Strikingly imagined indeed, but the zigzag structure blurs the momentum and effect of what might have been one of Straub’s...
The veteran horror writer’s circuitous 16th outing (stories: Magic Terror, 2000, etc.).
A suburban mom’s suicide, a spooky abandoned house, and a teenager’s unwitting pursuit of the truth about “one of the nation’s livelier serial killers”—such are the ingredients here. They’re pieced together, after a fashion, by successful NYC novelist Tim Underhill (first seen in Koko, 1988), who’s summoned to the midwestern town of Millhaven by his brother Philip, a misanthropic high school vice-principal. Tim learns that his teenaged nephew Mark has found his mother Nancy dead in her bathtub. Following this essentially straightforward setup, the novel breaks apart into alternations of present action with flashbacks, experienced and relayed through various characters’ viewpoints, Tim’s “journal,” and an omniscient narrative voice only intermittently firmly distinguished from Tim’s own. The central action is Mark’s exploration (initially abetted by best pal Jimbo) of the uninhabited house directly behind his own—a house, we’re asked to believe, that Mark had scarcely noticed (!) prior to his mother’s suicide. Its secrets—sharply imagined and brimming with promising narrative menace—have to do with Nancy Underhill’s first cousin Joseph Kalendar, a serial rapist, child abuser, and murderer. As the intrepid Mark (a sweet-natured golden boy whose stunning good looks are rather creepily overstressed) keeps uncovering nauseating things, Tim and Philip and involved local authorities (aided by Detective Tom Pasmore, on loan from Mystery, 1989, and The Throat, 1993) also zero in on Kalendar’s horrific legacy. The fates of adolescent boys lured away by a malign sexual predator are painstakingly, laboriously connected to that of a “lost girl” (herself an otherworldly seductive force) who “haunts” those who failed to save her. And, in a nod to Straub’s sometime collaborator Stephen King, Tim realizes that (à la King’s The Dark Half) his own literary creations may have assumed lethal form.
Strikingly imagined indeed, but the zigzag structure blurs the momentum and effect of what might have been one of Straub’s best.Pub Date: Oct. 14, 2003
ISBN: 1-4000-6092-3
Page Count: 320
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2003
IN THE NEWS
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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