A chance encounter on the pier of Magic Beach, California, launches the newest adventure of Dean Koontz’s singular hero, Odd Thomas, who has starred in three previous bestsellers. Wise beyond his 20-something years, Odd evokes the homespun wisdom of Forrest Gump amid the mind-spinning adventures of a Jack Bauer.

The ultimate Everyman, the one-time fry cook is ostensibly just a jack-of-all-trades for an aging actor. Yet a prophetic vision triggers a manhunt for Odd by the Magic Beach police. While on the run, he puts his trust in the mysterious Annamaria and people like Reverend Moran, who betrays him by revealing him to the police. Odd also trusts his own instincts and one of his “oddest” companions: Francis Albert Sinatra, Ol’ Blue Eyes, haunts Odd, and goes ballistic with such descriptive finesse it’s a joy to read.

Canine relationships are a hallmark of Koontz’s writing, and they’re sublimely apparent in this tale. Odd’s companions include a ghost dog and new dog who intertwine in time and memory, much as Odd’s encounters with people and with danger. Throughout Odd Hours, there is the threat of a nuclear terror attack that would affect hundreds of thousands of people. But it’s with his descriptions of the personal terror that circles Odd as he confronts a world that blends life and death . . . and lingering death . . . where Koontz is at his zenith.

In the creation of the character Odd Thomas, with his prophetic dreams and psychic encounters and plain-spoken philosophizing, Koontz may have intended an avatar for himself, a voice to opine on everything from the two-way therapeutic interrelationship of man and dog to the global state of distress, but he’s transcended that to provide an avatar of hope and honor and courage for all of us – the linchpin of a rollicking good tale.

Sandy Huseby writes from Fargo, North Dakota, and lakeside in northern Minnesota.

Given the volcanic sales of Dan Brown’s The Da Vinci Code, it’s understandable that he’s chosen to retread many of that book’s conventions and plot devices for The Lost Symbol. Once again Brown’s protagonist, the Harvard symbologist Robert Langdon, must unlock a series of fiendishly cryptic puzzles to keep world chaos at bay, all the while confronting, within the span of a single day, a self-mutilating but endlessly resourceful villain, a powerful secret society (the Freemasons) and a well-meaning but obstructionist law-enforcement agency (the CIA). And again Langdon is accompanied in his frantic flights from danger by a woman who’s both attractive and academically worthy of him. The action takes place in and around some of Washington, D.C.’s grandest architectural treasures, among them the Capitol, the Smithsonian and the Library of Congress.

When he’s not assuming other identities, the villain Langdon faces calls himself Mal’akh. He is truly a terrifying foe, rich, muscular, merciless and tattooed from head to toe. Having insinuated himself into the highest rank of Masons, his mission is to discover and expose the organization’s deepest and most socially disruptive secrets. To prevent this, Langdon has to rescue a friend who Mal’akh has kidnapped and is torturing for information. Alas, the CIA is also onto Mal’akh and is determined to keep Langdon from messing things up.  All the action proceeds from these entanglements. At times, the book reads like an episode of the TV series "24."

Building psychologically complex characters is not Brown’s strong suit, nor need it be since he’s essentially writing genre fiction. But he does create a memorable one in the diminutive person of Inoue Sato, head of the CIA’s Office of Security. A survivor of the Nisei internment camps of World War II, she is pure chain-smoking, command-snapping venom. She steals every scene she’s in. Langdon also takes a Tom Clancy turn here, equipping the CIA commandos with all manner of high-tech weapons which should make Langdon’s escapes impossible but don’t. When Langdon isn’t running for his life, he’s tossing off tutorials on myth, history and religion. Seldom has unrelieved mayhem been so instructive.

There’s not much tension-relieving humor in The Lost Symbol, but there is one spot in which Brown seems to be poking fun at himself and his delay in finishing the manuscript for this book. Langdon calls his editor to get a phone number and nimbly parries the editor’s questions about when he’s going to meet his deadline. After Langdon hangs up, the editor “stared at the receiver and shook his head. Book publishing would be so much easier without the authors.

Well, it was worth the wait.

Making a move that is guaranteed to delight his fans, John Grisham returns to form with his first legal thriller in three years, The Appeal.

The novel finds Grisham in familiar territory—the courtroom—but it begins in an unconventional way: with the end. When the verdict is announced in the novel's first chapter, readers are immediately thrown into the case and the controversy that surrounds it. The husband-and-wife legal team of Wes and Mary Grace Payton is representing Jeannette Baker in an effort to prove that her son and husband died as a result of contaminated water. On the other side of this battle is the chemical company accused of dumping toxic waste into the water supply. After a protracted trial and agonizing deliberations, the jury finally delivers its verdict. The chemical company appeals to the Mississippi Supreme Court, though lawyers don't anticipate a favorable outcome. Enter Wall Street billionaire and chemical company owner Carl Trudeau, who purchases a court seat with pocket change—a few million dollars. The fate of the case is left up to the nine state Supreme Court justices, one of whom is ensnared in conspiracy. The judicial system may never be viewed in quite the same way again.

Grisham's literary dynasty and avid fan following have been built on his remarkable ability to produce a blockbuster novel every year, nine of which have been turned into feature films. Beginning with 1991's The Firm, his second novel and first big success, Grisham established his place in thriller history by writing suspenseful tales about the judicial system. Fans have come to expect frequent twists and turns that leave them on the edge of their armchairs.

Though Grisham has made successful detours from this formula recently, with the comic novel Playing for Pizza and his first nonfiction work, The Innocent Man, his return to the legal fiction realm is an event long anticipated by both avid readers and Grisham himself. "I still enjoy writing the legal thrillers," Grisham has said of his latest book, "and don't plan to get too far away from them. Obviously, they have been very good to me, and they remain popular. I plan to write one a year for the next several years." Grisham, who turns 53 this month, has more than 225 million books in print worldwide, and his work has been translated into 29 languages. A decade ago, Publishers Weekly estimated that Grisham's earnings had made him a billion-dollar man. Not bad for someone who began writing as a hobby. The Arkansas native and Ole Miss-educated author's pastime evolved into a career—though only 5,000 initial copies were printed of his 1988 debut A Time to Kill, which took him three years to write—after years of practicing law. His detailed mastery of the legal genre, which focuses on lawyers and their associates, is due in part to his personal understanding of the legal system.

Grisham's most recent appearance in a courtroom came in 1996, when he honored a long-standing commitment to represent the family of a railroad brakeman killed in an accident. A jury awarded the family more than $600,000 in the case. Grisham, who served in the Mississippi legislature during the 1980s, retains a keen interest in politics (he hosted an early fundraiser for Hillary Clinton in 2007) but says he has no intention of running for office again. "I enjoy watching and participating in politics from the sidelines, but it's best to keep some distance," he says.

Bookstore patrons and moviegoers may find it difficult to keep their distance from the nonstop writer—and who'd want to?—but there is little risk of a complete Grisham overload: Though his work can be found on the bookshelves and the big screen, don't expect to catch him pitching Gillette razors while you're flipping channels. The intensely private author continues to refuse offers of personal appearances and sponsorship, and he seems to live a tranquil life. He and his family divide their time between a home in Mississippi and a plantation near Charlottesville, Virginia, remaining largely out of the public eye. This eagerly anticipated return to the genre that made Grisham a household name is another page-turning installment from start to finish. A verdict has been reached: The people are craving another Grisham legal thriller.