Fiery beauties and rakish hunks can’t enliven this overblown melodrama.
Meticulously researched backstory and excess verbiage too often trump adventure in Murray’s fourth effort (The Conquest, 2002, etc.).
Lola Sanchez is cocooning at her fantasy bookstore in Long Beach, California, when her mom, UCLA archeologist Juana, announces plans to return to Guatemala. Her quest? To discover the true artifacts behind the Mayan “Legende of the Queen Jade,” transcribed by Beatriz de la Cueva, colonial governor, ca. 1540. De la Cueva was the first European to track the Jade, a luminous blue jewel that is Central America’s answer to the One Ring of Power. For centuries, scholars have retraced de la Cueva’s steps as outlined in her fanciful writings. Von Humboldt (1800s) found the labyrinths mentioned in the Legende, the Mazes of Deceit and Virtue, which surround the jewel and confound would-be world dominators. Oscar Tapia (1924) discovered the Flores Stelae panels, which contain hieroglyphs declared meaningless by Juana; her partner, Manuel Alvarez, (Lola’s putative father); and dashing scientist/revolutionary, Tomas de la Rosa. Tomas—recently dead—and Juana had been estranged since he lured Manuel into quicksand. Now, when Hurricane Mitch hits Guatemala, Lola goes after her missing mother. With Juana’s other bane, Professor Erik Gomara, in tow, Lola reunites with Manuel and a very cheesed-off Yolanda, Tomas’ daughter. Still seething over banishment by Lola’s family, spitfire Yolanda is dodging her father’s army enemies. Lola’s conquest of rake Erik and revelations about her parentage momentarily quicken the pulse, but turgid prose slows the narrative (“here chocolate-covered earth, streaked with lime and pebbled with stones, extruded into the paved areas, thick, deep, and making exhaling sounds when the car’s wheels crushed on by”). Sheer logistics occupy three-quarters of the story, but getting anywhere near the Jade is definitely not half the fun. By the time Erik decodes the Stelae to expose the true nature of the labyrinths and Juana’s whereabouts, readers will have long run screaming back to The Da Vinci Code.
Fiery beauties and rakish hunks can’t enliven this overblown melodrama.Pub Date: Feb. 1, 2005
ISBN: 0-06-058264-2
Page Count: 352
Publisher: Rayo/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2004
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
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
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