Ultragruesome murders are no match for a trio of detectives in this standout thriller.
A vicious serial killer terrorizes Manhattan, bent on avenging an abusive past.
In this third entry of a thriller series, after Bone Thief (2006) and The Screaming Room (2007), New York author O’Callaghan introduces his most heinous killer yet: a psychotic mortician with a vendetta against Manhattan sex workers. Right from the opening pages, Tilden Quinn is already at work embalming his latest victim inside a mortuary. After the bloodless corpse is discovered floating in the East River, other bodies begin popping up all across New York City. Homicide Lt. John Driscoll dutifully snaps into action to lead an investigation that swiftly blooms with each horrific victim Tilden mutilates. As both a childhood and adult victim of abuse, Tilden is on the loose exacting his hate-filled rage against sex workers, particularly after an encounter that left him sodomized so severely he was hospitalized. To the killer, these women wrongfully “chose a life of immorality” and must be thoroughly cleansed by way of exsanguination. As Driscoll delves deeper into the case, the tall, intimidating detective continues to wrestle with a sorrowful past that includes the death of his mother when he was a boy and the loss of his teenage daughter to a drunk driver. The accident sent his wife into a coma. Just as torturous is Tilden’s own history, which the author teases out over the course of the novel. That backstory describes him as a boy being physically abused by his sex-worker mother’s live-in john. Driscoll, ably assisted by tough Sgt. Margaret Aligante, a childhood victim of abuse, and Detective Cedric Thomlinson, who is covertly battling a burgeoning alcohol dependency, begins amassing clues. The team investigates suspects in a new string of church-related slaughters and interviews prospective leads, no matter how unsavory they may be, including a porn producer specializing in simulated snuff films. Themes of matricide, religious atonement, arson, and even cannibalism all conspire to create a heady stew of intrigue, crime drama, and thrilling police procedural. In Tilden, O’Callaghan has impressively molded a nefarious sociopathic maniac whose barbaric childhood roots hold the key to his murderous motivation. Not for the faint of heart, this novel is perhaps the most accomplished of the series with its chilling forensics, riveting suspense sequences, grisly details, and a diabolical villain who’s wholly consumed by merciless revenge.
Ultragruesome murders are no match for a trio of detectives in this standout thriller.Pub Date: May 9, 2020
ISBN: 978-1-952225-14-7
Page Count: 352
Publisher: WildBlue Press
Review Posted Online: July 31, 2020
Kirkus Reviews Issue: Sept. 15, 2020
Review Program: Kirkus Indie
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
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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