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A breathtaking discovery at the top of the world . . .
A terrifying collision between modern science and Native American legend . . .
An electrifying new thriller from New York Times bestselling author Lincoln Child.
Two hundred miles north of the Arctic Circle lies Alaska’s Federal Wildlife Zone, one of the most remote and inhospitable places on Earth. But for paleoecologist Evan Marshall and a small group of fellow scientists, an expedition to the Zone represents a once-in-a-lifetime opportunity to study the effects of global warming.
Everything about the expedition changes, however, with an astonishing find. On a routine exploration of a glacial ice cave, the group discovers an enormous ancient animal, encased in solid ice. The media conglomerate sponsoring their research immediately intervenes and arranges the ultimate spectacle—the creature will be cut from the ice, thawed, and revealed live on television. Despite dire warnings from the local Native American village, and the scientific concerns of Marshall and his team, the “docudrama” plows ahead . . . until the scientists make one more horrifying discovery. The beast is no regular specimen—it may be an ancient killing machine. And they may be premature in believing it dead.
In this riveting new thriller, Lincoln Child weaves together a stunning Arctic landscape, a terrifying mythic creature, and a pervasive mood of chaos—and fear. With Terminal Freeze, Child demonstrates why he has become a major bestselling author, and why his novels electrify and enthrall so many.
In this taut, suspenseful SF thriller from bestseller Child (Deep Storm), an obscure scientific expedition in Alaska's remote Federal Wilderness Zone stumbles on the frozen body of what appears to be a saber-tooth tiger in a cave, though only the eyes are clearly visible through the ice. When news of the find reaches the cable television network sponsoring the expedition, Emilio Conti, a legendary documentary filmmaker, rushes to the scene, where he plans to film the thawing of the animal on live TV. After the frozen creature disappears, Conti suspects sabotage, until horribly eviscerated corpses begin to pile up at the military base hosting the expedition. Paleoecologist Evan Marshall suspects that the prehistoric beast is responsible-and that the initial identification of it as a saber-tooth was mistaken. While the story line of a horrific monster picking off a shrinking group of survivors in a confined area is nothing new, Child's superior writing raises this above the pack. (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. More Reviews and RecommendationsLincoln Child is the co-author with Douglas Preston of a bestselling thriller/adventure series. A former book editor at St. Martin's Press, he has published numerous short story anthologies and founded the company's mass market horror division. He also writes novels and techno-thrillers on his own.
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October 05, 2009: Paleoecologist Evan Marshall is part of a scientific team studying the effects of global warming in Alaska's Federal Wildlife Zone. Exploring an ice cave, the team discovers a mysterious animal frozen in ice. When their sponsor, a media conglomerate, learns of this, they send a film crew to the Zone to film a documentary about the unthawing of the animal. But once the unthawing begins, the animal disappears. The film's director suspects the scientists have something to do with it, which they deny. When one of his employees is found slashed to death, the scientists begin to suspect the animal may not have been dead, after all.
Lincoln Child delivers a suspense-filled thriller, setting a host of characters, from military men, to scientists, to a film crew in a remote area, in the middle of a snowstorm with a killing machine wreaking havoc. The usual obsessive persona is present in the form of demanding director, flanked by flunkies catering to his every whim, nonsensical or not. Marshall is an empathetic character, a scientist dealing with a past trauma who has sworn to never again hold a gun in his hand but is forced to. Once the action gets going, the plot becomes fast-paced and tense.Reader Rating:
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July 26, 2009: Easy read with a different plot which might make a good horror movie.
Name:
Lincoln Child
Place of Birth:
Westport, Connecticut
Education:
B.A., Carleton College, 1979
Born in Westport, CT, in 1958, Preston Child grew up with a consuming interest in writing. (On his website, he acknowledges several short stories from his youth and two "exquisitely embarrassing" novels penned in high school -- and currently kept under lock and key!) He graduated from Carleton College in Minnesota with a degree in English. In 1979, he moved to New York to pursue a career in publishing and was hired by St. Martin's Press as an editorial assistant. By 1984, he had worked his way up to full editor.
It was around this time that Child met Douglas Preston, a writer employed by the American Museum of Natural History. Author and editor bonded while working together on the nonfiction book Dinosaurs in the Attic; and when the project ended, Preston treated Child to a private midnight tour of the AMNH. The excursion proved fateful: Exploring the deserted corridors and darkened nooks and crannies of the museum, Child turned to Preston and said, "This would make the perfect setting for a thriller!" Although the book would not see print until 1995, the idea for Relic was born that night, cementing a friendship and launching a unique cross-country writing partnership.
Child left St. Martin's in 1987 to went to work for MetLife as a systems analyst. Shortly after the publication of Relic, he resigned his position to become a full-time writer. Subsequent collaborations with Preston have produced an intriguing string of interconnected novels that are less a series than what the authors call a "pangea." The books are self-contained, but the stories take place in the same universe and they share events and characters -- including many introduced in Relic. Readers obviously enjoy this cross-pollination, since the Preston-Child thrillers turn up regularly on the bestseller charts.
In 2002, Child released his first solo novel, Utopia, the story of a futuristic amusement park held hostage by a group of techno-terrorists. Other solo works have followed, blending cutting-edge science and high-octane thrills. Preston, too, has produced fiction and nonfiction on his own, and the two men continue their successful collaborations. It's an arrangement that suits both writers to a tee.
While at St. Martin's, Lincoln Child assembled several collections of ghost and horror stories. He also founded the company's mass-market horror division.
On his website, Child lists the following among his interests: pre-1950s literature and poetry; post-1950s popular fiction; playing the piano, various MIDI instruments, and the 5-string banjo; English and American history; motorcycles; architecture; classical music, early jazz, blues, and R&B; exotic parrots; esoteric programming languages; mountain hiking; bow ties; Italian suits; fedoras; archaeology; and multiplayer deathmatching.
In our interview Child shared some fun and fascinating personal anecdotes.
"I try to write about things, places, events, and phenomena I know about personally. That helps make the novels more genuine. My grandmother, Nora Kubie, who was herself a published novelist, always gave me that advice. And it's probably the best I've received, or for that matter given. I even try to make use of my personal eccentricities and quirks. I hate subways, for example, and in such works as Reliquary I tried to instill -- or at least convey -- that groundless but persistent fear."
"My first job out of college was as an editorial assistant in a New York publishing house. Being an editorial assistant is the purgatory would-be editors must endure before they can ascend the ladder and begin acquiring books on their own. I spent a year filing paperwork, writing copy, and typing rejection letters."
"For me, writing never gets easier. It's always hard work. It doesn't matter how many words you wrote the day before, or how many novels you've completed in the last decade: every day you start fresh again with that same blank page, or that same blank screen. As long as the work, and the finished product, remains fresh and important to a writer -- and the day it stops being important to me is the day I'll lay down my pen -- said writer can never allow himself to coast, or go soft, or recycle old material, or take the easy way out."
"I like exotic parrots, motorcycles, wine from Pauillac, playing the piano and the banjo, the poetry of John Keats, the music of Fats Waller, collecting old books and new guitars, computer FPS and RPG games, and preparing dishes like caneton a l'Orange and desserts like soufflé au chocolat."
What was the book that most influenced your life or your career as a writer?
Probably the essays of E. B. White. Nobody has influenced my love for words and wordplay as much as White has. In his hands, essays become poetry, and poetry becomes music. I've wanted to be a writer from a very young age, but it was such essays in this book as "Farewell, My Lovely!'" and "Death of a Pig" and "Here Is New York" that fueled my resolve, kept me determined despite setbacks and wrong turns, and ultimately helped turn a fond dream into reality.
What are your favorite books, and what makes them special to you?
This is hard. Ask me tomorrow, and you'd probably get some different titles. But these are the ones that spring immediately to mind:
What are some of your favorite films?
I love everything from drawing-room comedies to modern thrillers to art-house films. My favorites include, in no particular order:
What types of music do you like? Is there any particular kind you like to listen to when you're writing?
I love many types of music: classical music, R&B, soul, rock, bluegrass, jazz. Of the last five categories, I'm particularly partial to music composed and performed between 1940 and 1970. I can't listen to music while writing -- any such distraction would have dreadful consequences.
If you had a book club, what would it be reading?
Probably great works of English, Russian, and French literature. There are still many important novels in the canon that have to date eluded me -- the formal structure of a book club would help give me the discipline necessary to pick them up at last.
What are your favorite kinds of books to give -- and get -- as gifts?
I'm very hard to buy for. As a collector, my favorite books to receive are obviously collectible titles: rare first editions, very old books, and the like.
As for giving books to others, any book that has had a profound effect on me, or that I think the recipient will truly enjoy, is a delight to pass on or recommend. I recently gave Doug a copy of Kenneth Roberts's Northwest Passage, and it helped him get through a grueling period of touring in support of our latest joint book. I think most readers would agree that recommending books to people can be almost as rewarding as discovering the book for yourself.
Do you have any special writing rituals? For example, what do you have on your desk when you're writing?
My desk is cluttered with computers, phones, fax machines, printers, network storage devices, keyboards, and flat panel displays -- all sorts of technological flotsam and jetsam.
As for writing rituals, I find that late morning through early afternoon is the best time for me to do creative writing. I can only do so many hours of that per day, however, both from standpoints of creative energy and simple logistics: there are numerous other chores that demand a writer's time, such as answering email, doing publicity....
Many writers are hardly "overnight success" stories. How long did it take for you to get where you are today? Any rejection-slip horror stories or inspirational anecdotes?
As a former book editor, I had contacts in the industry among agents and publishers. That guaranteed that our first novel, Relic, would at least be given a sympathetic reading -- but it certainly didn't guarantee success. Our agent showed that manuscript to a long, long list of publishers over many months, and he was very patient, keeping hope alive when both Doug Preston and I began to despair of the book ever being published. In the end, Tor Books took a chance on us.
What tips or advice do you have for writers still looking to be discovered?
Be patient, and have fun -- it sounds like a truism, but the act of writing should be, in part, its own reward. Doug and I tried to have fun while we wrote Relic, and we also tried hard to make it the kind of book that we ourselves would like to read. Readers are very intelligent people, and they are quick to spot the difference between a book that was written with the genuine intent of pleasing the author and his/her readers, and a book written with the cynical intention of simply selling a lot of copies.
On an Arctic expedition to research the effects of global warming, paleoecologist Evan Marshall and his team make a discovery destined to make front-page headlines around the globe. In the deep recesses of a glacial ice cave, they come upon a gargantuan ancient creature, encased in solid ice. With echoes of King Kong and Jurassic Park, the creature is freed from its captivity, media moguls transforming the thawing-out into an international television event. As this live docudrama unfolds, Marshall grows apprehensive that this beast striding out into the new millennium might be the end of us all. Science, myth, and terror: This Lee Child thriller has it all.
A breathtaking discovery at the top of the world . . .
A terrifying collision between modern science and Native American legend . . .
An electrifying new thriller from New York Times bestselling author Lincoln Child.
Two hundred miles north of the Arctic Circle lies Alaska’s Federal Wildlife Zone, one of the most remote and inhospitable places on Earth. But for paleoecologist Evan Marshall and a small group of fellow scientists, an expedition to the Zone represents a once-in-a-lifetime opportunity to study the effects of global warming.
Everything about the expedition changes, however, with an astonishing find. On a routine exploration of a glacial ice cave, the group discovers an enormous ancient animal, encased in solid ice. The media conglomerate sponsoring their research immediately intervenes and arranges the ultimate spectacle—the creature will be cut from the ice, thawed, and revealed live on television. Despite dire warnings from the local Native American village, and the scientific concerns of Marshall and his team, the “docudrama” plows ahead . . . until the scientists make one more horrifying discovery. The beast is no regular specimen—it may be an ancient killing machine. And they may be premature in believing it dead.
In this riveting new thriller, Lincoln Child weaves together a stunning Arctic landscape, a terrifying mythic creature, and a pervasive mood of chaos—and fear. With Terminal Freeze, Child demonstrates why he has become a major bestselling author, and why his novels electrify and enthrall so many.
In this taut, suspenseful SF thriller from bestseller Child (Deep Storm), an obscure scientific expedition in Alaska's remote Federal Wilderness Zone stumbles on the frozen body of what appears to be a saber-tooth tiger in a cave, though only the eyes are clearly visible through the ice. When news of the find reaches the cable television network sponsoring the expedition, Emilio Conti, a legendary documentary filmmaker, rushes to the scene, where he plans to film the thawing of the animal on live TV. After the frozen creature disappears, Conti suspects sabotage, until horribly eviscerated corpses begin to pile up at the military base hosting the expedition. Paleoecologist Evan Marshall suspects that the prehistoric beast is responsible-and that the initial identification of it as a saber-tooth was mistaken. While the story line of a horrific monster picking off a shrinking group of survivors in a confined area is nothing new, Child's superior writing raises this above the pack. (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.In Child's latest (after his last solo effort, Deep Storm), scientists studying the effects of climate change in the Arctic Circle find frigid temperatures-and something more. While exploring an ice cave, the group uncovers the remains of a frozen saber-toothed tiger. When documentary filmmakers learn of the find, they come up north to record the discovery for a television special; then, the director has the bold idea to thaw the creature out on live TV for a ratings grab. When one of the scientists realizes that their discovery is bigger than the big cat, he tries to stop the unveiling, but the director is thinking of awards rather than everyone's well-being. Child excels in creating strong characters, isolating them, and forcing them to overcome impossible odds. Readers will be reminded of the film The Thing, but this book has more hard science to back up the chaos. Highly recommended for all public libraries. [See Prepub Alert, LJ9/15/08.]
Furry prehistoric beast thaws, then makes up for lost meals with human victims. Paleoecologist Evan Marshall leads a group of scientists into "The Zone" in northeastern Alaska. Working out of a small base known as the Mount Fear Remote Sensing Installation, his team from Northern Massachusetts University is doing research on global warming. The only other humans around are a small number of Native Americans, Tunits, to the north. Beneath the ice floor in a cave, the team spots a frozen creature, two fist-sized yellow eyes surrounded by black pupils-perhaps, as the team believes, a saber-toothed tiger. When Usuguk, an elder of the Tunits, arrives to warn the team of evil and advise them to leave, Marshall politely but firmly refuses. Meanwhile, in Virginia, Dr. Jeremy Logan discovers some ominous, though unspecified, information about Fear Base in top-secret documents from the 1950s. More turmoil rocks The Zone with the arrival of brash Emilio Conti, an executive producer with a documentary film crew, big as Marshall's and twice as boisterous, that promptly sets up a makeshift adjoining camp. The only respectful filmmaker is attractive producer Kari Ekberg. Marshall tries to oust Conti and company, but the producer's smug announcement that the film has financed the entire expedition effectively neutralizes any objections. After Conti sets about melting the block of ice, the creature inside proves much larger than a cat, though it disappears before anyone gets a good look. Then the tastefully depicted carnage begins. As the body count rises, an ice-road trucker named Carradine boldly drives most of the cast to safety while Conti prepares to film the beast and Marshall seeks help from theTunits. Child (Deep Storm, 2007, etc.) depicts his frigid setting with greater authority than his characters, diminishing his thriller's impact. Far from a classic, but a minor-league Jurassic. Agent: Eric Simonoff/Janklow & Nesbit
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