The final close, though, is a quiet-as-dust epilogue.
The Big Sleep meets Dean Koontz in Bear’s first big leap into mainstream fiction after a lifetime of high-grade SF (Darwin’s Children, 2003, etc.).
Bear fans know that he can outwrite nearly all SF competitors and go so deep into science that few readers can follow his hallucinatory devising. Styled with light-struck immediacy, Dead Lines is as intensely seen and free of clichés as the best Koontz when that polymath downplays the gore. Bear adapts the big death theme and scenic format of Chandler’s LA masterpiece, substituting for Chandler’s gumshoe a burned-out softcore movie director hired by an ailing and infirm half-billionaire to unlock certain, well, psychic secrets the old guy in his vast mansion needs to know about his soul. Or maybe about his young wife’s weirder side. Mr. Joseph Benoliel wants Peter to ask the respected spiritualist Sandaji whether “someone can live without a soul.” Before Sandaji can answer Peter, she faints, having seen a ghostly figure beside him. As we find out midway through, Peter’s young twin daughter Daniella was murdered and left under leaves in Griffith Park. After the murder, Peter fell adrinking, and his wife Helen moved out with their other daughter, Lindsey. Now he’s been sober 18 months. One night he finds Lindsey asleep in Daniella’s old bed—only later it turns out to have been Daniella. Meanwhile, he’s been hired to publicize Trans, a new talking device that fantastically outclasses any cell phone. In fact, it works on a subatomic bandwidth and can handle infinite amounts of information. It also attracts the dead. That’s enough plot, if not too much already. With strong characters and heartfelt dialogue, Dead Lines (phones to the afterworld) is well on its way to being a suspense classic when current genre demands find Bear bending, twisting, and forcing his understated story through commercial hoops, with a big, gory and ghastly ending.
The final close, though, is a quiet-as-dust epilogue.Pub Date: June 1, 2004
ISBN: 0-345-44837-5
Page Count: 256
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2004
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
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
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