Reviews for October List : (Novel is in reverse begins with chapter 24)

Kirkus Reviews 2013 July #2
Remember Merrily We Roll Along, the Sondheim musical out of Kaufman and Hart that began with its climactic scene and worked backward to the beginning? Deaver's borrowed the same concept and juiced it with assorted felonies, nonstop suspense and his trademark braininess. The opening scene seems both to begin and to end in medias res. Gabriela McKenzie, whose 6-year-old daughter Sarah has been kidnapped by Joseph Astor, waits with insurance executive Sam Easton for the return of his boss, Andrew Faraday, and venture capitalist Daniel Reardon. The two men have gone to deliver the item Joseph demanded: the October List, a document containing contact information for the secret clients of Gabriela's boss, wealthy investment counselor Charles Prescott. But the scene ends with the threatening entrance of Joseph, not Andrew and Daniel. From that moment on, Deaver (The Kill Room, 2013, etc.) sucks you into a whirlwind reverse-chronology tour of Gabriela's nightmare weekend: her tense interviews with a pair of New York cops, her ransacking of Prescott's office to find the October List, the encounter in which Joseph tells her that he's got Sarah, the news that Prescott has vanished with his firm's money, her meet-cute with Daniel, all punctuated by the sudden, shocking crimes Gabriela and others commit in the pursuit of the elusive list. The conceit of a tale unrolling backward in time initially seems daunting, but it's not so different from the way lots of detective stories--or for that matter lots of Ibsen plays--unfold, and Deaver dispenses expository bits and cliffhangers with a mastery that'll make you smile even more broadly after you realize how thoroughly you've been hoodwinked. Perhaps the cleverest of all Deaver's exceptionally clever thrillers. If you've ever wished you could take the film Memento to the beach, here's your chance. Copyright Kirkus 2013 Kirkus/BPI Communications.All rights reserved.

Library Journal Express Reviews
In his second thriller of 2013 (after The Kill Room), set amid the high-octane world of Manhattan's investment brokers, Deaver delivers a devilishly deceitful plot in reverse. Occurring over a three-day weekend, the story begins with its supposed clincher, which takes place on a Sunday afternoon, then moves back to Friday morning's startling climax. Confused yet? Beginning in the present, Gabriela, an office manager at Prescott Investments, waits in her apartment for an update from Daniel Reardon of the Norwalk Fund, who's striking a deal with her daughter's kidnapper for a $500,000 ransom and the notorious missing "October List." This was a document kept by Gabriela's former boss. Verdict Although Deaver doles out plenty of surprising twists and cliffhangers, fans accustomed to his staccato pace, fluid style, and exceptionally clever plotlines may feel a bit hoodwinked after finishing this overly convoluted tale and its disappointing big climax reveal. In the novel's foreword, Deaver wonders if he could pull off telling a tale in reverse. Nope, not in this case--this superb thriller writer missed the mark here.--Jerry P. Miller, Cambridge, MA (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Reviews 2013 August #2

Thriller Award-winner Deaver (Edge) delivers a clever, demanding stand-alone that moves backward in time over the span of a three-day weekend, from Sunday evening to early Friday morning. In the first chapter, office manager Gabriela McKenzie, whose six-year-old daughter, Sarah, has been kidnapped, waits in her Manhattan apartment for news from fund manager Daniel Reardon, who's attempting to deal with kidnapper Joseph Astor. Gabriela must not only pay a $500,000 ransom but also fork over the mysterious "October List," which belongs to her former boss Charles Prescott, the head of Prescott Investments, who has fled from a police investigation. As the ingenious plot folds back on itself, the reader has to reevaluate and reinterpret the constantly shifting "facts" in the case. The finished picture finally emerges with a shock of recognition. This is brilliant craftsmanship in a vastly entertaining package. Agent: Deborah Schneider, Gelfman Schneider Literary Agents. (Oct.)

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