“All of this killing has made him feel,” Carl’s exhilarated to realize. Readers following him through this season of...
Think vigilante killers have it easy? Cleave offers a macabre, compelling demonstration of how Murphy’s Law dogs the efforts of ex-cop Carl Schroder to give victims of violent crime the five minutes alone they crave with the criminals who’ve ruined their lives.
Even more than Carl’s earlier cases (Joe Victim, 2013, etc.), this one is a catalog of the profoundly damaged souls who throng Christchurch, New Zealand. Kelly Summers has never been the same since she was stabbed and raped five years ago. Carl’s old partner, DI Theodore Tate, spent months in a coma before emerging to a shaky second chance. Tate’s wife, Bridget, still has days when she thinks her daughter Emily, killed by a drunk driver her husband secretly executed, is still alive and panics because she can’t find her. Most damaged of all is Carl, who, having lost the ability to feel most emotions, keeps woodenly telling himself, “Why was anything.” When Kelly’s rapist, Dwight Smith, gets released from prison and promptly goes after Kelly to finish the job he started five years ago, Carl is on hand to stop him. That’s where the good news ends, for once Carl offers Kelly her five minutes alone with Cowboy Dwight, the rest of this long, winding tale becomes an encyclopedia of all the things that can go wrong once you’ve embarked on a career of meting out summary justice. You can forget to conceal vital evidence against yourself. Your friends can suspect what you’re doing and be deeply ambivalent about how to react. You can pick the wrong people to execute, either because they’re not really guilty or because they’re capable of fighting back. The car you’re using to transport a victim’s body can run out of gas. It’s Murphy’s Law written in blood.
“All of this killing has made him feel,” Carl’s exhilarated to realize. Readers following him through this season of Breaking Bad reworked by the Coen Brothers will feel the whole gamut right along with him.Pub Date: Oct. 21, 2014
ISBN: 978-1-4767-7915-7
Page Count: 464
Publisher: Atria
Review Posted Online: Sept. 17, 2014
Kirkus Reviews Issue: Oct. 1, 2014
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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