First impression: Beautifully photographed in sharp, colorful detail from many clever and unusual angles – a visual delight, smashingly so.
The story: a unknown and unseen killer is stalking the tenants of an upscale apartment house, with many of the victims being terrifically good-looking women with large expressive eyes. It passes enough muster to keep your mind entertained, but you can’t help be aware of all the cliches of the crime thriller genre that went into putting this film together, even as you’re watching.
The police act sincerely but they talk better than they perform, having a largely carefree attitude toward the deaths. Giampiero Albertini as Commissioner Enci spends as much time on adding to his stamp collection, while his hapless assistant (Franco Agostini) fumbles his way around while doing the actual legwork.
Two of the good-looking women, Edwige Fenech and Paola Quattrini, roommates who move into the apartment of the second women to be killed, pay only lip service to the idea that maybe that’s not such a good idea.
https://www.youtube.com/watch?v=H1Foq9SfAyM
There are a lot of suspects – it’s a tall apartment complex, complete with subcellar with lots of spooky (and deadly) machinery to be trapped in – and hints at motive, but when the killer is a madman (or woman), motive is the last thing that matters.
A small masterpiece of its type (a genre called “Giallo,” as if you hadn’t deduced that on your own by now), humorous and chilling in turn, atmospheric and colorful, and entertaining from beginning to end. Bloody but not gory, and almost tastefully so. (But if Philo Vance is your idea of the ultimate in detective work, this may not be to your taste at all. In fact, I almost guarantee it.)
NOTE: I wrote this review back in December, but I lost track of it until I was reminded of it last week when I read Sergio Angelini’s review of The Bird with the Crystal Plumage (1970) on his blog. I’m far from an expert on Giallo films, so I found his detailed comments on the film to be very informative.
The movie is available on DVD either by itself or in a box set with three films of the same vintage.
EARL W. EMERSON – Deviant Behavior. William Morrow & Co., hardcover, 1988. Ballantine, paperback, 1991.
The latest case for Thomas Black, Seattle private eye, is Deviant Behavior by Earl W. Emerson. This is an impressive tale, with emphatic characterizations and a sinewy plot.
The wealthy Steebs, Dudley and Faith, hire Black to find their missing adopted son Elmore, age seventeen. Thomas traces Elmore to an abandoned hotel, the building from which Elmore’s uncle (and Dudley’s business partner) leaped to his death six years earlier.
Elmore is carrying unaccountably large sums of money, has given his girlfriend an expensive ring. The trail also leads to a retired film director, now a sort of guru to the local young, and his actress wife. But then the trail goes dead, very dead….
— Reprinted from The MYSTERY FANcier,
Vol. 11, No. 1, Winter 1989.
5. Deviant Behavior (1988)
6. Yellow Dog Party (1991)
7. The Portland Laugher (1994)
8. The Vanishing Smile (1995) Shamus Award Best Novel nominee (1996).
9. The Million-Dollar Tattoo (1996)
10. Deception Pass (1997) Shamus and Anthony Awards Best novel nominee (1998).
JOHN CREASEY – The Toff on the Farm. Hodder & Stoughton, UK, hardcover, 1958. Walker, US, hardcover, 1964; Popular Library, paperback, 1972. Also published as Terror for the Toff, Pyramid, paperback, 1965.
The Toff, aka Richard Rollison, is a character I’ve never really become attracted to, but I read one of his adventures every once in a while. He’s a combination/imitation in many way of the Saint and an American-style pulp hero. The British do this kind of derring-do adventure hero best, though, and if you don’t have one of Leslie Charteris’s Simon Templar novels handy, the Toff will do as second best.
In this particular case Rollison is asked by a friend to intercede on the behalf of two friends of his, a man and his sister who are trying to sell their farm, but are unable to, due to an old tenant farmer who refuses to give up rights to his home.
Before the Toff can reach the scene, the girl is suddenly deluged with offers, up to three times what the farm is worth, and before the story is over, two men are dead, and Rollison is forced to wonder how badly he could have misjudged a man whom Scotland Yard considers to be a notorious American gangster.
As with any good pulp fiction, this reads very quickly, pulling you into a tales with so many crooked angles you are puzzled how any sense can ever be made of it. And as usual, the ending is not up to the end of the story. Discovering how simple the plot actually was is part of it, but learning that it was mostly jiggery-pokery on the part of the author is another.
And the more I think about it, trying to see if there is any way I could tell you more about what I mean than that, the more I am convinced that “jiggery-pokery” is exactly the right word, and we can leave it at that.
— Reprinted from Mystery*File 28,
February 1991 (slightly revised).
[UPDATE] 07-08-12. My opinion of the Toff books has varied considerably over the years, being not much interested in them when I first encountered them, but gradually warming to them to the point of actually enjoying them. I still think the Saint books are better, but so do a lot of people.
IT HAPPENED IN FLATBUSH. 20th Century-Fox, 1942. Lloyd Nolan, Carole Landis, Sara Allgood, William Frawley, Robert Armstrong, Jane Darwell, George Holmes, Scotty Beckett, with Vivian Blaine in her uncredited debut. Director: Ray McCarey.
From Wikipedia: “Flatbush Avenue is the main thoroughfare through the Borough of Brooklyn.†And if you’re of a certain age, what do you think of first when someone mentions Brooklyn? Baseball, of course, and the Brooklyn Dodgers.
They apparently didn’t get the rights to use the team’s name in this movie, since the team that Lloyd Nolan’s character is the manager of is called only the “Brooklyn team,†or simply “Brooklyn” for short, but the team is the Dodgers, all right, no doubt about it. Nolan plays Frank “Butterfingers†Maguire to perfection. He fits the uniform as if he born to do so.
But how did he get the nickname Butterfingers? It turns out he was run out of town as a shortstop several years ago, having committed an crucial error in the field that cost the team the pennant. Against all the advice she’s been given, including that of the general manager (played by William Frawley, who looks exactly the same here as he did in the 1950s playing Lucy’s landlord and neighbor, Fred Mertz), the elderly lady owner (Sara Allgood) brings him back to manage the team.
Upon which point the lady owner ups and dies, leaving the ownership of the team in the hands of relatives, including society dish Kathryn Baker, played of course by pretty dark-haired Carole Landis. None of the new owners know anything about baseball, nor do they care to know, so it’s up to Nolan not only to guide the team, but to persuade Kate to spring real money for some real players.
Persuasion turns to romance, and new players mean a run for the pennant. Can Nolan escape his history of buckling under pressure to be successful at doing both? Well, if Real Life baseball manager Leo Durocher could marry movie star Laraine Day, also back in the 1940s, anything’s possible in Category 1, and as for Category 2, nothing that happens in a sports-oriented comedy could be more surprising than what happens in Real Life.
A fun if slightly fanciful movie, and of course I could watch the always charming Carole Landis in anything, even as the owner of a baseball team who ends up watching the final game of the season in the dugout.
Note: Two more short clips from this movie can be found here.
In my view, the vast majority of cover illustrations for present-day crime novels are boring or even ugly, and that includes all subgenres. Worst of all are the uninspired photographic covers with images of a pistol or a knife, a house or a street, one or more people, especially if these have nothing whatsoever to do with the plot of the crime story.
There is not much point in pining for times past, when covers were still drawn or painted and suggested significant scenes of the crime story. It would seem to be the wrong approach to simply imitate the style of the cover illustrations of the 1950s, for example; and this is also wrong even if the old crime novels are reissued.
For instance, I hesitate to buy the recently published book containing the collected stories of the Black Mask author Paul Cain (The Complete Slayers), as I feel put off by the much-praised illustration by Ron Lesser on the cover. It shows a scantily clothed, sexy young woman with a cigarette and a gun, with which she appears to have just killed a man.
My distaste for this cover illustration has nothing to do with “political correctness†or even prudery, but rather with historical consciousness. I would have preferred it if original cover illustrations from old Black Mask editions had been used for the cover of the book, for example as parts of a collage.
It’s not as if I do not also enjoy so-called “GGA†(Good Girl Art), but only when it originates from the same period as the publication of the books. Back then it was something new, a daring venture that only just escaped the censors. Nowadays one is practically bombarded with pictures of more or less naked people everywhere. Relying on sexploitation to create cover art is dull and annoying.
Taking a historical view, I can even appreciate such an extreme and infamous, frequently reproduced cover image as Rudolph Belarski’s The Doll’s Trunk Murder by Helen Reilly (Popular Library, # 211) from 1949. It is so bizarre and surreal that even any misogynist tendencies that might exist are neutralised aesthetically.
The picture shows a pretty young woman tied to a chair. Her mouth is sealed with adhesive tape. Her blouse is open, revealing much of one breast. A male hand holding a knife approaches the woman. The observer cannot tell whether the intended use of the knife is to abuse the woman, to kill her, or to cut through her fetters. The picture has a thrilling, explosive effect.
Such an image would have quite a different impact on me if it were painted and published now, in 2012. As mentioned, I am not talking about “political correctness†here, which is sensibly applied to political speeches, news and similar statements, but which has no place in artistic products, even if they are merely lurid entertainment.
What I mean is a contemporary taste. A relatively good solution to the problem was found by Black Lizard Books in designing the newly reissued, old noir crime novels. The cover illustrations by Kirwan capture the sinister atmosphere of these crime stories without imitating the original covers, as is sadly the case with some of the covers in the Hard Case Crime series.
Here is a link to Kirwan’s covers he did for Black Lizard. I do not like them all equally, as I find some of them too surreal, but most of them are well done. One I think is very good is the one he did for Black Friday, by David Goodis. The atmosphere is so hopeless and the colours are so cold that the picture suits the story.
A complete collection of the Hard Case Crime covers may be found here. An example of one I consider bad is the picture of Lawrence Block’s 69 Barrow Street. It is rather unimaginative to put just a nude in the middle of the cover, not exciting at all.
Much better is the cover art of No House Limit by Steve Fisher. These big dice in front of the picture symbolize chance in life and are significant for the novel.
Perhaps the publishers’ art directors should look around at some comic artists in order to find new visual forms of expression that might suit crime novels. Admittedly, it costs more to pay these artists for their work (which should also require that they read the crime novel in question) than it would to simply use a more or less suitable picture from a photo archive, or to plunder one from the masterpieces of art history.
It involves more effort and expense to create a new picture than to select one that already exists. By the way, it is only acceptable to use a painting by Caravaggio on the cover of a crime novel that is published now if the story deals with the robbery of such a painting, or is set during Caravaggio’s time.
It might well be that I have suffered a surfeit of crime novel cover art and am therefore hypercritical. I know of no ideal solution. Perhaps some other crime lovers have better suggestions.
STEVE JACKSON – The Judas. Harper, UK, paperback original (*), 2007.
Well, “ha ha†on me, you might say. After carrying on a short while ago about reading the third book in a trilogy without reading the first two first — and being miffed when it didn’t turn out all that well — here it is, that same short while later, and I’ve done it again. Kind of.
What’s different is that there’s only one book in this series before this one, The Mentor (Harper, 2006), and I knew about before starting this one. But the blurb on the back cover didn’t bring it up, and usually, you know, you can read a crime novel without reading the one before it, and even if the story line does depend a bit on the previous one, you can usually pick it up as you go along.
Except when you can’t, of course, as that previous example goes a long way to prove.
But that’s not the problem. I was OK with all that on this one. I was able to fill in what I’d missed without all that much difficulty. It turns out, though, that the end of the previous book wasn’t the end, after all. When The Judas begins, MI6 agent Paul Aston’s former mentor is in jail for the crimes he committed in the previous book.
He got caught, and he’s about to go on trial, a fact that doesn’t immediately connect up to the story that The Judas is nominally about, but if you were to guess, I think you’d agree that it is highly likely that it will.
In The Judas, someone is killing off a short list of retired agents in Europe, and Aston is assigned the case, along with George Strauss, who happens to be female, and who has worked with Aston before. (All agents have to have female colleagues with whom they work on cases together on in recent years, or hadn’t you noticed?)
There is a lot more to tell – there are nearly 500 pages in The Judas – but here is where the “ha ha†on me comes in. The story does not end at the end of The Judas. It is only the second of three.
Or at least there was supposed to have been three. Things are in a bad way at the end of this one, leaving lots of loose ends to be gathered up in book three, The Watcher, which was supposedly to appear in 2008. The author’s website was last updated in 2009, and here it is three years later, and the book still isn’t out.
Ha ha, indeed. And it isn’t as though I found The Judas particularly well written. The characters are one-dimensional, the story is padded (necessarily so with almost 500 pages to fill), and the writing seldom exceeds what is high school level in the US. The story is not uninteresting, but even so, a book without an ending? I don’t know what happened, but at the moment, you’re better off not starting this one — not at least without being warned.
(*) FOOTNOTE: My copy is a paperback, and it definitely says “paperback original” inside. On the other hand, there are hardcover editions you can purchase on ABE and from Amazon-UK, so I may be in error about this. Perhaps you should not believe all you read.
September-December 1974; Thursday at 10-11pm. ABC / Warner Brothers. Cast: David Janssen as Harry Orwell, Henry Darrow as Lieutenant Manuel “Manny†Quinlan. Recurring Cast: Tom Atkins as Sgt Frank Cole, Mel Stewart as Roy Bardello. Created by Howard Rodman. Executive Producer: Jerry Thorpe. Producer: Richard E. Thompson. Associate Producer: Rita Dillon. Executive Story Consultant: Robert Dozier. Theme by Billy Goldenberg.
While the two pilots Such Dust Dreams Are Made On and Smile Jenny, You’re Dead were set in Los Angeles, the first thirteen episodes of Harry O were set and filmed in San Diego. ABC was last in the ratings and decided to try a “non-L.A. look†with some of their new shows. Seattle and Hawaii were considered, but San Diego was finally chosen (Television Chronicles #10. Thanks to Randy Cox for sending me Ed Robertson’s wonderful article.)
When we last leftHarry O, we had seen the series first episode, “Gertrude†and had visions of Rockford Files dancing in our head. Those visions disappeared with the next episode “Admiral’s Lady†as Harry O quickly returned to the dark depressing dramas found in the pilots.
Where “Gertrude†was a mystery with eccentric characters and humor, what followed in the next several episodes were stories focused on damaged people with troubled souls.
The mystery mattered less than its effects on the characters. Harry’s narration was used for his introspective thoughts rather than exposition of the plot. Humor was as rare as hope in these early episodes, while it would slowly resurface over time it did not returned to the levels of the episode “Gertrude.â€
The drama was strong and thought provoking, and there were no happy endings, only people left trying to recover and make it through the day.
In the series second episode “Admiral’s Lady,†a much-honored Admiral, (Leif Erikson) refuses to believe his missing young wife (Sharon Acker) is dead and hires Harry to find her. Harry discovers a killer may be looking for her as well. This is more than just another episode about a serial killer on the loose. It is a story about the pain caused by love and betrayal.
Next, “Guardian At The Gates†features brilliant architect Paul Sawyer (Barry Sullivan) who is a monster as a human being. Harry is hired to find out who wants him dead. During the case Harry falls for Sawyer’s emotionally abused daughter, Marian (Linda Evans). The story is less a mystery than an examination of a genius without humanity, the price of such genius and the suffering it causes others around him.
“Mortal Sin†is about two men’s loss of faith, one a priest and the other a killer. Father Paul Vecchio (Laurence Luckinbill) and Harry are friends and have discussed the priest’s growing doubts. So when a man confesses that he has killed and will kill again, Father Paul turns to Harry, but then refuses to break the rules of the confessional. It is up to Harry to find the killer, and the priest to find his place in the church.
“Coinage of the Realm†offers a rare appearance by Harry’s car. The car repeatedly breaks down and is used as comic relief from the darkness of the story of a dying child (Dawn Lyn) who needs her father, Don (Kenneth Mars) to donate his kidney to save her life. The problem is he is on the run from the mob and has disappeared. Two gay hitmen (David Dukes and Granville Van Dusen) are hoping Harry will lead them to Don.
In “Eyewitness,†the nurse (Rosalind Cash), who had helped Harry recover from the shooting that left a bullet in his back, needs his help. Her son has been arrested for murder. Harry returns to a primarily African-American neighborhood where he had once worked as a cop. Not much had changed with old friends still just trying to survive the day. One of those friends is now drug free hooker (Margaret Avery) trying to raise her blind teenaged brother who may be the only witness to the killing. This has a typical Harry O ending, the bad guy is stopped but the victims are left with little hope of life getting better.
In “Shadows At Noon,†Harry comes home to find a woman named Marilyn (Diana Ewing) hiding in his small beach house. She has escaped from a mental hospital but claims to be as sane as he is. Mystery plays a minor role in this psychological drama about what is sanity. Harry poses as a patient in the mental hospital to find out if the girl is telling the truth. When he is betrayed and trapped there, Harry fights to keep his own sanity. The bad guys are caught in almost a dramatic afterthought as the story focused on the terrible cost to the girl and to Harry.
In “Ballinger’s Choice,†Margaret (Juliet Mills) hires Harry to find Paul, her cheating husband (Paul Burke). Harry shifts through all the lies from everyone and uncovers a disturbing twist and then murder. The mystery plays a more typical role in the plot of this morality play.
“Second Sight†has another damaged broken person enter Harry’s life. After an automobile accident turned Fay Conners (Stefanie Powers) into a blind psychic, she wrote three mysteries where the details of the crimes would later come true. She had warned a Doctor he was going to be killed. The doctor turned to Harry to be his bodyguard and Harry said no. When the doctor is killed, Harry feels guilty and tries to find who killed the Doctor and why. This is Harry O, so “why” is more important than “who.” Harry’s humor is beginning to surface again.
“Material Witness†begins when Dr. Noelle Kira (Barbara Anderson) sees mobster Joe Kiley kill a man. But witnesses against Kiley have a habit of dying or refusing to testify. Captain Jaklin (James Olson) is convinced someone in the department is tipping off Kiley about where the witnesses are being kept. He asks Harry to be the Doctor’s bodyguard for 24 hours until he can get men he trusts in place. The series is beginning to shift to more typical TV crime stories. This episode has some interesting twists and a more typical TV PI show ending.
“Forty Reasons To Kill – Part One†begins with a friend of Harry and a Harvard graduate lawyer turn Hippie, George found dead with cocaine on his body. The cops think it is a drug deal gone wrong. Harry’s search for the truth takes him to small Vardero County where he meets rich spoiled Glenna (Joanna Pettet) who becomes his lover. She had sold George 40,000 acres of land. It was a tiny piece of what she owns but it upset her over protective “uncles†(Broderick Crawford and Craig Stevens) who control the land trust and source of Glenna’s wealth. Harry is beaten up, bribed, and then framed for the murder.
“Forty Reasons To Kill – Part Two†has Manny arriving to help Harry. The audience knows something Harry doesn’t, who is behind it all. Glenna pays his bail and Harry is out and quickly learns what is behind the plot and murder. Now Harry has to stay alive long enough to prove it. The episode suffers from too much padding for a story that would have worked better as a single episode.
“Account Balanced†was the last episode shot in San Diego. An ex-girl friend (Linda Marsh) comes to Harry to find out if her husband (Robert Reed) is cheating. Harry is unhappy when he discovers the husband with another woman. But when that woman is found dead the next day of an apparent suicide, Harry realizes the husband’s secrets may be even more serious. It also featured some funny character byplay between Harry, Manny, and Manny’s less than bright assistant Sgt Cole (likably played by Tom Atkins).
Harry Orwell is a romantic seeking true justice with all wrongs corrected and the guilty punished. The resulting disappointments caused by reality has left Harry a weary grumpy man with a sardonic sense of humor.
He is honest and blunt to the point of rudeness. Harry is introspective and private, content to be alone with his thoughts. Harry admits that he hates to talk about himself or his past. Once a client caught him alone singing and playing his banjo and he reacted shyly as if she had discover a hidden secret of his.
He has little interest in material things or wealth. He may have wine but no wine glasses when paper cups will do. He dislikes mystery fiction and guns, and enjoys fishing and running on the beach alone. Little is known about his past beyond an ex-wife and that he was a Lieutenant on the San Diego Police force and has some experience in the homicide department.
Harry’s primary motivation to get involved is not money but a sense of responsibility, duty, and/or guilt. In “Material Witness,†when the Captain asks him to protect the witness, Harry asked if this was a paying job or a favor to the department. The Captain wondered what was the difference. Harry replied he could turn down a job.
Janssen is a joy to watch act. Perhaps the best example of his talents is in the jail scene from Part Two of “Forty Reasons To Kill.†Harry, who has been framed for murder, is laying face down on the cell cot when Manny enters.
Usually this is a scene that calls for anger and great emotions. Janssen plays it with an understated whimsy that was as entertaining as it was surprising. Henry Darrow followed Janssen’s lead and played his normally under control stern cop Manny with a lighter touch. Harry and Manny are friends and trust each other. This scene showed it without the need to say it.
Lieutenant Manuel “Manny†Quinlan is a career cop, and little is known beyond that. Not unlike Harry, Manny never discusses his personal life or past. He is a tough no nonsense boss to all he commands, which made dealing with independent Harry difficult for Manny.
The ratings were mediocre at best but good enough for ABC who had bigger problems with its schedule (it cancelled six shows and moved four more at midseason). Harry O was given the go ahead to shoot the rest of the first season’s episodes, but both ABC and Warners wanted changes.
The series with its slow-paced inner conflict drama and its fatalistic view of social injustice was not the action PI with car chases ABC wanted.
San Diego gave Harry O some wonderful background scenery especially the view of the ocean and city skyline from Harry’s small beach house, but the cost overruns from filming on location and the series’ ratings (not a hit like Streets of San Francisco) made Harry O’s move to Los Angeles necessary.
The Harry O episodes in San Diego (minus “Gertrudeâ€) surprised me by their darkness. The mysteries were less about who did it than the cause and effects of the crime on the characters. Every day was a struggle to survive not only from the outside forces of our lives but the inner demons those forces leave behind.
I have over thirty hours of the series left to view, so while I will be reviewing other shows these coming weeks, I will return to Harry O as soon as possible. Next in this series of reviews on Harry O I will examine how the series changed after the move to Los Angeles.
GEOFFREY CAINE – Curse of the Vampire. Diamond, paperback original; 1st printing, May 1991
IfM*F is a magazine for detective mysteries only, this review certainly has no business being here. Luckily it isn’t, or at least since it’s my magazine, I can read and review what I like. (Can’t I?)
The book does feature a retired Chicago cop, however, and maybe that’s enough connection to make it legal, but Abraham Stroud’s days of retirement are not likely to be easy ones. This is only the first of many adventures to come.
This one takes place in Stroud’s home town, but according to page 183, there are “all manner of nasty creatures the world over.” The “family” of vampires in this book are only a taste of what lies ahead. (Next in the series: off to Russia and Wake of the Werewolf.)
The gimmick is vampire today is apparently to find some sort of pseudo-scientific rationale for their existence, and to create some sort of well-suited setting for this enemy of man, one in which they can find new ways to survive in an otherwise alien world.
This is all well and good, but it can backfire on them, as it does in this book. This perhaps may require a plot alert warning, but I’ll forgo it and tell you that what Stroud and friends come across is a chemical substance called succinylcholine (S-choline, for short) which is a deadly poison to the creatures.
Stroud’s demented handyman — yes, there’s one of those, too — is the only one who knows about it, but it works. (Keep the name of the chemical in mind. Who knows? It may come in handy some time.)
It wouldn’t have been difficult to have come up with a “scientific” explanation for the stuff as well — you know, essence of garlic or something — but unfortunately, the author didn’t take the chance to do so.
But the book ends with the grandest sort of cemetery shootout, a true pulp style holocaust that inflicts tremendous damage on both sides. In fact, if you are a fan of the pulps, this is as close a descendant to those old magazine stories as I’ve read in a long time. Wild imaginative story-telling is a grand old tradition to be following in, and I’m glad to see it still around today.
— Reprinted from Mystery*File 31,
May 1991 (revised).
Bibliographic Notes: Geoffrey Caine was the pseudonym of Robert W. Walker, who has made a good career of writing novels in the horror/psychological suspense/thriller vein, mostly under his own name. There were only three books in this series. I don’t remember reading either of the other two, but it’s possible that I did. (Note that I no longer see the need for making excuses for posting material on this blog which is not purely detective fiction.)
The Abraham Stroud series —
Curse of the Vampire. Diamond, 1991.
Wake of the Werewolf. Diamond, 1991.
Legion of the Dead. Diamond, 1992.
Vampires, werewolves and zombies. You can’t go into a bookstore today and avoid them. Caine was obviously a man ahead of his time.
JOHN MALCOLM – Mortal Ruin. Scribner’s, hardcover, 1988. First published in the UK: Collins Crime Club, hardcover, 1988.
The sixth of John Malcolm’s tales about London art investment expert Tim Simpson is Mortal Ruin. Malcolm has a deft hand with art intrigues and engaging people, with a craftily concealed villain stuck among the cast, as this latest well illustrates.
Simpson is asked to help with some old gold stocks, recently discovered and totally valueless. But while going to Chicago on his mission, someone steals his suitcase. In vengeful pursuit with briefcase in hand, Tim is confronted by two heavyweights, who say thank you very much we’ll have your briefcase too.
Next comes murder in Chicago, followed by violence in England. What — surely not the foolish gold certificates, now stolen in any event — is worth all this mayhem? Ingeniously worked out, with surprise upon surprise at the end.
— Reprinted from The MYSTERY FANcier,
Vol. 11, No. 1, Winter 1989.
The Tim Simpson series —
1. A Back Room in Somers Town (1984)
2. The Godwin Sideboard (1984)
3. The Gwen John Sculpture (1985)
4. Whistler in the Dark (1986)
5. Gothic Pursuit (1987)
6. Mortal Ruin (1988)
7. The Wrong Impression (1990)
8. Sheep, Goats and Soap (1991)
9. A Deceptive Appearance (1992)
10. The Burning Ground (1993)
11. Hung over (1994)
12. Into the Vortex (1996)
13. Simpson’s Homer (2001)
14. Circles and Squares (2003)
15. Rogues’ Gallery (2005)
J. D. ROBB (aka NORA ROBERTS) – Indulgence in Death. Putnam, hardcover, November 2010. Berkley, paperback, March 2011.
Genre: Police Procedural. Leading character: Lt. Eve Dallas; 31st in series. Setting: Ireland-New York City; Future-2060.
First Sentence: The road was a killer, hardly wider than a decent stream of spit and snaking like a cobra between giant bushes loaded with strange flowers that resembled drops of blood.
Even on her vacation in Ireland with husband Roarke, Lt. Eve Dallas of the New York Police and Security Department, which came into being after the urban wars, becomes involved in a murder case, but only as an adviser.
The vacation is definitely over when an elite limousine service is killed with a crossbow. The next day a top paid escort is murdered by bayonet. The murders keep coming, the weapons always unusual and the link…?
Sometimes you need a palete cleanser; a guilty pleasure read on which you can rely. J.D. Robb and her “…In Death†books is that for me.
A good, evocative analogy is something I always appreciate, while snappy dialogue and wry humor which surprises me into laughing aloud is something at which Robb excels. However, she can also touch the emotions and bring tears to my eyes.
But don’t ever mistake her books for being pure light fluff. The murders are brutal, the language course, and the sex graphic. It is the combination of these elements that brings keeps Robb at the top of the best-seller list and me back to reading the series.
Eve, who grew up with violence and brutality, chose to work for the law and has a dedication to representing and finding justice to the dead. Her husband, Roark, had the same type of childhood, and broke many a law on his way to extreme wealth and meeting Eve.
There are certainly fantasy aspects of the relationship, but the balance of her lack of facade and his access to contacts and technology works. It’s Eve’s partner, Det. Delia Peabody, who exemplifies all the traditionally feminine traits for which Eve has no skill, patience or interest; and so that relationship works as well.
One thing on which you can always count is good action. But I also like the fact that just as I figured out the killer, so did Eve. Disappointment averted — well done! Even though I knew Dallas would get the villain at the end, there was tremendous satisfaction when she did.
My praise isn’t unstinting, however. I did have a problem with the plot in that was very similar to a couple of previous books. Even with 31 books in the series, those of us who’ve read them do remember and can’t avoid noticing recycling a premise even if there could be a similarity in crimes over time. Had Dallas made a reference to the previous cases, the similarity would have been noted as intentional rather than a possible rehash of old plots.
You can certainly say that these books are formulaic, but it is a formula that works and is very enjoyable. It is not great literature. Even with its flaws, and they are there, it is a darn good read that made me happy I’d read it and smile when I’d finished it.
Rating: Good Plus.
Editorial Comment: There are now, believe it or not, 35 books in this series, or there will be come this next November, when Delusion in Death will be published. For a full list, along with a large selection of cover images, check out the Fantastic Fiction website here.
