Fast from the starting gate all the way to the finish line.
Briskly paced, vigorously written thriller about a man out to rescue his kidnapped 10-year-old son.
Author Rayburn—pen name for South African crime writer Roger Smith (Wake Up Dead, 2010, etc.)—kicks off this chase thriller with two startling scenes. The first surrounds Jane Ash, who, we later learn, may have been working for the United States against China. Now she's on an island beach, “part of a cluster flung like jewels between Bohai and the Yellow Sea.” As Jane gazes at paramour Victor Fabian, “a Zelig-like” associate of “dictators and strongmen and martinets," she spots a man who once made her feel "the kind of fear that came from being in the presence of pure evil.” She instinctively flees, climbing a sheer cliff, but the man pries her fingers loose and she falls to her death. The next scene, taking place a year later in a small town near Seattle, finds Jane’s son, Scooter, breakfasting with his father, Danny Ash, and a seemingly nurturing neighbor. In a stunning turnabout, the woman stops washing dishes, grabs a syringe, and plunges it into the boy’s neck. The boy pitches forward, the woman punches Ash in the gut, and "a scrum of men in dark clothes" burst in to abduct Scooter. Ash is off to find the boy. The kidnapped-child trope is well worn, but Rayburn revs it up. He throws Ash in with some perverse characters he draws in sharp, short takes. There are Patty Peach and her baby-faced accomplice, Orlando, assassins hired by Fabian. There's an information source too fat to leave his fetid bedroom. And there's Fabian, a clandestine associate of the president of the United States, who kidnapped the boy to silence Ash for telling the press the U.S. government had murdered his wife. Ash and company traverse an America of “sad, sagging houses” and “boarded up buildings,” presided over by “that clown in the Oval Office,” images adding heft to the foreground action. In the end, though, the Hitchcock-ian chase, speeding from the Northwest to the East Coast in search of the child, is the focus, and it’s more than enough.
Fast from the starting gate all the way to the finish line.Pub Date: Nov. 5, 2019
ISBN: 978-1-5385-0751-3
Page Count: 364
Publisher: Blackstone
Review Posted Online: Aug. 19, 2019
Kirkus Reviews Issue: Sept. 1, 2019
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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