A crime slowly unmasks a small town’s worth of resentment and yearning.
A hit-and-run in the Mojave Desert dismantles a family and puts a structurally elegant mystery in motion.
In her fourth book, Lalami is in thrilling command of her narrative gifts, reminding readers why The Moor’s Account (2014) was a Pulitzer finalist. Here, she begins in the voice of Nora Guerraoui, a nascent jazz composer, who recalls: "My father was killed on a spring night four years ago, while I sat in the corner booth of a new bistro in Oakland.” She was drinking champagne at the time. Nora’s old middle school band mate, Jeremy Gorecki, an Iraq War veteran beset with insomnia, narrates the next chapter. He hears about the hit-and-run as he reports to work as a deputy sheriff. The third chapter shifts to Efraín Aceves, an undocumented laborer who stops in the dark to adjust his bicycle chain and witnesses the lethal impact. Naturally, he wants no entanglement with law enforcement. With each chapter, the story baton passes seamlessly to a new or returning narrator. Readers hear from Erica Coleman, a police detective with a complacent husband and troubled son; Anderson Baker, a bowling-alley proprietor irritated over shared parking with the Guerraoui’s diner; the widowed Maryam Guerraoui; and even the deceased Driss Guerraoui. Nora’s parents fled political upheaval in Casablanca in 1981, roughly a decade before Lalami left Morocco herself. In the U.S., Maryam says, “Above all, I was surprised by the talk shows, the way Americans loved to confess on television.” The author, who holds a doctorate in linguistics, is precise with language. She notices the subtle ways that words on a diner menu become dated, a match to the décor: “The plates were gray. The water glasses were scratched. The gumball machine was empty.” Nuanced characters drive this novel, and each voice gets its variation: Efraín sarcastic, Nora often argumentative, Salma, the good Guerraoui daughter, speaks with the coiled fury of the duty-bound: “You’re never late, never sick, never rude.” The ending is a bit pat, but Lalami expertly mines an American penchant for rendering the “other.”
A crime slowly unmasks a small town’s worth of resentment and yearning.Pub Date: March 26, 2019
ISBN: 978-1-5247-4715-2
Page Count: 320
Publisher: Pantheon
Review Posted Online: Dec. 10, 2018
Kirkus Reviews Issue: Jan. 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
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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