Knockout Hardcover – Jun 23 2009
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About the Author
Catherine Coulter is the author of the New York Times-bestselling FBI thrillers The Cove, The Maze, The Target, The Edge, Riptide, Hemlock Bay, Eleventh Hour, Blindside, Blowout, Point Blank, Double Take, TailSpin, KnockOut, and Whiplash. She lives in northern California. --This text refers to an out of print or unavailable edition of this title.
Top Customer Reviews
Most Helpful Customer Reviews on Amazon.com (beta)
Special Agent Savich gets a telepathic message from a 7 year-old girl just as he's falling asleep. She'd seen him on TV after a bank robbery and knows he's a hero and she needs help, so tried to reach him. Her father's relatives have just recently learned of her existence and all are gifted with various powers to mess with someone else's mind. And they want her in their fold and will stop at nothing to grab her, even though she's surrounded by deputies and the sheriff.
As with most of the books, there is a 2nd issue taking place. Savich was a customer in a bank that was getting robbed and stops the robbery. One of the robbers is a 16 year-old girl who wants to kill Savich and the bank's security guard because her mother, another of the bank robbers, was killed in a shootout before they could escape with the loot. With her cousin's help, she's able to escape from a hospital and the hunt is on.
The romance? Between 7 year-old Autumn's mother and Sheriff Ethan Merriweather who come together to keep Autumn safe from her very scary uncle.
The book takes place a couple of months after Tailspin, so the homelife of Sherlock and Savich goes forward with Sherlock recovering from losing her spleen in the last book. The characters are interesting, the story moves fast, the suspense is good, and as always, the book contains a lot of humor.
The characters flop, too. Coulter has always been noticeably cartoonish, but didn't run amok until this one.
She's also maddeningly repetitive, not just with statements, but with actions and events. Worst of all, the plot was so predictable that I found myself skipping large chunks, only to tune in later to find that things had gone exactly as I'd known they would. In fact, I fell asleep -- again -- just before the end, and couldn't stir up enough interest to rewind and finish it.
The producers chose to do that awful thing of swapping between readers. Including this novel, I've never seen that done well. Rather, it's disruptive and distracting. Costanzo has a high pitch, almost adolescent, which saps strength from the story. Raudman is awful beyond belief. I thought I'd experienced the worst overacting possible in audio, but she trumps them all.