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286 pages, Mass Market Paperback
First published February 1, 1995
The body of a homeless man is discovered one morning in Golden Gate Park, his skull caved in by generous application of blunt force. In short order, Inspector Kate Martinelli and partner Al Hawkins identify a suspect, an enigmatic transient named Brother Erasmus. But this is no ordinary suspect. Brother Erasmus is a Fool; he communicates using only quotations from scripture and other keystones of theological discourse. Could this kindly man who preaches Christ's better lessons to the wayward masses really be capable of committing murder? As Kate and Al circle their suspect, Brother Erasmus discovers that playing dumb doesn't pay.
To Play the Fool is the second installment in Laurie R. King's Kate Martinelli series. Unfortunately, after the rich psychological murder-thriller of A Grave Talent, Fool is a grave disappointment. To King's credit, Brother Erasmus is a character unlike any I've experienced in literature before; we must credit the author for studiously bringing him to life. But in so doing it appears that all other aspects of the narrative were starved to anemic inconsequence. Most of the novel is spent on the tail -- figuratively and psychologically -- of Erasmus. Once he is cracked, the mystery is both revealed and solved in just a few short pages of diatribe. Indeed, the entire Kate Martinelli setting seems only a flimsy backdrop for the Brother Erasmus character, who after two hundred pages, lost my attention and my interest.
Also upsetting is that, while in Grave we were treated to a deftly woven sub-narrative of Kate's personal life and her relationship with Al, in Fool this narrative is left undeveloped. Though Kate's partner Lee does participate in the interrogation of Erasmus, the relationship between the two, and between Al and Kate, remain on page 250 as they do on page one. Another unforeseen disappointment is that the mystery of Erasmus would have been solved in ten pages through diligent use of Google to decipher the Fool's quotes. On top of which there were innumerable quotes to begin each chapter, and these struck me as unrelated to the content of the chapters themselves; I began to suspect they were simply promising quotes culled by the author that simply never made it into the dialog.
In summary, I can not commend To Play the Fool. Readers would do much better reading A Grave Talent and Kate Martinelli fans should be fine without it.