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*Starred Review* A first novel comes along every few years that clearly separates itself from the field, like Secretariat winning the 1973 Belmont Stakes by 31 lengths. This year’s Secretariat is going to be Ghostman, a propulsive thriller that combines incredible detail and nonstoppable narrative drive. Jack White is the Ghostman, a pseudonymous loner living far off the grid who specializes in disappearing. After a high-level heist, he makes sure that all traces of the caper vanish. Only once, in Kuala Lumpur, did it all go bad. The organizer of that job, a master criminal named Marcus, blames Jack for the fiasco, so when Marcus penetrates Jack’s deep cover, it clearly means trouble. But Marcus doesn’t want to kill the Ghostman, at least not yet. What Marcus wants is for Jack to even the score by making a botched armored-car robbery in Atlantic City disappear—except, of course, for the take, which has itself disappeared but needs to be found. The clock is ticking because if the $1.2 million in freshly minted bills isn’t recovered quickly, it will explode. Naturally, there are multiple levels of double- and triple-crosses layered within the premise, and Hobbs tantalizingly reveals them—always keeping his hole cards thoroughly vested as he tracks Jack’s progress. The suspense builds inexorably, heightened rather than impeded by the supportive detail with which Hobbs undergirds the action (the backstory on those exploding bills, for example, will have readers wondering how a twentysomething author could possibly know what he knows). There’s also a jaunty, cat-and-mouse subplot involving Jack and a female FBI agent who may be more interested in Jack than the crime. Comparisons to Lee Child are inevitable here, and surely Hobbs possesses a Child-like ability for first unleashing and then shrewdly directing a tornado of a plot, but he also evokes Elmore Leonard in the subtle interplay of his characters. A triumph on every level. HIGH-DEMAND BACKSTORY: Knopf knows it has a winner here and is backing Hobbs’ debut with the kind of marketing support rarely granted a first novel. Movie rights have been sold to Warner Brothers, and options have been signed by 13 publishers across the globe. --Bill Ott
--This text refers to the
Hardcover
edition.
Review
A Booklist Best Mystery of the Year
Winner of the Crime Writers' Association Ian Fleming Steel Dagger Award
NATIONAL BESTSELLER“A pulse-pumping heist thriller.” —
Rolling Stone
“Smoking-fast. . . . The debut of a gifted crime writer.” —
The New York Times“Fast, hard and knowing: this is an amazing debut full of intrigue, tradecraft and suspense. Read it immediately!” —Lee Child
“A tense and tightly coiled debut thriller.” —
Entertainment Weekly “A stunningly accomplished debut. . . . [Hobbs] has the talent to fuel bestsellers and summer blockbusters for years to come.” —
The Richmond Times-Dispatch“Richly imagined and darkly fascinating.” —
San Francisco Chronicle “A super-slick thriller.”—
New York Daily News “Stylishly gritty and fast-paced.” —
O, The Oprah Magazine “A first-time novelist who’s . . . already writing with the poise of an old pro. . . . Hobbs is an assured stylist who favors clean, precise prose, [and] handles violence with a lyric touch.” —
The New York Times Book Review “
Ghostman is terrific: lightning-quick, absolutely compelling, and smart as all get-out.”—
The Seattle Times “Crackling with action.” —
Bloomberg News “Wonderfully hard-boiled.” —
Parade “A gripping adrenaline rush, a dirty bomb of a crime thriller with a deceptive plot that confounds and stimulates characters and readers alike.” —
Portland Monthly “What [Lee] Child’s debut novel,
Killing Floor, did for thrillers, Hobbs does for crime novels.” —
Arizona Republic “Hobbs is up there with the best. I don't think I've read a better botched heist than the one that begins
Ghostman. It's a masterpiece of hyper-kinetic blocking and deep, vivid detail.”—John O’Connell,
The Guardian (London)
“A propulsive thriller that combines incredible detail and unstoppable narrative drive. . . . Hobbs possesses a [Lee] Child-like ability for first unleashing and then shrewdly directing a tornado of a plot, but he also evokes Elmore Leonard in the subtle interplay of his characters. A triumph on every level.” —
Booklist (starred review)
“This watertight debut [is] at once slick and gritty. . . Straight out of the gate, Hobbs has mastered the essentials of a contemporary thriller: a noir-like tone, no-nonsense prose and a hero with just enough personality to ensure he doesn’t come off as an amoral death machine [as well as] heart-stopping scenes that illustrate how small mistakes can turn catastrophic.” —
Kirkus Reviews (starred review)
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