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THE RULES OF THE GAME

While the layers of revelation should captivate readers, if the rest of the novel proves even a fraction as clairvoyant as...

Though former Washington Post executive editor Leonard Downie Jr. earned distinction as one of the nation’s finest newspaper editors, who knew that he was clairvoyant? Downie, who recently left the Post, has written a debut novel to be published in January 2008. Titled The Rules of the Game, it introduces a surprise pick for a vice-presidential candidate: a young, attractive woman selected by her much older running mate. “I didn’t think you’d have the guts,” says a political operative to the presidential nominee, whose health and advanced age are issues in the campaign. “She’s such a big risk…The country loves her, but that’s People magazine stuff.”

The woman selected is 41 years old and inexperienced, having won her first election just two years earlier. Yet she quickly becomes the campaign’s “rock star.” “I can’t remember a presidential nominee being upstaged like this at his own convention,” remarks one reporter. Sound familiar? “You couldn’t sell that scenario to the movies,” writes Downie, who could hardly have known that such a similar scenario would be marketed to voters this fall. This fictional candidate’s name is Susan rather than Sarah. She’s a California senator rather than Alaska’s governor. And she’s a Democrat rather than a Republican, which provides delicious irony when she’s savaged by “a blond, model-thin, right-wing provocateur, a wildly successful author,” here named Crystal Malone rather than Ann Coulter, who is in turn attacked by the “acerbic” New York columnist Sally McGuire (Maureen Dowd). Ultimately, the plot goes way deeper than the eerie similarities between Downie’s fiction and the political developments that only a crystal ball could have predicted. The novel’s protagonist is a young investigative reporter named Sarah Page, who works at the Washington Capital. She has trouble keeping her love life separate from her work life, as she stumbles into a conspiracy that makes Watergate look like a school board meeting. Downie’s command as a novelist can’t compare with his editorial leadership (or his unlikely prognosticative powers). The novel opens with so much who’s-sleeping-with-whom scorekeeping that it makes Washington seem like a political Peyton Place, and it ends on an oddly anticlimactic note. In the middle, there are a lot of dead bodies. But there’s also a lot that rings true about how investigative reporters work, how newspapers work, how lobbyists work and how politics works. It’s hard to tell the good guys from the bad guys, as cynicism runs rampant, corruption leaves a bipartisan stain and elected officials are merely a shadow government for the powers that really run the country. Most of the characters in the novel play by their own rules; some play by no rules at all.

While the layers of revelation should captivate readers, if the rest of the novel proves even a fraction as clairvoyant as the selection of the vice-presidential candidate, Americans across the political spectrum should be very, very afraid.

Pub Date: Jan. 15, 2009

ISBN: 978-0-307-26961-4

Page Count: 336

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 15, 2008

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DEVOLUTION

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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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

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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

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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

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