tired, sad woman joins her longtime best friends on an extreme whitewater rafting trip in Maine planned by their ringleader, an Amazonian sneaker marketer named Pia Zanderlee. Gathering once a year for a group vacation, the foursome is “bound by invisible golden thread the fifty-one weeks a year we were apart. Tied in a golden bow the week we spend together....Dysfunctional in our own female-friendship way; but our bonds were unbreakable.” Their adventure in Maine will be led by a studly college student named Rory who has “shoulder-length dreadlocks” and “eyes the exact green of an asparagus mousse we’d featured in our March issue.” This is his fifth time on the largely inaccessible and untraveled river. In fact, the names for its passages—Satan’s Staircase, Hungry Mother, The Tooth—were coined by Rory himself. Things get off to a tense start when Pia and Rory noisily hook up the first night, but in the morning there is “peach-colored light behind the mountains” and a thrilling run on the river during which even Wini believes in God. “Looking back, I equate this stage of enjoying the wilderness with the second glass of wine,” she muses, falling back on a more familiar frame of reference. “Everything is lighter; you can see the funny side of disaster. But things rarely improve with the third, they get dangerous with the fourth, and you better pray to God someone is around to scoop you off the floor after that.” Actually, it’s far, far worse than that analogy would imply; at a certain point Ferencik’s latest (Repeaters, 2011, etc.) takes a turn for the bloody and deranged.
The wilderness adventure part of this book is excellent; the heart-of-darkness horror movie in the third act less so. Still, you won’t put it down.Pub Date: Jan. 10, 2017
ISBN: 978-1-5011-4319-9
Page Count: 304
Publisher: Scout Press/Simon & Schuster
Review Posted Online: Oct. 4, 2016
Kirkus Reviews Issue: Oct. 15, 2016
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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