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Penzler Pick, July 2001: Working in a mystery tradition that will cause genre aficionados to think of such classic sleuths as Melville Davisson Post's Uncle Abner or Robert van Gulik's Judge Dee, Alexander McCall Smith creates an African detective, Precious Ramotswe, who's their full-fledged heir.

It's the detective as folk hero, solving crimes through an innate, self-possessed wisdom that, combined with an understanding of human nature, invariably penetrates into the heart of a puzzle. If Miss Marple were fat and jolly and lived in Botswana--and decided to go against any conventional notion of what an unmarried woman should do, spending the money she got from selling her late father's cattle to set up a Ladies' Detective Agency--then you have an idea of how Precious sets herself up as her country's first female detective. Once the clients start showing up on her doorstep, Precious enjoys a pleasingly successful series of cases.

But the edge of the Kalahari is not St. Mary Mead, and the sign Precious orders, painted in brilliant colors, is anything but discreet. Pointing in the direction of the small building she had purchased to house her new business, it reads "THE NO. 1 LADIES DETECTIVE AGENCY. FOR ALL CONFIDENTIAL MATTERS AND ENQUIRIES. SATISFACTION GUARANTEED FOR ALL PARTIES. UNDER PERSONAL MANAGEMENT."

The solutions she comes up with, whether in the case of the clinic doctor with two quite different personalities (depending on the day of the week), or the man who had joined a Christian sect and seemingly vanished, or the kidnapped boy whose bones may or may not be those in a witch doctor's magic kit, are all sensible, logical, and satisfying. Smith's gently ironic tone is full of good humor towards his lively, intelligent heroine and towards her fellow Africans, who live their lives with dignity and with cautious acceptance of the confusions to which the world submits them. Precious Ramotswe is a remarkable creation, and The No. 1 Ladies' Detective Agency well deserves the praise it received from London's Times Literary Supplement. I look forward with great eagerness to the upcoming books featuring the memorable Miss Ramotswe, Tears of the Giraffe and Morality for Beautiful Girls, soon to be available in the U.S. --Otto Penzler.
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A swashbuckling adventure story that reveals for the first time how Diego de la Vega became the masked man we all know so well

Born in southern California late in the eighteenth century, he is a child of two worlds. Diego de la Vega's father is an aristocratic Spanish military man turned landowner; his mother, a Shoshone warrior. Diego learns from his maternal grandmother, White Owl, the ways of her tribe while receiving from his father lessons in the art of fencing and in cattle branding. It is here, during Diego's childhood, filled with mischief and adventure, that he witnesses the brutal injustices dealt Native Americans by European settlers and first feels the inner conflict of his heritage.

At the age of sixteen, Diego is sent to Barcelona for a European education. In a country chafing under the corruption of Napoleonic rule, Diego follows the example of his celebrated fencing master and joins La Justicia, a secret underground resistance movement devoted to helping the powerless and the poor. With this tumultuous period as a backdrop, Diego falls in love, saves the persecuted, and confronts for the first time a great rival who emerges from the world of privilege.

Between California and Barcelona, the New World and the Old, the persona of Zorro is formed, a great hero is born, and the legend begins. After many adventures -- duels at dawn, fierce battles with pirates at sea, and impossible rescues -- Diego de la Vega, a.k.a. Zorro, returns to America to reclaim the hacienda on which he was raised and to seek justice for all who cannot fight for it themselves.

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Written in the wake of Jurassic Park's phenomenal box-office success, The Lost World seems as much a guidebook for Hollywood types hard at work on the franchise's followup as it is a legitimate sci-fi thriller Which begs the inevitable questions: Is the plot a rehash of the first book? Sure it is, with the action unfolding on yet another secluded island, the mysterious "Site B." Is the cast of characters basically the same? Absolutely, from a freshly minted pair of cute, compu-savvy kids right down to the neatly exhumed chaos theorist Ian Malcolm (who was presumed dead at the close of JP). But is it fun to read? You betcha. Hollywood (and Michael Crichton) keeps telling us the same old stories for a very good reason: we like them. And the pulp SF formula Crichton has mastered with Jurassic Park and The Lost World is no exception. --Paul Hughes.
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In The Vampire Armand, Anne Rice returns to her indomitable Vampire Chronicles and recaptures the gothic horror and delight she first explored in her classic tale Interview with the Vampire (in which Armand, played by Antonio Banderas in the film version, made his first appearance as director of the Théâtre des Vampires).

The story begins in the aftermath of Memnoch the Devil. Vampires from all over the globe have gathered around Lestat, who lies prostrate on the floor of a cathedral. Dead? In a coma? As Armand reflects on Lestat's condition, he is drawn by David Talbot to tell the story of his own life. The narrative abruptly rushes back to 15th-century Constantinople, and the Armand of the present recounts the fragmented memories of his childhood abduction from Kiev. Eventually, he is sold to a Venetian artist (and vampire), Marius. Rice revels in descriptions of the sensual relationship between the young and still-mortal Armand and his vampiric mentor. But when Armand is finally transformed, the tone of the book dramatically shifts. Raw and sexually explicit scenes are displaced by Armand's introspective quest for a union of his Russian Orthodox childhood, his hedonistic life with Marius, and his newly acquired immortality. These final chapters remind one of the archetypal significance of Rice's vampires; at their best, Armand, Lestat, and Marius offer keen insights into the most human of concerns.

The Vampire Armand is richly intertextual; readers will relish the retelling of critical events from Lestat and Louis's narratives. Nevertheless, the novel is very much Armand's own tragic tale. Rice deftly integrates the necessary back-story for new readers to enter her epic series, and the introduction of a few new voices adds a fresh perspective--and the promise of provocative future installments. --Patrick O'Kelley.
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Sue Monk Kidd's The Mermaid Chair is the soulful tale of Jessie Sullivan, a middle-aged woman whose stifled dreams and desires take shape during an extended stay on Egret Island, where she is caring for her troubled mother, Nelle. Like Kidd's stunning debut novel, The Secret Life of Bees, her highly anticipated follow up evokes the same magical sense of whimsy and poignancy.

While Kidd places an obvious importance on the role of mysticism and legend in this tale, including the mysterious mermaid's chair at the center of the island's history, the relationships between characters is what gives this novel its true weight. Once she returns to her childhood home, Jessie is forced to confront not only her relationship with her estranged mother, but her other emotional ties as well. After decades of marriage to Hugh, her practical yet conventional husband, Jessie starts to question whether she is craving an independence she never had the chance to experience. After she meets Brother Thomas, a handsome monk who has yet to take his final vows, Jessie is forced to decide whether passion can coexist with comfort, or if the two are mutually exclusive. As her soul begins to reawaken, Jessie must also confront the circumstances of her father's death, a tragedy that continues to haunt Jessie and Nelle over thirty years later.

By boldly tackling such major themes as love, betrayal, grief, and forgiveness, The Mermaid Chair forces readers to question whether moral issues can always be interpreted in black or white. It is this ability to so gracefully present multiple sides of a story that reinforces Kidd's reputation as a well-respected modern literary voice. --Gisele Toueg.
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When you step into a time machine, fax yourself through a "quantum foam wormhole," and step out in feudal France circa 1357, be very, very afraid. If you aren't strapped back in precisely 37 hours after your visit begins, you'll miss the quantum bus back to 1999 and be stranded in a civil war, caught between crafty abbots, mad lords, and peasant bandits all eager to cut your throat. You'll also have to dodge catapults that hurl sizzling pitch over castle battlements. On the social front, you should avoid provoking "the butcher of Crecy" or Sir Oliver may lop your head off with a swoosh of his broadsword or cage and immerse you in "Milady's Bath," a brackish dungeon pit into which live rats are tossed now and then for prisoners to eat.

This is the plight of the heroes of Timeline, Michael Crichton's thriller. They're historians in 1999 employed by a tech billionaire-genius with more than a few of Bill Gates's most unlovable quirks. Like the entrepreneur in Crichton's Jurassic Park, Doniger plans a theme park featuring artifacts from a lost world revived via cutting-edge science. When the project's chief historian sends a distress call to 1999 from 1357, the boss man doesn't tell the younger historians the risks they'll face trying to save him. At first, the interplay between eras is clever, but Timeline swiftly becomes a swashbuckling old-fashioned adventure, with just a dash of science and time paradox in the mix. Most of the cool facts are about the Middle Ages, and Crichton marvelously brings the past to life without ever letting the pulse-pounding action slow down. At one point, a time-tripper tries to enter the Chapel of Green Death. Unfortunately, its custodian, a crazed giant with terrible teeth and a bad case of lice, soon has her head on a block. "She saw a shadow move across the grass as he raised his ax into the air." I dare you not to turn the page!

Through the narrative can be glimpsed the glowing bones of the movie that may be made from Timeline and the cutting-edge computer game that should hit the market in 2000. Expect many clashing swords and chase scenes through secret castle passages. But the book stands alone, tall and scary as a knight in armor shining with blood. --Tim Appelo.
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Horror lit's head chef Harris serves up another course in his Hannibal "The Cannibal" Lecter trilogy, and it's a pièce de résistance for those with strong stomachs In the first book, Red Dragon (filmed as Manhunter), Hannibal diabolically helps the FBI track a fascinating serial killer. (Takes one to know one.) In The Silence of the Lambs, he advises fledgling FBI manhunter Clarice Starling, then makes a bloody, brilliant escape.

Years later, posing as scholarly Dr. Fell, curator of a grand family's palazzo, Hannibal lives the good life in Florence, playing lovely tunes by serial killer/composer Henry VIII and killing hardly anyone himself. Clarice is unluckier: in the novel's action-film-like opening scene, she survives an FBI shootout gone wrong, and her nemesis, Paul Krendler, makes her the fall guy. Clarice is suspended, so, unfortunately, the first cop who stumbles on Hannibal is an Italian named Pazzi, who takes after his ancestors, greedy betrayers depicted in Dante's Inferno.

Pazzi is on the take from a character as scary as Hannibal: Mason Verger. When Verger was a young man busted for raping children, his vast wealth saved him from jail. All he needed was psychotherapy--with Dr. Lecter. Thanks to the treatment, Verger is now on a respirator, paralyzed except for one crablike hand, watching his enormous, brutal moray eel swim figure eights and devour fish. His obsession is to feed Lecter to some other brutal pets.

What happens when the Italian cop gets alone with Hannibal? How does Clarice's reunion with Lecter go from macabre to worse? Suffice it to say that the plot is Harris's weirdest, but it still has his signature mastery of realistic detail. There are flaws: Hannibal's madness gets a motive, which is creepy but lessens his mystery. If you want an exact duplicate of The Silence of the Lambs's Clarice/Hannibal duel, you'll miss what's cool about this book--that Hannibal is actually upstaged at points by other monsters. And if you think it's all unprecedentedly horrible, you're right. But note that the horrors are described with exquisite taste. Harris's secret recipe for success is restraint. --Tim Appelo.
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In Prey, bestselling author Michael Crichton introduces bad guys that are too small to be seen with the naked eye but no less deadly or intriguing than the runaway dinosaurs that made 1990's Jurassic Park such a blockbuster success.

High-tech whistle-blower Jack Forman used to specialize in programming computers to solve problems by mimicking the behavior of efficient wild animals--swarming bees or hunting hyena packs, for example. Now he's unemployed and is finally starting to enjoy his new role as stay-at-home dad. All would be domestic bliss if it were not for Jack's suspicions that his wife, who's been behaving strangely and working long hours at the top-secret research labs of Xymos Technology, is having an affair. When he's called in to help with her hush-hush project, it seems like the perfect opportunity to see what his wife's been doing, but Jack quickly finds there's a lot more going on in the lab than an illicit affair. Within hours of his arrival at the remote testing center, Jack discovers his wife's firm has created self-replicating nanotechnology--a literal swarm of microscopic machines. Originally meant to serve as a military eye in the sky, the swarm has now escaped into the environment and is seemingly intent on killing the scientists trapped in the facility. The reader realizes early, however, that Jack, his wife, and fellow scientists have more to fear from the hidden dangers within the lab than from the predators without.

The monsters may be smaller in this book, but Crichton's skill for suspense has grown, making Prey a scary read that's hard to set aside, though not without its minor flaws. The science in this novel requires more explanation than did the cloning of dinosaurs, leading to lengthy and sometimes dry academic lessons. And while the coincidence of Xymos's new technology running on the same program Jack created at his previous job keeps the plot moving, it may be more than some readers can swallow. But, thanks in part to a sobering foreword in which Crichton warns of the real dangers of technology that continues to evolve more quickly than common sense, Prey succeeds in gripping readers with a tense and frightening tale of scientific suspense. --Benjamin Reese.
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8 Classroom-Tested Lessons and Motivating Practice Pages That Teach Kids to Write Organized, Detailed, and Powerful Paragraphs
Boost Writing Skills!
Easy lessons and reproducible practice pages to teach paragraph writing that really work!.
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