Though not exactly an example of fine literature, I did enjoy Robert K. Tanenbaum's 21st entry in his Butch Karp/Marlene Ciampi series. In a way, "Capture" is a much better read than it's predecessor: "Escape" which was bogged down with a slow pace, and a density that reduced its overall impact. However, like his other books, "Capture" spins its yarn with a lazy, lackluster prose which deflates the novel as a whole.
Tanenbaum's strength lies in his ability to set-up at least two different narratives that somehow work together at the same time. "Capture" tells the tale of NY District Attorney 2nd attempt at prosecuting a well-known Broadway producer who has been accused or murdering a young Broadway starlet. Ripped right out of the headlines involving the trial of record producer Phil Spector in the murder of Lana Clarkson in 2003, the author highlights the serious problem of murder trial defense attorney's going too far to besmirch the victim of a crime, and dilute the truth with one expert witness after the next.
The other narrative story involves the return of the psychotic Andrew Kane from the dead, the dangerous Russian terrorist Malovo, as well as the evil Dean Newbury and the Sons of Man. This time around, Malovo escapes an assassination attempt overseas by Jaxon, Lucy, her boyfriend Ned, and Butch Karp's cousin Ivan. Somewhere along the way, Lucy Karp gets kidnapped by Andrew Kane, and the team uncover a new Sons of Man plot to have a small boat armed with gigantic explosive liquid gas to blow up the Brooklyn Bridge. So it's Tran, Jojola, Marlene, Ned, Lucy, Dirty Warren, David Grale, and the others to the rescue!
Now, at face value. The story elements are terrific. That is what Tanenbaum (and his rumored ghost writers) are good at. The Sons of Man part of the story is consistently a fun read, as is the exciting takedown of the bad guy terrorists in the finale. Also particularly good are the courtroom scenes, where the reader gets to experience (once again) the pleasure of Butch Karp effectively eviscerating a defense attorney's case down to the nub. So, what's the problem?
The problems are many, among them lies with the fact that Robert K. Tanenbaum offers up TOO many characters who have James Bond-ian survival skills. The James Bond novels and films work because it's really only ONE guy who never gets killed no matter which direction the story goes. This way, the suspension of disbelief is never stretched beyond the breaking point. Yet with "Capture," no less than NINE characters are given the unrealistic resilience of cartoon characters.
Butch Karp can never be killed, nor does he ever lose a case. In fact, he often stumbles upon evidence, or a corrupt defense attorney that makes his case a slam-dunk each and every time. Marlene Karp can be maimed, but can never be killed. Lucy Karp is rarely out of horrendous danger, and she too is un-killable. Jaxon, Tran, Jojola, Ned, Edward Treacher, reporter Ariadne Stupenagel are all placed in impossibly dangerous situations where the chances of survival are slim to none. Yet all of them survive the story with barely a scratch on them. Do you see the problem here? Suspension of disbelief stretched to oblivion...It's no wonder Lucy Karp always remains calm when she is in danger! She knows that she will survive no matter what happens.
The other problem is that the suspension of disbelief is stretched even further when the heroes always seem to get the right info, or make the right decision just in the nick of time. Ariadne Stupenagel somehow knows how to duck at just the right time. The murderous Molovo would always rather keep one of our heroes alive as he prisoner than actually kill them herself. The corrupt medical examiner immediately caves when confronted with his lies. The murderous producer Maplethorpe's henchman just happened to have a safe deposit box filled with blackmail tapes on Maplethorpe.
And how bout the iconic, unstoppable Dean Newbury? Tanenbaum set him up as a man of absolute power as the head of the Sons of Man. But when he's caught by his nephew V.T., and charged with a litany of crimes, Dean Newbury caves and becomes cooperative witness? Really? That doesn't sound like the man Tanenbaum wrote about for at least three novels. The only thing that would make sense is if Dean Newbury took his own life, or was killed trying to escape capture. Dean Newbury as a stool pigeon? No. That's just plain wrong.
So, as much as I did enjoy "Capture," I was let down by the promise Robert K. Tanenbaum offered up. A great premise deserves a great story, which in turns deserves great characters, great writing, and a great finale. "Capture" got one or two parts right, but stumbled with the rest.