I initially thought it was a huge mistake to go 1st-person narrator in CAPTIVA with series hero Marion “Doc” Ford. In the first three novels, Doc is enigmatic, remote as a cypher. In CAPTIVA, first-person narration allows him to launch long, tiresome monologues of explanation and social commentary. He tosses aside his air of mystery and cheapens his own introspective inscrutability. The plot, which entails a mad-bomber at work in a dispute between disparate and tribal commercial fishing communities surrounding Dinkin’s Bay, is less compelling than Doc’s nearly kamikaze romance in CAPTIVA with a “superstitious, manipulative, domineering twenty-five-year-old sex commando” (p86) named Hannah Smith. Poor shaggy Tomlinson – who is supposed to be yin to Doc’s yang – is still being treated as a buffoon, played like a character in an over-long, unfunny Cheech & Chong routine. When Doc drones for the fourth or fifth time that “Tomlinson is mystical, I am methodical” (p54) it only reminds me of Alfred Hitchcock’s rule for screenwriters and actors: “always SHOW, don’t tell.”