Berry (The Amber Room, 2003, etc.) sometimes overforeshadows his revelations, but he serves tantalizingly true tidbits about...
Nearly a century after the miracle of Fatima, an unrevealed secret wreaks havoc in the hierarchy of the Roman Catholic Church.
Fatima, Portugal, 1917. The Virgin Mary, on her third miraculous visitation, imparts a trio of secrets to Lucia, the eldest of the trio of children whom “The Lady” has blessed with the ability to see her. Eighty-plus years later, Monsignor Colin Michener, secretary to Pope Clement XV, notices that the boss has lately been prowling the Vatican secret archive in the dead of night for more information about Fatima. Also noticing is the ambitious and, it’s progressively revealed, ruthless Cardinal Valendrea, who, appropriately, has a fawning sidekick in Father Paolo Ambrosi. Michener pieces together additional facts about Lucia. She eventually did disclose the first two of her three secrets but then, falling prematurely into ill health, committed the third to paper and directed that it remain sealed until 1960. At that time, it was translated for Pope John XXIII by young Father Andrej Tibor. Beyond this, the details of the third secret become murky. Sensing a big story is star freelance journalist Katerina Lew, whose affair with maverick priest Father Tom Healy has triggered a disciplinary tribunal at the Vatican (Valendrea takes unseemly pleasure in predicting Healy’s removal from the priesthood). Katerina is also the former lover of Michener, who chose the Church over her a long time ago. When Michener decides to visit Tibor, now retired and working with orphans in Romania, Valendrea sends a conflicted Katerina to hook up with him. Michener senses Tibor’s guardedness and is unable to learn anything of importance. The suicide of Pope Clement then sends the Vatican into turmoil and the story into overdrive as a contentious papal election and the prophesies of St. Malachy figure prominently in its resolution.
Berry (The Amber Room, 2003, etc.) sometimes overforeshadows his revelations, but he serves tantalizingly true tidbits about the Church, and his measured, elegant prose is a solid fit with the story.Pub Date: June 1, 2005
ISBN: 0-345-47613-1
Page Count: 416
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2005
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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