The Yellow Menace returns in Crichton's shocking, didactic, enormously clever new mystery-thriller—only now he wears a three-piece suit and aims to dominate America through force of finance, not arms. "The Japanese can be tough," says one character here. "They say 'business is war,' and they mean it." How much they mean it Lt. Peter J. Smith, LAPD, learns when he's assigned to the murder of an American call-girl at the gala opening of the L.A. high-rise headquarters of the Japanese conglomerate Nakamoto. There, Smith butts heads with men whose alien mannerisms he can't interpret and who insist on their own "private inquiry." Fortunately, he's joined by legendary Japan-savvy cop John Connor, the real hero here, a Holmes to narrator Smith's Watson. At the crime scene and thereafter, Connor, whose love/hate for the Japanese stems from years lived in their land, interprets Japanese ways to Smith: "Control your gestures. Keep your hands at your sides. The Japanese find big arm movements threatening..." Connor's commentary is always fascinating but, as the serpentine case coils on, numerous instances of Japanese financial dirty dealing are cited by characters who disparage the Japanese sufficiently ("The Japanese don't believe in fair trade at all"; "Japanese corporations in America...think they're surrounded by savages") to bathe Smith—and the novel—in xenophobic paranoia: It's not by chance that the only likable Japanese here is a crippled beauty who fled to America because "to the Japanese, deformity is shameful." Crichton's coup is to preach within a breathtakingly supple plot hinging on doctored Nakamoto security videotapes that caught the killer at work, the deciphering of which takes place in lab-set scenes as technologically riveting as the best in Jurassic Park. And as suspenseful—for as Smith closes in on the killer and the huge-money stakes behind the crime, Nakamoto agents threaten his family, his career, and his life. Brilliantly calculated Japan-bashing that's bound, for better or for worse, to attract controversy and a huge readership.
Pub Date: March 10, 1992
ISBN: 0-394-58942-4
Page Count: 320
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 1992
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
Slaughter (Cop Town, 2014, etc.) is so uncompromising in following her blood trails to the darkest places imaginable that...
Twenty-four years after a traumatic disappearance tore a Georgia family apart, Slaughter’s scorching stand-alone picks them up and shreds them all over again.
The Carrolls have never been the same since 19-year-old Julia vanished. After years of fruitlessly pestering the police, her veterinarian father, Sam, killed himself; her librarian mother, Helen, still keeps the girl's bedroom untouched, just in case. Julia’s sisters have been equally scarred. Lydia Delgado has sold herself for drugs countless times, though she’s been clean for years now; Claire Scott has just been paroled after knee-capping her tennis partner for a thoughtless remark. The evening that Claire’s ankle bracelet comes off, her architect husband, Paul, is callously murdered before her eyes and, without a moment's letup, she stumbles on a mountainous cache of snuff porn. Paul’s business partner, Adam Quinn, demands information from Claire and threatens her with dire consequences if she doesn’t deliver. The Dunwoody police prove as ineffectual as ever. FBI agent Fred Nolan is more suavely menacing than helpful. So Lydia and Claire, who’ve grown so far apart that they’re virtual strangers, are unwillingly thrown back on each other for help. Once she’s plunged you into this maelstrom, Slaughter shreds your own nerves along with those of the sisters, not simply by a parade of gruesome revelations—though she supplies them in abundance—but by peeling back layer after layer from beloved family members Claire and Lydia thought they knew. The results are harrowing.
Slaughter (Cop Town, 2014, etc.) is so uncompromising in following her blood trails to the darkest places imaginable that she makes most of her high-wire competition look pallid, formulaic, or just plain fake.Pub Date: Sept. 29, 2015
ISBN: 978-0-06-242905-6
Page Count: 400
Publisher: Morrow/HarperCollins
Review Posted Online: June 30, 2015
Kirkus Reviews Issue: July 15, 2015
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