Cover image for Golden prey a novel
Golden prey a novel
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Thanks to some very influential people whose lives he saved, Lucas is no longer working for the Minnesota Bureau of Criminal Apprehension, but for the U.S. Marshals Service, and with unusual scope. He gets to pick his own cases, whatever they are, wherever they lead him. And where they've led him this time is into real trouble. A Biloxi, Mississippi, drug-cartel counting house gets robbed, and suitcases full of cash disappear, leaving behind five bodies, including that of a six-year-old girl. Davenport takes the case, which quickly spirals out of control, as cartel assassins, including a torturer known as the "Queen of home-improvement tools" compete with Davenport to find the Dixie Hicks shooters who knocked over the counting house. Things get ugly real fast, and neither the cartel killers nor the holdup men give a damn about whose lives Davenport might have saved; to them, he's just another large target.


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Lucas Davenport's first case as a U.S. Marshal sends him into uncharted territory in the thrilling new novel in the #1 New York Times -bestselling series.

The man was smart and he didn't mind killing people. Welcome to the big leagues, Davenport.

Thanks to some very influential people whose lives he saved, Lucas is no longer working for the Minnesota Bureau of Criminal Apprehension, but for the U.S. Marshals Service, and with unusual scope. He gets to pick his own cases, whatever they are, wherever they lead him.

And where they've led him this time is into real trouble. A Biloxi, Mississippi, drug-cartel counting house gets robbed, and suitcases full of cash disappear, leaving behind five bodies, including that of a six-year-old girl. Davenport takes the case, which quickly spirals out of control, as cartel assassins, including a torturer known as the "Queen of home-improvement tools" compete with Davenport to find the Dixie Hicks shooters who knocked over the counting house. Things get ugly real fast, and neither the cartel killers nor the holdup men give a damn about whose lives Davenport might have saved; to them, he's just another large target.

Filled with his trademark razor-sharp plotting and some of the best characters in suspense fiction, Golden Prey is further reason why "Sandford has always been at the top of any list of great mystery writers" ( The Huffington Post ).

Author Notes

John Sandford was born John Roswell Camp on February 23, 1944 in Cedar Rapids, Iowa. Before entering the U.S. Army and serving in Korea, he received a bachelor's degree in American history from the University of Iowa in 1966. After leaving the service, he received a master's degree in journalism from the University of Iowa.

During the 1970s, he worked at The Miami Herald, and the St. Paul Pioneer Press. In 1985, he began researching the lives of a farm family caught in the midst of the crisis of American farming. The article, Life on the Land: An American Farm Family, won the Pulitzer Prize for Feature Writing and the American Society of Newspaper Editors Award for Non-Deadline Feature Writing.

After winning the Pulitzer Prize, he began writing fiction. His works include the Prey series, the Virgil Flowers series, and The Singular Menace series. He has also written nonfiction works on plastic surgery and art.

Sandford's Young Adult novels, Uncaged and Outrage, Books 1 and 2 of The Singular Menace Series co-written with Michelle Cook, made the New York Times Bestseller list in July 2016.

(Bowker Author Biography)

Reviews 3

Publisher's Weekly Review

Near the start of Thriller Award-winner Sandford's solid 27th Lucas Davenport novel (after 2016's Extreme Prey), holdup man Garvin Poole and his gang hit a dope counting-house in Biloxi, Miss. During the robbery, Poole fatally shoots four drug dealers and one of their granddaughters, a six-year-old girl. Davenport, a former Minnesota Bureau of Criminal Apprehension official who's now a U.S. marshal with the freedom to take on any case he wants anywhere in the country, decides to go after Poole. Davenport assembles all available information on Poole, his family, his associates, and his girlfriend. Meanwhile, Luis Soto, "a bad man [who] liked being a bad man," and torture specialist Charlene Kort are working on behalf of the robbed drug boss; Davenport gets a sample of Soto and Kort's handiwork when he finds Poole's parents brutally slain at their home in La Vergne, Tenn. Sandford's trademark blend of rough humor and deadly action keeps the pages turning until the smile-inducing wrap-up, which reveals the fates of a number of his quirky, memorable characters. Agent: Esther Newberg, ICM. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

Booklist Review

Garvin Poole is a shooter and a thief. Sturgill Darling is a spotter. He tracks big-dollar opportunities that a guy like Garvin can exploit, and he's spotted a score in Biloxi, Mississippi. A South American drug cartel is moving bales of cash out of a Biloxi shipyard that was ruined by Hurricane Katrina, but the cartel's soldiers have grown careless. When Gar and Sturgill strike, five lie dead along with one child. The take is millions. Lucas Davenport has used his political connections to secure a job with the U.S. Marshals. With a blank check, he can do what he does best: hunt in this case, for Gar and Sturgill. But he has competition: two cartel thugs, Luis Soto and Charlene Kort. Luis is a stone-cold killer, but Charlene is something else: she likes working with power tools to get relatives to talk. When someone's sawing off your leg with a Black and Decker, one tends to say whatever is needed to make it stop. The twenty-ninth Prey novel is a very good, straightforward chase thriller, laced with gallows humor throughout.--Lukowsky, Wes Copyright 2017 Booklist

New York Review of Books Review

IT'S HARD TO get good help these days. That's the complaint of the stressed-out Glaswegian gangsters in EVERY NIGHT I DREAM OF HELL (Mulholland/Little, Brown, $26), a piece of writing that lives up to its gritty title. It's especially difficult to find disciplined professionals like Nate Colgan, an enforcer for the Jamieson gang and the reliable chronicler of Malcolm Mackay's novel. Although he's skilled at handling the dirty jobs, Nate is no meathead. "Times had changed," he explains. "Big organizations had become more sophisticated and the standard of muscle had gone up." But with Peter Jamieson in prison, the wheels seem to be coming off his efficient machine. Between the assassination of business associates like Lee Christie and takeover threats from ambitious insiders like Angus Lafferty, it's clear to Nate that "the old boss, and the old certainties, were gone" and the leadership is up for grabs. "The problem," in his opinion, is "gunmen. Hard to pick up a good one" and impossible to make a permanent hire, given the sorry state of the organization. It's in this atmosphere of unrest (some might call it chaos) that Nate is elevated to the role of "security consultant" and charged with keeping a lid on Adrian Barrett, an English mobster escorted into town by Nate's former lover, Zara Cope, in order to poach on local turf. It's a joy to wallow in the muck with Mackay, who writes in a bold style that reflects confidence rather than bravado, occasionally breaking up the tension with a wry joke. (His definition of a "paranoid crew" of hit men: "two to do the work and two to check up on the two doing the work.") And he isn't afraid to show Nate at his violent worst because he knows that, like Zara, we can't get enough of this morally complex antihero. Nate survives by believing himself to be a good man in a bad job, a rationalization Zara brushes off. "The rest of the world knows you're the bad guy," she says, "the man that the beasts are scared of." There's a reason Nate can't sleep at night: "The only world darker than the one I lived in was the one I slept in." WHO BETTER TO WRITE a mystery about a transgender woman with identity issues than a transgender woman with identity issues? Jennifer Finney Boylan has designed LONG BLACK VEIL (Crown, $25) as a whodunit - an existential whodunit about living with all your selves. The story opens in 1980 at Eastern State Penitentiary in Philadelphia, a "medieval-looking" pile, long abandoned and thus a tempting destination for some college friends looking for an adventure. The fun wears thin when someone locks them in and ceases altogether when they realize one of them is missing. To the author, the prison is more than a setting, it's also a powerful symbol for the closeted life she once led. There are two transgender characters in this novel, and one of them can save an old friend from suspicion of murder when the body of that missing student is found years later, in 2015. But in order to do so, she'll have to acknowledge the closely guarded secret of her past life, a revelation she fears will alienate her husband and destroy her marriage. Although Boy Ian's awkward handling of the two time frames depletes the tension, she has a good grip on the dynamics of her narrator's current and past selves and the battle to keep them from fighting to the death. WE KNOW THAT authors get attached to their series heroes, but this is ridiculous! John Sandford has already written 26 novels about Lucas Davenport, and by now you'd think they'd be sick of each other. But no. In GOLDEN PREY (Putnam, $29), Sandford has come up with yet another career move for his superslick action hero, who started out as a lowly cop in Minneapolis and quickly advanced to more demanding posts. Here Lucas has left his stressful job with the Minnesota Bureau of Criminal Apprehension and is doing some interesting undercover work as a marshal. It's the perfect career move for this high flyer, who is being groomed for a future political detail. But for now, he's on the trail of a career criminal who had the nerve to rob a Honduran drug cartel. Good luck with that. THERE'S A DANISH word, ravnemodre, that translates as "raven mother" and refers to bad mothers. Ella Nygaard, the 28year-old protagonist of WHAT MY BODY REMEMBERS (Soho Crime, $25.95), is considered such a woman. Because of debilitating panic attacks, she can't seem to hold down a job, get off the dole or provide a decent home for her young son. No wonder. As a child, Ella watched her father kill her mother and was so traumatized she grew up full of rage. But for all that, Ella is no ravnemodre. When her son is taken away from her, she kidnaps him and flees to her grandmother's vacant cottage on the North Sea. But she's not safe in this village, where strangers ask too many questions and frighten her into revisiting the secrets of her brutal childhood. In this sensitive character study (translated by Lindy Falk van Rooyen), Agnete Friis, who writes the Nina Borg mysteries with Lene Kaaberbol, dares us to confront our prejudices against bad mothers and other outcasts. MARILYN STASIO has covered crime fiction for the Book Review since 1988. Her column appears twice a month.



1 Garvin Poole slipped out of bed, got his lighter off the fireplace mantel, and walked in his underwear through the dark house to the kitchen, where he took a joint out of a sugar jar, then continued to the garden door. He opened it as quietly as he could, but it chimed once, not an alarm so much as a notification. He stepped out onto the patio and continued along the flagstone walk to his work shed. Poole was an inch shy of six feet, with the broad shoulders and big hands of a high school wrestler, which he'd never been, and now, a hint of a hard beer gut. He still had thick reddish-brown hair over blue eyes and used a beard trimmer for the three-day look. Women liked him: he couldn't go to Whole Foods without picking up a ­conversation. The flagstones underfoot were cool but dry; not much rain this year. The moon was up high and bright over the garden wall, and he could hear, faintly, from well off in the distance, the stuttering midnight sound of Rihanna singing "Work." He opened the shed door, turned on the light, sat down in the office chair, fired up the joint, and looked at the guitar he was building. He'd been sitting there for a half minute or so when Dora Box said, "Gar?" She stepped through the open door, buck naked, the way she slept. "Whatcha doin'?" He said, "Come on, sit down." She sat in a wooden chair and didn't cross her legs and he took a long look and then said, "I'm going back to work. One time." "Oh, boy." Now she crossed her legs. Box had a hard time getting through the day without being rubbed or squeezed, but business was business. "It might have been a mistake, coming here," he said, waving the joint at the workshop. "I've been thinking about it a lot, for the last month or so. I like it, but we should have left the country. Gotten out completely." "There's no other place you like that we could go," Box said. "Costa Rica was supposed to be the best, but you thought it sucked. Snakes. Oh, God, snakes. Anyway, you don't even like most of the States , Gar. Where'd we go that we'd like?" He shook his head. "I don't know. Someplace crookeder than here." "You know a place crookeder than Dallas?" "Sure. There are places in this world where you can pay the cops to kill people for you," he said. His voice squeaked as he simulta­neously tried to talk and to hold the smoke in his lungs. "Where you can do anything you want." "You wouldn't want to live in those places. What brought this on?" Poole took a drag on the joint and said, "I put ten years of money into gold, and now I go around trying to cash the gold out and there aren't enough places to do that, not inside a day's drive. Every time I cash a coin, the guys are giving me looks, you know? I've been back too many times. They know what I'm doing, that I'm cashing out hot money. They don't say anything, but they know ." "We could drive somewhere else," Box suggested. "Oklahoma City, Houston . . ." "Basically the same problem. People looking at you, remembering you," Poole said. Silence for a while, then Box said, "I thought the gold was smart." "I did, too, back at the start. The cops were tearing up everything south of Kentucky, looking for me, and gold seemed . . . flexible. Good anywhere. Maybe I was thinking about it too much." They'd had variations of the talk before. Gold coins were anonymous, portable, no serial numbers. He could get small bills for gold, it kept its value over time, and it was salable almost anywhere. He hadn't seen the problem with being looked at and remembered. "I didn't see that coming, cashing out month after month. We need ten thousand a month to keep our heads above water, that's nine or ten coins a month right now," he said. "If we were in the right country, we could cash it all out at once, set up a phony company. Pretend we earned the money, give ourselves salaries, pay taxes, and maybe someday come back to the States under different names." "Sounds sketchy," she said, and, "Gimme a hit." He passed the joint, and she took a hit, held it, breathed out, bit off another one, passed it back, uncrossed her legs, and unconsciously trailed her ­fingers across her pussy. The soft smell of marijuana went well with the fleshy damp odor of the nighttime garden. "If you're thinking about moving us out of the country, then why are you thinking about taking a job?" "Because I really don't want to leave here. The job's an alternative," Poole said. "Tell me." "Sturgill called. He sees an opportunity." "How much?" "Can't tell from a distance, but he thinks at least Two or Three. Maybe more. Maybe a lot more." He orally capitalized the numbers. "Two" meant two million. "Three" meant three million. Box shook her head. "That much, it's gotta be risky." "Sturg says it's pretty soft." "Sturg . . . Sturg always knows what he's talking about," Box conceded. "When would you do it?" "Either one week, or a month and a week. The money's there one day a month," Poole said. "Where?" "Biloxi." "Mmm. I like Biloxi. Like that jambalaya. Pass the joint." He passed it over and she bit off some smoke, played it through her nose. She handed the joint back and rubbed her arms: goose bumps in the cool night. "The thing is, we'd get cash. All cash. We could spend it without anybody looking at us or looking for us," Poole said. "Stay here, figure out a way to move the gold. We get a couple mil out of Biloxi, we could take eight or ten years to liquidate the gold and when that's done, we got a lifetime." "I don't like you going back to work, but it's better'n moving to Russia, or some weird foreign shit like that," Box said. She stood up and stretched: she had the body for it, too, long, lanky, lightly freckled, a dishwater blonde with small pink nipples and only a wispy trace of pubic hair. "I'm going back to bed. Don't stay up too late." Poole bought high-quality guitar parts, assembled them, then began meticulously carving and staining the surfaces, creating comic-book-like custom scenes. He'd learned woodworking at what Tennessee called, with a straight face, a Youth Development Center. Prison for kids, was what it was. When Box was gone, he sat looking at his latest work, a bass-fishing comic being done for a pro fisherman who was also a guitar collector. It needed another two weeks; he'd have to put it aside, for now. He reached across the shed and picked up a twenty-year-old Les Paul, touched the power switch on an amp with his big toe, pulled some quiet blues out of the guitar. He liked the music, liked the woodwork, liked the smell of the lacquer. If he'd made a business of it, he figured he'd make almost half as much as an elementary school teacher. He went to Biloxi. Biloxi, Mississippi, and the smell of the sea. Sturgill Darling was sitting at a round corner table in the oyster bar, a block off the Gulf of Mexico, amid the steam and sour stinks of both raw and cooking seafood. He looked like a slow, lazy hick, and stupid, too, with his farm-work forearms, bowl-cut brown hair, and worn, loose-cut jeans. He wore a floppy plaid shirt and yellow work boots, and sprawled back in the chair, knees locked and feet straight out in front of him, grinning at the passing crowd with teeth as yellow as his boots. A dumbass, for sure; an ignorant peckerwood. A mistake that any number of people had made to their lasting ­regret. Poole took the chair beside him, held up a finger to a barmaid, and pointed at Darling's glass and said, "Give me one of those." When she'd gone, Darling asked, "What do you think?" Poole was wearing sunglasses over a gray-flecked-red week-old beard, and under a long-billed fishing hat, the better to defeat surveillance cameras. He'd spent most of the day scouting the scene of the would-be job. "We can do it, if it's no more guys than you say. How in the hell did you find this?" "I knew the blow was coming in through Galveston but I couldn't see any money going out. They're bringing in anything up to five hundred kilos at a time, that's, let's see, about eleven hundred pounds, off big game fishing boats that meet with these boats from Honduras. Anyway, I found a guy in Houston who could sell me an ounce, and then I watched. Watched him, watched the guy he got his product from, and watched the guy he got his product from, and by the time I got to the end of the line, I was watching guys who could sell you a hundred kilos if you had the cash. Then I watched them backwards, watched the wholesalers paying the money guys--the money guys never touch the dope--and watched the money guys move it to the pickup guys, who travel up and down the coast from Charleston around to Galveston, with Biloxi in the middle. Watched it come down here, to the bank." Poole thought about that, admitted to himself that Darling had a talent that he, Poole, barely understood, the ability to uncover the footprints that could lead to a treasure; but Poole also understood that he had a talent that Darling didn't: the will to act. Darling could uncover all the dope banks he wished, but he'd never go into a robbery as the leader, the designated shooter. That took somebody like Poole. "How do they move the dope?" Poole asked. "RV. Couple of middle-aged lesbo chicks, got some prison tats on them. They look . . . competent. They got double-load tires on the truck, I believe there might be some armor on it. These girls got a look about them--I believe they're carrying some artillery." "Huh." That's the way Poole would have done it; he even liked the lesbo touch. Cops were usually too sexist and too lazy to pay much attention to a couple of chicks. And some of those goddamn dykes could take your face apart with their teeth. "But we don't want the dope, even if we could take it," Darling said. "We got no way to get rid of it. Not that much of it. And the dope handlers never see the cash, except at the lowest levels." "Just askin'. Five hundred kilos, what's that . . ." He closed his eyes for a few seconds, then said, "Twelve million, more or less, if it's not stepped on too hard. What about the money?" "They take no chances with the money. They move it in increments. There are four bankers who travel around, meet the collectors who get the cash from the top-end retailers. The bankers and everybody else move in rental cars, I doubt they ever have as much as a quarter million in any one pickup. Then it comes together, down here, once a month. The people here bundle it and send it out on the last Sunday of the month," Darling said. "Regular as a railroad. Put it on a charter boat, drop it with a Honduran boat out in the Gulf. Whole operation is run by the Arce brothers, Hector and Simon, out of Puerto Cortés." "Honduras?" "Yes. The brothers aren't real big, not like the Mexican cartels, but they're smart and mean. Keep their heads down and their mouths shut, nothing flashy about them. Pay off the Honduran cops and army, everybody's cool." Poole thought about that, in the silent, smiling, calculating way that Southerners had, and finally said, "Well. Looks like you found the honeypot, all right." "Probably." Darling gave Poole his lazy look. "You sure you're up for this? It's been a while." "Yup. I am." "There'll be one outside, three inside, they all got guns," Darling said. "I've watched them for three months, always the same." "We gunned up?" Poole asked. "Yeah. Got your favorites, bought out of Chicago brand-new, Glock 23s suppressed, loaded up with 180s. I did the reloads myself so they'll be going out subsonic to kill some of the noise. I thought maybe . . . Sam Brooks if you think we need another gun." "Don't need him and I don't like him," Poole said. "I'll need a day to work with the guns. You got a place I can do that?" "Knew you'd ask," Darling said. "I got a place so far out in the woods that the fuckin' owls get lost." The barmaid brought Poole's beer and he thanked her and they waited until she moved away, then Poole said, "Shoot the next couple days, move Sunday night?" "Sounds good. About the cut? What do you think?" Poole grinned and tapped the beer, swallowed, and said, "I won't argue with you." "I'm thinking, sixty-forty, since I did all the setup," Darling said. "Took me nine months. I started working on it way last winter." "Fair enough." "Hot damn," Darling said, with his yellow grin. "The Dixie Hicks are back in action. What's left of them, anyway." Poole laughed and kicked back and said, "You remember that time with Ronnie outside of Charleston . . ." The Dixie Hicks had all kinds of war stories, some funny, some sad. In most of them, even the funny ones, somebody wound up dead. Like Ronnie, three Georgia state troopers hot on his ass, riding a stolen 2009, 556-horse Cadillac CTS-V down a rocky gulch in the Georgia Piedmont, rolling over and over and over until the car looked like a shiny sausage, thirty thousand dollars in bank money exploded all over the interior, along with Ronnie's brains. Good old Ronnie. Too bad he killed himself. Poole and Darling drove north into the trees on the following day and Poole went to work with the guns. He'd laid off for a while, but killing is like riding a bicycle: once you got it, you got it. Darling had gotten inside the counting house one dark night when the bankers weren't there, and said they counted at a table about thirty-two feet from the door in the outer wall--he'd checked it with a tape measure. At thirty-two feet, or any shorter distance, Poole wouldn't have to worry about where to shoot: he'd hold dead-on and pull the trigger. They set up some human-shaped paper ­targets out in the woods, stapled to pine trees, and Poole worked at it, getting back in the rhythm. From the first shots, he was accurate enough, but he had to work on speed. Excerpted from Golden Prey by John Sandford All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.