Mathematicians hated Dan Brown’s novel “Digital Fortress,” claiming it wasn’t realistic enough to be believable. On that basis, archeologists should love David Gibbins’ “Atlantis,” touted as an underwater “Da Vinci Code.”
The cover art, subject matter, and author’s background offer great potential for historical suspense, and clearly Gibbins has the ability to deliver such a story.
Like “Da Vinci,” an ancient puzzle holds clues that point to a civilization considered only mythical, until archaeologist Jack Howard and his team break the code and discover enough facts to lead them on an expedition to find the lost city of Atlantis.
Quicker than you can say “Clive Cussler,” Jack and his team locate the exact locate of the sunken civilization, and fortunately, he and his team are experts in underwater archeology. They have all the latest equipment, miniature subs, robotic cameras, laser-driven cutting torches, sophisticated airlocks, and knowledge of all the current land, sea, and air-based weaponry.
That last bit comes in handy, since all sorts of weapon-toting adversaries are willing to do anything to steal away the find of the century.
If the story sounds a lot like Clive Cussler’s “Atlantis Found,” it may be because it is – the difference being Cussler’s typical over-the-top dialogue, and Gibbins’ writing that reads more like a tech-manual. Every character is an expert who explains everything in detail – Russian submarines, Greek hieroglyphics, Mediterranean hydrology – it doesn’t matter. Everyone gets a chance to stand on a soapbox to spell out what the obscure facts mean to the Atlantis search.
Unfortunately, too much of a good thing tends to work against the result, and while Gibbins writes with the authority of the Cambridge PhD that he is, too much of the novel reads like a professor’s lecture. “Atlantis” might be the perfect text for Marine Archeology 101.
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Monday, January 29, 2007
The Big Bounce
The prolific output of crime fiction writer Elmore Leonard somehow eluded me, and there is a possibility I took on the wrong book for my first encounter. He’s written some 35 novels, and “The Big Bounce” at its release more than thirty years ago represented his move away from westerns.
The story holds up surprisingly well, despite its age, and – if not for references to then-current Detroit baseball players and the prices of homes – it could have been written last year. Baseball is the background of Jack Ryan, a washed-up minor leaguer who has fallen into petty crime.
He’s not the brightest crayon in the box, but he’s colorful enough to make up for it. Immediately after accepting a handyman’s job, he meets a high-roller’s mistress who believes Jack and his criminal background are the ticket to the scamming of her Sugar Daddy’s payroll.
Jack isn’t so easily convinced, although he has a tough time saying no to Nancy, who is bored with the life of the idle rich. Her idea of fun is throwing rocks through beach house windows and then running away when the lights come on.
Leonard’s casual style makes it easy to fall in with his characters, wondering to what degree the thrill-seeking Nancy will go before her actions will finally bring her down, and marveling at Jack’s ability to float along at life’s fringes. The strength of “The Big Bounce” is in its characters, but unfortunately, there is little in the way of plot to keep the story heading toward a finish. That may be the reason the book has no conclusion. You turn the last page looking for the rest. There isn’t any more.
To appreciate his writing style, “The Big Bounce” is a ball, but as a well-plotted story, it simply falls flat.
The story holds up surprisingly well, despite its age, and – if not for references to then-current Detroit baseball players and the prices of homes – it could have been written last year. Baseball is the background of Jack Ryan, a washed-up minor leaguer who has fallen into petty crime.
He’s not the brightest crayon in the box, but he’s colorful enough to make up for it. Immediately after accepting a handyman’s job, he meets a high-roller’s mistress who believes Jack and his criminal background are the ticket to the scamming of her Sugar Daddy’s payroll.
Jack isn’t so easily convinced, although he has a tough time saying no to Nancy, who is bored with the life of the idle rich. Her idea of fun is throwing rocks through beach house windows and then running away when the lights come on.
Leonard’s casual style makes it easy to fall in with his characters, wondering to what degree the thrill-seeking Nancy will go before her actions will finally bring her down, and marveling at Jack’s ability to float along at life’s fringes. The strength of “The Big Bounce” is in its characters, but unfortunately, there is little in the way of plot to keep the story heading toward a finish. That may be the reason the book has no conclusion. You turn the last page looking for the rest. There isn’t any more.
To appreciate his writing style, “The Big Bounce” is a ball, but as a well-plotted story, it simply falls flat.
The Black Echo
In comic strips and fiction, our favorite characters rarely age. Beetle Bailey hasn’t changed a bit. James Bond would need a super-spy walker if Ian Fleming’s character grew older with time. Suspense author Michael Connelly allows the passage of time play a part in his stories, and in “The Black Echo,” he introduces a character that has become his stock-in-trade.
Mrs. Bosch named her son, Hieronymus, but is no surprise that the LA detective prefers to be called Harry Bosch. A Vietnam veteran who makes a mark on the police force, Bosch is a hero who takes a fall over a shooting death. Despite its name, his reassignment to the Hollywood division is hardly a glamorous post.
Bosch doesn’t believe in coincidence, so when he discovers the body of a veteran he served with, he won’t write it off as an overdose, and his investigation uncovers a link to a major bank robbery.
Connelly is a former crime reporter and his contact with law enforcement undoubtedly provides the gripping authenticity he manages in following the case. In his “Black Echo” introduction of Harry Bosch, Connelly provides a solid foundation that has now endured through twelve novels, with the latest – “Echo Park” – released this fall.
There are offbeat and eccentric crime fighters – Preston and Child’s Aloysius Pendergast as an example – then there is serious and straightforward Harry Bosch. He follows the clues, follows his instincts, and follows the rules.
Michael Connelly also writes stand-alone suspense, which allows him to present enough background in each Bosch outing to thoroughly flesh out his story. To know Harry Bosch though, is to know Hieronymus – his name, his style, and his background – and in getting to know suspense writers, there are few better than Michael Connelly and “The Black Echo” is a great starting point.
Mrs. Bosch named her son, Hieronymus, but is no surprise that the LA detective prefers to be called Harry Bosch. A Vietnam veteran who makes a mark on the police force, Bosch is a hero who takes a fall over a shooting death. Despite its name, his reassignment to the Hollywood division is hardly a glamorous post.
Bosch doesn’t believe in coincidence, so when he discovers the body of a veteran he served with, he won’t write it off as an overdose, and his investigation uncovers a link to a major bank robbery.
Connelly is a former crime reporter and his contact with law enforcement undoubtedly provides the gripping authenticity he manages in following the case. In his “Black Echo” introduction of Harry Bosch, Connelly provides a solid foundation that has now endured through twelve novels, with the latest – “Echo Park” – released this fall.
There are offbeat and eccentric crime fighters – Preston and Child’s Aloysius Pendergast as an example – then there is serious and straightforward Harry Bosch. He follows the clues, follows his instincts, and follows the rules.
Michael Connelly also writes stand-alone suspense, which allows him to present enough background in each Bosch outing to thoroughly flesh out his story. To know Harry Bosch though, is to know Hieronymus – his name, his style, and his background – and in getting to know suspense writers, there are few better than Michael Connelly and “The Black Echo” is a great starting point.
The Chatham School Affair
Some books lend themselves to discussion, and Thomas H. Cook’s writing in “The Chatham School Affair” is perfectly suited to book-club group readings, particularly those attracted by presentation as well as plot. Classified alternately as mystery and suspense, Cook’s fluid style fits comfortably with contemporary literature, and the haunting prose faultlessly complements his wind-blown Massachusetts coastal setting.
Narrated by an aging Henry Griswald, the story begins with his recollection on a new teacher’s arrival in 1926 at the boy’s school at which his father is headmaster. The young woman is both beautiful and mysterious, and the glamorous notions and exotic tales she includes as part of her daily art lessons quickly captivate young Henry.
It’s clear, in his recounting of the events of his youth, that something devastating has occurred in Chatham, an event dramatic enough to alter forever the lives of the townspeople, and – even decades later – to incite casual references to those involved.
It isn’t clear though, exactly what happened so many years ago.
Cook easily maneuvers between the present and memories of Henry’s days as a student of Elizabeth Channing, and his portraits of the characters are so compelling that the intimation of tragedy seems almost incidental. As though revealed by ghosts flitting through the story, the cataclysmic event remains a mystery, and glimpses of the aftereffects provide the only clues as to what transpired that fateful day at Black Pond.
Even when Cook finally identifies his tragedy, he withholds enough cards to trump the initial surprise. The ending is startling and unconventional, and undoubtedly part of the reason “The Chatham School Affair” won awards from the mystery community.
It’s a first rate novel, one that will create longtime fans of Thomas H. Cook, whose latest effort – “The Cloud of Unknowing” – is set for a January release.
Narrated by an aging Henry Griswald, the story begins with his recollection on a new teacher’s arrival in 1926 at the boy’s school at which his father is headmaster. The young woman is both beautiful and mysterious, and the glamorous notions and exotic tales she includes as part of her daily art lessons quickly captivate young Henry.
It’s clear, in his recounting of the events of his youth, that something devastating has occurred in Chatham, an event dramatic enough to alter forever the lives of the townspeople, and – even decades later – to incite casual references to those involved.
It isn’t clear though, exactly what happened so many years ago.
Cook easily maneuvers between the present and memories of Henry’s days as a student of Elizabeth Channing, and his portraits of the characters are so compelling that the intimation of tragedy seems almost incidental. As though revealed by ghosts flitting through the story, the cataclysmic event remains a mystery, and glimpses of the aftereffects provide the only clues as to what transpired that fateful day at Black Pond.
Even when Cook finally identifies his tragedy, he withholds enough cards to trump the initial surprise. The ending is startling and unconventional, and undoubtedly part of the reason “The Chatham School Affair” won awards from the mystery community.
It’s a first rate novel, one that will create longtime fans of Thomas H. Cook, whose latest effort – “The Cloud of Unknowing” – is set for a January release.
Dear John
Soldiers in World War 2 called them “Dear Johns” – letters written from wives or girlfriends back home who couldn’t wait or had found someone else. It’s no surprise the “Dear John” from author Nicholas Sparks is filled with distance, longing, and broken hearts.
John Tyree is a rowdy type from North Carolina who straightens out his life by joining the US Army, then tangles it back up on leave when he meets college student Savannah Lynn Curtis. She’s a near-perfect straight arrow, and in typical Nicholas Sparks fashion, they manage to exchange an “I love you” by the third date.
Their two week romance consists of walking tours, cheeseburgers, and surfing lessons, but by the time John is packing his suitcase to return overseas, they are vowing eternal love. John promises to write regularly, email, and call when he can, and Savannah promises to wait. Their pledges are easy to keep in the beginning, but – as in the case of many long distance loves – eventually the two start drifting apart.
The “Dear John” letter from Savannah still comes as a surprise to him, but rather than trying to contact his lost love, John signs up for another tour of duty. It takes his father’s funeral to bring him back to North Carolina.
Sparks sets up the reunion of the two in a scenario that is rife with possibilities. Savannah’s husband isn’t home and she surprises John with an offer to cook dinner. In a situation reminiscent of the ill-fated scene in Ethan Frome, the two are alone in the house with all the tension of the love they once shared.
Suffice to say, Edith Wharton would have played it differently – but “Dear John” will satisfy fans of Nicholas Sparks with its short simple style, easy prose, and trademark poignant moments.
John Tyree is a rowdy type from North Carolina who straightens out his life by joining the US Army, then tangles it back up on leave when he meets college student Savannah Lynn Curtis. She’s a near-perfect straight arrow, and in typical Nicholas Sparks fashion, they manage to exchange an “I love you” by the third date.
Their two week romance consists of walking tours, cheeseburgers, and surfing lessons, but by the time John is packing his suitcase to return overseas, they are vowing eternal love. John promises to write regularly, email, and call when he can, and Savannah promises to wait. Their pledges are easy to keep in the beginning, but – as in the case of many long distance loves – eventually the two start drifting apart.
The “Dear John” letter from Savannah still comes as a surprise to him, but rather than trying to contact his lost love, John signs up for another tour of duty. It takes his father’s funeral to bring him back to North Carolina.
Sparks sets up the reunion of the two in a scenario that is rife with possibilities. Savannah’s husband isn’t home and she surprises John with an offer to cook dinner. In a situation reminiscent of the ill-fated scene in Ethan Frome, the two are alone in the house with all the tension of the love they once shared.
Suffice to say, Edith Wharton would have played it differently – but “Dear John” will satisfy fans of Nicholas Sparks with its short simple style, easy prose, and trademark poignant moments.
Final Approach
John J. Nance continues to delight aviation fans with novels set amidst the workings of the airline industry. He knows the territory – he’s a decorated Air Force pilot – one you may have seen as an analyst on the TV networks. In “Final Approach,” he first applied his working knowledge of the skies to the pages of a suspense novel.
On a stormy night at a major Midwestern airport, a jetliner comes in short and slices into another airliner waiting for takeoff – a disaster of major proportions.
Joe Wallingford is an investigator for the National Transportation and Safety Board, the group that determines the causes of accidents, and his group gets the call to find out if the crash was the result of the storm, human error, sabotage, or mechanical failure. It reads like CSI: Airport.
Nance provides plausible circumstances for each of the possibilities. A person aboard the flight had enemies, a top-secret government project was being moved at the airport, the airline appears to be covering for the pilot’s health, and the storm had already produced several near-crashes.
During his investigation, Wallingford and his NTSB crew face cover-ups by the government, the airline, and even his coworkers. To top it off, his boss is a political appointee whose meddling threatens the objectivity of the probe.
Unfortunately, few industries have undergone changes like the airlines, and some action in “Final Approach” reads like Stone Age fiction – nervous passengers sneak smokes and unticketed family members board the plane to tuck children into their seats. To his credit, Nance provides such compelling characters that it is easy to overlook the dated aspects.
His later works provide more action, and “Final Approach” reads like a police procedural compared to his just-released “Orbit.” Either way, it’s high-flying fun with John Nance at the controls.
On a stormy night at a major Midwestern airport, a jetliner comes in short and slices into another airliner waiting for takeoff – a disaster of major proportions.
Joe Wallingford is an investigator for the National Transportation and Safety Board, the group that determines the causes of accidents, and his group gets the call to find out if the crash was the result of the storm, human error, sabotage, or mechanical failure. It reads like CSI: Airport.
Nance provides plausible circumstances for each of the possibilities. A person aboard the flight had enemies, a top-secret government project was being moved at the airport, the airline appears to be covering for the pilot’s health, and the storm had already produced several near-crashes.
During his investigation, Wallingford and his NTSB crew face cover-ups by the government, the airline, and even his coworkers. To top it off, his boss is a political appointee whose meddling threatens the objectivity of the probe.
Unfortunately, few industries have undergone changes like the airlines, and some action in “Final Approach” reads like Stone Age fiction – nervous passengers sneak smokes and unticketed family members board the plane to tuck children into their seats. To his credit, Nance provides such compelling characters that it is easy to overlook the dated aspects.
His later works provide more action, and “Final Approach” reads like a police procedural compared to his just-released “Orbit.” Either way, it’s high-flying fun with John Nance at the controls.
For One More Day
Each of us has a small box of shame tucked away somewhere. For some, it may be no bigger than a matchbox, containing an unkind word, or a life regret that cannot be undone. Mitch Albom opens a shoebox with “For One More Day,” his latest effort offering insights into life and choices.
The author of “Tuesdays with Morrie” and “The Five People You Meet in Heaven” strikes familiar chords in telling the story of Charles “Chick” Benetto, a former ballplayer who has forgotten to pay the same amount of attention descending the mountain as he did making the climb. He drinks too much, argues with his wife and daughter, and winds up - down and out.
The turning point arrives at an old-timers game, which Chick attends rather than visiting with his elderly mother. Her fatal heart attack occurs, ironically, at the exact moment he steps up to the plate, and his absence packs enough guilt to haunt him the rest of his life, eventually alienating those he loves and cares about. In a fit of despair, he decides to end it all.
Albom has a knack for seamless storytelling and the small book may be an evening’s effort for quick readers, but despite its size, it packs a powerful punch. He provides a storyteller who relates Chick’s story, offering both the good and the not-so as Chick grows up under the care of his divorced mother, and in bringing items into the light from the dark of the shoebox, Albom will almost certainly provoke soul searching among his readers.
Much like “The Ultimate Gift,” there are opportunities for self-reflection provided in the context of a well-written story, and for some, a chance to empty out the regrets and enjoy what is important, if only “For One More Day.”
The author of “Tuesdays with Morrie” and “The Five People You Meet in Heaven” strikes familiar chords in telling the story of Charles “Chick” Benetto, a former ballplayer who has forgotten to pay the same amount of attention descending the mountain as he did making the climb. He drinks too much, argues with his wife and daughter, and winds up - down and out.
The turning point arrives at an old-timers game, which Chick attends rather than visiting with his elderly mother. Her fatal heart attack occurs, ironically, at the exact moment he steps up to the plate, and his absence packs enough guilt to haunt him the rest of his life, eventually alienating those he loves and cares about. In a fit of despair, he decides to end it all.
Albom has a knack for seamless storytelling and the small book may be an evening’s effort for quick readers, but despite its size, it packs a powerful punch. He provides a storyteller who relates Chick’s story, offering both the good and the not-so as Chick grows up under the care of his divorced mother, and in bringing items into the light from the dark of the shoebox, Albom will almost certainly provoke soul searching among his readers.
Much like “The Ultimate Gift,” there are opportunities for self-reflection provided in the context of a well-written story, and for some, a chance to empty out the regrets and enjoy what is important, if only “For One More Day.”
The Mephisto Club
The latest to join the Da Vinci Code - Biblical Myths genre is Tess Gerritsen’s “The Mephisto Club, a thriller that supposes that an evil race of creatures inhabits the earth, a mixture of fallen angels and upstart women.
Following the fashion of Dan Brown, the book opens with a ritualistic and gruesome murder, and some cryptic signs and letters, including the word “Peccavi” – Latin for “I have sinned.” On the case are Gerritsen’s regulars, Boston medical examiner Maura Isles and Detective Jane Rizzoli, investigation collaborators over the course of five or six books.
Their fictional time together is only important in that – much in the case of other authors – there are continuing story lines that may not be as clear to a first time reader as they are important to those familiar with the characters.
Knowing that Gerritsen weaves plotlines in this fashion helps explain the unanswered questions at the end of the story, and gratefully, her references to previous cases are minimal. In “The Mephisto Club,” she brings in a group of sophisticated Sherlock Holmes wannabes who – despite their credentials – fair poorly against the symbol scrawling suspect, who is targeting the crime fighters.
There are subplots aplenty, and chases through several countries, as Gerritsen intertwines two seemingly separate stories. There is never a question which bad guy is lurking about, but her tight presentation and well-constructed twists keep the suspense level high until the conclusion. In the vein of Preston and Child’s “Brimstone,” Gerritsen skirts the edge of believability in providing a supernatural overtone.
Clearly, a depth exists in her primary characters, achieved over the course of numerous writings, and the solid storytelling in “The Mephisto Club” may be reason enough to visit the previous offerings featuring Maura Isles, Jane Rizzoli, and the remainder of the Gerritsen Club.
Following the fashion of Dan Brown, the book opens with a ritualistic and gruesome murder, and some cryptic signs and letters, including the word “Peccavi” – Latin for “I have sinned.” On the case are Gerritsen’s regulars, Boston medical examiner Maura Isles and Detective Jane Rizzoli, investigation collaborators over the course of five or six books.
Their fictional time together is only important in that – much in the case of other authors – there are continuing story lines that may not be as clear to a first time reader as they are important to those familiar with the characters.
Knowing that Gerritsen weaves plotlines in this fashion helps explain the unanswered questions at the end of the story, and gratefully, her references to previous cases are minimal. In “The Mephisto Club,” she brings in a group of sophisticated Sherlock Holmes wannabes who – despite their credentials – fair poorly against the symbol scrawling suspect, who is targeting the crime fighters.
There are subplots aplenty, and chases through several countries, as Gerritsen intertwines two seemingly separate stories. There is never a question which bad guy is lurking about, but her tight presentation and well-constructed twists keep the suspense level high until the conclusion. In the vein of Preston and Child’s “Brimstone,” Gerritsen skirts the edge of believability in providing a supernatural overtone.
Clearly, a depth exists in her primary characters, achieved over the course of numerous writings, and the solid storytelling in “The Mephisto Club” may be reason enough to visit the previous offerings featuring Maura Isles, Jane Rizzoli, and the remainder of the Gerritsen Club.
Plum Lovin'
Authors with a loyal following are able to crank out smaller works for special occasions like Fourth of July or Thanksgiving. Most come at years end -think John Grisham in “Skipping Christmas” and the annual Mary Higgins Clark offerings.
For fans of Stephanie Plum, author Janet Evanovich is sending along a purple-colored Valentine in “Plum Lovin,” a short and sweet offering that takes less than 200 pages to wrap everything in a bow. Unlike the traditional box of chocolates though, her readers should know what to expect inside.
Stephanie Plum is normally a smart-talking, gun-toting bond enforcement agent, but in “Plum Lovin,’” she spends most of her time playing the part of Cupid. Her bail-bondsman uncle Vinny is out of town, leaving her with a single case, a matchmaker charged with armed robbery. The woman is in the custody of Diesel, another of Stephanie’s acquaintances, who offers to trade the woman if Stephanie will complete the matchmaking.
Even compared to Evanovich’s normal fare, this is pretty fluffy stuff. Faithful readers will recognize Diesel as the scruffy blonde from the Christmastime “Visions” outing. Joe Morelli and Ranger - the other men in Stephanie’s life – make only token appearances, as do the regular band of ‘Burg residents.
Janet Evanovich has been writing the Stephanie Plum mysteries for more than a dozen years now, and the numbered series is as popular as ever. The wise-cracking Stephanie is always good for light reading laughs, and only occasionally falls into the desperate situations that befall normal detectives. Mostly she’s on the lookout for another jelly doughnut or Chicken-in-a-Bucket snack to tide her over until dinner.
“Plum Lovin’” is just that kind of tide-me-over, a low-calorie confection that goes down easily, and won’t ruin an appetite while the finished touches are made to the main course.
For fans of Stephanie Plum, author Janet Evanovich is sending along a purple-colored Valentine in “Plum Lovin,” a short and sweet offering that takes less than 200 pages to wrap everything in a bow. Unlike the traditional box of chocolates though, her readers should know what to expect inside.
Stephanie Plum is normally a smart-talking, gun-toting bond enforcement agent, but in “Plum Lovin,’” she spends most of her time playing the part of Cupid. Her bail-bondsman uncle Vinny is out of town, leaving her with a single case, a matchmaker charged with armed robbery. The woman is in the custody of Diesel, another of Stephanie’s acquaintances, who offers to trade the woman if Stephanie will complete the matchmaking.
Even compared to Evanovich’s normal fare, this is pretty fluffy stuff. Faithful readers will recognize Diesel as the scruffy blonde from the Christmastime “Visions” outing. Joe Morelli and Ranger - the other men in Stephanie’s life – make only token appearances, as do the regular band of ‘Burg residents.
Janet Evanovich has been writing the Stephanie Plum mysteries for more than a dozen years now, and the numbered series is as popular as ever. The wise-cracking Stephanie is always good for light reading laughs, and only occasionally falls into the desperate situations that befall normal detectives. Mostly she’s on the lookout for another jelly doughnut or Chicken-in-a-Bucket snack to tide her over until dinner.
“Plum Lovin’” is just that kind of tide-me-over, a low-calorie confection that goes down easily, and won’t ruin an appetite while the finished touches are made to the main course.
Proof Positive
When wolves are guarding the chicken house, there is little to fear beyond the security system – a point soundly made by novelist Phillip Margolin in his latest effort set in Portland, Oregon.
In “Proof Positive,” the wolf in question is Bernie Cashman, a forensic scientist who looks in the mirror and sees a superhero, if not wearing a mask and cape, at least sending bad guys off to prison. He takes pride in his appearance and his work, but unfortunately, his work only has the appearance of delivering the truth. He’s decided that a little doctored evidence and a few white lies on the witness stand are dismissible when serving the greater good and giving criminals their just rewards.
When coworker Mary Clark discovers a piece of key evidence isn’t what it is supposed to be, she confronts Cashman, who quickly changes into the werewolf at the front gate. To cover his evidence tampering, the forensic scientist uses all the equipment and techniques at his disposal and begins methodically bumping off anyone who raises so much as a question.
Margolin presents a large cast of characters, several of whom made appearance in previous novels, but without the benefit of the previous stories, it is hard to tell the stars of the story from the supporting characters. It may be more realistic, though, in that it’s a group effort rather than a Miss Marple Marvel single-handedly solving the crimes.
It’s also fortunate that he begins with a large cast, since Margolin has no qualms about knocking off sympathetic characters, even those appearing to be crucial to the solution. His presentation of forensic science will appeal to CSI fans, and the premise of the story raises valid questions about who guards the security system to keep wolves off the chicken house payroll.
In “Proof Positive,” the wolf in question is Bernie Cashman, a forensic scientist who looks in the mirror and sees a superhero, if not wearing a mask and cape, at least sending bad guys off to prison. He takes pride in his appearance and his work, but unfortunately, his work only has the appearance of delivering the truth. He’s decided that a little doctored evidence and a few white lies on the witness stand are dismissible when serving the greater good and giving criminals their just rewards.
When coworker Mary Clark discovers a piece of key evidence isn’t what it is supposed to be, she confronts Cashman, who quickly changes into the werewolf at the front gate. To cover his evidence tampering, the forensic scientist uses all the equipment and techniques at his disposal and begins methodically bumping off anyone who raises so much as a question.
Margolin presents a large cast of characters, several of whom made appearance in previous novels, but without the benefit of the previous stories, it is hard to tell the stars of the story from the supporting characters. It may be more realistic, though, in that it’s a group effort rather than a Miss Marple Marvel single-handedly solving the crimes.
It’s also fortunate that he begins with a large cast, since Margolin has no qualms about knocking off sympathetic characters, even those appearing to be crucial to the solution. His presentation of forensic science will appeal to CSI fans, and the premise of the story raises valid questions about who guards the security system to keep wolves off the chicken house payroll.
Ricochet
Someone must have told Sandra Brown she strayed too far from her Romance roots with last year’s “Chill Factor,” a solid suspense offering. She mixes apprehension and amour in “Ricochet,” returning to her more familiar Romantic Suspense.
Homicide detective Duncan Hatcher has a fit when the judge tosses out his case against criminal mastermind Robert Savich, but the trouble really starts when Hatcher meets the judge’s dazzlingly-beautiful trophy wife Elise. From that moment on, he can’t get her out of his mind, mostly because he’s assigned the case when she shoots an intruder in their posh home.
Hatcher doesn’t believe her self-defense claim and intends to throw the book at her, but unfortunately grabs the police ethics manual, and quickly begins breaking all the rules in the chapter covering association with suspects. Her lingering glance turns into secretly passed notes, telephone messages, and clandestine meetings, all designed to get Hatcher to come to her aid. Her husband – the Judge – is trying to kill her, she says, but Hatcher finds that equally hard to believe.
Brown leaves no doubt that her hunky detective has fallen madly for his suspect, and although a preacher’s son, Hatcher hatches some wild thoughts during the investigation, none of which Brown is shy about passing along.
To some extent, readers have come to expect caricatures in novels much like anticipating the bumbling but lovable sidekick appearing in every Disney movie. Brown offers a medical examiner who concludes a dissection with a snack, the evil-incarnate drug lord, and the private eye who stands a single rung above the criminals on the legal ladder. Her main characters, though – even her smitten detective – have a quality that renders them credible, and her tightly wound plot works well toward a believable conclusion.
It’s hard to expect more of any story.
Homicide detective Duncan Hatcher has a fit when the judge tosses out his case against criminal mastermind Robert Savich, but the trouble really starts when Hatcher meets the judge’s dazzlingly-beautiful trophy wife Elise. From that moment on, he can’t get her out of his mind, mostly because he’s assigned the case when she shoots an intruder in their posh home.
Hatcher doesn’t believe her self-defense claim and intends to throw the book at her, but unfortunately grabs the police ethics manual, and quickly begins breaking all the rules in the chapter covering association with suspects. Her lingering glance turns into secretly passed notes, telephone messages, and clandestine meetings, all designed to get Hatcher to come to her aid. Her husband – the Judge – is trying to kill her, she says, but Hatcher finds that equally hard to believe.
Brown leaves no doubt that her hunky detective has fallen madly for his suspect, and although a preacher’s son, Hatcher hatches some wild thoughts during the investigation, none of which Brown is shy about passing along.
To some extent, readers have come to expect caricatures in novels much like anticipating the bumbling but lovable sidekick appearing in every Disney movie. Brown offers a medical examiner who concludes a dissection with a snack, the evil-incarnate drug lord, and the private eye who stands a single rung above the criminals on the legal ladder. Her main characters, though – even her smitten detective – have a quality that renders them credible, and her tightly wound plot works well toward a believable conclusion.
It’s hard to expect more of any story.
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