Judith M. Gundry

Michael Crichton, creator of Jurassic Park, ER, Twister, and Westworld, had a passion project he’d been pursuing for years, ahead of his untimely passing in 2008. Knowing how special it was, his wife, Sherri Crichton, held back his notes and the partial manuscript until she found the right author to complete it: James Patterson, the world’s most popular storyteller.

It's 1977. Ike and Lucy, Senator Charlie and Margaret Marder's kids, are grown up—and in trouble. US Marine Ike has gone somewhat off the grid, working on Evel Knievel's pit crew in Montana, when—after a bar fight—he has to flee a neo-Nazi gang and seek refuge in the woods with a group of Vietnam veterans. Lucy, a reporter, has become the star of the brand-new Washington DC tabloid, the Sentinel, and is breaking all sorts of stories about a serial killer and falling in with the Lyons, the wealthy family that owns the newspaper.

When Penny Dahl calls the Finders Keepers detective agency, hoping for help locating her missing daughter, Holly Gibney is reluctant to accept the case. Her partner, Pete, has Covid. Her (very complicated) mother has just passed away. And Holly is meant to be on leave. But something in Penny’s desperate voice makes it impossible to turn her down. Meanwhile, mere blocks from where Bonnie Dahl disappeared live Professors Rodney and Emily Harris. But they are also harboring a shocking, unholy secret.

Alma Katsu calls My Heart Is a Chainsaw “a homage to slasher films that also manages to defy and transcend genre.” On the surface is a story of murder in small-town America. But beneath is its beating heart: a biting critique of American colonialism, Indigenous displacement, and gentrification, and a heartbreaking portrait of a broken young girl who uses horror movies to cope with the horror of her own life.