More twists than thrills, but connoisseurs of villainy will appreciate the latest additions to the most memorable gallery of criminal grotesques since the glory days of Dick Tracy.Īre we not men? We are-well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z (2006).Ī zombie apocalypse is one thing. It’s a shame that it’s so obvious for so long what’s going to happen when they finally come face to face with her, her son, and her son’s house pet. He wasn’t learning disabled”) meets his match in Misty, a sad-eyed stripper who’s stalking Hannah for reasons of her own. Hal, an idiot savant of homicide with the self-awareness of a cinder block (“He could do math. But the bad guys, as ever with Hall (Body Language, 1998, etc.), are delightfully hissable. Though the plot is diabolically clever, the Bureau types are all ciphers, and Hannah, struggling alone to raise her young son Randall, who was traumatized by seeing his grandparents’ killers, doesn’t leave much more of an impression. If Hal can be persuaded that Hannah’s found Fielding and his boodle, he’ll come out of hiding to follow her as she follows the trail of false clues the FBI has laid down, beginning with a mysteriously annotated copy of her first novel that seems to point to Fielding’s whereabouts. Now that she’s retired to become a successful crime writer, the Feebees figure she’ll be the perfect bait to flush out Hal Bonner, the Cali assassin who likes to kill his victims by squeezing the life out of their hearts. But her Miami PD colleagues never bought Hannah’s theory that J.J. Five years ago, Hannah Keller’s parents were murdered, presumably by the embezzler her father had just seen slip through his fingers. A freewheeling FBI unit uses a sorrowing crime writer to get at a brutal hired killer-in an intricate thriller that never quite hits the Michael Connelly mark.
0 kommentar(er)
