Envy

In a husky, dramatic, and sexy voice, the motivations of the characters in this steamy novel of romantic suspense are revealed. The plot involves a book editor, a mysterious manuscript, and a convoluted literary scam. Victor Slezak's voice easily changes from that of the author, craggy Parker Evans, to the smooth and aloof publisher, Noah Reed, who both have an old score to settle. His treatment of the vixen and the heroine is equally well done. The characters come to life and are captured in both attitude and demeanor. At the end of the story, the past and the present converge to deliver a satisfying con-clusion. A definite must for Sandra Brown fans. D.L.M. (c) AudioFile 2002, Portland, Maine

July 16, 2001
Style and form are usually the least of prolific bestselling romance/thriller writer Brown's concerns, but in her latest effort she takes on an unusual challenge, setting out to craft a novel within a novel within a novel. The onion begins to peel when editor Maris Matherly-Reed plucks a prologue from the slush pile and finds herself hooked by the steamy prose. The author has furthermore titillated her by breaking the rules: no SASE, no cover letter. Maris knows only that his initials are P.M.E. and he lives on St. Anne Island in Georgia. (How does she know P.M.E. is a man? She... knows.) Gutsy, idealistic, deliciously sexy, Maris is married to philandering sociopath Noah Reed, who runs Matherly Press with Maris and her father, Daniel, last of the silver-maned gentleman publishers. As for P(arker) M(ackensie) E(vans), he's a bitter, wheelchair-bound, first-time novelist—or is he? Is he using Maris to avenge himself against Noah, or does he love her madly—or can the answer be all of the above? Cutting back and forth between the übernovel and Parker's autobiographical novel about a purloined novel, Brown stages one dramatic scene after another. The narrative voices don't change much (although the typefaces do), but Brown's loyal legions frankly won't give a damn. (Aug. 28)Forecast:Brown could probably write a novel in blank verse and still hit the bestseller lists, so her experimentation here (mild, in any case) won't throw readers. The book is a Literary Guild and Doubleday Book Club main selection and a BOMC alternate, and major TV, radio and print media ad campaigns (plus New York transit ads) will blanket the country. Expect the expected: a blockbuster.

A writer sends his story to a publishing house in New York, withholding any contact information. Intrigued, editor Maris Matherly Reed decides to investigate. She uncovers a mixture of revelations about the story, the writer, and her own husband. Victor Slezak opens the low-key prologue in a slow, comfortable narration of a Florida boat party gone terribly wrong. His smoky vocal tones betray none of the bigger horror to come. As the story moves to Manhattan and back to Georgia and picks up in pace, Slezak keeps up, bringing more complexity to the characters and narrative. Occasional mispronunciations might catch your attention, but the overall effect is chilling and addictive. R.P.L. (c) AudioFile 2002, Portland, Maine