The Premise Bestselling, critically acclaimed author John Rothstein has retired from public life. He keeps his current work unpublished and3.5 Stars
The Premise Bestselling, critically acclaimed author John Rothstein has retired from public life. He keeps his current work unpublished and tucked in a safe in his house, along with twenty-thousand dollars cash. Enter Morris Bellamy, a troubled young man who's Rothstein's biggest fan until Rothstein, in Bellamy's opinion, 'sells out.' Normal fans bitch on Facebook. However, this is the late '70s, so Bellamy does the next logical thing: murder the author, steal his work and cash, and bury both treasures until the heat dies down.
Then Bellamy does some other stuff and winds up in jail for a different crime. Because he's a jerk.
Fast forward a few decades and Bellamy is released, only to find some punk kid named Peter has discovered the treasure, spent the money to protect his troubled family, and -- the worst crime of all -- has read Rothstein's notebooks. Bellamy doesn't take too kindly this. Havoc ensues.
Thoughts, Opinions, and Sundry Items I would like to say that "Bill Hodges returns in thrilling new mystery" but, as you can see from the above premise description, in which Hodges plays no part, Hodges is really peripheral to this story...and I think it would actually be a stronger novel without the recurring characters. Bellamy and Peter were both so engaging that having Bill, Jerome (whom I love), and Holly interfere in the exchange between the two was almost an irritating distraction.
For example, the thread pulling these three characters into the situation was tenuous at best: Peter's sister's old best friend is Jerome's sister. So Peter's sister gets concerned enough about Peter's behavior to go, not to her parents, but to a former best pal that she doesn't hang out with that much...and trusts the people that said former best pal says to trust.
Yeah, not really feeling it. It read forced to me. Especially when you have an even better, built-in opportunity to ask Hodges for help: Peter's father was injured in the Mercedes murders. Hodges caught that killer. Peter's sister (maybe even Peter himself) could have gone to Hodges directly because of newspaper articles, proven track records, etc. without the weird convulsions of sister's-best-friend's-cousin's-roommate.
Totally dug the exchanges between Peter and Bellamy though. At first, I wasn't too sure about Peter -- but I think it might've been an unfair expectation on my part. Because of the 'Hodges Mystery' series label, I really kept expecting Hodges to show up and be the central hero. By the time I figured out that Peter was a kid who could hold his own, I was almost two-thirds in and, when Hodges does come into play in the story, I was ready for Peter to do all the butt-kicking and thinking against our villain Bellamy...so I was actually disappointed that Hodges kinda turns into a deus-ex-machina hero. Don't get me wrong -- Peter starts out strong and doesn't give up. I like that kid.
Bellamy is an interesting villain. The dude is messed up in the head. His NEED is palpable.
Also found the bits of myth-making in regards to Rothstein's fictional work very entertaining. Throughout Finders Keepers King intersperses bits of 'wisdom' from the Rothstein books. Including such gems as "Shit don't mean shit." Most of it sounds whack-a-doo...which is terrifying considering that, if you think about it, most of the quotable material or plot lines of any given work sounds whack-a-doo when taken out of context. We build whole societies on what we find quotable. ...more
There was a lot of stuff to like about this one but, to be honest, I kept putting it down and had to convince myself to pick it back up. And I wasn'tThere was a lot of stuff to like about this one but, to be honest, I kept putting it down and had to convince myself to pick it back up. And I wasn't 100% sure why until I got to the end.
The cover says that this is "genre-bending" and I see that...it's just I didn't know what genres were being bent. It starts as a really solid mystery, with cool investigators, an intriguingly horrible serial-killer case, and insight into that killer's mind that reads psychologically fascinating.
Then (view spoiler)[it turns out the bad guy isn't crazy at all and there is some weird supernatural stuff going on. Like aliens? Like devils or angels or gods? That part's never explained, which doubles-down on the frustration level. You basically discover: "The bad guy's not crazy and there's weird shit going down" but you never find out what that weird shit is really. Some kind of other-consciousness. (hide spoiler)].
So, the horror-turn I didn't see coming and it didn't pay off for me.
But, like I said, there's still a lot of stuff to dig about this one. I particularly like the way Beukes made Detroit itself a character and the presentation of the rise of the internet reporters. I thought that was well done. ["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>...more
Had I just picked this up having never read Chelsea Cain before, I think I might've rated this one higher. However, I really love Gretchen Lowell (welHad I just picked this up having never read Chelsea Cain before, I think I might've rated this one higher. However, I really love Gretchen Lowell (well, not love in her case...more love to hate) and Archie. The characters -- Kick and Bishop -- in this new series aren't quite as get-behind for me.
Some of that has to be that I felt like Cain was keeping her cards too close to her chest in order to have something else to write about in the next book. By the end (this may be a spoiler?) we still don't know anything about Bishop that's real -- who his wife is (does he really have one?), who he works for, etc.
And, speaking of Bishop, I didn't like his introduction either. Cain presents him as someone who 'gets it' in an almost prescient sense. So, if he's someone who understands Kick and her situation and he's behaving the way he is...well, he's a dickhead. And I don't know if I'll like him, in spite of the fact that I feel like I'm supposed to like him.
I don't know if any of that made sense.
Cain's strength here is the same as always: how the hell does she make these crazy situations seem plausible? Sexy female serial killers? Incredibly wealthy hunters of sexual predators?
I think it's because the characters (most of them, but Kick especially) behave the way a normal person would in those extraordinary conditions. Kick's bond with her dog, with the FBI agent who rescued her, and even with her kidnappers is wrenching to watch/read. Here I am, reading this kinda unbelievable situation, and I'm tearing up.
So I'm gonna pick up the next book when it comes out...just so I can see those cards Cain is holding so close. ...more
Now, I don't like to psychoanalyze writers based on their novels -- but this one strikes me as Galbraith/Rowling going "I'm gonna kill someone so violNow, I don't like to psychoanalyze writers based on their novels -- but this one strikes me as Galbraith/Rowling going "I'm gonna kill someone so violently that no one could possibly remember I wrote the bestsellingest children's series of all time."
Because the murder in this one -- it's gruesome. Wonderfully so. And grossly so.
There are only two things keeping me from rating this a full-out five stars:
1. I kept falling asleep. And it has nothing to do with anything being boring or off-pace. I think it has everything to do with Cormoran being so exhausted in the early chapters. He's barely slept. He talks about how achy he is and now he's got this gory murder to solve. He wants to sleep so badly that I think it made me tired. So I didn't read this as quickly as I've read the others.
2. For about the last eighth of the book, Cormoran knows whodunit -- he even tells his intrepid sidekick/assistant Robin who it is -- but not the reader. There's about twenty pages of obnoxious card-holding. And there aren't really any extra clues after that, so you kinda want to go back and re-read what you've read to see if you can make an educated guess before the big reveal -- which you know will be coming any minute because the narrative practically screams "You'll know who it is any minute now! Just not now! But in a minute!" Which is no fun.
But it's still awesome. There's a lot of novelist talk, which is fun coming from the bestsellingest novelist ever. ...more
First, a brief low-down: A young man drives a Mercedes into crowd of job-seekers at a job fair. He kills eight people, wounds a bunch of others, and tFirst, a brief low-down: A young man drives a Mercedes into crowd of job-seekers at a job fair. He kills eight people, wounds a bunch of others, and then seems to drop off the face of the earth. Then we jump a year later and meet retired Detective Kermit William Hodges, a.k.a. Bill, who was the lead investigator on the case. Bill is depressed and considering suicide when the Mercedes Killer sends him a letter telling him to go ahead and off himself, unwittingly giving Bill a reason to live: namely, to hunt down the bastard who ran through a mass of people with a stolen Mercedes.
For those who may be looking for a horror fix...this isn't it. (Which isn't necessarily a bad thing.) Mr. Mercedes has more in common with Sue Grafton and J.K. Rowling's alter-ego Robert Galbraith than it does with The Shining or It. As a reader, I don't mind that at all. The bad guy is definitely bad and the good guy has enough questionable motives to make it a quick, interesting read.
There are definitely some plot holes and leaps of faith that the reader has to make, but if you read it quick enough (like I did) you won't think about the problems long enough to truly distract you.
My biggest issue (not counting plot holes and leaps of faith) with the novel related to a more basic issue -- it felt like the beginning of a series. I felt only marginally introduced to the main character (strange, right?) and his former partners. I was only gonna give this book two stars...then, lo, I arrive at Goodreads and find this is the first part of a trilogy? I have rounded my star rating up in hopes that the next couple novels will fix the distance-y issues I was experiencing.
An example of a 'distance-y' issue (a term I have coined my own self): The sidekicks. Jerome and Holly. First off, the sidekicks don't come into the story in any measurable way until almost the end, which was a bummer because they were great foils for Hodges that were massively under-utilized -- they could have presented the arguments and counter-arguments to Hodges thought process...rather than the reader going "What the hell, dude?" And considering the pivotal roles they play, it's kinda disappointing to not spend more time with them.
But, I mean, dudes, it's still King. Plenty of attitude and spark through the pages to keep 'em turning. I especially love the emails between hero and villain. Snarky. Good times. ...more
I can't tell you how much I WANTED to LOVE this book. Everything about the premise was cool: a multi-media presentation, creepy isolated directors, cuI can't tell you how much I WANTED to LOVE this book. Everything about the premise was cool: a multi-media presentation, creepy isolated directors, cultish horror movies. There's nothing at all wrong with any of those things.
But about a third of the way in, I realized I was bored.
Here's McGrath, an investigative journalist who has had his life trashed because of his obsessive look into Stanislas Cordova -- a man who makes horror movies more legendary than anything Hitchcock or Wes Craven could dream of. McGrath believes Cordova does more than make cult-like films, he believes the director actually runs a cult of sorts. When Cordova's daughter, Ashley, kills herself, McGrath takes the opportunity to dig into Cordova once again -- this time determined to prove he was right about the reclusive genius once and for all.
McGrath suspects Cordova of everything under the sun: murder, mayhem, abuse, and witchcraft. He's running off an anonymous tip he got years ago, when a man named John called and warned, "There's something he does to the children."
Joined by Hopper, a street punk with a strange past, and Nora, a homeless girl with a strange past, McGrath digs into Ashley's death. Through the course of the investigation they break into all sorts of places (an asylum, a secret soiree, an antique store, and Cordova's compound residence). McGrath's apartment is broken into and all his research stolen. There are shadowy figures everywhere.
In spite of all this, however, I never felt a sense of threat.
Every situation that should be fraught with stress and danger just falls kinda flat. At one point, when the dynamic trio break onto Cordova's property, McGrath actually takes a nap after being chased by dogs. Admittedly, that's probably a result of the hypothermia he's suffering...but still, this is fiction. A nap? Really? The price of that real-life detail was tension. If a character can afford to fall asleep during his chase scene, there's not much for the reader to invest in.
And, unfortunately, one of the coolest conceits of the novel -- the multi-media excerpts from police reports, magazine articles, internet pieces, etc. -- flat-out stops a third of the way through. There are a couple articles at the end that read more like someone half-remembered to put it back in.
So, for me, it didn't ring the bells that I so wanted it to ring. I did enjoy the multi-media. I totally love the concept. The idea of evil overlord moviemaker is one of the coolest concepts on earth, with the possible exception of time-traveling Johnny Depp pirate overlords. In the end, I didn't fall in love with the characters and I really didn't feel they were ever in real danger -- which is one of the hardest blows to a mystery/horror novel. ...more