There’s an honorable, unsung tradition of African-American novelists using the counterspy genre as a metaphor for what...
The bitter education of an African-American intelligence agent is framed against the background of a real-life coup d’état three decades ago in Burkina Faso.
It’s 1987, and Marie Mitchell has hit the wall as an FBI agent. She’s patronized and marginalized by her boss, who relegates her to little more than recruiting informants (or “snitches,” as she derisively calls them) and filing “oppressive amounts of paperwork.” This is not how this idealistic (but hardly naïve) daughter of an NYPD officer hoped her life would turn out back when she and her sister, Helene, dreamed of becoming secret agents when they grew up. At this low point of her professional life, Marie is recruited by Ed Ross, a smooth-talking CIA official, to take part in a covert operation to undermine the regime of Burkina Faso’s magnetic young president, Thomas Sankara, a Marxist influenced by the example of the martyred revolutionary Che Guevara. From the beginning of her assignment, Marie is both wary of the agency’s reasons for taking down Sankara and skeptical toward Sankara’s leftist politics, though the closer she gets to Sankara, the less inclined she is to dismiss his efforts to improve his nation’s welfare. Nevertheless, Marie has another, more personal motive for accepting the assignment: the agent-in-charge, Daniel Slater, was both a colleague and lover of her sister, who fulfilled her ambition to become a spy but died in a car accident whose circumstances remain a mystery to Marie and her family. The more embedded Marie gets in her assignment, the less certain she is of what that assignment entails and of who, or what, she’s really working for. Falling in love with her target—Sankara, who in real life was violently overthrown that same year—is yet another complication that further loosens Marie’s professional resolve. There are many tangled strands to unravel here for Marie, the reader, and first-time novelist Wilkinson, who nonetheless navigates the psychic and physical terrain of this tale of divided loyalties with the poise of such classic masters as Eric Ambler and Graham Greene spiked with late-20th-century black American intellectual history.
There’s an honorable, unsung tradition of African-American novelists using the counterspy genre as a metaphor for what W.E.B. Du Bois called "double consciousness," and Wilkinson’s book is a noteworthy contribution.Pub Date: Feb. 12, 2019
ISBN: 978-0-8129-9895-5
Page Count: 304
Publisher: Random House
Review Posted Online: Nov. 11, 2018
Kirkus Reviews Issue: Dec. 1, 2018
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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