Harlan Coben - Just One Look

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From Publishers Weekly
Just one look at Coben's latest stand-alone thriller (after No Second Chance) highlights the author's customary strengths (swift pacing, strong lead characters) but also his weaknesses, including limited originality and, in this case, a plot so complicated that many final pages are devoted to sorting it out. The premise is simple enough: suburban housewife Grace Lawson collects some pictures at the local Photomat; inexplicably, one is an old print depicting her husband, Jack, with other college students; when Grace shows the photo to Jack, he drives away-and disappears. Grace's hunt for her missing husband, whom we learn has been kidnapped (but why? and Coben fans will note that the author's last novel also hinged on a kidnapped family member), sweeps her back into a nightmare she thought she'd escaped: the evening years ago when she survived a rock concert rampage, occasioned by a shooting that left many dead. Meanwhile, Eric Wu, a-dare we say?-inscrutable martial-arts killer who has snatched Jack for reasons unknown, menaces assorted folk. Eventually Grace, aided by a Gotti-like mobster whose child was killed in the rampage, gloms on to Wu, as well as on to Jack's sister, a high-powered attorney who, it turns out, is representing the guy who started the rampage by firing his gun. Only he didn't start the rampage after all, and then there's the rock star who vanished after the shooting and resultant mayhem-what's he now doing on Grace's doorstep? This is all as complicated as a thousand-piece jigsaw puzzle and about as hard to figure out, although in the midst of the murk there are some wonderful character touches. Coben can write thrillers that lift readers off their seats; this one, alas, will have them slumping.
From Booklist
If the trick of suspense writing is to get readers to identify so passionately with the beleaguered principal character that they disappear into the story, feeling the knife points of tension themselves, then Coben is the Houdini of the form. Coben, who has won the Trifecta of mystery writing-the Edgar, the Anthony, and the Shamus Awards-likes to burst the bubble of suburban security by having his characters' well-ordered, happy lives upended in ways that mirror readers' fears. In his four stand-alone thrillers, the past comes back to bite or haunt the protagonist, or the present vanishes in one fatal moment. In this latest excursion into the dark, a suburban mother finds one picture that does not belong in the pack of family outing photos she's just picked up. The picture, showing a group of college students, seems as if it was taken 20 years ago. One of the group looks like her husband. A girl in the group has an X drawn across her face. When Mrs. Happily Married shows the picture to her husband, he seems shaken, then leaves home. Coben ratchets up the suspense of the wife trying to find her husband with another drama, that of a serial killer in the neighborhood. A tragic accident from the woman's past intersects with her husband's secrets and the movements of the killer in ways that are satisfyingly creepy.

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Her cell phone rang. She instinctively glanced at the display before hitting the hands-free. Again, no, not Jack. It was Cora. Grace picked up and said, “Hey.”

“I won’t classify the news as bad or good, so let me put it this way. Do you want the weird news first or the really weird news?”

“Weird.”

“I can’t reach Gus of the small wee-wee. He won’t answer his calls. I keep getting his voice mail.”

Coldplay started singing, appropriately enough, a haunting number entitled “Shiver.” Grace kept both hands on the wheel, perfectly placed at ten and two o’clock. She stayed in the middle lane and drove exactly the speed limit. Cars flew by on both her right and left.

“And the really weird news?”

“Remember how we tried to see the calls from two nights ago? I mean, the ones Jack might have made?”

“Right.”

“Well, I called the cell phone company. I pretended I was you. I assumed you wouldn’t mind.”

“Correct assumption.”

“Right. Anyway, it didn’t matter. The only call Jack’s made in the past three days was to your cell phone yesterday.”

“The call he made when I was at the police station.”

“Right.”

“So what’s weird about that?”

“Nothing. The weird part was on your home phone.”

Silence. She stayed on the Merritt Parkway, her hands on the wheel at ten and two o’clock.

“What about it?”

“You know about the call to his sister’s office?” Cora asked.

“Yeah. I found that one by hitting redial.”

“And his sister-what’s her name again?”

“Sandra Koval.”

“Sandra Koval, right. She told you that she wasn’t there. That they never talked.”

“Yes.”

“The phone call lasted nine minutes.”

A small shudder skipped through Grace. She forced her hands to stay at two and ten. “Ergo she lied.”

“It would seem.”

“So what did Jack say to her?”

“And what did she say back?”

“And why did she lie about it?”

“Sorry to have to tell you,” Cora said.

“No, it’s good.”

“How do you figure?”

“It’s a lead. Before this, Sandra was a dead end. Now we know she’s somehow involved.”

“What are you going to do about it?”

“I don’t know,” Grace said. “Confront her, I guess.”

They said good-bye and Grace hung up. She drove a little farther, trying to run the scenarios through her head. “Trouble” came on the CD player. She pulled into an Exxon station. New Jersey didn’t have self-serve, so for a moment Grace just sat in her car, not realizing that she had to fill it up herself.

She bought a bottle of cold water at the station’s mini-mart and dropped the change into a charity can. She wanted to think this through some more, this connection to Jack’s sister, but there wasn’t time for finesse here.

Grace remembered the number of the Burton and Crimstein law firm. She took out her phone and pressed in the digits. Two rings later she asked to be connected to Sandra Koval’s line. She was surprised when Sandra herself said, “Hello?”

“You lied to me.”

There was no reply. Grace walked back toward her car.

“The call lasted nine minutes. You talked to Jack.”

More silence.

“What’s going on, Sandra?”

“I don’t know.”

“Why did Jack call you?”

“I’m going to hang up now. Please don’t try to contact me again.”

“Sandra?”

“You said he called you already.”

“Yes.”

“My advice is to wait until he calls again.”

“I don’t want your advice, Sandra. I want to know what he said to you.”

“I think you should stop.”

“Stop what?”

“You’re on a cell phone?”

“Yes.”

“Where are you?”

“I’m at gas station in Connecticut.”

“Why?”

“Sandra, I want you to listen to me.” There was a burst of static. Grace waited for it to pass. She finished filling the tank and grabbed her receipt. “You’re the last person to talk to my husband before he disappeared. You lied to me about it. You still won’t tell me what he said to you. Why should I tell you anything?”

“Fair point, Grace. Now you listen to me. I’m going to leave you with one last thought before I hang up: Go home and take care of your children.”

The line went dead. Grace was back in the car now. She hit redial and asked to be connected to Sandra’s office. Nobody answered. She tried again. Same thing. So now what? Try to show up in person again?

She pulled out of the gas station. Two miles later Grace saw a sign that said STARSHINE ASSISTED LIVING CENTER. Grace was not sure what she’d been expecting. The nursing home of her youth, she guessed, those one-level edifices of plain brick, the purest form of substance-over-style that, in a perverse way, reminded her of elementary schools. Life, alas, was cyclical. You start in one of those plain brick buildings, you end there. Turn, turn, turn.

But the Starshine Assisted Living Center was a three-story faux Victorian hotel. It had the turrets and the porches and the bright yellow of the painted ladies of old, all set against a ghastly aluminum siding. The grounds were manicured to the point where everything looked a tad too done, almost plastic. The place was aiming for cheery but it was trying too hard. The whole effect reminded Grace of Epcot Center at Disney World-a fun reproduction but you’d never mistake it for the real thing.

An old woman sat on a rocking chair on the front porch. She was reading the paper. She wished Grace a good morning and Grace did likewise. The lobby too tried to force up memories of a hotel from a bygone era. There were oil paintings in gaudy frames that looked like the kind of thing you’d buy at one of those Holiday Inn sales where everything was $19.99. It was obvious that they were reproductions of classics, even if you had never seen Renoir’s Luncheon of the Boating Party or Hopper’s Nighthawks .

The lobby was surprisingly busy. There were elderly people, of course, lots of them, in various states of degeneration. Some walked with no assistance, some shuffled, some had canes, some had walkers, some had wheelchairs. Many seemed spry; others slept.

The lobby was clean and bright but still had that-Grace hated herself for thinking like this-old-people smell, the odor of a sofa turning moldy. They tried to cover it up with something cherry, something that reminded Grace of those dangling tree fresheners in gypsy cabs, but there are some smells that you can never mask.

The singular young person in the room-a woman in her mid-twenties-sat behind a desk that was again aiming for the era but looked like something just bought at the Bombay Company. She smiled up at Grace.

“Good morning. I’m Lindsey Barclay.”

Grace recognized the voice from the phone. “I’m here to see Mr. Dodd.”

“Bobby’s in his room. Second floor, room 211. I’ll take you.”

She rose. Lindsey was pretty in a way that only the young are, with that enthusiasm and smile that belong exclusively to the innocent or the cult recruiter.

“Do you mind taking the stairs?” she asked.

“Not at all.”

Many of the residents stopped and said hello. Lindsey had time for every one of them, cheerfully returning each greeting, though Grace the cynic couldn’t help but wonder if this was a bit of a show for the visitor. Still Lindsey knew all the names. She always had something to say, something personal, and the residents seemed to appreciate that.

“Seems like mostly women,” Grace noted.

“When I was in school, they told us the national ratio in assisted living is five women for every one man.”

“Wow.”

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