hc.newton

This originally appeared at The Irresponsible Reader.

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What’s A Drop of Corruption About?

Dinios Kol arrives (as is his custom) in the canton of Yarrowdale, ahead of his boss, Ana Dolabra. They’ve been assigned to investigate the disappearance of a Treasury officer. This officer—and the rest of the Treasury delegation—is in Yarrowdale to negotiate with the King the final steps of Yarrowdale fully joining the Empire once and for all.

Right now, Yarrowdale is (rightly or wrongly) considered a backwater territory, valuable for one thing only—it’s a place that the leviathans do not travel to, so their corpses can be moved there and harvested for the copious near-magical substances used by the Empire. (incidentally, I found this whole aspect just tremendously cool. I won’t say more than that, but if we only got a novella about this part, I’d have been satisfied). This is the only place where this is safely done, so it’s hard to understate the strategic importance of Yarrowdale.

So one of the Empire’s chief negotiators going missing is no small thing—so Dolabra is assigned to find him.

Not at all shockingly (to any reader), the corpse of the officer is quickly located once Kol arrives. Its condition raises eyebrows and concerns—and that’s just the beginning, the more they investigate the circumstances around this killing the less sense things make, and the greatness of the mind behind it is seen. Dolabra is excited by the challenge, while everyone around her becomes more and more apprehensive with each discovery or conclusion she makes.

I won’t go on much beyond this—I’d love to summarize the whole book for you, but why? More victims are found, more questions are raised, the stakes keep climbing higher, and the implications for the future of the Empire are great.

Dolabra and Kol

When I talked about The Tainted Cup, I didn’t really talk about the primary characters. I hesitate to start now because I’m going to have a hard time stopping. But let me try to dip my toe into it.

Ana Dolabra is a brilliant investigator for the Empire—being sent to the trickiest investigations and given almost unlimited authority to get the answers she seeks. Due to some physical (and psychological) limitations—and the fact that she has zero interpersonal skills (and that’s being generous)—she requires a deputy to handle most of the actual investigating, bringing her the evidence and testimony that she needs to solve the crimes.

Which is where Dinios Kol comes in. He’s been altered to have a perfect memory—sights, sounds, smells, conversation…you name it, he remembers it all (even if he doesn’t want to). So he’s the perfect assistant for someone who will not interact with people of her own volition. There are jobs he’d rather perform—and places he’d rather perform them. But his family needs money to pay medical debt, and this is the surest way for him to accomplish that. He escapes into drink, drugs (I think it’s more like tobacco than anything, but I’m prepared to be shown that I’m wrong), and sex as often as he can. But is reliable when the chips are down—he has to be.

Ana Dolabra is very much in the Nero Wolfe mold—purposefully so. But she breaks the mold in all the right ways—her reasons for relying on someone else to interact with the outside world are different and less self-imposed. Her ego is as large (I wasn’t sure that was possible), and she takes some of these crimes as a personal attack on her and her genius (like Wolfe occasionally does). But she relishes the challenge—and talks openly about enjoying this case compared to the boring murders and whatnot she’s solved recently. She has a strange relationship with eating so that sometimes she sounds like her antecedent and other times the complete opposite.

Most people will not care about this (and I assure you, that paragraph could be longer)—but I’m incapable of reading any section featuring Dolabra without pausing to contrast her to Wolfe. She never comes out bad in these comparisons—just different in a creative way.

Her Archie Goodwin, Dinios Kol, can be compared and contrasted in the same way. I started to say he’s less like Archie, and I really want to. But I can really think of one major difference—what drives them. Kol’s motivation for the work (at this point, anyway, it may be shifting toward the end) is different. So he behaves with a little less loyalty. This makes him more interesting and makes up for his lack of humor. Ah, look there—I found another notable difference. Kol is far too serious to really be an Archie, but I wouldn’t want to change a thing about him.

Building on the Worldbuilding

In The Tainted Cup, Bennett introduced us to a fascinating and complex world of kaiju-esque monsters, magic-feeling science, and a massive empire that’s keeping humanity alive. it was both awesome and strange. In A Drop of Corruption, it’s almost as if Bennet tells the reader, “So you’ve seen the typical in this world, but you ain’t ready for this.” As strange and terrible as we thought things were…ha.

We get to see new augmentations, we get to see how outsiders (or semi-outsiders) regard the Empire, we learn a whole lot of history about the Empire, the monsters, the science behind the augmentations, and so much more. I’m having trouble expressing it all.

In both books so far Bennett can bring the unbelievable and indescribable to life. Din will start a sentence by saying something like, “Words cannot express ___” or “It’s too incredible to explain” or something like that—and then will falteringly describe it in such a way that the reader comes away with a pretty good idea of what Din saw. Even when he’s not calling his shot like that, item after item, phenomenon after phenomenon, creature after creature that really shouldn’t make sense when written about comes through with a level of detail that leads the reader to think they’re imagining what Bennett imagined.

Sure….it’s likely that no two readers will have similar mental images. But that’s not important—you’ll think you do.

The Author’s Note

The Author’s Note (largely an Acknowledgement section, but a little bit more) is a must-read. I don’t know if you’re prone to reading them—particularly if they feel more like an Acknowledgment than anything else. But make an exception for this one. It’s worth your time.

So, what did I think about A Drop of Corruption?

I was blown away by The Tainted Cup, and so I was apprehensive about this one—could it live up to it? I’m pleased to say that it did. I very likely enjoyed this much more—because I was ready for the strangeness and could just let it build on what the prior book did.

I feel bad saying I had fun reading about all the trauma that these victims went through, but I really did. Kol and Dolabra—and Kol’s new local acquaintances are just so well-conceived and vividly drawn, that it’d be harder to be disinterested than captivated.

The mystery kept me guessing until the end (except for the time I thought I’d figured it out, and I was very wrong). There was even a point where I wrote in my notes, “Could this be a redder herring?” and it was anything but. I won’t go into details so you can be fooled like I was, but man… The only thing I like more than the smug satisfaction of figuring out a mystery before a brilliant detective is an author who can fool me into that smugness only to pull the rug out from under me. Not to get elitist or anything, but a fantasy writer should be worse at this than a mystery writer. Bennett didn’t get that memo.

I do think you could read this book without the first in the series—but don’t do that to yourself. Buy a copy of this now (or get on your Library’s waitlist), but get The Tainted Cup at the same time. If I’m right about where this series is going (or even almost close to right), you’re going to want to be ready for it. This is just dynamite.

This book deserves more compliments from me—but who has the time? (not the guy who meant to post this a week or so ago). A great mystery novel, a great fantasy novel, with characters that you’d want to read about even if the plots weren’t worth the time or trouble.

Disclaimer: I received this eARC from Random House Publishing Group – Del Rey, Random House Worlds, Inklore via NetGalley in exchange for this post which contains my honest opinion—thanks to both for this.

This originally appeared at The Irresponsible Reader.

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What’s The Library Game About?

The project that Secret Staircase Construction is about to wrap up has a couple of distinctive elements (on top of the sliding bookshelves, escape room, etc.)—their client is dead, and his death is not a mystery at all. Most people might not consider that very distinctive, but those people haven’t read a mystery novel featuring Tempest Raj.

This client was an aficionado of classic mysteries—okay, aficionado is an understatement—he was borderline obsessed and had the money to indulge that obsession. As his death neared, he decided to turn most of his house into a library (leaving room for an apartment for his librarian nephew), stocked with his own collection. This sounds like a dream come true for most of my readers, right?

He hired Secret Staircase to give it just the right look and touch, even turning part of it into an Escape Room. Sadly, he died before it was completed, leaving his nephew to bring his vision to life.

While the library is being finished—and waiting for official approval to make it a public entity—there’s a neighborhood festival. To get some promotion for the library (and to be good neighbors), they’ve hired some local actors to stage a little performance.

During a dress rehearsal for that performance, something goes wrong—one of the actors disappears (I’m glossing over a lot here), so they try again the next day—in the midst of that… I don’t even know how to gloss over this. It’s like they all chanted “Macbeth!” while walking under a ladder and crossing a black cat’s path or something—so many things go wrong, and a body is discovered. Tempest’s magician friend, Sanjay, appears to be the prime suspect—although the rest of the actors and workers aren’t above suspicion either.

Well, more than one person floats the idea of the deceased client’s ghost being behind it all. So, there are plenty of suspects, however unlikely.

Tempest (and her friend group and family) has her work cut out for her if she’s going to clear Sanjay’s name, find the killer, and get the Library set for the festival.

The Sense of Fun

Yes, this is a murder mystery. Livelihoods, wrongful convictions, and more are on the line. But there is a strong sense of fun to this book. Our amateur sleuths are a group of friends who’ve been down this road before (three times to be exact)—in one way or another.

They like the challenge, they enjoy mysteries, illusions, and everything else going on here—and they can’t help but enjoy this in some way—and this comes out in their interactions with each other.

There’s a sense of play here as they work through this, some running jokes, and so on. I’m not saying that books two and three were absent fun, but it was played down a bit because of everything else. This is as fun as the first book—and maybe more so, because the relationships are better settled and Tempest isn’t under that cloud anymore.

Beyond the greater sense of fun than we’ve had for a bit, there’s the cozy and warm feeling you get from reading a solid found family/friend group (in the midst of a flesh and blood family), these people like each other. It’s hard to beat that feeling.

All of that serves as a bonus to a clever mystery.

So, what did I think about The Library Game?

I was fairly convinced that the previous book in the series, The Raven Thief was going to be the last one as it wrapped up a three-book arc, serving as a nice trilogy. I was so happy to be wrong—I wanted more time with Tempest and her friends—especially Ivy (I’d take a spin-off book full of her essays on locked-room mysteries) and Abra. Not to mention the fun of imagining Ash’s culinary offerings.

Beyond the characters, Pandian knows how to deliver a contemporary locked-room crime and how to keep the tension building while keeping the whole book entertaining. I need to make time for her backlist soon to see how these books compare with her earlier offerings.

I’d like Ernest Cunningham (or Ivy, I guess) to weigh in on Pandian’s books because I’m not entirely certain that she plays fair with her clues and solutions. Particularly in this case. But that’s just to satisfy a mental itch, because I really don’t care—I thought the solution to this and the reveal were pulled off satisfyingly well.

This would make a good jumping-on point for someone new to this world and is a must-read for people who enjoyed any of the previous three. It’s a clever book, a smart mystery, filled with good friends and warm feelings. Who doesn’t want that?

Disclaimer: I received this eARC from St. Martin’s Press via NetGalley in exchange for this post which contains my honest opinion—thanks to both for this.

This originally appeared at The Irresponsible Reader along with a Q&A with the author.

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You, like me, may assume that all Cyberpunk novels are set in joyless dystopias, where the neon lights and other brightly colored signs shine out against a gray and raining night (like every scene with Rick Deckard walking on his way to get some food). You’re largely correct. But what if I told you that didn’t have to be the case? Well, read on…

It was around 10 p.m. on a Thursday when Renji thought he might have a go at breaking out of prison. This idea was terrible for several reasons.

One, the prison in question was an Imperium International Forces Containment Facility, the kind widely reputed for being near-impossible to escape. Two, said facility was an airship in flight some fifty storeys above solid ground. The third, and perhaps most important reason was that he wasn’t even a prisoner, he was a guard.

But to I.I. Forces Cadet Renjiro Starkweather, the young man leaning out of the mess hall kitchen’s window to sneak a crafty cig, these reasons didn’t seem quite good enough to not at least have a try.

What’s Hit The Ground Running About?

Renji really doesn’t belong in the Forces—he doesn’t have the mindset, the discipline, any interest at all in serving, But he does have an Aunt who did most of the work in raising him. She’s rich, she’s powerful, she’s overly-indulgent of Renji, but she also has expectations. Hence, his presence in the Forces (which he probably would’ve washed out of already, if not for her influence).

But Renji’s at his breaking point, and he probably would’ve made an attempt at escape if not for the fact that he quite inadvertently interrupted an attempted jailbreak. The downside to this is that he ends up in custody with the jailbreakers—who turn out to be affiliated with a group Renji has been cheering on. They’ve recently released a lot of really embarrassing information about the Imperium International Corporation and other leaders of the city of Unity, in a WikiLeaks-type move. It didn’t do the damage anyone was really hoping for, but it did make a splash and get some people talking.

Okay, I’m taking too long here—Renji and the others (with some help from a super-competent hacker/”gal in the chair”) do eventually escape from the Facility in quite the flashy way, but without everyone they hoped to bring along with them. And Renji ends up visiting a part of the city of Unity he’s not that familiar with, Buried—it’s the part where the workers that support the corporation and government live (as well as their families, the unemployed, and whatnot). If you think of the city of Unity as The Titanic, this would be the third-class passenger area, but not as nice.

Renji wants to throw his lot in with the group, the Loose Ends. He wants to fight back against I.I., not out of any real outrage against them. But he thinks it’d be a fun adventure, and he does want to see things get better for the citizens down below—and to take I.I. down a peg or two. They’re leery of taking him on (mostly because they can tell his motives are shaky and he’ll probably get going when going gets tough—and not in the good way). But when a crisis hits, Renji comes up with a plan that just might work.

It’s nutty, it’s risky (mostly for him), but if he can pull it off with a little assistance from the Loose Ends and an older, battle-tested temporary ally of the Loose Ends, a lot of good can be done and the crisis could be averted.

The Characters and World

So the villain of this book is really “the System” as represented by Imperium International Corporation (and as you get to know them, you’ll be able to imagine any number of mega-corps of today turning into them).

But we get a few representatives of The System to focus on—nothing more than low-level hench-persons really. But higher-level reps will have to wait for the sequels. Primarily, we’re looking at Renji’s sergeant and three fellow-cadets who absolutely are not Malfoy, Crabbe, and Goyle. But they do fit the same character types that those three do. All four of these antagonists are the kind you will enjoy seeing foiled—even if they are the bottom of the rung, you’ll have a lot of fun seeing Renji go up against them. Especially when he comes out on top.

The heroes—sort of a rag-tag rebel group (who really aren’t trying to overthrow anyone, just trying to survive). They’re a hodge-podge of ages, temperaments, and skills. You will almost instantly like them—while wanting to ask so many questions about all of them. I’m tempted to talk about all of them for a sentence or two, but that would get old. But I like their internal dynamics, I like them as individual characters and cannot wait to see Ashwin develop them all. They also have a number of allies—from people who work in food stalls, to a club owner, to a strange medic/tech repair duo. Really, the Loose ends and the allies we meet in this book deserve a short story or two each, just to give them a chance to shine. (Ashwin, if you see this post and run with it—no need to cut me in, the results will be reward enough. Unless this lands you a TV deal or something.).

Then there are the largely nameless and faceless people in Buried. They suffer due to what I.i. does. They have to deal with any retaliation that comes down due to Loose Ends. We don’t see much of them, but we get to meet their Community Council (even in a dystopia, lower-level government officials are petty and useless, good to know some things are constants). There’s enough citizens, and enough grudges, seen that Loose Ends will have a steady supply of potential allies in future books (and probably future turn-coats, but let’s focus on the positives).

Unity City, once-upon-a-not-too-distant time, was the city of Steelpool, which the corporation bought from a struggling U.K. government to act as its wold headquarters. It’s from Unity that I.I. can distribute it’s Internet programming, sell and market its products, and so on. Mid-level Executives on up, live there. The workers, support staff, their families, etc. are stuck in Buried.

Is This Actually Cyberpunk?

“Please, look at him. He’s even worse of a blagger than you. He looks like he’s gonna sell you life-coaching advice through the internet.”

“Does not.”

“Does too. He’s a budget vampire. That’s a bargain bin Dracula, that is.”

“You are not being a very supportive friend right now.”

“I’m not supportive. Or your friend. Besides, actual supportive friends would tell you when you’re dating an evil executive from a shitty Robocop sequel. He looks like he’s going to have his plans to bulldoze the zoo foiled by some plucky teenagers.”

It’s being marketed as cyberpunk. But I think a lot of readers are going to bump up against the tone—the humor, the snark, the optimism that Renji brings and wonder about that.

If you look at the tech (which I haven’t done a good job of describing), the merger of corporation/government/city-state military, the dystopian nightmare that most of these people endure. You’ve got yourselves the making of a decent cyberpunk reality. But what about tone?

But you’ll be grinning throughout this book, there’s some good laughs, there are some goofy moments, and so on. How does that fit with William Gibson and Bruce Sterling’s Mirrorshade vision? Can you do a non-noir cyberpunk? I think yes. Think of Snow Crash while Hiro is a pizza delivery driver (sure, that’s post-cyberpunk), some of Rudy Rucker’s work, and …a couple of others I suddenly can’t think of the names of. There are even bits of Gibson’s Sprawl trilogy that are about this amount of fun. So yeah, it’s an outlier, but it’s not without precedent.

I only bring this up because I’m pretty sure there are some purists who’d complain about this. People who ignore the whole “punk” part of the aesthetic, no rules, etc. I really don’t care what others think. I’ll take a cyberpunk that makes me grin any day (especially now).

So, what did I think about Hit The Ground Running?

“Stopping them.” The tired look in Minjun’s dark eyes seemed as though it came from a much older man. “This isn’t afable with some terrible dragon for the heroes to hunt down, or a magic combination of words that will break the overlords’ evil spell. This is a city, a society, an ecosystem with problems embedded in its very roots. How exactly do you stop a society?”

This is a heist novel and I wait until now to talk about a heist? What is wrong with me? It’s an audacious plan with a great and benevolent pay-off. Naturally, as any self-respecting heist story demands—it goes awry. The reader knows that even before Renji outlines his plan—the questions are: how does it go awry, and how do our heroes respond? All I’m going to say about that is that I’m eager for book 2 in this series.

This is a fast-moving story with a lot of moving pieces—Ashwin keeps the plates spinning just fine and moves the story along just fine. This is so hard to talk about without getting into the details of the heist, the character twists (of the two bigger ones, I saw one coming miles away and the other took me totally unawares) were revealed with panache, or anything else.

Ashwin’s been storytelling for a long time in graphic novels, she knows how to tell a story and bring characters to life. Turns out she can do that just as well with words as she can do with pictures and words (or so I assume, I haven’t dipped a to in to that yet).

There’s a bit of a budding romance (or is it just a lust story?) that acts as a great distraction for Renji, too. That didn’t do much for me, I thought we had enough other things to keep the story going—but it’s a good plot complication—and who knows, maybe it lays the groundwork for something better.

This is a quick read. A fun read. There are so many bits and pieces I’d call out here, but you should read them for yourselves.

If you’re up for a good time (even if cyberpunk isn’t your thing—just think of it as snarky SF), you’d do yourself a favor to give this a whirl. I need to see what comes next, and I expect after your introduction to the Loose Ends, you will, too.

This originally appeared at The Irresponsible Reader.

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Obviously, there are some spoilers about the previous novel in the series, Aftermarket Afterlife to follow. And, you could probably say the same for the series as a whole. Take that into consideration if you read beyond the period at the end of this sentence.

What’s Installment Immortality About?

In the months that it took Mary to put herself back together after the attack on their training headquarters, the Covenant hasn’t been quiet. In fact, as they knew a ghost was involved in the attack, some of them have been targeting ghosts up and down the East Coast.

The anima mundi, still rebuilding its control, recruits (to put it nicely) Mary to stop them and rescue what ghosts she can. Mary gets permission to bring along some help from her family (the kind of help that can’t, say, get stuck in a ghost jar)—she doesn’t intend to, but she ends up bringing along Elsie and Arthur who have a need to do something, anything, to help them move on from their mother’s death.

So begins a cross-country trip filled with more danger than they expect (and they expect a lot).

More Mary

This book, like its predecessor, has done a fantastic job of showing the place of Mary in this family. She’s far more than just a quick message-delivery-system, or a genie that can show up at just the right time (she never really came across that way, but it’d be easy to see her filling those roles). It’s both heart-warming and heart-tugging.

She’s also changed a lot—thanks to Annie’s intervention at the Crossroads, and because of her new/growing relationship to the anima mundi. And there are more changes on the horizon—which will be fun to watch as people like me have become more invested in her after the last book.

I thought I had several things to say about Mary here, but just about all of them would need to be redacted. I really enjoyed our time with her, and while I expect that we’re going to be spending a few books focused on other characters after this one (Verity or Elsie are my guesses, which means it’ll probably be Alex), I’m looking forward to seeing what this new part of her life—ahem, afterlife—brings us.

Elsie and Arthur

Poor Arthur—I thought I had a pretty good handle on what was going on with him after the last book, but of course, there’s a lot more afoot than we could’ve known. With plenty of time with him—to see him interact with Mary and his sister, we get to hear a lot more from him and understand things from his perspective.

Then we learn even more from some outsiders. We’re going to have to spend some more time with Arthur soon, because leaving him where McGuire did is not comfortable.

Elsie, on the other hand, surprised me. I figured that like with Alex and Annie—and even the babysitter—when she got a chance to shine, she’d step up and show herself to be exactly the kind of kick-ass heroine that the Prices and Healys seem to specialize in. I won’t get into details, but she’s not cut from the same cloth as her cousins—but that doesn’t mean she should be taken lightly. It’s just that there’s an element of diversity even here that I wasn’t expecting, and I’m glad to see. I think it would’ve been boring to see her transform into a variation of Verity or Alice.

More interestingly than that for her was seeing her relationship with Arthur and how she’s reacting toward the Aeslin mice in their home.

So, what did I think about Installment Immortality?

This was a little bit of a let-down after the Aftermarket Afterlife. It was primarily a follow-up to it, tying up loose ends and getting us all ready for whatever is next. As such, it’s not going to be as good, it can’t be as powerful, and it should help the reader catch our breath. Also, saying it’s not quite as good as one of the best books in this series is not much of an insult.

But, oh man…there were so many things that are great about this book. For one example, there’s a conversation between Mary and one of the Aeslin Mice that is incredibly strange. And if you remember that we’re talking about a conversation between a ghost and a sentient, talking mouse with a perfect memory…strange should be expected. Not this level of it.

Of course, we get to meet new Cryptids, and more than a few ghosts. Their perspectives on the Prices, on the war with the Covenant, on Mary and the Crossroads (many don’t believe the Crossroads are gone, for example), and so on, are fascinating. It’s a good reminder—that we occasionally get, but not as strongly as we do here—how much people don’t instinctively trust this family. But we also get a variety of reactions to them along those lines.

This was very satisfying in terms of long-term character arcs, the war arc, and so on. Installment Immortality was also satisfying on its own terms. There’s some good supernatural, ghosty action. Some good reminders that the dead should not be messed with. Strong character development—no one leaves this book the way they came in. And some sweet moments that remind you that everyone can use a dog in their life.

This is not a book to jump into the series with, unless you want to spend a lot of time confused—Aftermarket Afterlife would function far better for that (as would starting at the beginning). But for long-term fans, this is exactly what they were looking for.

Disclaimer: I received this eARC from Tor Publishing Group via NetGalley in exchange for this post which contains my honest opinion—thanks to both for this.

This originally appeared at The Irresponsible Reader.

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A Note of Introduction

I typically stay away from spoilers, but this is one of those books where almost everything I want to say feels like it’s in that general neighborhood. So I use illustrations from other books that are pretty well-known by this point. I can’t think of another way to do it that’s fair to Karp and this text.

What’s Don’t Tell Me How to Die About?

This is one of those novels where it’d be easy to say too much, so let me rely on whoever wrote the jacket copy at Blackstone:

I have one thing to do before I die. And time is running out.

I had it all: a fantastic husband, two great kids, an exciting career. And then, at the age of forty-three, I found out I would be dead before my next birthday.

My mother also died young. I was seventeen, and she warned me that women would flock to my sudWherdenly single father like stray cats to an overturned milk truck. They did. And one absolutely evil woman practically destroyed his life, mine, and my sister’s.

I am not letting that happen to my family.

I have three months, and I plan to spend every waking minute searching for the perfect woman to take my place as Alex’s wife, and mother to Kevin and Katie.

You’re probably thinking, She’ll never do it. Did I mention that in high school I was voted “Most Likely to Kill Someone to Get What She Wants”?

The book takes place in three parts: 1. When Maggie and her twin sister were seventeen and was dealing with their mother’s impending death and the events after it. 2. After Maggie’s diagnosis and her trying to implement the above plan. 3. Where the weaknesses in her plan threaten to overtake everything else.

Tone/Humor

For much of this book, it felt like Women’s Commercial Fiction more than anything. But two things kept me from concluding that—1. Marshall Karp is going to write something with a mystery/crime element, period. and 2. that cover image with the blood (or whatever) writing the word “Die.”

Even before I figured out what Karp was up to with this book, it became clear that this fit in more with some of the recent books by Lisa Lutz (particularly The Accomplice)—I’m also thinking of Sascha Rothchild’s Blood Sugar or a restrained Darynda Jones—than it did with a Jennifer Weiner or Abbi Waxman.

So as I was preparing to read this novel, I said that it “looks like a return to his roots” because of some of the blurbs talking about Karp’s humor and so on. When I think of Karp and humor, I think of his Lomax and Biggs series. So that’s what I expected.

I was very wrong. It took less than a couple of pages to realize that this was a different Marshall Karp than I’d ran into before. That’s not an evaluation, that’s a description. Here’s an evaluation: he pulls it off well. Again, see Rothchild or Lutz. The more I think about the Lutz comparison, the more I like it—if you think of the change between her Spellman Files and things like The Accomplice, Karp’s new tone is somewhat similar.

Either way, you’re getting a guy who knows how to write comedy, no matter the flavor. He also knows when to pull back and let the drama take center stage.

Twists/Structure

I know that when it comes to psychological or domestic thrillers the twists are what generate headlines. While I appreciate a good twist as much as the next reader, what’s more important to me is the reveal of the twist. Plots go in strange directions sometimes—it’s how the author prepares the reader for the twist and how the author lets us in on the strange direction.

As an illustration: Benjamin Stevenson’s Everyone in My Family Has Killed Someone has a moment when he says that so-and-so enjoyed her final cigarette, or maybe she lit it, or something like that. The phrase “final cigarette” is the important part. Now, the reader has two guesses as to why that phrase is used here—1. She quits smoking after this or 2. She dies. As this is in the middle of a stressful weekend with her ex-husband’s family, with her on the verge of financial problem, her ex is definitely not coming back and is with his new partner, they’re all snowed in, there’s a killer on the loose, and the book isn’t close to ending…you pretty much know how that’s going to go for her. Does that matter? Not really, it’s how Stevenson sets us up for this and then how he shows us how she dies that’s important.

Now I’m not going to spill any of the twists or reveals in this book, but Karp does a few things like Stevenson did—they’re even more blatant, you could say. But he will distract you, make you wait a lot longer for the reveal, and will throw a bunch of red herrings at you (I won’t tell you how often I made a note like, “Oh, is this how he pays off X?” because I’d also have to tell you that I was wrong equally often). I didn’t guess anything right.

He also pulls a few things from seemingly nowhere—but explains them in such a way that you retrospectively say, “of course” or “y’know, that makes sense.”

Maggie

This is one of those books that you’re only going to keep reading (initially, anyway) if you get invested in Maggie, our protagonist/narrator quickly. Other elements might keep you going eventually, but Maggie’s diagnosis, Maggie’s plight (and kooky plan), and character/voice are what’s going to get you to commit.

If you ask me, you’re going to want to commit. You can tell from the beginning that she’s smart. She’s driven. She’s brave (at least in the face of some things…like dying). She loves her family. She’s gone through a lot. She’s pretty funny. (probably pretty, too, but that’s not that important, especially when you see the world through her eyes). You later learn what a good friend she can be and why she was elected.

Now, like a parfait, or an onion, or an ogre—Maggie has layers. I’m not going to talk about those layers because you need to discover them for yourself. But she has them—and you keep learning about those layers as the book continues. Each layer—for me, anyway, and I predict for most readers—got me to like her more as a person (pretty frequently) and as a character (always). Is there a difference? Sure—one extreme example (that doesn’t apply here, but gets my point across) would be Dr. Lecter. Fantastic character, but not someone you’d want to hang out with.

So, what did I think about Don’t Tell Me How to Die?

Is this as good as the first two or three Lomax and Biggs books? Probably not—although it’s been a long time since I last re-read them, also this is a different sub-genre, so I could be wrong. Also, that’s really high bar. Is this better than anything else that Karp has done since then? Yes.

The way that Karp unspooled this was so well done. I sat back and enjoyed the ride more often than I “ought” to have, and didn’t take as many notes and whatnot as usual—I was just into the ride that much that continuing was more important than jotting things down. At least in the moment…I’d be sure to write that idea down, right after this part. Well, maybe the next bit.

I should note that I dipped back in a couple of times while writing this post to fact-check myself and even now I ended up reading a few pages or a chapter when I only needed a clause or a name. Karp just doesn’t want to let me go.

Anyone picking this book up—unless you do it blindly (and even then it’s told to you within a chapter)—knows that Maggie’s mom died almost two decades before these events. And yet—in her final moments, her last personal triumph—I was moved. I shouldn’t care this much about the impending death of a character I knew was long dead. But I did. And again, even though it’s right there in the description, “And one absolutely evil woman practically destroyed [“my suddenly single father”‘s] life, mine, and my sister’s,” watching it feels like a traffic accident—you know it’s coming, but you can’t stop watching.

Maggie’s plot, when introduced, feels like a silly rom-com plot that’s going to blow up in her face. And for most of the book, her sister treats it that way. You kind of do while you’re reading, too. It feels like one, you react like one. Then…well, you start to take her seriously. As does her sister, Lizzie (eventually).

Speaking of Lizzie. I really would’ve enjoyed more time with her, she seemed like a hoot and a half. Her kids Katie and Kevin were also the kind of characters you want more of. And if we were looking at any other part of Maggie’s life, we would’ve had more time with all three and we would’ve been perfectly content watching them go through their life. But this book just introduces them, lets us spend some time enjoying them (in pretty un-enjoyable circumstances) and then we just have to imagine the rest of their lives. Which is enjoyable enough.

I feel like I’ve talked around the book a lot, hopefully, I’ve talked about it enough. But I’m not sure what else to say. On March 4, go pick yourself up a copy (or go put it on reserve at your library now, and read it ASAP). Then we can email or chat or something about it and I can say all the things I can’t put here.

Don’t Tell Me How to Die isn’t the Marshall Karp I know, enjoy, and respect. It’s a new flavor of him that I’m getting to know, that I did enjoy and respect. And I can’t wait to see what other sides he has up his sleeve (to torture the metaphor). I’m trying too hard. I’m babbling. Go read this and I’ll shut up. Deal?

Disclaimer: I received this eARC from Blackstone Publishing via NetGalley in exchange for this post which contains my honest opinion—thanks to both for this.

This originally appeared at The Irresponsible Reader.

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What’s Aftermarket Afterlife About?

Just before I started writing this (or started again…this is something like the 15th attempt since March of last year), I took a glance at what I wrote about Backpacking Through Bedlam. This was either a mistake because I said everything there that I was about to say to start this post and now I have to come up with something new. Or it was smart because now I can cut out a lot of things and point you to that instead.

I’m lazy enough to lean toward “mistake.” But let’s see what I can do instead.

Lest we think that the Covenant of St. George in general and Leonard Cunningham in particular have just been twiddling their thumbs while we’ve been focused on Annie’s adventures (although we see some of Leonard there) or the end of Alice’s quest, we learn very quickly that they’ve been active. They’ve been gathering intelligence and plotting. The result is a shock-and-awe campaign that takes the family and their cryptid (and human) friends and allies unaware—and results in several injuries, deaths, and loss of property. Probably more damage, too.

But before we can get to that, Thomas and Alice (and Sally) arrive at the Portland-area compound for a reunion/(re)introduction. This goes so incredibly poorly that the reader will initially be relieved by the attacks because you foolishly think that means things are going to get more entertaining.

All this results in Mary, of all people, coming up with a plan to take the action to the front door of the Covenant.

Luck Runs Out

I’m not sure that I noticed it during my initial reads of the series—but in the last couple of books, as I listen to them on audio, I keep hearing about the strange luck the family has. And honestly, even if I hadn’t used the word luck—it’s hard not to think that. Verity and her friends/family/loved ones (same for her brother and sister and their friends/loved ones) largely escape the novels unscathed.

The thing about luck is…it runs out. This can be seen in the way that Sarah’s rescue of Artie at the end of Calculated Risks isn’t as successful as we might have thought at the time. And for another telling piece of evidence is pretty much this entire novel.

Choice of Mary

I was initially surprised to see Mary the family’s babysitting ghost as our POV character for this one. I expected another of the Price kids to get the slot (it’s been too long since we spent real time with Alex, for example). But I wasn’t going to complain—if only because it was nice to see her backstory.

In retrospect, there was no other choice. The reader (and McGuire) needed someone who could rapidly move between the various parts of the country to see everything going on and to take part in the action in some (not all) of the places the Covenant was acting. Thanks to her being the major actor, we get a little more insight into what happened to the animus mundi following Annie’s defeat of the Crossroads.

There are a couple of other things that only Mary could contribute to this story, but I can’t talk about those. So, as I expected but didn’t see going in, McGuire didn’t have a choice in POV character. It just had to be her.

Hail The Aeslin Mice

It’s really hard not to feel bad for these guys (when they’re not making you smile) throughout the series. This is probably the hardest novel to get through because of what happens to them. Their losses—different from the losses the family takes, and almost worse—are so hard to watch. Ditto for the family talking about them.

What’s even worse is the note that the race as a whole likely doesn’t have many more generations left. I’m sorry…I’m just not okay with that. I hope/trust that we’re going to find out how wrong those predictions are.

So, what did I think about Aftermarket Afterlife?

When I put this down I said something—I don’t remember what—but my daughter seemed shocked at my reaction. I was stunned, I didn’t expect most of what I spent the last hour or so reading (or the hours previous to it) and I guess that came out forcefully. And I’m still in that frame of mind almost 11 months later. I’m stunned by what McGuire did here.

The InCryptid books have always been (in my mind) the lighter of McGuire’s series—Toby’s for drama and excitement, the Wayward Children are to fill you with whimsy and heartbreak, and Verity/Alex/Annie et al are for some goofy action and strange critters.

I should know McGuire better than that. She’s never going to just let something be light entertainment. Still, I wasn’t prepared for this escalation. I should’ve been. The signs have been there since the end of Chaos Choreography. I’m not going to get into all the ways she gut-punches the readers here. But there are several. Some small, some huge, some of indeterminate size as of this time.

Still, McGuire deals with the various personalities, histories, abilities, interests, and everything else like a master. The writing is quirky as it needs to be without taking away from the drama or heartbreak. Mary is a great character and it’s good to see her come into her own, and we see a lot from other family members that we haven’t spent enough time with, too—ll while catching up with old friends. This is McGuire at peak performance.

Installment Immortality is due soon, and I have no idea what to expect from it—nor from the series going forward. But it’s going to be a very different kind of entity than we’ve seen before. I can’t wait for it.

This originally appeared at The Irresponsible Reader.

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A Bit of Personal History (feel free to skip)

Back in ’91 or ’92, I saw a copy of The Pilgrim’s Regress on a bookstore shelf. I was in a “read everything by Lewis you can get your hands on phase,” so I instantly picked it up. But the back of the book talked about it as the modern equivalent of Bunyan’s The Pilgrim’s Progress in a way that I figured I should read Bunyan before it.

It took me a little while to track down the Bunyan (the toilsome times before online bookshops), and by the time I worked my way through it, the bookstore didn’t have that copy any more and I was distracted by other things.

I’ve often thought about trying this book since then—but it wasn’t until I started thinking about this project that I finally combined ambition with general curiosity.

What’s The Pilgrim’s Regress About?

This modern-retelling of The Pilgrim’s Progressis an allegory about a man named John on his journey from childhood exposure to religion in Puritania to an Island of pleasure. Along the way, he has to deal with several physical, spiritiual and itellectual challenges to take him away from his journey (pretty much like Bunyan’s Christian).

This was the first thing that Lewis wrote after his conversion, and it’s considered to be an intellectual biography of that journey.

Basically, think Bunyan for the early 20th Century and you’ve got it.

A Couple of Things That Helped Me

Early on, John encounters a “brown girl” who distracts him from his interest in—or at least pursuing that interest. They begin a sexual relationship, which goes awry and causes some serious problems for John (actually, that entire relationship from her introduction on is a serious problem.) I was pretty sure that Lewis wasn’t making any kind of ethnic characterization or anything, but it’s hard to shake the feeling. Thankfully, reading this blog post by a Lewis expert made me feel so much better (and shows I was on the right path in general with it). I’d explain it, but Dr. Hurd does it better.

The other thing that helped was the afterword that Lewis wrote for the Third Edition, ten years after the original publication. He points to some flaws, or at least things he could’ve done better. I agreed with most of his self-diagnosis, and at least one point, his explanation made me understand an aspect of the book (and, yes, he was right to critique himself).

So, while I’m glad for the additional things that helped me appreciate the book, I trust that with very little effort, I could find more. I shouldn’t have to look to these kinds of things to appreciate a book. To gain a better understanding, sure. But to move me from “meh” to “okay, that wasn’t that bad/objectional” should come from the text itself—not from others.

So, what did I think about The Pilgrim’s Regress?

It’s been almost a century since this was first published, and I cannot decide if it’s a good thing or not that so many of the characters and ideas John encounters are still relevant and identifiable (although some details may have altered a bit). The reader can see that these intellectual movements are nothing new—sadly, many of them haven’t been forgotten. One of the best things about reading theological works written generations before me is wondering exactly what the author is targeting (or why they’re bothering)—but the ideas that Lewis wants to confront are still in his readers’ lives. Probably even more than they were for him.

The beginning of the book seemed promising with an uncaring and cold clergy, parents who were off the mark, and so on—I thought John’s journey would lead us to a correction of or confrontation with these things. But no, we get the brown girl and then things go far from where I thought we were going. Naturally, I don’t mind that—but I would’ve appreciated something more definitive. That’s personal taste, though.

Like many allegories, particularly Bunyan’s, there is nothing subtle about The Pilgrim’s Regress. That doesn’t mean it’s not good, or that it’s so clear always that there’s no thinking involved, but, wow—it does tend to feel like it’s hitting you with a brick when John encounters a new person/idea.

Am I glad that I read this? Yes. So I can see Lewis’ development as a writer, to satisfy a certain curiosity in general, and to cross off a decades-old item from my “To Read List.” For people who don’t have at least two of those motivations to pick this up, I can’t really recommend it. I’m not sure I really can for those who do have those motivations—but it satisfies those particular itches.

Is this bad? By no means. It’s not good either. I did particularly enjoy certain lines, scenes, or encounters. I thought some of the ways that Lewis framed the better alternatives to be refreshing and helpful. But overall this really did nothing for me.

This originally appeared at The Irresponsible Reader.

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How Does The Publisher Describe The Boys of Riverside?

In November 2021, an obscure email from the California Department of Education landed in New York Times reporter, Thomas Fuller’s, inbox. The football team at the California School for the Deaf in Riverside, a state-run school with only 168 high school students, was having an undefeated season. After years of covering war, wildfires, pandemic, and mass shootings, Fuller was captivated by the story of this group of high school boys. It was uplifting. During the gloom of the pandemic, it was a happy story. It was a sports story but not an ordinary one, built on the chemistry between a group of underestimated boys and their superhero advocate coach, Keith Adams, a deaf former athlete himself. The team, and Adams, tackled the many stereotypes and seemed to be succeeding. Fuller packed his bags and drove seven hours to the Riverside campus.

The Boys of Riverside looks back at the historic 2021 and 2022 seasons in which the California School for the Deaf chased history. It follows the personal journeys of their dynamic deaf head coach, and a student who spent the majority of the season sleeping in his father’s car in the Target parking lot. It tells the story of a fiercely committed player who literally played through a broken leg in order not to miss a crucial game, as well as myriad other heart-wrenching and uplifting narratives of players who found common purpose. Through their eyes, Fuller reveals a portrait of high school athletics, inspiring camaraderie, and deafness in America.

Yeah, But You Don’t Like Football…

True. And it’s okay to not be really into the sport and to listen to this. You dislike the sport, do not understand it, etc.—and still get a lot out of the book. Sure, it’ll help if you understand 8-man vs. 11-man football, what some of the positions do, and so on—but really, that’s just the dressing.

This book is primarily focused on human drama—if you can understand what it means to work hard for a goal—and to achieve or falter—you can understand this book’s story. With the challenges these young men face, it makes their work different, it makes the triumphs sweeter, and the slips more devastating.

Really, at the end of the day, your feelings about the game they play are pretty much negligible.

How was the Narration?

Frequently—probably most of the time—it sounded like Fuller was trying to narrate some sort of thriller like Jack Reacher, Jack Ryan, or Jason Bourne (basically anything Scott Brick would narrate). But once I got past that, it was fine. I’m not sure this story needed that feel—but it didn’t hurt anything.

So, what did I think about The Boys of Riverside?

So you don’t come away from this book with just a good sports story. Fuller discusses various aspects of Deaf Culture, schools for the deaf (particularly in California), the connections between football and Deaf teams that have spread throughout all levels of the game, and more.

Then there’s the players and coaches—also weaved into the narrative are some good profiles of different individuals associated with the team. Like any good sports story—from fiction to the Olympics—its the individuals that draw in a reader/viewer. And Fuller tells that part of the story well.

Of course, the main focus is the team and their pursuit of a championship. And Fuller paces that story really well—so much so that even if you know how it ends before you start the book, you’ll be hooked and invested.

This is an engaging and entertaining read—one that’s occasionally educational, too. What’s not to like?

This originally appeared at The Irresponsible Reader.

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What’s Buried Secrets About?

Jesse is called to make a welfare check on an elderly Paradise resident (no one he knows) and finds the worst outcome—they are weeks too late for this check. Also, the man was a hoarder, and it’s near impossible to navigate through his home to his body without disturbing some of his stacks of…whatever it was that he’d accumulated.

When one box of photos is dislodged, Jesse finds several photos of murder victims. Crime Scene techs soon find $2 million in cash stashed in the house. Either one of these finds would send Jesse’s “coply intuition” to sound alarm bills—the two together? He knows that they stumbled onto something bad—and worse is on the way to Paradise if they can’t wrap up this case soon.

The A Story and Jesse

(not that most of the cast of characters aren’t involved in this storyline)

Something about this case sets Jesse off. Something is eating him in ways that he’s unprepared for, and he gets a little on edge and grumpy (at least to those on the outside). The bottle is calling to him in a way it hasn’t for a while. The voice is loud and tempting. There’s at least once that he goes looking for a bottle that thankfully isn’t there anymore.

The way this—and the related issues it brings up—work themselves out through this novel shows just how far Jesse has come since he first came to Paradise—or even since he stopped drinking in earnest. But that battle isn’t over.

The rest of the PPD is involved in this storyline, but this is Jesse’s focus throughout the novel—it’s also where everything that Jesse goes through emotionally/psychologically is rooted. As such, I’ve found that I can’t keep talking about this without telling you too much. So let’s move on to:

The B Story and Everyone Else

The day that this body is found is also the first day for a new officer for the PPD. He’d spent some time on patrol in a major city, and then a smaller city before this relocating. He tells Jesse that he wanted to be in a town like Paradise, where he could do some good.

There’s an incident or two—you could see them as first-day on-the-job eagerness, a training issue, or something worse. Before you know it, people in Paradise (and in the PPD) are divided over this one officer. Jesse is too caught up in this case, the city politics, and other things to really dig into things. Some others in the department aren’t so sure about him. Others are willing to give him a chance or three. Essentially, Jesse is willing to let things shake out on their own—at least until he’s able to close the murder.

He might not get that chance. Making this call is arguably Jesse’s biggest mistake in the novel.

In addition to the story of this officer, Farnsworth is able to bring in some discussion of what it means to be a police officer in the 21st Century USA. What does it look like, what kind of people should wear the badge? What kind of equipment should police departments have? How can people who have a problem with the police in their area safely do? There’s a related scene that touches on public protest and social media/legacy media fanning the flames.

In many—most—ways, this story is not the main focus of the book—but it’s so close that it might as well be. And as much as I enjoyed The A Story, this is the one that hooked me the deepest. Farnsworth did the franchise proud with it, too.

Farnsworth at the Helm

Poor Jesse Stone, this is his fourth author since Parker’s death. Just for that reason alone, I hope Farnsworth sticks around for a while. He and his readers need some continuity. Once you figure in what a bang-up job that Farnsworth did, I can underscore that hope a couple of times.

Unlike just about every other (I think every other, but let’s throw some wiggle room into this), Farnsworth didn’t give us a lot of trivia from Parker’s books to establish his bona fides. There were some references, but they were the same kind that Parker himself made. Farnsworth showed us his credentials in the way he wrote these characters, this community, and the story.

I was a little apprehensive about him—I read at least the first two of his Nathaniel Cade books—maybe all three, but nothing since. There was something about whichever Cade book was my last that didn’t leave me eager to try him again. Don’t ask me what it was—it’s been over a decade. I’m glad my loyalty to the series won out over my vague sense of apprehension (it wasn’t a close competition). He nailed it.

The one item that I’m most happy about is that with one line of dialogue, Farnsworth expanded on—added depth to—Dix. Did we need this for Dix? But I love that we got it. Also…it was a great way to give that gift to us.

BTS Question

I know there have been conversations between some of the Parker-verse authors about moves they were going to make with certain characters and whatnot—I can’t remember the details, but I heard in one or two interviews that Atkins or Coleman had to make an adjustment to one book because of something the other did (I’m being very vague because I don’t remember too much and I’m too lazy to do the homework). So I’m sure that Farnsworth and Lupica had a conversation about this book and the events of Hot Property.

What I want to know is how did Hot Property impact this novel? Did Farnsworth have Rita’s scenes in this book completed and added a couple of lines to reflect it? Did he have something else in mind for those scenes and revised them to take advantage of Lupica’s latest? Just what kind of collaboration happened?

Does this impact my appreciation for either book? Nah. But I’m certainly curious.

So, what did I think about Buried Secrets?

At each step along the way, I kept thinking of other things I wanted to say about this one—and at book 22 of a series (no matter how many authors have contributed), that’s saying something. I’ve done my best to limit myself to the bigger matters, but I think I could add at least another 5 paragraphs without breaking a sweat (and they’d likely lead to others).

When Coleman got Jesse into AA, I saw one fan complain about him turning Jesse into “another whining Twelve Step wuss” (that’s very close to it). This seemed like an odd take, as most of Parker’s work (since 1974’s God Save the Child) has celebrated people getting help via therapy or some other means to improve—even save—their lives. I’m afraid that some of what this book does is going to elicit similar reactions from that fan and many others. I hope that the publisher, the Parker Estate, and Farnsworth ignore all that. I don’t see anything here that doesn’t fit in Parker’s worldview (or at least the worldview of all of his fiction).

The Paradise Police Department—particularly the officers we’ve spent time with since Night Passage—got to shine as they ought to. Sure, it’s Jesse’s series, but Molly, Suit, Peter, Gabe, and the others are more than just cardboard cutouts in the background (obviously we don’t know as much about Peter and Gabe as we do some others). The more the various personnel get to contribute, the more the books feel like it’s about a Police Chief—not some rogue lawman. I’m glad Farnsworth did that.

Buried Secrets was satisfying on every level that I can think of. It’s the best Jesse Stone novel in years (with all due respect to Mr. Lupica), specifically since The Hangman’s Sonnet or Colorblind (now that I’ve mentioned those two books in particular, I could probably have written a post just about the ways that Buried Secrets parallels major elements of those, something I hadn’t thought of until now). It contains a good mystery, some strong social commentary, some great character moments, a bunch of characters on the other side of the law that you just have to meet, some solid action, and most of all, time with characters that fans have been spending time with for decades.

I strongly recommend this.

Disclaimer: I received this eARC from PENGUIN GROUP Putnam via NetGalley in exchange for this post which contains my honest opinion—thanks to both for this.

This originally appeared at The Irresponsible Reader.

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What’s Broken Bonds About?

This is a work of historical fiction focusing on April 1524-January 1525, at what will prove to be a significant period in the German Reformation. The narrative focuses on three men: Desiderius Erasmus, probably the greatest scholar of the era, and a would-be reformer of the Church; Martin Luther, the Reformer (who went further than Erasmus would’ve), and Philipp Melanchthon, a promising young scholar with ties to them both.

The book follows their connections and interactions with each other—as theoretical as some of them might be—as leaders put pressure on all three to sway them one way or the other, to pick up their pen (or lay it down) for an end, to cease their efforts to reform the Church, to increase their efforts to reform the Church (in ways they cannot agree with), and so on.

Martin Luther

Luther is the most well-known of the trio today, for good reason. In this novel we see Luther trying to reason with his former friend Karlstadt as the latter continues to cause trouble for Luther and everyone in their area. Luther is also trying to get more compensation for and more opportunities to teach and write for Melanchthon—for the sake of the young man’s family and the University of Wittenberg, who could use him.

He’s also dealing with some personal issues—how far does he go himself? Does he give up the monastic robe for that of an academic? It’s so much of his identity, he still holds the vows he swore before him, it cost Luther so much personally to follow this path—and despite the upheaval in his life, is he prepared to lay it all aside? This was so excellently done.

We get some glimpses of some of Luther’s multiple medical issues, a little bit of his humor, and a delightful relationship with and interaction with his goddaughter, too. Mantravadi is careful to present us with a human Luther, not some superhero.

Looming over all that Luther does here is an impending intellectual showdown with the one man he’s not sure he wants to debate with, but is steeling himself to lock horns with:

Desiderius Erasmus

Before Luther burst on the stage, it was easy to think of Erasmus as the greatest Christian thinker, writer, and scholar of his time. Erasmus did try to push for some institutional reforms and had many of the same aims as Luther, but he went about things in a less inflammatory way.

He’s been dodging requests and pleas to interact with Luther for quite some time now—but the pressure is mounting and he’s not certain he can do so much longer. Reluctantly, he picks up his pen to compose On Free Will to directly counter some of Luther’s teachings.

We get a very sympathetic view of Erasmus and his interactions with friends and Protestants he interacts with daily. His health struggles are different than Luther’s but painted just as vividly here. One bout of kidney stones, in particular, almost triggered flashbacks to my last one. I found myself really liking Erasmus and pulling for him.

One of Erasmus’ greatest goals—to chill the Lutheran movement, to further promote diverse ideas in the Academy/Church, and to hand off his work to a brilliant scholar—is to get Melanchthon to come to work with him, and essentially assume his mantle when he’s gone.

Philipp Melanchthon

Melanchthon is a struggling academic, just trying to make enough money to provide for his wife and daughter. He loves to be in the classroom (and it shows), but he’s equally open to teaching in other places, too. He sides with Luther, just not as vociferously as some may want—but Luther appears to trust him.

Melanchthon is tempted to take Erasmus’ offer—it’s a dream situation for him, it’s exactly what he wants. But he’s afraid that he’d have to water down or abandon his Protestant convictions and he’s not ready to do that.

His depiction is easily the most relatable, the most appealing—between the way other characters (particularly Erasmus and Luther) talk about him and the way that Mantravadi shows him, you could make the argument that the others are supporting characters in a novel where the young man is the protagonist.

He does frequently seem too much like a 21st-century man rather than one from the 16th. Particularly when it comes to talking about his wife and daughter. But maybe that’s just me. I really liked it, so I don’t care. Hopefully, it’s close to the truth.

The last thing I want to say about Melanchthon is that there’s a scene with a bunch of students for a sort of study club (best way I can summarize it). It is one of my favorite fictional depictions of a teacher and a group of students since John Keating and that ill-fated group at Welton Academy. I don’t want to give you details, but more than I want his family life to be the way that Mantravadi depicts it, I want this to be true.

The S-Word

So, a lot of the subjects of this book—particularly when it comes to health, but even beyond it—are what some would call “earthy.” It wasn’t a pleasant time to live in many ways, particularly digestive. Anyone who’s read much of Luther’s daily life, humor, or personal history well knows that he can be somewhat scatological. The working of his bowels is a frequent topic for him.

Erasmus isn’t much different. Melanchthon, thankfully, is—but not the people he spends time with.

It’s likely not enough to put anyone off—if anything, it might recruit some younger readers 🙂 But Mantravadi has her characters use vocabulary that Christians in the 16th Century would for these processes and products, even if most 20th/21st Christians would hesitate to use it. Just a word of warning for those who might be put off.

So, what did I think about Broken Bonds?

I went into this with some hesitation—the last two fictional works I read about this time period put me off in a serious way. (one was pre-blog, so I can’t point you at anything I wrote, and I don’t feel like picking on the other again). But I know that Mantravadi has a good reputation among some Church Historians—and even heard her interviewed by one a few years ago, so I felt safe.

I’m so glad that I did—these characters came alive to me in a way that two of them haven’t before (even if I think she handled Luther with kid gloves). She used their positions, arguments—sometimes even words—well in the progress of the novel. There are plenty of footnotes for those who want to dive more into their works. Which is always a bonus in this kind of work (also, footnotes—not endnotes).

The historical detail is there, but not so much of it that you get bogged down in it—the pacing keeps moving at a good clip throughout. Are some of these events overly-dramatized? Quite possibly. Are some of these under-dramatized? Equally possible. It is, in the end, a work of fiction and that needs to be remembered.

It’s a fast-paced read for something in this genre, it’s sympathetic to all its protagonists (even when they’re at odds), there’s good tension—even when it comes to talking about academic pursuits (not the easiest thing to dramatize), and there’s a heart and warmth to it all.

I think this would work for middle school-aged readers, and for most adults, too. You might even learn a little about history and theology while you’re at it. It’s definitely worth the investment of time. I’m more than ready for the second in this duology.

This originally appeared at The Irresponsible Reader along with a Q&A with the author.

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What’s Pigeon-Blood Red About?

Stop me if you’ve heard this before, but a grizzled enforcer and his partner make a mistake that leads to a panicky guy stealing from their boss. This guy, Robert, is already in some serious debt to their boss, Litvak, and this just makes it worse—especially when Robert leaves town suddenly and tries to use the theft to leverage Litvak into writing off the debt. Litvak doesn’t like this idea, and sends the enforcer, Rico, to track down Robert, deal out some punishment, and come back with at least the stolen item—and maybe more.

Yeah, this feels incredibly familiar—which is not a deal-breaker at all, it just makes it easy for the reader/listener to get into the story. As always, it’s what the author does with a familiar set-up that makes it worth the ride. And Duncan doesn’t disappoint there.

That largely has to do with other people that Rico and Robert encounter along the way—some of whom get swept up in Rober’s foolhardy and desperate moves and find themselves in Rico’s cross-hairs when they’re just trying to live their lives. But you should learn about them for yourselves.

Some of These People are the Worst

Seriously, you can hear Jean-Ralphio singing it as you think of some of these people. I’m not even talking about the hitman here—but some of his targets. Okay, his boss isn’t that great, either. But he’s supposed to be a morally bankrupt scoundrel. The more we get to know—and the more we see from—Robert and some others and you can’t help but wonder if the world will be a better place without them.

I will say that it took me a little longer to warm up to Rico than is usual in this type of book. Our introduction to the character—the first real thing we see from him—really made it hard for me to want anything more than to see Litvak put him in a hole somewhere, but that changed.

How Was the Narration?

My initial reaction to the thought was “absolutely fine,” and I was prepared to move on. However brief that answer was.

But Keyser deserves a little more than that, I think. He really was a great match for this material—I wish I could find other audiobook credits for him to see how he does with other genres (and am a little discouraged to see that he’s not attached to the rest of this trilogy). He could handle the lighter moments–the sweet moments–as well as the not-even-close-to-sweet moments when bullets are flying equally well (and we’ve all heard narrators that can’t quite pull that off in the same book).

I really enjoyed his work and think he made a series of really smart choices and executed them well.

So, what did I think about Pigeon-Blood Red?

After various and sundry delays, it was hard for me to remember some details that I wanted to, so I listened to a few bits again—and I really had a hard time forcing myself not to just listen to the whole book again (if I had one more day on a Libby book, I probably would’ve indulged myself). I think that says plenty about this book.

Duncan assembled this particular book very well, there were a lot of moving pieces—and plenty of backstories to bring in—and he managed to keep the reader engaged with all the characters while maintaining the pace and building the tension. I really admired that–in a longer book that might have been easier, actually, but this is a quick listen and to cram as much in as he does is no mean feat (and it never feels crowded, crammed, or rushed).

There’s a scene that I’ve spent some time thinking about again and again since I listened to this–it’s a pivotal scene toward the end. It could be a scene from a farce—it’s full of mistaken identities, close calls, crazy chains of events, and so on. You add a jaunty, bouncy soundtrack and an exaggerated facial expression or two, and it could be seen as comical. If you ignore the blood, terror, and death, that is. I could see it all very clearly in my mind, and I think Duncan faked me out a little bit (see: mistaken identities). Duncan and Keyser both were spot-on during this scene/sequence and earned a lot of trust from me there.

I found something to like in all the primary characters, (other than Robert and unnamed persons from the above section), and got invested in the outcomes surrounding them. By the end of the book, I wasn’t actually sure what character(s) the trilogy would follow and could see myself signing on to whatever ones Duncan stuck with. I was pretty sure it’d be Rico—and the title of the third book, Rico Stays gives it away. But that I’d have been open to some others, I think tells you a lot.

Was this a book that ever really blew me away? I don’t think so—but I was engaged and entertained through it all. It was entirely satisfying (if you ignore the bump with Rico in the beginning, but I got over it). And now that I’ve finished this post, I can get to listen to the rest of the trilogy in short order. Be prepared to sign on to a trilogy if you start this (a quick-moving trilogy, I should stress).

Disclaimer: I received a copy of this audiobook from the author and Kelsey Butts at Book Publicity Services. Other than giving me something to opine about, this did not influence my opinion which is honestly reflected above.

This originally appeared at The Irresponsible Reader.

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Over half a century of poking around the woods and mountains, I have rescued several dozen wild creatures from life-threatening situations. Almost none ever expressed an iota of gratitude. Instead, they have attempted to bite me, peck me, claw me, scratch me, gore me, even as | rendered them the service. The only one to repay the favor of my rescuing it was a skunk, when I was eight years old, and it spent all of its resources to purchase my freedom from school for a whole week. In my experience, however, that skunk was unique among wild creatures for its kindness and generosity.

What’s The Good Samaritan Strikes Again About?

This is a collection of 24 of McManus’s essays, pulled from a variety of sources talking about…well, mostly the things he always talks about—his life, hunting, fishing, and things he finds interesting.

There’s not a recurring theme or anything, I’m guessing this is just a collection of pieces written in the early 1990s (the previous collection was published in ’91, the following in ’94).

McManus’s Humor

I think the best way to describe this humor is gentle. He’s not one for clever wordplay (although he will occasionally indulge), this isn’t biting satire, he’s not as outlandish and goofy as Barry. It felt like Lewis Grizzard at half-volume—I think it’s similar to Garrison Keillor (although I really can’t say) or Tom Bodett.

I can’t imagine you’ll guffaw—or laugh out loud. But you’ll be amused. You’ll smile—maybe even chuckle.

So, what did I think about The Good Samaritan Strikes Again?

I haven’t read McManus since the mid-80s—there were a couple of years where some of his early collections were in heavy rotation amongst my extended family and I sampled a few. Mostly I didn’t get his humor at the time—even then I didn’t relate too much to the hunting and fishing jokes. I understood more of them now, at least—but I don’t know that I found them more amusing now.

I feel like I need to turn in my Idaho Citizen card for saying that kind of thing—McManus and I were born in the same city, we were inculcated with many of the same values, and had the same kind of environment growing up. But our senses of humor didn’t develop along the same lines.

The pieces that had the least to do with outdoors-y topics worked best for me. He touches on aging and worry, there’s a little bit of satire relating to PR, there’s some stuff on coping with stress, recounting his first kiss…the title essay involves trying to help a motorist following an accident. Then there are a lot of things involving camping, hiking, fishing, hunting and the like…most of those had something I found amusing—a paragraph, a clever sentence—many of them were largely entertaining. But that’s for me—and humor is more subjective than most things I talk about here (although everything is pretty subjective here)—so who knows how you’ll react.

When Ford Prefect’s editors were done with his revisions to the entry for Earth in The Hitchhiker’s Guide to the Galaxy, the entry summing up our planet read “Mostly harmless.” Similarly, I think The Good Samaritan Strikes Again could be summed up as: Mildly amusing.

Your results may vary, obviously, but it’s a pleasant way to spend some time—not much more. But honestly, who wouldn’t mind a pleasant couple of hours?

This originally appeared at The Irresponsible Reader.

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What’s Chasing Empty Caskets About?

So, sure, Cyn (and Winnie) has opened a P.I. business, but is there that much for a Private Eye to do in Sweat Pea, OH? As the book opens (and for some time before that) Cyn is taking on cases involving missing pets, potentially haunted homes, and the like.

But then a makeup artist at a local mortuary approaches her with a case. The paperwork at her mortuary indicates that there are more bodies there than she can find. This has been going on for a while and she wants Cyn to look into what’s happening to the missing bodies. Rhetta doesn’t want to bring it up to her boss herself and risk losing her job, but something isn’t right.

Some of this investigation will end up right where the reader assumes—but there’s also plenty going on that you don’t expect until it’s in your face like a proverbial thrown cream pie.

Meanwhile, Cyn tries to have a love life. She goes on one of the worst dates you’ve read about and stumbles across another crime or two that she needs to look into. But there are some better developments in that area afterward (after you read about the date, you’ll realize what a low bar that is)

We meet a potential new recurring-character and spend time with plenty of those we met before.

Take This With Whatever-Sized Portion of Salt You Wish To

Even if the rest of the book was a dud*, the first chapter was so funny that I’d have been more than happy that I paid for the book. Particularly the first 8 pages, the 243 that follow were just gravy.

* It was not

Obviously tastes, especially when it comes to humor, differ, so I can’t promise that everyone will have this reaction. And there might be a bit of hyperbole expressed above. But, I started this book the evening after that surgery I had a couple of months ago, and laughing at those pages hurt me. They also made me chuckle as I re-read them before I wrote this section.

So, what did I think about Chasing Empty Caskets?

The important thing to remember is that this is a comedy with a mystery thrown in. Suburban Dicks and the Fox and O’Hare books, for example, are Comedic Mysteries/Thrillers. This is a Crimey-Comedy (there’s probably a better name for that somewhere).

So, yeah, the mystery parts may not be the clearest at times. Cyn may overlook some pretty obvious clues, and an action scene or two may come across as convoluted. But that’s because they’re there to serve the comedy. This isn’t to say that this isn’t effective as a mystery novel, the “may”s in the opening sentence should be emphasized, but it does come into play.

The running jokes in this novel are—mercifully—different than the ones in the first Cyn/Winnie novel. Crane isn’t setting us up for a running gag like Stephanie Plum’s car problems (seriously, at this point why does anyone let her drive anything other than that ’53 Buick? Why does she try to?). I enjoyed the cast-gag in Barking for Business more, but these were good enough, and I applaud Crane for going somewhere new.

There are many other things I’d like to compliment, but I don’t know how to do that without ruining plot points or jokes, so I’m not going to try. Basically, if you want silly, madcap, fun with plenty of canine-involved slapstick, look no further than Chasing Empty Caskets and the Sharp Investigations series.

This originally appeared at The Irresponsible Reader.

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What’s The Secret & Hunting Virgins About?

These are two short stories, sort of linked by protagonists purporting to possess some unique spiritual role/status. They’re thrillers best described as a mix of realism and SF/Fantasy. That’s really all I can think of to link them.

The Secret

This story follows a man who cannot keep a secret as he takes a road trip to visit his father one last time before he dies. At his father’s deathbed, he learns a secret that will change the world. Somehow surviving a hail of bullets that don’t prevent him from learning this secret, he’s instead imprisoned on trumped-up charges and put into solitary confinement (while never explaining why the government doesn’t use one more bullet once there’s a clear shot). Will he be able to outwit the guards and other prison officials to broadcast this secret?

Hunting Virgins

This is both an experiment into how often—and in how many ways—the word “virgin” can be used in a 33-page story as well as the story of a team of hard-partying hazardous-tree removal experts. At some point, their leader has a religious conversion and leaves this profession to start a church on the other side of the U.S.

A decade later, he returns with an offer too good to be true (literally). He recruits his old team—plus his beautiful and virtuous daughter who shouldn’t be anywhere near these louts—to go with him to a portion of Siberia to clear part of a forest heretofore untouched by logging in exchange for a small fortune. Why Russian loggers are incapable of doing this for far less, we’re not told. Nor why any company thinks that logging in an area so difficult to get to makes any sense at all, especially when the expenses incurred to do that are so large.

But maybe their dangerous profession and the well-known hardships of the Siberian climate aren’t the most deadly things that lay in wait for them…

So, what did I think about The Secret & Hunting Virgins?

I honestly can’t tell you which story made me angrier—the plots were disappointing, unoriginal, and somehow nonsensically inexplicable at the same time. The characters were utterly unlikeable at best and contemptible (in an uninteresting way) most of the time. The writing was dry and uncompelling—and the ineptness of the prose was only challenged by its lack of clarity for the least appealing part of it.

The ways that Christian—or pseudo-Christian and near gnostic—ideas are scattered throughout these two stories are just as off-putting as the rest of the elements of this writing. I can’t tell if Hawk is really trying to tell stories with Christian themes* or if he’s just using the trappings of those themes the way that Pierce Brown uses the trappings of the Roman Empire to tell his stories. Either way, he fails.

* I’m using Christian in the broadest and most watered-down possible sense here.

“The Secret” features a couple of people with delusions of grandeur comparing themselves to Apostles to bring the world one of the tiredest ideas this side of Whitley Strieber. I wondered a few times if I’d have liked it more if Hawk hadn’t tried to compress the events into such a short space, but had developed them fully and let them breathe. But I just don’t see any evidence that he’s capable of doing that. He spent more time on this than he should’ve.

“Hunting Virgins” is even worse—these tree-removal experts have the maturity of the main characters of the 80s Porky’s films* and should be trusted with power tools to the same extent. There’s nothing about them that says megacorporations should shower them with money to do anything—and when things start to go wrong for them, there’s nothing about the situation to make the reader care.

* I can’t believe that I remembered these things existed, either. Or that anyone ever used the word “film” to describe them with a straight face.

Why did I finish? I was curious—and the book is crazy short. Also, I spent enough money on this volume that I couldn’t let myself just walk away. I regret the whole thing and hope I’ve convinced you to avoid this experience.

This originally appeared at The Irresponsible Reader.

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What’s First Frost About?

This is a dual-timeline novel—which isn’t altogether new for the Longmire books. In the present time, the shootings that ended The Longmire Defense* are being looked at, and Walt’s possibly facing criminal charges.

* I don’t think it’s much of a spoiler to say that. Most Longmire books end with one.

In the other timeline—which gets most of the ink—we watch Walt and Henry try to drive cross-country after graduating college in California so they can report for Basic Training on the East Coast. A road mishap and a bit of bad navigation on Walt’s part result in them getting stuck in a small Arizona town for a few days, where they find some trouble.

Now

On the one hand, I get the antagonism that Walt and Vic show toward the proceedings because it’s instinctual to get defensive when someone’s questioning your actions (and, well, Vic’s antagonistic about a lot). But it seems excessive—Walt’s enough of a believer in doing things The Right Way (in contrast to his grandfather or Lucian, for example), that he should be in favor of this exercise.

That said…it’s clearly motivated by politics and big-money-fueled corruption. So maybe it’s justifiable for them to push back against this. I’m not entirely convinced that the way this stage of the investigation ends is really less corrupt than the way it starts.

Then

It’s 1964 and the first thing we see is Walt and Henry surfing one last time before taking off on their drive to Oklahoma for Henry to see some family and then to their respective bases. Everything that happens in California is vintage Johnson and if he’d maintained that quality, I’d have been very happy.

But once Walt breaks something in their truck when he breaks to avoid a dog in the road (coyote, Henry insists), I think the whole thing goes to pot. Walt thinks something’s hinky in the tiny and sparsely populated town they find themselves in. Rather than just waiting for the truck to get fixed so they can hit the road, he starts asking questions and annoying all the wrong people.

Meanwhile, Henry plays tourist, checking out the abandoned Japanese Internment Camp nearby (which, of course, ends up playing a role in what Walt’s stirring up) and flirting with a local young woman.

It’s not long before people are starting to end up dead and Walt’s life becomes endangered.

So, what did I think about First Frost?

If I think about this as Johnson’s tribute to Route 66 (and, boy howdy, was it one) and a way for him to talk about Japanese Internment Camps, I like this more. If I think about this as a Longmire novel, my regard diminishes. I do frequently enjoy Johnson multitasking—talking about Van Gogh’s murder, the Sturgis rally, Native American Women going missing, and so on, while telling a Longmire story—so that’s not it. I just don’t think the stories were executed as well as Johnson usually does.

Both stories wrapped up too easily—a little too _____ ex machina (I can’t tell you what non-deus entities were involved). At the same time, the 1964 story took a little too long to come to its resolution. I’m not sure how that’s not contradictory, but it’s not (at least in my mind).

I believe the major function of the present storyline was to set-up a future novel or two (see also: the first time Walt and Henry watched Lolo Long’s niece, Jayla, play basketball)—so I could come around to appreciate what Johnson was doing here. But what we saw in First Frost left me wanting.

The 1964 story ultimately suffered from what a lot of prequels do—it’s hard to believe that the Walt and Henry who just finished college act so much like Walt and Henry with their respective military trainings and decades of experience do. I had no problem when we looked at Walt as an MP (in whatever book that was), I think Johnson got it right there, ditto for rookie Walt in The Western Star.

I’m actually not entirely wild about the portrayal of the Cheyenne Nation in the 1964 Story, actually. Almost all of it seemed off—but I think it’s a good thing, it shows that life, experience, and maturation changed Henry.

Obviously, time and re-reads/listens might change what I think about it, but on the whole, this one gets a “not bad” from me. I am curious about the stories I think were set up and think we could be in for some fun there (and a potentially good way to get Walt out of Absaroka County to keep the body count from rising).

Long-time fans will find enough to satisfy them, people curious about the series should start elsewhere.

This originally appeared at The Irresponsible Reader.

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She closed her eyes again and was still, and I was afraid she’d gone back to sleep. Three tough guys in here with her, as tough as she had ever known, but she had always considered herself to be as tough as we were, even making her way in a mostly man’s world. But now she had found out what all of us found out eventually, that tough was always the one with the gun.

What’s Hot Property About?

Rita Fiore is shot while walking to the gym. It’s serious—no one knows if she’ll make it. Spenser, Hawk, Frank Belson, and Martin Quirk assemble at the hospital to wait for word and begin plotting how they’ll find those responsible.

Quirk and Belson will oversee the official investigation, and Spenser will take on the one that they all anticipate will get results. Hawk will be waiting in the wings for when he’s needed.

There are plenty of people who’d be interested in hurting Rita, sadly—a few dissatisfied clients, and many people that she faced off against in court and who came away hurting. Spenser starts there and then starts looking into her personal life, too.

Both of these angles end up revealing more than Spenser expected. Then someone dies—and Rita’s health remains uncertain. While she and the doctors do what they can to keep her going, Spenser, Hawk, and others will have to make sure she’ll be safe outside the hospital.

Honest Question

Do we know that Quirk and Belson are friends with Rita? I don’t remember them interacting in the books before—but we’re on 52 now, it’d be easy to forget. When she was a Norfolk County D.A., she probably didn’t interact with them much (if at all). And I don’t see how a litigator—particularly a defense lawyer—for the kind of firm she works for has a tendency to befriend Homicide detectives (or vice versa).

Lupica clearly knows his Parker lore, so I should assume that he’s right to portray things this way. But I just don’t remember it, and I can’t see why they would befriend her.

I do like the way this all played out, so I’m not complaining, either. It’s just pointing to a lacuna in my memory and it bugs me.

Susan

Susan always said that the problem with a good idea was that once it got inside your head, it was almost impossible to get it out.

I thought I might have one now.

One in a row.

I thought this was a decent usage of Susan throughout this book—she does a little more than just serve as an excuse for a plot recap and some banter (which even Atkins slipped into, although never as much as Parker did toward the end).

I was disappointed in her early reaction to Rita’s situation—but I should’ve trusted that Lupica wouldn’t leave her as petty (but not insensitive).

Lupica’s Style

“You’re a pretty funny guy,’ he said.

“Yeah,” I said, “but I’m trying to quit.”

Some of the humor lines felt a bit forced, but they still worked. It frequently felt like Spenser was trying to hone his crowd-work before his next stand-up gig, rather than just an inveterate smart-ass.

But that does bring up Lupica’s style as a whole. I’ve seen some people online (and in the comment section here) talk about how he doesn’t match Parker’s (or Atkins’) style. I think this is a good thing—I think he seemed to shoot for Parker’s voice with his Sunny and Stone novels, but here he’s not trying (or he’s doing a really bad job of it, probably the former). I don’t remember the voice in his Spenser debut, Broken Trust.

Instead of trying to mimic, he’s taking the path that Reed Farrel Coleman chose for his Jesse Stone books—he used his own while staying true (more or less) to the characters. Spenser and Hawk banter, Susan and Rita exchange suggestive dialogue with Spenser, Tony Marcus is obnoxious and code switches his diction on a whim, and so on.

Obviously, some people are going to prefer one take over another—I can actually argue both ways (and I think if you look back at what I’ve said about all the post-Parker writers you’ll see me doing that). But for now, I like what Lupica’s doing.

This is where I invite Robert Germaux to demur in the comment section (or in a Guest Post if he has a lot to get off of his chest). 🙂

So, what did I think about Hot Property?

“The dogs bark,” I said, “and the caravan moves on.”

Walsh raised an eyebrow. When I tried to do that, Susan said it looked as if ‘d developed a twitch.

“First Tennyson with you, and now Arab proverbs,” he said. “Are you absolutely certain you’re a private detective?”

“I can’t tell you how many times I’ve asked myself that exact same question lately,” I said.

While I’m not completely sold on all aspects of this book, I do think it was an improvement over Lupica’s first Spenser novel (and I considered that his strongest Parker-verse work!).

It was an interesting choice to go diving into Rita’s personal life—as well as seeing some of her legal work that didn’t require a certain P.I. to help. It was a look into Rita that we’d never really got before. I don’t know that her creator would’ve made all the same choices with her but the current torch-carrier did right by the character (and Christopher Farnsworth followed up on this well, but that’s for another day).

Lupica had all the requisite twists and turns to keep the reader guessing, the pacing just right, and there were some real sweet moments (and some not so sweet) between characters in ways we don’t typically get to see.

It’s gotta be hard to find new ways to satisfy readers in the 52nd book in a series, without just pumping out replicas of earlier books—but Lupica has done that here, and I’m looking forward to seeing what he brings us later this year.

For readers used to this series or those who are looking for a new one to try, this Hot Property is worth your time and attention—you’ll be glad you gave it a shot.

This originally appeared at The Irresponsible Reader.

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We’d give until nightfall or the first howls before we gave them up for lost. Lost to never be spoken of again. Those ghosts trapped in meat who would become monsters to haunt us, to hunt us.

What’s Howl About?

That’s the end of the first chapter—and it tells you all you need to know about how warm and fuzzy this world isn’t.

This novella takes place in some sort of postapocalyptic future, and the world is in a very confusing place. It could be filled with the sufficiently advanced technology indistinguishable from magic or, it could be filled with sufficiently ordered magic indistinguishable from technology. Or maybe in the overlap of the Venn Diagram of the two. Eh…it doesn’t matter—one or both, it’s a cool world (for the reader, anyway, not so great for the residents).

In this harsh world, a young man and woman are kicked out of their tribe, their names taken from them—they’re left to try to survive as long as they can in the wilderness (yes, I’m glossing over important things). Following an encounter with some beasts that no one wants to come across, they meet a woman powerful enough to help them. She’s a monster hunter who has recently lost her team. This pair are a team in need of shelter, food, identity, and purpose. She takes them in, starts to teach them about the world outside all they’ve known and gives them those things they need.

And then…well, as you expect from monster hunters—they run into something nasty.

So, what did I think about Howl?

The writing was solid throughout—with moments that surpassed that and approached “good.” This isn’t necessarily a book that requires good writing—it’s got an inventive setting, strong characters, a propulsive storyline, and strange magic/science. Solid, capable writing is enough to keep you engaged and turning the pages—it’s enough to bring you back for more in the series. But good writing? The parts where you really can tell that craft has gone into a sentence or more? That’s icing on the cake—and rathke brushes up against that on a few occasions. Enough to make you realize he’s capable of it–and that maybe he’ll deliver more of that soon.

That said, there were a few moments where I wondered if he was trying too hard to make some of the emotional beats hit hard. If he’s backed off a bit and let them impact the reader with their own gravity, rather than giving an extra “oomph,” I think it might have been more effective. One of those moments was tied to a big reveal for a couple of the characters—or at least they acted like it was a big reveal. All I could think at the moment was, “Were you not paying attention a few pages back? I was.” Having paid that kind of attention, the (second) revelation didn’t make much of an impact on me, so the characters’ reactions seemed a bit off.

But let’s ignore those points (or at least rush past them), they’re not all that important.

What is important is the action, the worldbuilding, the characters—and the promise that we’ll learn a lot more about everything we see in this novella.

Once it gets moving (and it takes just a little while to get there), things happen quickly and intensely. The action scenes are great, the dashes of humor are fun—and I want more of all of this.

This originally appeared at The Irresponsible Reader.

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What’s The Mercy Chair About?

The book opens with Washington Poe in one of the least likely places we’ve seen him—therapy. Sure, he’s not there because he really wants to be—but he’s still there. Dr. Clara Lang is a trauma therapist, and she’s trying to help Poe recover from a case that drove him to the point that an “incident” occurred (SPOILER: it’s nothing as bad as what he did prior to The Puppet Show, but this one had witnesses).

He’s not in a good space—nightmares are plaguing him, and the circumstances around this case are likely what pushed him over the edge. The founder of a group called The Children of Job—an independent religious group associated with “extreme” views on sex, sexuality, government, and several other “culture war”-type issues—has been murdered. Stoned to death, to be precise. Poe and Tilly’s old friend, the Bishop of Carlisle, wants them to look into this—the Children of Job have been trying to be recognized for years, and while he’s disinclined to do that, he’d like to get this murder cleared up and to explore the group some. Enter our heroes.

It’s a brutal, brutal murder—but as the investigation goes on, they learn more and more about this Church, its practices and beliefs—practices that aren’t just questionably acceptable or orthodox—but some that are downright criminal. And every secret, every layer of mystery, that Poe uncovers shows another layer of dirt and darkness. You won’t feel that bad for the murder victim for too long.

Also, their agency is being audited by the government—one auditor, Linus, is assigned to Poe and Tilly while they conduct this investigation. Poe dubs him an intern and treats him like one—hoping to dissuade him from continuing this “audit” or at least not to let things get bogged down by Linus. Poe can see through the story he and his DI have been fed about this auditor, but he’s still stuck with him for the duration, as complicating as his presence/observation is (if only because Poe has to worry about his real purpose).

The Religion of The Children of Job (and others)

I have several questions regarding the beliefs of this group, The Children of Job. For example, what’s with that name? It’s an odd one to pick. The leader/founder of the group is covered in religious tattoos, but they seem like a fundamentalist group (and are compared to Westboro Baptist Church)—and I really don’t see those two going together. But I could be wrong there. But other things that don’t work with that group are things like the dichotomy of mortal and venial sins (something we’re told the CoJ do hold to).

I get it—the main thing we’re supposed to focus on with this group is their controversial (at best) beliefs and practices. They’re supposed to be the intolerant, unthinking group that Poe can rail and push against. But the lack of a coherent religious worldview and practice really doesn’t work. Yes, they should seem aberrant to Poe and Tilly’s secular point of view and to the Bishop of Carlisle’s very un-secular perspective, that’s beside the point. It should sill seem internally consistent—and the Children of Job don’t. They really feel like a hodgepodge of hot-button Evangelical/Evangelical-ish beliefs and practices forced into some religious chimera.

If, like most readers (I suspect), you don’t notice or care about this sort of thing, you’ll do fine. On the other hand, if you take this stuff seriously and expect sectarian groups that border on being a cult would take it seriously, too…it will bother you. It should bother the COJ. Does this impact the experience of the reader? Not really. Does it impact the hunt for the killer, his/her/their motivation? Nope. Does it impact Poe, Tilly, or anyone else we care about in the book? Nope. Did it/does it occupy too much real estate in my mind? Yup.

Along these lines—sort of, we’re told that Poe’s “intern” Linus read theology at university, and he’s treated as the investigation’s religion expert after that. Which is fine, it’s not like they can call the Bishop of Carlisle every time something comes up. But in Chapter 17 he pokes at one of my pet peeves, calling the last book in the New Testament “Revelations.” Now, the name of the book is singular—coming from the opening line, “The Revelation of Jesus Christ…” Back in Chapter 11, he got the name right. So, is he just sloppy? Maybe (but the more we get to know him, the less likely that seems). And for all her lack of interest in religion, how does Tilly not catch something like that and harp on it? Is this a case of sloppy copy editing? That’s possible. But I don’t know, and it irks me. It’s not a big deal, but it’s one of those errors that’s like nails on a chalkboard to me.

Poe’s Life Battles

One of the problems with juice and smoothie bars was that however much they dressed it up, they really only served fruit and vegetables. It didn’t matter that the ingredients had been blended, put in a cup and served with a soggy cardboard straw, it was still a gunky mess of unpalatable leafy greens and unbearably sour or sickeningly sweet fruits. Ingredients supermarkets wouldn’t put on the same aisles were forced together then given misleading names such as Liquid Sunshine and Endless Summer.

But the main problem was that for a supposedly fast and convenient food, smoothie and juice bars were slow and inconvenient. Poe reckoned he and Linus had been waiting for fifteen minutes. And, to make matters worse, the place Bradshaw had sent them no longer did milkshakes. The teenager behind the counter had offered Poe frozen yoghurt instead, to which Poe had replied, ‘T’d rather piss in my shoes.’

While they waited Linus said, “You seem to have a lot of these little “life battles”, Poe.’

‘What battles?’

‘Well, this one for a start. All you had to do was say no thanks to the frozen yoghurt. Instead, it became a whole big thing. I’d be surprised if they don’t spit in our smoothies.’

‘And I’d be surprised if you noticed,’ Poe said.

It will come as no surprise to anyone who’s read this series—or any of Craven’s work because it’s true of all his protagonists—that Washington Poe’s greatest enemy is himself. As seen, even Linus (who hasn’t known Poe that long—and is kept at arm’s length) can see it.*

* Also, I rather enjoyed that pericope.

Each book in the series explores—in one way or another—Poe’s propensity to engage in these life battles, and what they cost him—whether it be his home, his job, his credibility, the purchase price for a roasted goat, or spit in Tilly’s smoothie (spit in Linus’ smoothie would be a gift to Poe).

To some extent those close to Poe, or those who’ve worked with him and have seen what his methods/personality result in, can tolerate this, or make allowances for it. But

Now, any armchair therapist would tie this into his mother abandoning him and him telling himself (or Linus in a couple of pages after this) that he just doesn’t care about what other people think. But that’s garbage, and as much as Poe will tell that story to himself—he may even believe it—this comes from a dark place (no surprise) and potentially wreaks havoc on his personal life. It’s done that to his career—and it may do it to individual cases.

When we first met him, there was D.I. Stephanie Flynn—a friend of sorts—and, that’s about all we know about in Poe’s life outside of work (and since they worked together…). But now he has a home, he has Edgar. He has grown over this series—see his relationship with Tilly, with Estelle—and even his working relationship with the police in Cumbria. There are people and things besides his stubborn self-reliance in his life. He might even be fighting fewer life battles. Hopefully not too many—he might be a slightly less entertaining character if he gives up on them completely. But seeing gradual change—growth, thankfully—in a mature character is a great feature in a series.

And all of that is due to Tilly Bradshaw. But following up on that is for another time…

Physical Descriptions

In the past, I’ve talked about Craven’s ability to make you see a physical location—and kind of feel, smell, and hear it, too. There are a couple of locations like that in this book (the most striking I’m not going to talk about, you get to find it and be haunted by it yourself).

But I haven’t done a great job in talking about his gift for physical description. There are some dazzling examples in this book. Like:

[Name] was as thin as garlic skin and twice as pale. He had hair like an unshorn sheep, and the physique of someone who drank his meals. His back was banana-curved. Given his background, Poe had been expecting an older version of Joshua Meade. Prim and prissy with a distasteful look, as if he had something smelly on his upper lip. But, in his ratty dressing gown and even rattier sandals, [Name] looked like a featherweight Merlin. His toenails were jagged and yellow and dirtier than a dustbin lid.

Virginia Rose was thinner than a lolly stick and meaner than skimmed milk. Her words were precise, her vowels trimmed. She spoke as if it was a necessary but unpleasant chore. Poe reckoned that five hundred years earlier she would have been a witchfinder’s assistant, gleefully passing them the heretic’s fork. Some people just gave off that vibe.

You don’t get descriptions like that everywhere, you know? Seriously, I could read pages and pages of those kinds of snapshots. I’m not even sure that Poe needs to do much but wander around a city and people-watch to make me want to read the thing.

Yes, I read this and other series for the stories and the characters—but when an author like Craven gives you this kind of detail, delivered in this kind of way (what one author recently described to me as “sparkle”)? That’s when he gets a lifelong reader, even if he doesn’t seem to know how many times to use the letter s in “Revelation.”

Story-Telling

The novel as a whole is about Washington Poe telling a story. And throughout it, a few people have stories to tell him (sometimes announced as such, sometimes not).

There’s an extent to which every mystery/detective/police procedural is about storytelling—the story the evidence presents (or seems to present, for Mickey Haller, Eddie Flynn, Andy Carpenter, and the like), the stories the witnesses tell, the stories that the detective/whoever assembles over the case, the stories the criminal tells, and so on—in addition to the story the novelist is telling.

But few are as upfront and in-your-face about it as The Mercy Chair is. Craven forces the reader—well, okay, that’s overstating it. Craven invites the reader to think about the layers of story in the book you’re holding/listening to—it’s similar to Churchill’s line about “a riddle, wrapped in a mystery, inside an enigma.” I can’t delve into it to the depth it deserves in a post like this—nor am I sure I have the ability to explore it as it should be in general—but, like the section above, not every author delivers this kind of layer, meta-commentary, or element (whatever you choose to think of it) to a police procedural. So many—many that I enjoy, I hasten to add—are satisfied delivering a plot, a dose of character development, a clever mystery, and calling it a day. It’s the special authors that give you space and textual reasons to chew on things beyond the basics.

So, what did I think about The Mercy Chair?

Don’t ask me why—I don’t often find myself suffering from (and/or enjoying) the phenomenon called “Book Hangovers”—I think part of it is that I have so many books on my TBR that I don’t have time. For those of you who don’t know what I’m talking about, one blogger defines them as “all those thoughts and feelings you get after reading a good book that prevents you from moving forward in your real life and/or your reading life.” Well, I got one from The Mercy Chair—not only could I not move on nearly as quickly as I typically do, I couldn’t even write anything that night. I was just in a mental daze that left me in a state to watch some mindless TV until I went to sleep. It just got under my skin, worked its way into the folds of my cerebral cortex, and into my bone marrow.

Basically, it haunted me for a few days.

And I loved it for it. Make no mistake, all of this is a good thing. A very good thing.

And then…when it came time to write this post, I kept coming up with more and more to say—and have exerted more self-control than I like (and a lot of trimming) to keep this from being a pamphlet.

I’ve said little about Tilly, which is a little odd. I could be wrong (I likely am), but I think the percentage of the novel that features her is smaller than usual. But it works (this time), due to the nature of the stories that Poe and Craven are telling. But when she’s around, she’s as fantastic as always (I have to bite my tongue on a couple of scenes that I really want to get into). Also, before the events of the novel begin—Tilly gets to shine in a very non-crime-fighting way. It’s good to have the reminder that not only does Poe think she’s brilliant—she actually is.

The book as a whole is the darkest yet in this series—possibly the darkest thing that Craven has written (I still have one pre-Poe book to read, so I can’t weigh in on that). But it doesn’t stop being entertaining—thankfully. There’s at least one “awwww”-inducing moment as well as some lightness, some hope, some Poe and Tilly nonsense just around the corner up until the end game. And by that point, you’re so hooked by the tension and wowed by the revelations that you don’t care. I’m including the revelations that you may have guessed at, or close to—because the bits of them that you haven’t guessed at will make you feel like your hunches were useless anyway. It’s a good thing no one in my family dared to interrupt me during the last 80-100 pages, I’d probably have fewer people talking to me today.

It didn’t end quite as neatly as many of these books do—but it’s so close that no one’s going to care (and who doesn’t like a little ambivalence anyway?)—and there’s a problem discussed in the closing pages that is going to make things difficult for the partnership in at least the next book. I don’t expect that it’ll last too long—and at the very least it’ll be something that Poe and Tilly overcome. I’m not saying it’ll be a “super easy, barely an inconvenience” type of thing, but I don’t see Craven as having written himself into a corner. Still, it’s the closest thing we’ve gotten to a cliffhanger in the series.

The Mercy Chair is going to go down as one of my highlights of the year, and will likely be one of the high points of this series. It’ll be hard to distinguish it from the rest of the high points—the Washington Poe/Tilly Bradshaw books are filled with them, but I do think The Mercy Chair will poke up a little higher than the rest of this Himilayan-esque series.

Read this. Read everything Craven has published—and probably will publish. Heck, go through his trash to see if you can find a to-do list/shopping list—they’re probably worth reading.* Once you shake the heebie-jeebies that this novel will induce, you’ll be glad you did.

* Please don’t do that, I was just joking. That’d be creepy. Also…probably not safe, we know what kind of twisted things his mind is capable of, don’t make him angry.

This originally appeared at The Irresponsible Reader.

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WARNING

If you haven’t read Headphones and Heartaches by Wesley Parker yet, don’t read this post. If you’re not sure if you’d want to—this is not the post to read, either. Go read my take on it and then go read Headphones and Heartaches. Or skip my post (just don’t tell me you did that, my ego is fragile) and read the book. That’s up to you. But the first sentence of the next section contains a major spoiler for it.

Something about senior year has caused a shift in my relationships with those closest to me. People have been weirder, going on soliloquies about the past and how much I’ve grown up. It feels like I’m at the beginning of a long goodbye.

What’s Detours and Do-Overs About?

When we left Percy, he was mourning his mother, being helped through her death by overdose by his adoptive mother, girlfriend, and best friend. When we pick up with him here…well, he’s still doing the same. But he’s getting better all the time. It’s the beginning of his senior year, with all the drama, tensions, and excitement that brings.

Percy’s thinking about colleges—something he’d never believed possible until now. He’s even thinking about out-of-state colleges, and the teacher who took him under his wing in the last book has helped him connect with someone from the University of Maine and thinks he can get him a great scholarship. It’s hard to say what it is exactly about that school that captures Percy’s attention—maybe just the novelty of him leaving New Jersey by choice. This isn’t going to go well with his girlfriend, who has her sights set on a local college, but he doesn’t have to tell her right away, right?

Yeah, he’s still pretty stupid when it comes to relationships.

While he’s trying to figure that out, his new mom, Grace is making plans for her future. If Percy isn’t going to be around, maybe it’s time for her new chapter, too. (Percy’s glad for her to be able to think this way, but that puts some pressure on him to leave, too)

But that’s all about the future—about next year. For now, he has to focus on completing his Senior Year. One thing he has to do is a community service project—one more involved than any I’ve seen a High Schooler have to accomplish. He volunteers at a homeless shelter/food bank. It’s a great match for him—he has a real passion for the work, he can relate to everyone there, and soon is even helping them plan the future for the shelter.

While Percy connects with everyone there in one way or another—there’s a little boy, Dante, whom he meets before his interview. The two of them have an instant rapport—Percy sees himself in Dante. He was Dante just a few years ago—living in and around places like this with a single mother trying to provide for the two of them while battling her demons. Dante sees someone a little older than him who genuinely cares about him and opens up to him in ways he doesn’t with anyone else at the shelter.

Those are the pieces—the novel follows Percy and the people above over the course of the school year—through lows (very low lows), highs, and everything in between. Until we get to the end and see where Percy and his decisions seem to indicate the direction of his life.

The Heart of this Book

That heading is probably overstating it a bit, but oh, well. The part of this book that makes you like Percy the most, the part that makes you root for him (even when he’s being a jackwagon) is Dante.

Yes, you have to wonder about the staff at the shelter letting Percy ignore any and all boundaries when it comes to this little boy. But Dante’s mother trusts Percy, Dante trusts him even more than she does, and the two become great friends. The affection both ways is real and will make you melt.

There are some shortcomings to this book—but absolutely none of them matter when Dante’s around.

Percy’s Immaturity and Insecurity

Percy had to grow up, in many ways, before he was ready to. His mother’s addiction and frequent homelessness made him deal with things that no child should. Even after moving in with Grace, some of the decisions he had to make called for a level of maturity beyond his years.

But that doesn’t mean he’s got everything figured out emotionally—he still needs to grow up. Add in adolescent hormones and the, ahem, urges that young men in deep-like/love with an attractive young woman wrestle with…and you’ve got a recipe for disaster. Maybe even worse. In a year where he has major choices to make, he needs to think clearly—which is a lot to ask of any young person, but for Percy, it’s even more.

Grace has been a great stabilizing presence in his life—and he’s picked up several others, too. But that doesn’t eliminate all the insecurities he’s built up over the years. In some way, Percy is sure that he will be left alone, that everyone he cares about will vanish, abandon him, or leave him in some other way. These insecurities added to the pressures I mentioned above threaten to overwhelm him.

Arguably they do more than once.

It’s so easy to look at Percy as a young man with it all together. He’s bright, he’s highly motivated, he’s eager, he’s committed, he throws all his heart and energy into his goals. But he’s just a kid, and that shows up in rather inopportune times. I know I lost my patience with him a couple of times as a reader—everyone who isn’t Dante in his life has to think the same things a few times.

Grace

Grace is one of the best mothers in fiction. I didn’t talk about her much when I posted about the other book, and I’m still not going to. She deserves a lot of space dedicated to her, but I think I’d just repeat that opening sentence in various ways.

She’s patient. She’s understanding. She’s supportive. She knows her boy—even if he hasn’t been with her that long, she pays attention to him (better than he does himself). She’s also good about letting him make his own mistakes so he can learn from them. But she’s quick to step in when he needs her to, too.

She’s also just a lot of fun to spend time with. I wish we readers got to see some more of the fun times that Percy and Grace share, it’s just encouraging and heart-warming. But the book has enough other things to cover that we can’t get too much of them.

So, what did I think about Detours and Do-Overs?

I don’t think that this is anywhere as good as the other book featuring Percy. That could be my mood when I read the two. But I don’t think that’s it. I really think my issues stem from the behaviors and attitudes of the teens in this book—they were pretty realistic, I have to say. But they all just really annoyed me.

Not that all the adults were perfect either—some of them displayed many flaws—but the way they all responded to seeing their flaws was encouraging to watch. Emphasizing that they’re adults who are largely well-adjusted. (Dante’s mother, sadly, doesn’t really fit this).

People familiar with Parker’s oeuvre will get a kick out of some of the new characters in Percy’s life, and will be happy to see where their lives have taken them. The resolutions to the various storylines are all satisfying and convincingly told.

One could be tempted to quibble with some of the tidiness of the lives of the characters at the end of the novel—and were this a non-fiction work, you’d be right to do that. This is a work of fiction with inspiring and heartfelt characters, so shut up and let them have nice endings.

Once again, Wesley Parker brings some laughs, a lot of joy, and some warm feelings. I hope he continues to do so. Go read this.

This originally appeared at The Irresponsible Reader.

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What’s A Serial Killer’s Guide to Marriage About?

I had a long and drawn-out version of this planned, but I scrapped it when I realized it would be longer than everything else in the post—and you’d be in better hands if you read Mackay’s version.

So I’m going to try to be brief.

Every parent knows that having a child changes your life. There are two distinct phases—pre-child and post-child. If you’re in a marriage/long-term relationship, that changes, too. Significantly. Generally, it’s worth it—but we all know the “remember when we did X when we wanted to?” feeling. We all have to find new ways to relate to our partners, ways to keep things exciting.

But what if that X was killing people? People who abused women, in particular. What if the thing that brought them together, their joint purpose was this particular vigilantism—along with the travel necessary? What would they do after they had to put it aside for the safety and well-being of a daughter?

What would that do to their relationship? What would it do to them as individuals? What kinds of strain would be caused?

These, and many other questions, are answered in A Serial Killer’s Guide to Marriage

Hazel

You are going to almost instantly appreciate Hazel’s voice and perspective (assuming you can put up with the whole serial killing thing. But if you can’t, you’re probably not reading a book with this title)—part of that is because we start with her POV, partially because she’s a great character that anyone wants to identify with and empathize with.

She wants the best for her daughter and her husband. She’s a devoted mother and dotes on the girl. But she misses who she was. She misses who she and Fox were. She feels shackled by his decision to hang up their knives and live a “straight” life while raising their daughter (children?). She mostly agrees with the choice, but it chafes.

Hazel has never been good at making friends, but she’s trying to fit into her new, suburban life—going to mommy and baby groups, trying to forge relationships. And she is beginning to forge a friendship with a fellow mother when she discovers she’s made a bad choice. This new friend is a police officer.

Whoops.

Gripe #1: Fox’s Perspective

Fox does not make a good first impression—or at least Hazel doesn’t leave us with a good first impression. Thankfully, it didn’t take too long to see something from his perspective and it became possible to empathize with him some. In fact, once we get to see his self-deprecating wit, it’s hard for a reader not to like the guy a little—and to realize that Hazel was being (understandably) uncharitable.

It’s a thing that happens in marriage from time to time—especially the kind that could probably use a guide to marriage.

Fox is incredibly careful and thoughtful (about their criminal activities, anyway, not so much about his wife’s feelings). He does do much for Hazel—for their family’s sake—that he doesn’t tell her about, or explain fully.

There were two angles to things with Fox’s perspective that I think hurt the book as a whole while being things that Mackay clearly intended and I probably just don’t appreciate enough. The first is that we don’t know everything he’s up to and/or knows—this is done so we can learn about it at the same time as Hazel, which works for dramatic effect. But it feels like Mackay is cheating a little bit to get us there.

The other part comes as a result of Fox’s place in the novel—as a character, he’s second banana to Hazel. What she’s doing and thinking is far more important (and I get that), but in addition to having a lot hidden from us, parts of his story are rushed. There’s…a situation back in the States with his family’s company. We get a glimpse or two at it, and then it’s largely resolved—off-screen. It felt like a missed opportunity.

Gripe #2: Communication

One decent conversation with the person each thinks of as a soulmate. One decent conversation between people we see do so much for each other. One decent conversation between people who would die—or kill—for the other.

That’s all it’d take to make this a short story instead of a novel.

Or better yet, put them on a better footing so they could do other things together.

Yes, this is what happens between marriages all the time. Even ones where neither is a criminal of any kind. So it makes sense for Mackay to show this. But it could’ve been resolved quicker so we could see them as a couple (more or less on the same page, but not at loggerheads) when dealing with Fox’s family, Haze’s complicated taste in friends, parenting, etc., etc.

Sure, that’s not the story Mackay wanted to write—so I really shouldn’t gripe about it. But watching how she did everything else (very well, I want to stress), I’d have enjoyed seeing this version more.

So, what did I think about A Serial Killer’s Guide to Marriage?

I really enjoyed it. I wanted more from it though, as my second gripe (which looks worse on the page than it is in my mind) indicates—I think Mackay could easily have brought us something better. More like the Mr. and Mrs. Smith TV show than the movie (not that this is a great comparison in several ways, but it captures the gist).

So I’m going to move on from it there.

This is really aspirational in so many ways—their lifestyle? (obviously minus the murdering bits) Either in the carefree pre-parenthood days, or even the suburban version—is something that few of us will see. The travel, the house, the standard of living—it’s fun to imagine yourself there.

And honestly, we all sort of like the idea of being a lone vigilante (or a pair), doing the things the authorities don’t or can’t. Fox sees the comparison to a comic book figure—and embraces it with a grin. Readers will do the same.

At the end of the day, this is silly, trashy, fun—and I mean that as a compliment. I’m pretty sure that’s what Mackay was going for, and she achieved it. (if that wasn’t her aim, she still hit the mark). I think most readers are going to like it more than I did—I have a short list of people I’m gifting it to, and I am confident they will. Anyone who finds the pitch appealing is going to have fun with this Dexter-ish* comedy, and I recommend it to you.

* Heavy on the “ish.”

Disclaimer: I received this eARC from Random House Publishing Group via NetGalley in exchange for this post—thanks to both for this.

This originally appeared at The Irresponsible Reader.

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“Sorry.”

“For what?” Her honey brown eyes are equal parts amused and curious when she looks up into mine.

I don’t have an answer. Sorry is just a word you say when you have nothing substantive to offer. I’m sorry you missed your bus. I’m sorry your boss was in such a foul mood. I’m sorry everyone is such assholes these days. I didn’t cause any of these problems, and I can’t make any of them better, but I can offer you some useless empathy. I’m sorry your life didn’t turn out to be more fulfilling. Rest assured, however, in a parallel universe in which we didn’t break up, you’re happier. Maybe. And I’m sorry if you’re not. Or at least the parallel me is. He’s the one that let you down there.

What’s This Is Who We Are Now About?

Henry drags his wife and sons to his parents’ house for a few days. One son doesn’t want to leave his girlfriend behind, his wife is trying to finish organizing a charity activity that takes place while they’re away, and Henry really doesn’t want to be there because his family will be celebrating Henry’s 50th birthday.

When they arrive, his parents are having a yard sale, selling a lot of memorabilia from Henry’s childhood and he’s upset by that. A rivalry with his brother reheats, and he keeps running into his incredibly serious high school/college girlfriend.

Things go bad with his wife, his brother, his parents, and his kids. Henry repeatedly tries—and sometimes succeeds—to keep their connection alive. But the challenges (many self-created) continue. Can Henry make it through the visit with his family intact? Is it too late to come-of-age when you’ve hit 50?

So, what did I think about This Is Who We Are Now?

I can defend everything I’ve done since we arrived. Even the worst of Denise’s complaints, in isolation, would be waved away by most objective observers. Collectively, however, maybe it’s not a body of work to stake a flag in. Maybe the picture when all the dots are connected isn’t a flattering one.

I have struggled with this post—especially because I’ve had to write it in bits and pieces over a couple of weeks, which I do often enough that’s not the issue. But I keep changing my mind about the book every time I write—which leads to a lot of editing, re-editing, re-re-editing, and I just give up and walk away.

Even when Henry was making it really easy not to like him (which was often), there’s something very charming, very effortless, and pretty entertaining about this book. His moments with his sons would largely make you wonder why his family is in such a precarious state—then you remember he doesn’t have/make/take the time when they’re at home to be this kind of dad. Then there’s everything he says to, reacts to, or treats Denise…it’s just painful.

I thoroughly enjoyed everything about Henry’s sister, Margo, on the other hand. Her strengths, her bad decisions, and how she reacts to them are easily the saving grace of the novel.

I enjoyed this novel while reading it. But I haven’t been able to decide what I think about almost any part of it that doesn’t involve Margo or Henry’s kids. I think that says something about how realistic Henry, Denise, and their problems and family are. But I don’t know how real I want a book like this to be.

I like Bailey’s writing, I think he’s amusing enough when he wants to be, he gets you invested in his characters, and I wanted to like this a lot. But at the end of this day, I like it just enough to recommend it (most days, other days I could like it a lot more or a lot less).

This originally appeared at The Irresponsible Reader.

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What’s 42: The Wildly Improbable Ideas of Douglas Adams, Anyway?

from The Publisher:

When Douglas Adams died in 2001, he left behind 60 boxes full of notebooks, letters, scripts, jokes, speeches and even poems. In 42, compiled by Douglas’s long-time collaborator Kevin Jon Davies, hundreds of these personal artefacts appear in print for the very first time.

Douglas was as much a thinker as he was a writer, and his artefacts reveal how his deep fascination with technology led to ideas which were far ahead of their time: a convention speech envisioning the modern smartphone, with all the information in the world living at our fingertips; sheets of notes predicting the advent of electronic books; journal entries from his forays into home computing – it is a matter of legend that Douglas bought the very first Mac in the UK; musings on how the internet would disrupt the CD-Rom industry, among others.

42 also features archival material charting Douglas’s school days through Cambridge, Footlights, collaborations with Graham Chapman, and early scribbles from the development of Doctor Who, Hitchhiker’s and Dirk Gently. Alongside details of his most celebrated works are projects that never came to fruition, including the pilot for radio programme They’ll Never Play That on the Radio and a space-inspired theme park ride.

Douglas’s personal papers prove that the greatest ideas come from the fleeting thoughts that collide in our own imagination, and offer a captivating insight into the mind of one of the twentieth century’s greatest thinkers and most enduring storytellers.

A Few Short-Comings (only one of which is of any substance)

Not every piece of handwriting is transcribed—and no, I’m not referring to the more than a dozen examples of his signature (an interesting evolution to be sure). The majority of bits of handwriting are printed under, next-to, or following to make them legible. But not all—and there are a few things that I can’t quite suss out. And if you’d ever seen my handwriting, you’d know that I can figure out what a lot of messy writing says.

The other drawbacks are that the chapters covering Dirk Gently (in the various books) and The Last Chance to See (radio program and book) are too short. I could’ve used twice the material on both of those.

I Didn’t Expect to Get Misty-Eyed

Throughout the book are letters written by people who knew Adams to him, describing their relationship, what he meant to them, and how his death affected them. The first one, by Stephen Fry, is used as the foreword and threw me—I didn’t realize I was going to have an emotional experience while reading the book.

These were wonderful and heartfelt and make the reader feel close to someone they’ve only admired from afar. Sure, it’s a parasocial relationship at best (for almost everyone who reads the book), but especially reading those letters, it feels far less “para.”

An Overly Specific Suggestion

Do not read this book while recovering from abdominal surgery.

It is large (8.5″ X 11.9″ X 1.2″). For a book, it is heavy (roughly 4 pounds). There is no comfortable way to hold this book while reclining if you cannot rest it on your stomach.

That said, the large size, the high-quality paper, and the full-color pages are a wonderful way to present this material, and I wouldn’t have it any other way.

So, what did I think about 42: The Wildly Improbable Ideas of Douglas Adams?

So, really, at this point, should I be allowed to rate books related to Douglas Adams? Probably not. But, this is my blog, so I get to set the rules.

There were some things that I’m not sure why Davies included, a couple of things I didn’t appreciate as much as I should’ve (some older British pop culture references/names that I’m too American to get/recognize). But by and large, I was captivated and entertained. I bet Davies had a blast compiling this and it couldn’t have been easy cutting some material (although I bet there was a bunch that he wondered why anyone hung onto in the first place).

While I (semi-) joked about the Dirk Gently and Last Chance to See chapters being too short, they really were the most interesting to me. I’ve read many, many things about THHGTTG over the years, and have seen a good amount about his career and education before then. but I’ve come across very little about these others—so I learned more, got more insight, and whatnot. I really could’ve read chapters that were three times as long on both counts.

Truth be told, the book could’ve been three times as long and I’d have been happy, too. Sure, you’d need a weightlifting belt to carry it around that way, so maybe it’s best that Davies stopped when he did.

You need to read Adams thoughts on the future of books—specifically ebooks. Other than the amount of money going to authors…he nailed it. You get great insight into how his mind worked by seeing early drafts (and the way he’d write to himself to keep going when it got difficult).

I found this to be mind-bogglingly delightful. Which is pretty much what I expected, true. But there’s expecting to appreciate a book and then getting to experience it and discover that you were right. It’s is kind of a doubling of pleasure.

If you’re a fan of Adams, you’re going to find at least one thing here that will interest you more than you anticipated. If you’re a big fan of Adams, you’re in for a treat. He was the hoopiest of hoopy froods, and this book gives you a glimpse into just how hoopy that is.

Disclaimer: I contributed to the crowd-funding to get this book published (my name’s right there on p. 314), so who knows if that makes me biased. But then again…when am I not?

This originally appeared at The Irresponsible Reader.

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I hate dying. It usually hurts something awful and ruins my whole day. I avoid it whenever possible.

What’s Bizarre Frontier About?

This is a collection of the first three novellas in Poulsen’s Bizarre Frontier series. This series focuses on the adventures of the former Deputy Marshall, Willard Beckett. He didn’t always wear a “white hat,” back in his black hat days, he was cursed by a dying Romani woman. He can’t stay dead. He can die, he can go through all the pain and suffering before death—but he shakes it off after a little while.

As curses go, it’s not the worst, actually.

On Moths

In the first novella, we meet Beckett and learn about his, um, condition.

As any “retired” protagonist in a Western starts, Beckett is living alone, away from everyone else, self-medicating and merely existing. His wife divorced him, he lost the taste for the work (or so I assume, I don’t remember it being spelled out), and really doesn’t have much purpose in life. Until, of course, his old boss comes for help. It seems some brothers that he ran with are causing problems in a local mining town and they can’t be stopped.

The funny thing about that situation, those brothers were killed by the aforementioned Romani woman.

Hanged Man’s Boots

After finding out how those brothers got in the position where they could terrorize the town, Beckett and his ex-wife, Sue, learn that the man behind it all is cutting a swath of destruction behind him as he tries to escape justice. Can the pair stop him?

Husk

The big hook to this one comes from Willard not doing something I’d assumed he took care of in between novellas. And the fact that he didn’t made me roll my eyes pretty hard. Yes, he justified his lack of action to someone later in the novella—and it’s plausible, but I still don’t buy it. Still, without his being careless, we wouldn’t have gotten this story.

It begins with Willard going off to take care of the repercussions of his carelessness and Sue having to go rescue some of her sister’s sheep following a storm and her brother-in-law coming into close contact with a monster (or so he claims and not enough people believe).

Craziness and action ensue. And while the last novella brought the pair into contact with evil made stronger by the supernatural, this one brings them into some supernatural mayhem. It’s hard to argue which is worse

The Strangest Bit

For me, the thing that was stranger than Willard’s curse—or anything else he ran into—was the way he (and everyone else) called the woman who cursed him (and her family) Romani instead of that term that I grew up hearing. I’m not complaining about it—if I’m buying a Deputy Marshall who can’t stay dead for long, I can buy a degree of cultural sensitivity that is just as out of place.

It just took me a second to accept it. But honestly, I like the fact Poulsen made that choice, he didn’t need to.

So, what did I think about Bizarre Frontier?

These stories are light on the Western and heavier on the Urban Fantasy—which is fine with me, if you forgive the anachronistic nature of that. They’re Western enough to qualify, but by a hair—they remind me of the Bodacious Creed Zombie-Steampunk-Westerns in this way. (and actually fans of one of these series, should check the other out)

I wouldn’t mind a little more depth to each of these, but I don’t think they need much more. They work really well for what they are—quick, episodic, adventures with just enough of a tie between them to keep readers coming back (if you get them individually) or to carry you through the omnibus (if you go that way).

There’s a lightness to the prose that keeps it engaging and fun even in the midst of monsters, death, and mayhem. The action is smooth, the recurring characters are fun and I can see hanging out with Willard and Sue for quite a while to come. I’d like to see them deal with something that has no contact with anything they’ve encoutered yet—but if Poulsen keeps going down this path, I’m not going to complain.

I will be back for more as soon as I get a chance. It’d be nice if there was a second omnibus (I mention in case Poulsen reads this), but it looks like I’ll be picking up the novellas at my earliest convenience. I’d recommend you trying these yourself.