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Spenser #7
Early Autumn
“[Robert B.] Parker's brilliance is in his simple dialogue, and in Spenser.”— The Philadelphia Inquirer
A bitter divorce is only the beginning. First the father hires thugs to kidnap his son. Then the mother hires Spenser to get the boy back. But as soon as Spenser senses the lay of the land, he decides to do some kidnapping of his own.
With a contract out on his life, he heads for the Maine woods, determined to give a puny 15 year old a crash course in survival and to beat his dangerous opponents at their own brutal game.
A bitter divorce is only the beginning. First the father hires thugs to kidnap his son. Then the mother hires Spenser to get the boy back. But as soon as Spenser senses the lay of the land, he decides to do some kidnapping of his own.
With a contract out on his life, he heads for the Maine woods, determined to give a puny 15 year old a crash course in survival and to beat his dangerous opponents at their own brutal game.
224 pages, Paperback
First published January 1, 1981
1047 people are currently reading
2248 people want to read
About the author
Robert B. Parker
492 books2,303 followersLibrarian Note: There is more than one author in the Goodreads database named Robert B. Parker.
Robert Brown Parker was an American writer, primarily of fiction within the mystery/detective genre. His most famous works were the 40 novels written about the fictional private detective Spenser. ABC television network developed the television series Spenser: For Hire based on the character in the mid-1980s; a series of TV movies was also produced based on the character. His works incorporate encyclopedic knowledge of the Boston metropolitan area. The Spenser novels have been cited as reviving and changing the detective genre by critics and bestselling authors including Robert Crais, Harlan Coben, and Dennis Lehane.
Parker also wrote nine novels featuring the fictional character Jesse Stone, a Los Angeles police officer who moves to a small New England town; six novels with the fictional character Sunny Randall, a female private investigator; and four Westerns starring the duo Virgil Cole and Everett Hitch. The first was Appaloosa, made into a film starring Ed Harris and Viggo Mortensen.
Robert Brown Parker was an American writer, primarily of fiction within the mystery/detective genre. His most famous works were the 40 novels written about the fictional private detective Spenser. ABC television network developed the television series Spenser: For Hire based on the character in the mid-1980s; a series of TV movies was also produced based on the character. His works incorporate encyclopedic knowledge of the Boston metropolitan area. The Spenser novels have been cited as reviving and changing the detective genre by critics and bestselling authors including Robert Crais, Harlan Coben, and Dennis Lehane.
Parker also wrote nine novels featuring the fictional character Jesse Stone, a Los Angeles police officer who moves to a small New England town; six novels with the fictional character Sunny Randall, a female private investigator; and four Westerns starring the duo Virgil Cole and Everett Hitch. The first was Appaloosa, made into a film starring Ed Harris and Viggo Mortensen.
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Displaying 1 - 30 of 586 reviews
November 6, 2019
This—along with Mortal Stakes, Looking for Rachel Wallace, and Ceremony—is one of the best of the first dozen Spenser books, written in Robert B. Parker's finest period. Like the others, it deals with America's shifting values, and how a macho but moral hero—our Spenser—must make ambiguous ethical choices in order to preserve and foster what little good he can.
Patty Giacomin hires Spenser to find her teenage son, who has been abducted by his father Mel. Son Paul is little more than a pawn in this separated couples' soon-to-be vicious divorce, but when Spenser tries to talk with Paul he finds the situation is even worse. Patty and Mel, equally cold, selfish and neglectful, have “raised” a son who not only cannot choose between his parents, but who has developed so little sense of self-worth that he has no preferences and cannot choose at all. How can Spenser give Paul independence and help him choose a life for himself?
Why, blackmail the parents, of course!
Before he can find discover the proper method, Spenser must negotiate a murky sea filled with suspicious insurance claims, cryptic trips to Manhattan, a few negligible thugs and one serious gangster. But, when it comes to the gangster, Spenser has Hawk by his side.
Speaking of Hawk: although an interesting and entertaining foil for Spenser, he often functions—as he does here—as a variety of “magic negro,” a super bad-ass who performs certain necessary but disgraceful acts of violence, acts of which our hero is morally incapable. Hawk does the dirtiest of the dirty work so that Spenser can still look like a hero. (When I first read the book, thirty-five years ago, I didn't notice this sort of thing. But I notice it now.)
The middle section of the novel, where Spenser constructs a “manhood school” in the Maine woods is filled with some good macho Hemingway prose as well as a lot of tenderness and irony. Not the least of the ironies is the fact that, when Spenser's “school” has been successful, and Paul has developed preferences and desires, he chooses a distinctly non-macho passion—one to which Spenser is indifferent and which his father Mel positively hates.
A thoroughly enjoyable entertainment that gives the reader a lot to think about too.
March 15, 2014
When Spenser is hired by a divorcee to bring back her kidnapped son from his father, he gets more than he bargained for. Paul's parents are using him as a pawn and neither really want him around. Spenser winds up taking the kid under his wing and soon has someone gunning for him...
Of the Spensers I've read so far, this one is in the top three. While it has all the Spenser hallmarks, like a long description of cooking a meal, wisecracks, discussions of Spenser's code, and Hawk being the baddest mother since Shaft, it also has an offbeat plot. When Spenser sees what a callow slacker Paul is and decides to mentor the kid, the book starts firing on all cylinders.
Paul's parents are both human garbage and deserving of kicks to the crotch. Paul and his attitude irritated the crap out of me (and Spenser) at the beginning but the kid grew on me toward the end. Hawk was in fine form, although I could have used a little more of him. I still can't decide if Parker includes Hawk as a mirror to hold Spenser up against or someone to do his dirty work. Possibly a combination of both. Susan Silverman was more tolerable than usual but I found her jealousy and bitchiness toward Spenser spending time with Paul kind of juvenile.
The book shows its age a little but not enough to cost it any stars. It's clear the book was written in the early 80's with its references to self-actualization and disco. Also, Paul would be on the internet or playing video games all the time if it were written today.
This Parker guy might have a future in the book business. I'll pick up the next one. Four out of five stars.
Of the Spensers I've read so far, this one is in the top three. While it has all the Spenser hallmarks, like a long description of cooking a meal, wisecracks, discussions of Spenser's code, and Hawk being the baddest mother since Shaft, it also has an offbeat plot. When Spenser sees what a callow slacker Paul is and decides to mentor the kid, the book starts firing on all cylinders.
Paul's parents are both human garbage and deserving of kicks to the crotch. Paul and his attitude irritated the crap out of me (and Spenser) at the beginning but the kid grew on me toward the end. Hawk was in fine form, although I could have used a little more of him. I still can't decide if Parker includes Hawk as a mirror to hold Spenser up against or someone to do his dirty work. Possibly a combination of both. Susan Silverman was more tolerable than usual but I found her jealousy and bitchiness toward Spenser spending time with Paul kind of juvenile.
The book shows its age a little but not enough to cost it any stars. It's clear the book was written in the early 80's with its references to self-actualization and disco. Also, Paul would be on the internet or playing video games all the time if it were written today.
This Parker guy might have a future in the book business. I'll pick up the next one. Four out of five stars.
April 19, 2025
When Spenser takes a case to find a kidnapped teenager we find out Spenser’s true morals and righteousness. Unable to let the kid continue in his neglected and failed life Spenser’s new mission becomes one of salvation and redemption even though it means putting his own life on the line.
August 11, 2016
Spenser gets another peach of a client in this one. Patty Giacomin hires him to get her son, Paul, back from her husband, Mel. Patty and Mel had a nasty divorce, and they’ve made a game out of trying to keep Paul away from each other.
Spenser doesn’t have much trouble finding the kid but is disturbed by the fifteen year old boy who is suffering from an odd form of neglect. He isn’t abused, but since both of the parents are pieces of shit, Paul has been ignored and never taught about much of anything. He's a lump with no interests and his only skill is watching TV. (This was written in 1981 so if it’d been published recently, I’m sure Paul would have spent all day on X-Box Live.)
Spenser gets stuck in the middle of Patty and Mel’s game of keep-away with their kid, and ends up doing extended baby-sitter duty. Spenser starts to teach the kid how to work out, to read books instead of watching TV constantly and how to build a house, all in an effort to help the kid develop some self-esteem and independence. Just as Paul is starting to learn some things and get some confidence, Patty and Mel declare a cease fire and want the boy returned. Spenser refuses to send Paul back to a life of being ignored and begins a risky plan to pry Paul free from his crappy parents forever.
Parker was in his prime of delivering off-beat plots for Spenser during this period, and this one walks a very fine line between Spenser going to extraordinary lengths to protect a kid versus Spenser just being an outright kidnapper. Yes, they’re terrible parents, but they aren’t abusive or physically neglectful. Once Spenser decides that they're unfit to care for Paul, he has no problem with taking him away from them. While almost anyone would agree with what he does, Spenser would probably have a hard time justifying it in court.
Another odd thing in this one is the way that Susan acts. She instantly resents all the time that Spenser spends with Paul, thinks that Spenser is doing something very stupid, and she is just generally bitchtacular for the entire book. This actually ends up being the early warning signs of the issues that are looming in future books for them, but Susan comes across as extraordinarily selfish in this.
Next up: Spenser FAIL in A Savage Place.
Spenser doesn’t have much trouble finding the kid but is disturbed by the fifteen year old boy who is suffering from an odd form of neglect. He isn’t abused, but since both of the parents are pieces of shit, Paul has been ignored and never taught about much of anything. He's a lump with no interests and his only skill is watching TV. (This was written in 1981 so if it’d been published recently, I’m sure Paul would have spent all day on X-Box Live.)
Spenser gets stuck in the middle of Patty and Mel’s game of keep-away with their kid, and ends up doing extended baby-sitter duty. Spenser starts to teach the kid how to work out, to read books instead of watching TV constantly and how to build a house, all in an effort to help the kid develop some self-esteem and independence. Just as Paul is starting to learn some things and get some confidence, Patty and Mel declare a cease fire and want the boy returned. Spenser refuses to send Paul back to a life of being ignored and begins a risky plan to pry Paul free from his crappy parents forever.
Parker was in his prime of delivering off-beat plots for Spenser during this period, and this one walks a very fine line between Spenser going to extraordinary lengths to protect a kid versus Spenser just being an outright kidnapper. Yes, they’re terrible parents, but they aren’t abusive or physically neglectful. Once Spenser decides that they're unfit to care for Paul, he has no problem with taking him away from them. While almost anyone would agree with what he does, Spenser would probably have a hard time justifying it in court.
Another odd thing in this one is the way that Susan acts. She instantly resents all the time that Spenser spends with Paul, thinks that Spenser is doing something very stupid, and she is just generally bitchtacular for the entire book. This actually ends up being the early warning signs of the issues that are looming in future books for them, but Susan comes across as extraordinarily selfish in this.
Next up: Spenser FAIL in A Savage Place.
November 14, 2018
Private Investigator Spenser gets caught in the middle of a tug-o-war between two parents and their child. Both want the kid, but for selfish reasons. The only one looking out for the boy is Spenser.
This was a really good read. All of Parker's Spencer books that I've read so far have been decent, but Early Autumn is a notch higher in quality than most. There's heart in this one. Specifically I mean Spenser's heart. Parker did a great job setting the stage for Spenser to show some real compassion.
This was a really good read. All of Parker's Spencer books that I've read so far have been decent, but Early Autumn is a notch higher in quality than most. There's heart in this one. Specifically I mean Spenser's heart. Parker did a great job setting the stage for Spenser to show some real compassion.
December 17, 2011
This is the one to read if you're reading only one.
Spenser is an acquired taste. You have to like the formula and the archetype and not be overly concerned by the built-in limitations imposed by both. For me, when done well it's like listening to a great old song: you know what's coming but there's something irresistible about the melody. Like Ronnie "The Hawk" Hawkins might growl it out: "I put a spell on you."
At his best (not all the books), I love Spenser, the wisecracking gumshoe whose heart beats pure and who will find a way to do right by the end. He can be funny, tough, and effective, and he usually knows how to leave enough out in the telling to keep the suspense rolling. Though I've read the whole series, some were annoying and harder to finish than others. My problems usually revolve around Hawk, Spenser's alter-ego-leg-breaker-partner-in-crime, and Susan, Spenser's main squeeze. Spenser's white and Hawk's black and Hawk is the one who ends up doing the most hideous bloodwork because/so Spenser can't/won't/doesn't have to. There's something wrong with this formulation and the way it too often lets Spenser off the hooks he's been sharpening. He would be a more fascinating, complex, and compelling character if Parker really made him face the consequences of his dilemmas, each time. Susan is a psychologist and too often waxes pedantic about the whys and wherefores of the dark forces driving the wayward characters Spenser traffics in. Their relationship's a nice touch, but her heaviness of hand is not.
But, for me, "Early Autumn" approaches art, about which I have a simple definition: 1)a thing of beauty in itself, 2)which stays with you, 3)and makes you want to return to it. All those elements are true here, and in deep ways. In art, as in life, a subtle and apparent simplicity is often the best thing and this book is a beautiful expression of that: transparent surface, roiling depths. From Robert Parker we would expect nothing less, who might as well be the bastard son of Ernest Hemingway and Raymond Chandler, so completely has he absorbed the ethos, styles, and beating hearts of both men.
In the story Parker gets involved helping Paul, a sullen teenager being raised by selfish, rejecting, divorced parents whose only interest in him is to wound the other. Spenser becomes the boy's surrogate father, trying to help him grow up fast and survive his hellish forebears. The development of their relationship, the ways Spenser moves from wiseguy to wise man, and Paul's entirely believable growth are rendered with surpassing delicacy, subtlety, and richness of feeling. Parker rides the high wire of earned, piercing emotion without sentimentality as only the best can do.
Sometimes, when I want to feel again a certain way I reread the ending. It never fails to move me, nor to remind me of how it's done.
That's art.
Spenser is an acquired taste. You have to like the formula and the archetype and not be overly concerned by the built-in limitations imposed by both. For me, when done well it's like listening to a great old song: you know what's coming but there's something irresistible about the melody. Like Ronnie "The Hawk" Hawkins might growl it out: "I put a spell on you."
At his best (not all the books), I love Spenser, the wisecracking gumshoe whose heart beats pure and who will find a way to do right by the end. He can be funny, tough, and effective, and he usually knows how to leave enough out in the telling to keep the suspense rolling. Though I've read the whole series, some were annoying and harder to finish than others. My problems usually revolve around Hawk, Spenser's alter-ego-leg-breaker-partner-in-crime, and Susan, Spenser's main squeeze. Spenser's white and Hawk's black and Hawk is the one who ends up doing the most hideous bloodwork because/so Spenser can't/won't/doesn't have to. There's something wrong with this formulation and the way it too often lets Spenser off the hooks he's been sharpening. He would be a more fascinating, complex, and compelling character if Parker really made him face the consequences of his dilemmas, each time. Susan is a psychologist and too often waxes pedantic about the whys and wherefores of the dark forces driving the wayward characters Spenser traffics in. Their relationship's a nice touch, but her heaviness of hand is not.
But, for me, "Early Autumn" approaches art, about which I have a simple definition: 1)a thing of beauty in itself, 2)which stays with you, 3)and makes you want to return to it. All those elements are true here, and in deep ways. In art, as in life, a subtle and apparent simplicity is often the best thing and this book is a beautiful expression of that: transparent surface, roiling depths. From Robert Parker we would expect nothing less, who might as well be the bastard son of Ernest Hemingway and Raymond Chandler, so completely has he absorbed the ethos, styles, and beating hearts of both men.
In the story Parker gets involved helping Paul, a sullen teenager being raised by selfish, rejecting, divorced parents whose only interest in him is to wound the other. Spenser becomes the boy's surrogate father, trying to help him grow up fast and survive his hellish forebears. The development of their relationship, the ways Spenser moves from wiseguy to wise man, and Paul's entirely believable growth are rendered with surpassing delicacy, subtlety, and richness of feeling. Parker rides the high wire of earned, piercing emotion without sentimentality as only the best can do.
Sometimes, when I want to feel again a certain way I reread the ending. It never fails to move me, nor to remind me of how it's done.
That's art.
December 2, 2025
Spenser #7 is a bit different. Spenser encounters a 15 year old boy unloved and unwanted by his divorced parents. The boy is unmotivated and lost. Spenser takes him under his wings to teach his how to be independent and help him figure out what he wants to do with his life. Shows a different side of the tough Boston character.
December 28, 2017
I haven't really been a fan of this author. I read his books when I need to do it for a book challenge, but I don't seek them out. I often wondered why there was such a huge following for this author. According to the reviews, a lot of people love him. While reading this book, I think for the first time, I could see why that is so. I liked the one liners and the short sentence structure. I also liked Spenser. He is definitely a character you can stand behind. I loved that part. So 4 stars.
June 18, 2018
Loved this book but for different reasons than many of the other Spenser novels. As much as i enjoy a badass team up between Spenser and Hawk, i enjoyed it more for the relationship between Spenser and Paul. He forms a father/son relationship with the kid. He transforms a skinny prick of a kid into someone worthwhile and half the fun is the journey.
January 14, 2009
This is, I think, the best of the Spenser mysteries. It presents the hero as a more fully rounded character with interests and talents outside the rote solving of crimes. His interaction with the boy who has been damaged by the actions of his divorced parents reveals not only the human behind the wise-cracking facade but important hints as to the past of Spenser himself. Susan is also shown to have both flaws and virtues here. I believe this was the point at which Parker committed himself to writing as close as he could get to literature and moved beyond the formulaic mystery novel.
April 13, 2017
Spenser is hired to keep Paul Giacomin safe from his father as he is a pawn between warring parents. This is a much more sedate, mature and reflective novel where we learn more about Spenser's motivations and values as he struggles to do right by Paul. I'm not sure that this would be a good introduction to the series for new readers as it's not typical of most of the series but it is an interesting addition for readers familiar with it. I thoroughly enjoyed the change of pace.
May 18, 2017
I really was wonder how the initial setup of this novel was going to bear out as a full story. Not only did it, but definitely one of my favs of his so far.
March 17, 2021
Closer to 3.5 stars.
Love Spenser, Hawk and Susan. Interesting story.
Love Spenser, Hawk and Susan. Interesting story.
January 4, 2022
Best Spenser I have read yet! On to the next.
February 28, 2009
Another five-star rating. The Sunny Randall book
where Sunny mentors a young girl was written in
1999. This book in the Spenser series was written
in 1981, but Spenser is hired to find a 15-year-old
boy who has been kidnapped by his father, more as
revenge against the mother than love for son. Spenser
determines that the frail, disinterested boy needs to
learn to be autonomous, dependent on himself. Spenser
takes Paul to the Maine wood to build a cabin for a
friend, which is really a crash course in survival.
What I really most liked about the book were the many
practical words of wisdom:
--It'll be good to work with your hands.
--You need some structure in your life, some scheduling, to give
you a sense of order.
--A way of living better is to make decisions you need to make
based on what you can control. When you can.
--What you're good at is less important than being good at
something. You got nothing. You care about nothing. So I'm
going to have you be strong, be in shape, be able to run ten
miles, and be able to lift more than you weigh and be able to
box. I'm going to have you know how to build and cook and
work hard and to push yourself and control yourself. Maybe
we can get to reading and looking at art and listening to
something beside situation comedies later on. But right now
I'm working on your body because it's easier to start there.
--We can do that. You can get some pride, some things you like
about yourself. I can help you.
--It's what I can teach you. I can't teach you to write poetry
or play the piano or paint or do differential equations.
--(on labor) We do it to get the pleasure o making something.
Otherwise we could hire someone. That would be the easiest way of all...That's just the point that keeps it from being a hobby, like
making ships in a bottle.
where Sunny mentors a young girl was written in
1999. This book in the Spenser series was written
in 1981, but Spenser is hired to find a 15-year-old
boy who has been kidnapped by his father, more as
revenge against the mother than love for son. Spenser
determines that the frail, disinterested boy needs to
learn to be autonomous, dependent on himself. Spenser
takes Paul to the Maine wood to build a cabin for a
friend, which is really a crash course in survival.
What I really most liked about the book were the many
practical words of wisdom:
--It'll be good to work with your hands.
--You need some structure in your life, some scheduling, to give
you a sense of order.
--A way of living better is to make decisions you need to make
based on what you can control. When you can.
--What you're good at is less important than being good at
something. You got nothing. You care about nothing. So I'm
going to have you be strong, be in shape, be able to run ten
miles, and be able to lift more than you weigh and be able to
box. I'm going to have you know how to build and cook and
work hard and to push yourself and control yourself. Maybe
we can get to reading and looking at art and listening to
something beside situation comedies later on. But right now
I'm working on your body because it's easier to start there.
--We can do that. You can get some pride, some things you like
about yourself. I can help you.
--It's what I can teach you. I can't teach you to write poetry
or play the piano or paint or do differential equations.
--(on labor) We do it to get the pleasure o making something.
Otherwise we could hire someone. That would be the easiest way of all...That's just the point that keeps it from being a hobby, like
making ships in a bottle.
November 4, 2013
Parker's 7th Spenser book is one of the best in the series. It reveals a lot about Spenser and his code by watching him save a kid (Paul Giacomin) from his indifferent parents. Spenser is approached by the kid's mother. His task is to retrieve the boy from his noncustodial parent, but it soon becomes obvious that Paul is just a pawn in a game between his parents. They irritate each other by holding him, but neither cares for him. Spenser decides that the undeveloped boy needs a crash course in learning to be autonomous, so he drags him along and makes him help build a cabin on property that Susan owns. Though resistant, Paul responds to Spenser. At the same time, Spenser, aided by Hawk, finds ways to blackmail the parents into becoming parental, and he blunts some efforts to retrieve the boy by the father's thugs. The book is never cloying, the sentiments are never as arch as in the later books. Spenser and Hawk are still feeling each other out. It is a very nice piece of writing.
Because it's an early book in the series, Spenser reveals a lot about himself through conversation with Susan (not yet as irritating as they would become later) and through action. As he says, "I know how to do carpentry. I know how to cook. I know how to punch. I know how to act. (p. 90)." I miss the early Spenser books a lot.
Because it's an early book in the series, Spenser reveals a lot about himself through conversation with Susan (not yet as irritating as they would become later) and through action. As he says, "I know how to do carpentry. I know how to cook. I know how to punch. I know how to act. (p. 90)." I miss the early Spenser books a lot.
August 27, 2015
This book is part of the series with Spenser as the main character. This can be read as a stand alone novel. In this one, Spenser is hired by a boy's mother who is recently divorced. The father has kidnapped the boy and the mother wants the boy back. Spenser discovers that the boy is a pawn between his parents and Spenser shows more concern for the child than either one of the parents.
This is a quick read and a great read also. We have seen in previous novels that Spenser is not your typical private investigator. He has his high standard of morals and he believes in righteousness. I believe this book has the best display of Spenser's values as Spenser adheres to his code of conduct even though he sacrifices his personal life. I immediately connected with the plight of the child as he is ignored by everyone but Spenser and I really liked how Spenser connects with him. And what is a Spenser novel without the character Hawk. He makes his presence known in a couple of scenes and when he does, he steals the spotlight.
You are making a mistake if you are not reading this series. Spenser is a delightful protagonist as he is witty, chivalrous, sarcastic, and tough as nails. The reader cannot help but be engaged by his character. And this particular novel is one of the better books of this series as Spenser goes out of his way to be the hero.
This is a quick read and a great read also. We have seen in previous novels that Spenser is not your typical private investigator. He has his high standard of morals and he believes in righteousness. I believe this book has the best display of Spenser's values as Spenser adheres to his code of conduct even though he sacrifices his personal life. I immediately connected with the plight of the child as he is ignored by everyone but Spenser and I really liked how Spenser connects with him. And what is a Spenser novel without the character Hawk. He makes his presence known in a couple of scenes and when he does, he steals the spotlight.
You are making a mistake if you are not reading this series. Spenser is a delightful protagonist as he is witty, chivalrous, sarcastic, and tough as nails. The reader cannot help but be engaged by his character. And this particular novel is one of the better books of this series as Spenser goes out of his way to be the hero.
December 5, 2016
My second Spenser series book and I liked it a bit more than the previous, but still found of somewhat lacking. Oh, it's entertaining in a general sense, and Spenser's wise-cracking ways are perhaps his best feature. But I grew weary of the repeated and overly detailed descriptions of what people were wearing as Spenser encountered them. Was this a fashion review or a mystery novel? I also thought the plot was a bit stretched. Spencer turns from a simple PI job involving retrieving a divorcee's son into becoming the latter's self appointed guardian and life coach / father figure. Endearing but not what I was looking for when I selected this novel.
Oh well, it was breezy, decently paced, and well written. Just not all that engaging for me. I still might give Parker another go, but with lowered expectations.
Oh well, it was breezy, decently paced, and well written. Just not all that engaging for me. I still might give Parker another go, but with lowered expectations.
September 30, 2025
You could get from this book alone the essence of what made Parker's Spenser books so damn good. Over the books Susan and Hawk do their thing over and over again until you could play a drinking game with the tropes.But the relationship that grows in this book between Spenser and young Paul Giacomin, who becomes his surrogate son, is funny and real and moving, and brings out the best in the character. This is his writing at its finest.
August 16, 2020
More great Spenser stuff here, even though I didn’t quite like this one as much as Looking for Rachel Wallace—to be fair though, I think that’s probably because I tend to find irritable lesbian feminist authors more interesting than irritable reticent teenagers.
I don’t know if Spenser is softening up or what, he’s been positively nurturing the last couple books and I did end up liking his relationship with Paul and watching him teach him how to be a man (at least in the context of 1980 America.) That said, there wasn’t quite enough private dick action in this one for my taste and Spenser seemed somewhat less quick and funny than in previous volumes.
It’s really hard to rag too hard on these books as they’re expertly written and they’re never long enough to outstay their welcome. I’m always glad to pick up another one and I have no doubt I’ll enjoy the next one, and that kind of reliability and output is certainly worth mentioning.
I don’t know if Spenser is softening up or what, he’s been positively nurturing the last couple books and I did end up liking his relationship with Paul and watching him teach him how to be a man (at least in the context of 1980 America.) That said, there wasn’t quite enough private dick action in this one for my taste and Spenser seemed somewhat less quick and funny than in previous volumes.
It’s really hard to rag too hard on these books as they’re expertly written and they’re never long enough to outstay their welcome. I’m always glad to pick up another one and I have no doubt I’ll enjoy the next one, and that kind of reliability and output is certainly worth mentioning.
September 30, 2020
a father hires thugs to kidnap his son. Then the mother hires Spenser to get the boy back.
With a contract out on his life, he heads for the Maine woods, determined to give a puny smart ass 15 year old a crash course in survival and how to grow up and be hisself, including dance
With a contract out on his life, he heads for the Maine woods, determined to give a puny smart ass 15 year old a crash course in survival and how to grow up and be hisself, including dance
August 11, 2020
Probably one of the better Spenser novels. It focuses on the detective's attempt to help a teenager develop a sense of self while dealing with his selfish parents.
November 28, 2021
Father kidnaps his own son and gets his friends in organized crime to do it. Mother hires Spenser. Spenser gets the child and Spenser takes a liking to the boy. Spenser takes the boy from the mother and begins to raise the boy. Spenser and the boy become very close and to keep the natural parents off, he finds dirt on both of them.
September 1, 2020
This originally appeared at The Irresponsible Reader.
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This is the least "Spenser"-ish of the Spenser novels, and it's the most quintessentially "Spenser"-sh. If that's possible. I've probably read it more than any other in the series and probably could've written 75% of what I'm going to end up saying here without cracking it open. But why deny myself?
I'm going to try to keep this from getting out of control, but no promises.
WHAT'S EARLY AUTUMN ABOUT?
Patty Giacomin comes to Spenser (in a newly relocated office, this will be important a few books from now) for help, her ex-husband has taken their teenaged son in some sort of revenge move. She wants Spenser to get him back. He does so, in possibly the dullest scene in the series (only because it was so easy). This is not the kind of stuff we read P.I. novels for—Paul's back home by page 30.
Three months later, a stranger attempts to kidnap Paul, but he escapes. Patty hires Spenser to stay with them and protect Paul—and her, after the would-be kidnapper and an accomplice try to break in and take Paul. Spenser interferes with that plan, but Paul's safe, Patty's eventually kidnapped by these men, and the exchange is set up, son for mom.
Spenser and Hawk interfere with that plan, and this time it gets a bit more violent. Clearly things are going to keep escalating, so they need another tack. It's decided that Patty will lie low with a friend for a while, and Spenser and Paul will go out of town until the heat dies down. Spenser had promised to build a cabin for Susan on some property in Maine, so he and the boy head off to do that.
At this point, it's not just about keeping Paul safe for Spenser. He's trying to help the kid—trying to push him into being an autonomous person with skills and interests. Angela Duckworth would say that Spenser's trying to foster grit in Paul, who certainly needs something.
Clearly, Mel Giacomin has some less-than-savory friends/business associates if he can get this kind of help. Spenser moves the bodyguarding to the side and beings investigating—why would Mel be able to find this kind of help? Would knowing this give Spenser the leverage to get Mel out of Paul's life?
PAUL
When we first meet Paul, he's a sullen, almost affect-less fifteen year-old whose major form of communication is a shrug. He has no interests, few friends, really doesn't seem to care which parent he's with, and would rather just sit around watching syndicated reruns all day than worry about any of this. (one can only imagine how a Paul would be written today with hundreds of cable channels, Netflix (and the rest)—not to mention the Internet—rather than the few choices that 1981 TV provides.
When Spenser starts to teach him to exercise, to box, and to swing a hammer, Paul couldn't care less about any of it. He goes along because he has nothing better to do (there's no TV at the cabin) and because Spenser's not really taking no for an answer. Soon Paul goes along with it because he's seeing and feeling the results of an active lifestyle.
When Spenser gets ready to investigate his parents, Paul's more than willing to tag along and help. He's not a budding P.I., this isn't Spenser adding a Robin to his Batman. It's Paul exercising some self-determination. By the end of the novel, he knows who his parents are. He understands their motivations and what they're like when they're not being some of the lousiest parents you'll encounter in print. More than that, he'll know the kind of man he wants to be and he'll know how he wants to become that kind of man.
SUSAN
Previously to now, we've seen Susan understand and support Spenser's work. She may not enjoy it or agree with his methods, but she understands and supports him—even assists him as best as she can (when feasible). But that's not the case in Early Autumn, she discourages Spenser from following his plan. She's outright critical about parts of it, and spends most of the novel in one "funk" (Spenser's word) or another. This case, and Spenser's approach to it, puts a strain on their relationship, and it's easy to understand why that is from her perspective (his, too, neither are wrong).
While Susan doesn't seem to come across all that well for much of the book, she does come across as human. She's not perfect, she's a little jealous, she's put out that Spenser will just drop strangers on her front door with no warning claiming to be in danger. But when the chips are down, she pitches in, and eventually embraces Spenser's mission regarding Paul. In a few years, we won't see that complex of a reaction from Susan. The character (and the series) will be less for that, so when possible, I've got to enjoy it.
HAWK
We get a scene in this book that in my mind we get a lot more than Parker actually wrote (although it does show up in Spener: For Hire a few times), someone has contacted Hawk about a hit on Spenser. Something Hawk would never do, but not too many people know that. It's a great scene, and Hawk seems to enjoy it more than even I do.
He's not around for much of this book, but when he is, it matters. I don't think Hawk's appearances before now have qualified, but I'd say he steals almost every scene he's in. It's one of those cases where a supporting character becomes as, if not more, beloved than the series protagonist/central character.
He's ruthless, he's dependable, and he does what he thinks is necessary—even when it conflicts with Spenser's wishes—because he thinks Spener's soft. Frequently, he lets Spenser's "rules" get in the way of what he wants to do. But this time, he won't--because he's convinced it'll get Spenser killed, and then Hawk would have to come along and get revenge later. He'd rather cut out the middle stuff and take care of it now. No matter what Hawk, Spenser, and others may say about the two of them being the same. They're not. And it's because of things like this.
THE CRIMINAL INVESTIGATION
As I said before, it's obvious that Mel Giacomin is up to something. Upstanding citizens don't enlist criminal help in a custody case (they wouldn't know how). Spenser and Paul take very little time or effort (although there is some, helping Paul increase his grit) to uncover enough to send his father to jail—or to blackmail him into supporting Paul's education while keeping him safe from further abductions.
It's a step or two above perfunctory, and it really doesn't matter. The core of this book is Paul. Paul and his relationship to his parents. Paul and Spenser. Paul starting to think and act on his own behalf, making choices, and being autonomous to whatever degree he can. Parker has to throw in the criminal activity because Spenser's not Spenser without a villain to thwart. Also, how else would it stay in the genre?
SO, WHAT DID I THINK ABOUT EARLY AUTUMN?
I love it. We get the clearest, and most unabashed description of Spenser's code of honor, code of life, and way of approaching things that we'll ever get. He's embarrassed to talk about it to Rachel Wallace, he'll joke around the truth with others, and he and Susan will cover the same ground ad nauseam. But here he's trying to pass it on to Paul, even if Paul doesn't embrace it wholeheartedly, Spenser wants to inspire Paul to come up with his own code, his own guiding principles and the best way to do that is by being open an honest.
We learn so much about Spenser here that it's essential reading for anyone wanting to understand the character.
I was younger than Paul the first few times I read this book, and I won't say that it inspired me the same way it does Paul. I can't say I developed the need for, or interest, in being an autonomous person, or in defining my own moral code. But the novel did inspire me, it made me think about life in a way that most people my age didn't do (probably still don't).
The dialogue was snappy, I learned early on that it a shrug shouldn't be used as an all-purpose method of communication, the action was good (if almost an afterthought), and anything that contains a couple of strong Hawk scenes is worth the read.
This isn't Spenser at his smartest, his toughest, or even his funniest. But it's Spenser in the raw, the Platonic ideal of Spenser on display for readers and characters alike.
It's a great read.
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This is the least "Spenser"-ish of the Spenser novels, and it's the most quintessentially "Spenser"-sh. If that's possible. I've probably read it more than any other in the series and probably could've written 75% of what I'm going to end up saying here without cracking it open. But why deny myself?
I'm going to try to keep this from getting out of control, but no promises.
Please. I have no one else. Please."
"There's a qustion whether you need anyone else," I said, "but I'll take a whack at it on one condition."
"What?"
"You tell me your name so I'll know where the bill gets sent."
She smiled. "Giacomin," she said, "Patty Giacomin."
"Like the old Ranger's goalie," I said.
"I'm sorry?"
"Gentleman of the same name used to be a hockey player."
"Oh. I"m afraid I don't follow sports much."
"No shame to it," I said. "Matter of not being raised properly. Not your fault at all."
She smiled again, although this time it was a little unsure, as if now that she had me she wasn't certain she wanted me. It's a look I've seen a lot.
WHAT'S EARLY AUTUMN ABOUT?
Patty Giacomin comes to Spenser (in a newly relocated office, this will be important a few books from now) for help, her ex-husband has taken their teenaged son in some sort of revenge move. She wants Spenser to get him back. He does so, in possibly the dullest scene in the series (only because it was so easy). This is not the kind of stuff we read P.I. novels for—Paul's back home by page 30.
Three months later, a stranger attempts to kidnap Paul, but he escapes. Patty hires Spenser to stay with them and protect Paul—and her, after the would-be kidnapper and an accomplice try to break in and take Paul. Spenser interferes with that plan, but Paul's safe, Patty's eventually kidnapped by these men, and the exchange is set up, son for mom.
Spenser and Hawk interfere with that plan, and this time it gets a bit more violent. Clearly things are going to keep escalating, so they need another tack. It's decided that Patty will lie low with a friend for a while, and Spenser and Paul will go out of town until the heat dies down. Spenser had promised to build a cabin for Susan on some property in Maine, so he and the boy head off to do that.
At this point, it's not just about keeping Paul safe for Spenser. He's trying to help the kid—trying to push him into being an autonomous person with skills and interests. Angela Duckworth would say that Spenser's trying to foster grit in Paul, who certainly needs something.
Clearly, Mel Giacomin has some less-than-savory friends/business associates if he can get this kind of help. Spenser moves the bodyguarding to the side and beings investigating—why would Mel be able to find this kind of help? Would knowing this give Spenser the leverage to get Mel out of Paul's life?
PAUL
When we first meet Paul, he's a sullen, almost affect-less fifteen year-old whose major form of communication is a shrug. He has no interests, few friends, really doesn't seem to care which parent he's with, and would rather just sit around watching syndicated reruns all day than worry about any of this. (one can only imagine how a Paul would be written today with hundreds of cable channels, Netflix (and the rest)—not to mention the Internet—rather than the few choices that 1981 TV provides.
When Spenser starts to teach him to exercise, to box, and to swing a hammer, Paul couldn't care less about any of it. He goes along because he has nothing better to do (there's no TV at the cabin) and because Spenser's not really taking no for an answer. Soon Paul goes along with it because he's seeing and feeling the results of an active lifestyle.
When Spenser gets ready to investigate his parents, Paul's more than willing to tag along and help. He's not a budding P.I., this isn't Spenser adding a Robin to his Batman. It's Paul exercising some self-determination. By the end of the novel, he knows who his parents are. He understands their motivations and what they're like when they're not being some of the lousiest parents you'll encounter in print. More than that, he'll know the kind of man he wants to be and he'll know how he wants to become that kind of man.
SUSAN
Previously to now, we've seen Susan understand and support Spenser's work. She may not enjoy it or agree with his methods, but she understands and supports him—even assists him as best as she can (when feasible). But that's not the case in Early Autumn, she discourages Spenser from following his plan. She's outright critical about parts of it, and spends most of the novel in one "funk" (Spenser's word) or another. This case, and Spenser's approach to it, puts a strain on their relationship, and it's easy to understand why that is from her perspective (his, too, neither are wrong).
While Susan doesn't seem to come across all that well for much of the book, she does come across as human. She's not perfect, she's a little jealous, she's put out that Spenser will just drop strangers on her front door with no warning claiming to be in danger. But when the chips are down, she pitches in, and eventually embraces Spenser's mission regarding Paul. In a few years, we won't see that complex of a reaction from Susan. The character (and the series) will be less for that, so when possible, I've got to enjoy it.
HAWK
We get a scene in this book that in my mind we get a lot more than Parker actually wrote (although it does show up in Spener: For Hire a few times), someone has contacted Hawk about a hit on Spenser. Something Hawk would never do, but not too many people know that. It's a great scene, and Hawk seems to enjoy it more than even I do.
He's not around for much of this book, but when he is, it matters. I don't think Hawk's appearances before now have qualified, but I'd say he steals almost every scene he's in. It's one of those cases where a supporting character becomes as, if not more, beloved than the series protagonist/central character.
He's ruthless, he's dependable, and he does what he thinks is necessary—even when it conflicts with Spenser's wishes—because he thinks Spener's soft. Frequently, he lets Spenser's "rules" get in the way of what he wants to do. But this time, he won't--because he's convinced it'll get Spenser killed, and then Hawk would have to come along and get revenge later. He'd rather cut out the middle stuff and take care of it now. No matter what Hawk, Spenser, and others may say about the two of them being the same. They're not. And it's because of things like this.
THE CRIMINAL INVESTIGATION
As I said before, it's obvious that Mel Giacomin is up to something. Upstanding citizens don't enlist criminal help in a custody case (they wouldn't know how). Spenser and Paul take very little time or effort (although there is some, helping Paul increase his grit) to uncover enough to send his father to jail—or to blackmail him into supporting Paul's education while keeping him safe from further abductions.
It's a step or two above perfunctory, and it really doesn't matter. The core of this book is Paul. Paul and his relationship to his parents. Paul and Spenser. Paul starting to think and act on his own behalf, making choices, and being autonomous to whatever degree he can. Parker has to throw in the criminal activity because Spenser's not Spenser without a villain to thwart. Also, how else would it stay in the genre?
SO, WHAT DID I THINK ABOUT EARLY AUTUMN?
You've gotten yourself in a lot of trouble over this, Jack, and don't you forget it," he said.
I said, "Name's Spenser with an S, like the poet. I'm in the Boston book." I stepped through the door and closed it. Then I opened it again and stuck my head back into the hall. "Under Tough," I said. And closed the door, and walked out.
I love it. We get the clearest, and most unabashed description of Spenser's code of honor, code of life, and way of approaching things that we'll ever get. He's embarrassed to talk about it to Rachel Wallace, he'll joke around the truth with others, and he and Susan will cover the same ground ad nauseam. But here he's trying to pass it on to Paul, even if Paul doesn't embrace it wholeheartedly, Spenser wants to inspire Paul to come up with his own code, his own guiding principles and the best way to do that is by being open an honest.
We learn so much about Spenser here that it's essential reading for anyone wanting to understand the character.
I was younger than Paul the first few times I read this book, and I won't say that it inspired me the same way it does Paul. I can't say I developed the need for, or interest, in being an autonomous person, or in defining my own moral code. But the novel did inspire me, it made me think about life in a way that most people my age didn't do (probably still don't).
The dialogue was snappy, I learned early on that it a shrug shouldn't be used as an all-purpose method of communication, the action was good (if almost an afterthought), and anything that contains a couple of strong Hawk scenes is worth the read.
This isn't Spenser at his smartest, his toughest, or even his funniest. But it's Spenser in the raw, the Platonic ideal of Spenser on display for readers and characters alike.
It's a great read.
November 4, 2015
Robert B. Parker’s Early Autumn was a compelling early Spenser novel that helped move the series smoothly into the ‘80s.
The plot was fairly straightforward. Spenser was hired to look after neglected teen Paul Giacomin who had become nothing more than a bargaining chip in his terrible parents’ divorce war. Spenser found a way to extricate Paul from his dead end life and put him on the path to becoming an actual person.
The way that Parker embroidered that basic premise was one of the keys to Early Autumn’s narrative strength. Paul’s mother was a “me decade” train wreck. His father was a bit of a mook with some nasty connections. That set up some decent action sequences, including a memorable clash that had Spenser and his ally Hawk making short work of some goons on a busy Boston bridge and a couple of well-done tense stand-offs. The set-up also provided an opportunity to show Spenser engaged in the actual process of detection, as he lined up the leverage necessary to secure Paul’s future.
Early Autumn was one of the more character-driven Spenser books. Casting Spenser in the novel role of mentor gave Parker the opportunity to dig into his code and morality. The strain of Paul’s situation on Spenser’s relationship with Susan Silverman also allowed Parker to explore the depths of that well-constructed romance. Susan had some less-than-saintly moments, but the complex bond she and Spenser shared was vividly etched. Hawk remained a great wild card. And Paul developed into an interesting new addition to Spenser’s world.
As always, one of the most interesting parts of any Spenser novel was Parker’s measurement of the evolution of the city. Early Autumn captured Boston at the dawn of a strong urban renewal push that would revitalize many neglected neighborhoods. Spenser’s Marlborough Street apartment might have been considered “marginal” in the ‘70s, but by the early ‘80s was already on the verge of a strong comeback (and would be extremely valuable in the present market). Parker captured a vivid snapshot of the Boston of that moment, with many landmarks that have since faded. As was usual, Parker worked many real places (restaurants, stores, hotels) into the narrative, providing a grounding of time and place that enhanced the story’s authenticity.
After its often-didactic predecessor Looking for Rachel Wallace had seemed more interested in Making A Point than telling a story, the character-focused Early Autumn was a welcome relief. If you’re not reading the series in order, this one is worth moving up the list.
A version of this review originally appeared on www.thunderalleybcp.com
The plot was fairly straightforward. Spenser was hired to look after neglected teen Paul Giacomin who had become nothing more than a bargaining chip in his terrible parents’ divorce war. Spenser found a way to extricate Paul from his dead end life and put him on the path to becoming an actual person.
The way that Parker embroidered that basic premise was one of the keys to Early Autumn’s narrative strength. Paul’s mother was a “me decade” train wreck. His father was a bit of a mook with some nasty connections. That set up some decent action sequences, including a memorable clash that had Spenser and his ally Hawk making short work of some goons on a busy Boston bridge and a couple of well-done tense stand-offs. The set-up also provided an opportunity to show Spenser engaged in the actual process of detection, as he lined up the leverage necessary to secure Paul’s future.
Early Autumn was one of the more character-driven Spenser books. Casting Spenser in the novel role of mentor gave Parker the opportunity to dig into his code and morality. The strain of Paul’s situation on Spenser’s relationship with Susan Silverman also allowed Parker to explore the depths of that well-constructed romance. Susan had some less-than-saintly moments, but the complex bond she and Spenser shared was vividly etched. Hawk remained a great wild card. And Paul developed into an interesting new addition to Spenser’s world.
As always, one of the most interesting parts of any Spenser novel was Parker’s measurement of the evolution of the city. Early Autumn captured Boston at the dawn of a strong urban renewal push that would revitalize many neglected neighborhoods. Spenser’s Marlborough Street apartment might have been considered “marginal” in the ‘70s, but by the early ‘80s was already on the verge of a strong comeback (and would be extremely valuable in the present market). Parker captured a vivid snapshot of the Boston of that moment, with many landmarks that have since faded. As was usual, Parker worked many real places (restaurants, stores, hotels) into the narrative, providing a grounding of time and place that enhanced the story’s authenticity.
After its often-didactic predecessor Looking for Rachel Wallace had seemed more interested in Making A Point than telling a story, the character-focused Early Autumn was a welcome relief. If you’re not reading the series in order, this one is worth moving up the list.
A version of this review originally appeared on www.thunderalleybcp.com
September 19, 2016
What can you say about Robert B Parkers books that haven't already been said? Especially the Spenser series. - this is about 2 parents, who cannot stand each other, and basically is using their 15 year old son as a 'pawn' .... I will never understand 2 people, that bring a child into this world, then discover that they cannot stand each other, hate each other and use their child/children to 'get back' at the other.
This book starts out where the father hires thugs to kidnap his son, then the mother hires Spenser to get the boy back. But, Spenser soon realizes that while these two 'so called parents' are trying to get back at each other , their son is the one who is being torn apart- in more ways than one.
A great , fast read!!
This book starts out where the father hires thugs to kidnap his son, then the mother hires Spenser to get the boy back. But, Spenser soon realizes that while these two 'so called parents' are trying to get back at each other , their son is the one who is being torn apart- in more ways than one.
A great , fast read!!
June 6, 2019
Early Autumn is among my favorite novels in the Spenser series. Its premise — Spenser's decision to mentor a fifteen-year-old boy whose parents have neglected him and are now using him as a pawn in a custody dispute — provides Spenser with the opportunity to expound on his philosophy of life and his code of behavior as a man.
When Spenser meets Paul Giacomin, the boy is a lost soul with no strengths, no opinions, and no interests. Spenser decides to help him develop self-respect and autonomy, to free him from the destructive influence of his disinterested parents. The book's title refers to Spenser's assessment of the difficulty that Paul faces.
Much of the pleasure in reading this book comes from watching Paul's relationship with Spenser develop from wary nonchalance into openness and trust. But the book also doesn't lack the characteristic tough-guy action that readers expect from Spenser. It's especially satisfying to see Spenser team up with Hawk in some pivotal scenes, and to see how the two of them respect and trust each other despite their different “codes” (as Spenser tells Paul, Hawk isn't good, but he's a good man).
Some of the Susan Silverman passages are cloying as usual, but overall that's a small price to pay for this excellent story. I prefer reading series books in order, but if you're new to Spenser and just want to read one as an introduction to the character, you can't go wrong with Early Autumn.
When Spenser meets Paul Giacomin, the boy is a lost soul with no strengths, no opinions, and no interests. Spenser decides to help him develop self-respect and autonomy, to free him from the destructive influence of his disinterested parents. The book's title refers to Spenser's assessment of the difficulty that Paul faces.
Susan was quiet, looking down at me. “Spring will be a little late this year,” she said. “For Paul? Yeah.” I laughed with no pleasure. “Spring is gone. It’s early autumn for Paul. If I can do it.” “And if he can,” Susan said.
Much of the pleasure in reading this book comes from watching Paul's relationship with Spenser develop from wary nonchalance into openness and trust. But the book also doesn't lack the characteristic tough-guy action that readers expect from Spenser. It's especially satisfying to see Spenser team up with Hawk in some pivotal scenes, and to see how the two of them respect and trust each other despite their different “codes” (as Spenser tells Paul, Hawk isn't good, but he's a good man).
Some of the Susan Silverman passages are cloying as usual, but overall that's a small price to pay for this excellent story. I prefer reading series books in order, but if you're new to Spenser and just want to read one as an introduction to the character, you can't go wrong with Early Autumn.
June 19, 2017
This is an older 1981 Spenser novel where Spenser first meets troubled 15 yr old Paul Giacomin. His mother comes to Spenser to hire him to get her son back from her ex-husband. They are each using the boy as a pawn, neither of them really wanting him, and the poor kid knows it. He doesn't like either of his parents, and after getting better acquainted with their lifestyles, neither does Spenser.
This is not really a typical Spenser crime novel, with action and plots. We see an admirable side of Spenser as a mentor in his tenacity with teaching this young man how to survive life on his own, not relying on his parents, or anyone but himself. The poor kid doesn't know anything, has been taught nothing, not even table manners or simple things we all take for granted. He needs to grow up fast, and as a 15-yr old attack life as an adult. Spenser is determined he can make this happen and sets up the challenge for himself. Paul is an indifferent, skinny, weak soul who shrugs at all questions, and has no interest in Spenser's views, until it's forced on him. Spenser surprised me at times with his little gems of wisdom for Paul, and his "what doesn't kill you makes you stronger" type advice. His lady friend Susan Silverman doesn't like the chunk of time Spenser devotes to this challenge, but eventually gets on board with it.
The character of Paul resurfaces in other future novels. I liked this well enough, was impressed with Spenser's attitudes about life and as I said before, his tenacity and skills, but my hubby seems a bit bored by it.
This is not really a typical Spenser crime novel, with action and plots. We see an admirable side of Spenser as a mentor in his tenacity with teaching this young man how to survive life on his own, not relying on his parents, or anyone but himself. The poor kid doesn't know anything, has been taught nothing, not even table manners or simple things we all take for granted. He needs to grow up fast, and as a 15-yr old attack life as an adult. Spenser is determined he can make this happen and sets up the challenge for himself. Paul is an indifferent, skinny, weak soul who shrugs at all questions, and has no interest in Spenser's views, until it's forced on him. Spenser surprised me at times with his little gems of wisdom for Paul, and his "what doesn't kill you makes you stronger" type advice. His lady friend Susan Silverman doesn't like the chunk of time Spenser devotes to this challenge, but eventually gets on board with it.
The character of Paul resurfaces in other future novels. I liked this well enough, was impressed with Spenser's attitudes about life and as I said before, his tenacity and skills, but my hubby seems a bit bored by it.
October 27, 2011
This was a little of a slow starter, but ended up my favorite of the Spenser novels so far. True, Hawk's appearance in a novel makes it better than it would be otherwise and he appears fairly late in this one, but there is another, more direct, reason.
The first part of the novel has Spenser solving a rather typical case... tracking down a kid who has been taken by his father from his mother who has custody. He tracks him down and brings him back. That's sort of ho-hum. Spenser then comes to dislike both parents and discover that neither actually wants the kid and that they're just using the kid to hurt each other. He seizes an opportunity to take the kid with him nominally to protect him, but more to try to quickly bring up the rather pathetic teen and make him a functional person.
This process is what I really liked in the novel. It was getting to see Spenser as parent and, more explicitly than normal, a teacher. Spenser always stands as a model of masculinity, self-confidence and personal strength. Watching him try to explicitly inculcate those virtues in another made it truly special.
Plus Hawk chucks a guy off a bridge into a river. It's still a Spenser novel.
The first part of the novel has Spenser solving a rather typical case... tracking down a kid who has been taken by his father from his mother who has custody. He tracks him down and brings him back. That's sort of ho-hum. Spenser then comes to dislike both parents and discover that neither actually wants the kid and that they're just using the kid to hurt each other. He seizes an opportunity to take the kid with him nominally to protect him, but more to try to quickly bring up the rather pathetic teen and make him a functional person.
This process is what I really liked in the novel. It was getting to see Spenser as parent and, more explicitly than normal, a teacher. Spenser always stands as a model of masculinity, self-confidence and personal strength. Watching him try to explicitly inculcate those virtues in another made it truly special.
Plus Hawk chucks a guy off a bridge into a river. It's still a Spenser novel.
May 28, 2017
(The word "maroon" appears 4 times in this novel)
Meanders a bit too much. Some good scenes. Some adequate action.
The middle 1/3 has terrific funny dialogue.
Useless teen gnurd taught to grow up by Spenser.
See my review of Crimson Joy for more Spenser Series opinion...
https://www.goodreads.com/review/show...
Notes--
36.0% .... Wooohooooo SMOOTS! I crossed this bridge a thousand times long ago....
"The Mass. Ave. Bridge is open... Some MIT students once measured it by repeatedly placing an undergraduate named Smoot on the ground and marking off his length. Every six feet or so there is still the indication of one smoot, two smoots, painted on the pavement. I could never remember how many smoots long the bridge was."
17.0% ... cute ...
“I don’t know,” I said. “It’s just that I keep thinking about him. I feel bad for him.”
“There’s a surprise.”
“That I feel bad for him?”
“You’d feel bad for Wile E. Coyote,” Susan said."
Meanders a bit too much. Some good scenes. Some adequate action.
The middle 1/3 has terrific funny dialogue.
Useless teen gnurd taught to grow up by Spenser.
See my review of Crimson Joy for more Spenser Series opinion...
https://www.goodreads.com/review/show...
Notes--
36.0% .... Wooohooooo SMOOTS! I crossed this bridge a thousand times long ago....
"The Mass. Ave. Bridge is open... Some MIT students once measured it by repeatedly placing an undergraduate named Smoot on the ground and marking off his length. Every six feet or so there is still the indication of one smoot, two smoots, painted on the pavement. I could never remember how many smoots long the bridge was."
17.0% ... cute ...
“I don’t know,” I said. “It’s just that I keep thinking about him. I feel bad for him.”
“There’s a surprise.”
“That I feel bad for him?”
“You’d feel bad for Wile E. Coyote,” Susan said."
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