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Summary
Summary
The New York Times-bestselling author is back with a new story featuring a completely original cast of characters and the masterful plot twists and ticking-bomb suspense that have become his signature. Abridged. 5 CDs.
Summary
After an emergency police call from a lake house on Wisconsin's Lake Mondac, Deputy Brynn drives up to the deserted lake in search of answers. There, Brynn uncovers not only a gruesome murder, but a terrified witness to the murder, city-girl Michelle. And thus, a heart-pounding chase through the Wisconsin wilderness commences as the murderers pursue Brynn and Michelle, who must learn to trust each other if they want to survive.
Author Notes
Jeffery Deaver was born on May 6, 1950 in Chicago, Illinois. He received a degree in journalism from the University of Missouri and a law degree from Fordham University. Before attending law school, he worked as a business writer. After law school, he worked for a Wall Street law firm practicing corporate law. In 1990, he decided to stop practicing law and become a full-time writer.
His first novel was a horror story entitled Voodoo. He is the author of more than 25 novels and has written some of those stories under the pseudonym William Jeffries. He writes the Lincoln Rhyme series and the Kathryn Dance series. A Maiden's Grave was adapted into a film by HBO called Dead Silence and The Bone Collector was adapted into a feature film starring Denzel Washington and Angelina Jolie. He received the Steel Dagger and Short Story Dagger from the British Crime Writers' Association, the Ellery Queen Reader's Award for Best Short Story of the Year three times, and the British Thumping Good Read Award.
(Bowker Author Biography)
Reviews (4)
Publisher's Weekly Review
Usually a strong plotter, bestseller Deaver (The Bone Collector) fails to deliver on the promise of this stand-alone thriller's nicely creepy opening. When two masked men break into the isolated lakeside weekend house of Steven Feldman, who works for the Milwaukee Department of Social Services, and his wife, Emma, an attorney who may have stumbled on union corruption in the course of some corporate research, Steven has just enough time to phone 911 before the intruders shoot him and Emma dead. That interrupted plea for help brings Deputy Brynn McKenzie, who possesses a set of predictable emotional baggage (an abusive ex-wife, a troubled teenage son), to the scene. A protracted and less than suspenseful game of cat-and-mouse between McKenzie and the hired guns responsible for the murders ensues. A few twists will catch some readers by surprise, but the pacing and characterizations aren't up to Deaver's best. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved
Booklist Review
*Starred Review* Deaver, who has written one excellent thriller after another, is such a good puppet master that he makes us believe whatever he wants us to believe, even things that are false, without telling us a single lie. He practices misdirection through dialogue: a character says something he believes to be true, and so we believe it, too, without questioning the assumptions on which the character is basing his statement. A perfect example of how this technique can be used to perfection occurs in Deaver's latest, in which Brynn McKenzie, a Michigan police deputy investigating a suspicious 911 emergency call, finds herself being pursued through the woods by a pair of killers. And when she meets up with a woman who is also being hunted, Brynn has two lives to protect, and precious few resources with which to do it. The novel, which in some places may remind readers of Barry England's Figures in a Landscape (1997), is vintage Deaver: tightly plotted, with plenty of right-angle plot twists and pitch-perfect dialogue. It's not until we're well more than halfway through the book that we even begin to suspect that we might have made some dangerous mistakes, accepted certain things at face value merely because the characters in the book sold them to us so successfully but by then, it's way too late, and we are completely at Deaver's mercy.--Pitt, David Copyright 2008 Booklist
New York Review of Books Review
Reginald Hill, that most playful of genre authors, fancies himself a latter-day Jane Austen in THE PRICE OF BUTCHER'S MEAT (Harper, $26.95), an English mysteryof-manners set in Sandytown, a fictional resort on the Yorkshire coast, and satirizing inbred families obsessed with money and matrimony. Deploying a leisurelypaced epistolary style and a busy plot stuffed with dodgy inheritances, romantic mismatches and bountiful afternoon teas, Hill pulls off the clever literary jest of projecting Austen's unfinished novel "Sanditon" into modern times. But stretched out for more than 500 pages, the whimsy wears thin, reminding us that 19th-century novelists never had to contend with the inelegant stuttering of e-mail prose. After lying in a coma for much of "Death Comes for the Fat Man," the previous novel in this invigorating series, Detective Superintendent Andy Dalziel, head of the Mid-Yorkshire constabulary, takes his first steps back to health when he goes over the wall of a fancy convalescent home and totters into a local pub. Although he's quick to pick up on the byzantine affairs of the town's pre-eminent families, with their grandiose visions of developing Sandytown ("Home of the Healthy Holiday") into a tourist destination, Dalziel is too weak to get involved in the day-to-day skirmishes. Happily, the psychiatrist who runs the clinic asks him to keep "a sort of audio diary" on a digital recorder, which the garrulous detective names Mildred. Elsewhere in town, Charlotte Heywood, an engaging young lady of Janeite sensibilities, is busily sending saucy e-mail messages to her sister in Africa. Between Heywood and Dalziel, we get rather too much of the plot through inferior forms of communication. But once the first murder occurs, Hill gives the epistolary conceit a rest, slipping into the comfortable storytelling mode of the police procedural and broadening our view of the smoldering hostilities underneath the civilized social surface. Hill proves brilliant at recycling 19th-century characters and conventions - the gargoyle mistress of the manor, the feckless young heir, the penniless live-in relation, the family done out of its just inheritance - while gleefully adding macabre genre touches like a hog roast at which the pig is replaced by a dead body. What's this? A Jeffery Deaver novel with no mad-dog serial killer and no state-of-the-art technology to track his moves? Pinch me. But THE BODIES LEFT BEHIND (Simon & Schuster, $26.95) is no dream, only a different kind of nightmare - the elemental one of being hunted down in the wild like an animal. Brynn McKenzie, a sheriff's deputy in rugged Kennesha County, Wis., lands in this trap when she finds a high-powered lawyer and her social-worker husband shot to death in their isolated vacation house and their terrified guest, a chic city dweller named Michelle, cowering in the woods in her spike-heeled boots. Saddled with Michelle ("I'm really an actress"), Brynn is at a big disadvantage against two heavily armed hit men, hellbent on eliminating the only witness to the slaughter. Yet the resourceful deputy manages to make this a dead-even match, winning the creepy admiration of the lead killer. The meticulously structured plot moves back and forth between hunter and hunted, covering a big stretch of wild country. But although some of the near-miss encounters seem arbitrary, this is still a thrill-a-minute wilderness adventure. It's another dizzying tumble down the rabbit hole with Christopher Fowler in THE VICTORIA VANISHES (Bantam, $24), a continuation of the exploits of Arthur Bryant and John May, the oldest detectives on the London police force. As senior investigators in the Peculiar Crimes Unit, the partners are expected to attend to criminal matters that fall outside the norm, but Bryant's insistence that he saw a murder victim near a pub that doesn't exist (it was demolished in 1925) has the entire unit baffled. There's always a serious point to Fowler's drolly mannered mysteries, and here it's the future of London's historic drinking establishments - many of them visited in the course of this devious puzzle. If venerable pubs like the Victoria Cross can fall to "progress," what hope is there for beloved oddballs like Arthur Bryant or crackpot institutions like the P.C.U. - or all those other endangered monuments to England's fabled eccentricity? The dank and sweaty crime scenes in PARIS NOIR (Akashic, paper, $15.95) testify to the fact that the French invented "noir." Among the jarring images in this story collection (astutely edited by Aurélien Masson and translated by David Ball, Nicole Ball, Carol Cosman and Marjolijn de Jager), Didier Daeninckx's murky view of the after-hours scene in Porte Saint-Denis and Marc Villard's gritty look at the sex trade in Les Halles are correctives to all those persistent romantic fantasies about the city. But these grim realities could also do with a corrective, something along the lines of THE PARIS ENIGMA (Harper, $24.95). In this beguiling historical whodunit by the Argentine novelist Pablo De Santis, Paris is visited by Sigmundo Salvatrio, assistant to a founding member of an international association of top detectives, gathered in the city to illustrate their secret techniques and esoteric philosophies at the 1889 World's Fair. His enthusiasm undimmed, even when one of this august company is pushed off the Eiffel Tower, young Salvatrio sees Paris as others saw it at the time - the City of Light in an age of darkness. Reginald Hill's mystery of manners is set in Sandytown, a fictional resort on the Yorkshire coast.
Library Journal Review
Deaver delivers a whole new cast of characters--and a ticking bomb. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.