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Grade 9 Up-Ruben Ford, 14, feels things. When his sister is murdered on the English moors, he knows she's dead even though he's home in London. He and his brother, Cole, 17, are freakishly linked by Ruben's power to feel what Cole feels. The teens travel to Dartmoor to find Rachel's killer and bring her body home. They're received by a Dickensian assortment of sadistic thugs, greasy criminals, and corrupt cops, all hiding something. Brooks's feel for mood and setting is as masterful here as in his taut, noir Martyn Pig (Scholastic, 2002). A haunting, tense drama builds from the first line and only lets up for scenes of brutal, vivid violence that bring readers back down to earth. The murder is all but solved by the second half of the book, and the pace falters a bit as the resolution becomes obvious. However, Brooks sustains a mythical aura throughout, and rapid-fire action should keep teens engrossed. Ruben is vintage Brooks: sensitive, strange, and wholly three-dimensional. The dialogue between the brothers is crisp and natural, and often funny and touching at once. Cole is perfectly drawn as Ruben's tough, detached counterbalance. Brooks shows that the real magic between the brothers is their ferocious love for one another, and he does so brilliantly.-Johanna Lewis, New York Public Library
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
Gr. 9-12. Fourteen-year-old Ruben Ford is sitting in his father's junkyard when he knows--knows--that his older sister, Rachel, has been raped and murdered. Perhaps it is his Gypsy blood that gives him second sight; Ruben can see and feel things others can't. He knows, for instance, that his ice-cold brother, Cole, is going to get into--and cause--trouble when he decides to go to desolate Dartmoor, where Rachel met her end. Brooks' great strength is his talent for intense description; he makes readers see, feel, and smell all that Ruben does--most of it coarse, disgusting, and ugly. The author uses an interesting technique to heighten that effect. Psychic Ruben can see things happening miles away, so Cole's battles with those responsible for Rachel's death are literally seen through Ruben's eyes. However, as in Kissing the Rain (2004), Brooks has trouble tying up loose ends. Thus, the question of how Cole comes upon a key piece of evidence is brushed away with Ruben's comment, "Does it matter?" Readers have sat through a lot of brutality (albeit strikingly written brutality) to get that information, so the answer is, well, yeah, it does. Ilene Cooper
Copyright © American Library Association. All rights reserved --This text refers to an out of print or unavailable edition of this title.