Praise for 29 SECONDS:
“Logan spins out suspense to the final pages in this timely #MeToo thriller.” —Booklist
Praise for LIES:
“Just when you think things can’t possibly get worse . . . they do. And then some. Lies is positively riveting, from the captivating first scene to the shocking twist at the end.”
—Sandra Brown, #1 New York Times bestselling author
“Assured, compelling, and hypnotically readable—with a twist at the end I guarantee you won’t see coming.” —Lee Child, New York Times bestselling author
“A tense and gripping thriller.” —B.A. Paris, bestselling author of Behind Closed Doors
"This jaw-dropping psychological thriller is a twisted page-turner that will keep you guessing!" — InTouch Weekly
“A tense suspense thriller with a surprising and satisfying ending, a whodunit of the best kind as it twists and turns…Lies will keep you guessing until the very end.” —Shelf Awareness
"A fast-moving joyride of nerve-wracking suspense and intrigue."—Library Journal
“Gripping…full of unexpected twists and turns, this psychological thriller will leave readers eager for Logan’s next book.”—Publishers Weekly
“An adrenaline-fueled page-turner.”—Kirkus Reviews
“In this fast-paced action thriller, lies upon lies are revealed as a young father races against time to find the truth, prove his innocence, and save his family. You will race through this novel alongside him right up to the shocking, twisted, end!” —Wendy Walker, USA Today bestselling author of All Is Not Forgotten
“Heart-thumping suspense and the greatest twist since Gone Girl. I inhaled Lies in one day and loved every page.” —Michele Campbell, author of It’s Always the Husband
07/01/2019
Given the opportunity to make someone permanently disappear with no repercussions, would a decent person take it? That’s the question posed by this uneven thriller from British author Logan (Lies). London literature professor Sarah Haywood, who’s married with two young children, has been working toward a full-time teaching position at Queen Anne University for years. The only thing standing in her way is her lecherous department head, charming and charismatic Alan Hawthorne, whose fame and position have allowed him to assault women for decades with no consequences. When Haywood is given the chance to have the man who’s destroying her career killed, she takes it—but the results of her decision are unanticipated. Though short chapters help sustain the brisk pacing and nonstop action keeps tension high, the contrived story line (particularly how Haywood gets the chance to strike back at her harasser) and clichéd characters (Hawthorne is Harvey Weinstein in corduroy trousers and a cravat) make this a predictable and less than satisfying reading experience. Hopefully, Logan will return to form next time. 100,000 announced first printing. Agent: Camilla Wray, Darley Anderson Literary (U.K.). (Sept.)
Katherine Littrell’s exceptional performance transforms this dialogue-rich #MeToo novel into an audiobook that shows how a skilled narrator can create memorable and, at times, contemptible, characters that raise a book to a higher level. At the center of this story are Sarah, a young professor who is trying to move up the academic ladder, and Alan Hawthorne, the charismatic department chair and TV personality whose lascivious sexism dominates every interaction he has. Hawthorne threatens to destroy Sarah’s career unless she succumbs to his advances. At the same time, Sarah thwarts the attempted kidnapping of a young child whose appreciative father, as a thank you, offers to make one person disappear from her life. Sarah reluctantly agrees. From there, Littrell’s presentation goes from great to greater. She imbues Hawthorne with nuanced levels of creepiness, while allowing Sarah’s emerging confidence to subtly develop. D.J.S. Winner of AudioFile Earphones Award © AudioFile 2020, Portland, Maine
Katherine Littrell’s exceptional performance transforms this dialogue-rich #MeToo novel into an audiobook that shows how a skilled narrator can create memorable and, at times, contemptible, characters that raise a book to a higher level. At the center of this story are Sarah, a young professor who is trying to move up the academic ladder, and Alan Hawthorne, the charismatic department chair and TV personality whose lascivious sexism dominates every interaction he has. Hawthorne threatens to destroy Sarah’s career unless she succumbs to his advances. At the same time, Sarah thwarts the attempted kidnapping of a young child whose appreciative father, as a thank you, offers to make one person disappear from her life. Sarah reluctantly agrees. From there, Littrell’s presentation goes from great to greater. She imbues Hawthorne with nuanced levels of creepiness, while allowing Sarah’s emerging confidence to subtly develop. D.J.S. Winner of AudioFile Earphones Award © AudioFile 2020, Portland, Maine
2019-08-20
A Christopher Marlowe scholar contemplates a Faustian bargain to rid the world of a serial sexual harasser.
English professor Sarah Haywood, 32, has spent the last two years fending off unwanted advances from lecherous department head Alan Hawthorne. Reporting him is pointless; Queen Anne University needs the Cambridge-educated TV academic's fame and grant money too much to discipline him, and Hawthorne has enough clout to ruin any accuser's career. Sarah assumes things will improve when her position becomes permanent—until Hawthorne informs her that she must sleep with him to earn tenure. Sarah is despondent; she can't afford to cross Hawthorne—particularly since her husband, Nick, left her with their two young kids to go "find himself." Then one night, while racing through London's side streets to collect her children from day care, Sarah thwarts the attempted kidnapping of James Grosvenor's daughter. Intent on repaying her, Grosvenor hands Sarah a burner phone and gives her 72 hours to call him with the name of someone she wants to disappear. If she declines the offer, it's gone forever. If she accepts, there's no going back. And if she tells anyone, her family will pay. Sarah tries to forget the encounter, but as the Hawthorne situation deteriorates, she can't help but wonder—what if? Logan (Lies, 2018) squanders a strong, tense start with preposterous twists, underdeveloped characters, and a paper-thin plot. Although Sarah's terror and anguish ring true, her anger remains at an exasperating simmer and she lacks agency throughout. Hawthorne quickly devolves from convincing creep to moustache-twirling villain, further sapping the tale of authenticity and heft. Short chapters push the pace, but an abrupt conclusion fails to satisfy.
Logan delivers a disappointing take on the #MeToo thriller.
