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London Bridges is something of a departure for James Patterson's Alex Cross novels in that it contains a serious speculation about what would--some might say, what will--happen if international crime copies the methods of terrorists or forms an alliance with them. The Russian mafia boss known as the Wolf delivers an ultimatum--large cash payments will be made and various prisoners released, or he will set off nuclear explosions in London, New York, Paris and Tel Aviv.
To prove his seriousness, he has already destroyed several small townships and a couple of bridges; this book inhabits a world where people will murder thousands just to prove that they are serious. Cross's usual ability to get inside the mind of a killer is far more of a problem when the killer is a man who has successfully erased his past, who communicates through cut-outs and expendable hirelings. Patterson's terse chapters and breakneck pacing are effective here--with its extended displays of insider knowledge and casual attitude to torture, this is not a likeable book, but it is a suspenseful one.--Roz Kaveney
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From Publishers Weekly
In his 10th adventure, Alex Cross, now working full time for the FBI, is confronted by two of his most deadly foes: the faceless ex-KGB agent from last year's Big Bad Wolf, who's known as "The Wolf" and is threatening four metropolises with nuclear destruction; and the insane serial killer The Weasel, last seen in Patterson's Pop Goes the Weasel. Patterson's action is fast and furious, and narrators Fernandez and O'Hare do a fine job of keeping up with him. O'Hare does especially well with his performance of The Wolf, giving the Russian-accented villain a calm, almost soothing vocalization that nicely counters his sadistic actions. Fernandez brings a warm humanity to Cross, especially in scenes with his family, giving listeners a break from the murder and mayhem that rule much of the book. The narrators' performances are accompanied by well-placed music and sound effects. Each chapter opens with an ominous ticking clock and an electronically distorted voice announcing the chapter title, a technique that at first seems fitting for the book's style and tone, but soon becomes more annoying than effective. Still, this one quibble will not stop Patterson's fans from thoroughly enjoying the latest installment in the Cross series. Simultaneous release with the Little, Brown hardcover (Forecasts, Nov. 8, 2004). (Nov.)
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