I received a review copy courtesy of Net Galley and Grand
Central Publishing. Buxton has had her work appear in The New York Times and
some other impressive places, and I was drawn by the buzz. To be honest, this
book didn’t work for me, but I also have to admit that I am probably outside
the target audience.
The setting drew me first; it’s hard to resist work set in
my own hometown of Seattle. The premise has to do with a smart crow and a dumb
dog setting out to save what’s left of their world. It’s billed as a romp, and
I make a point of punctuating my other reading with humor so it doesn’t get too
dark out there. So there were reasons to think I would enjoy this book.
But I was expecting a story arc and a plot. And I noted at
the ten percent mark that I had seen enough product placements for the rest of
the story and a boxed set to go with it. I quit about halfway through and
skimmed till I reached the 80 percent mark, and then read the ending; no joy.
If a friend has read this book and says they think that you
will like it, that friend might be right. But I can only share what I have seen
and give you my honest opinion, which is that this is only something to be
obtained only if it’s free or cheap unless your pockets are deep.
I love good military history, and so when I saw this title I
requested and received a review copy, thanks to Net Galley and Scribner. It’s
for sale now, but I can’t recommend it to you.
One of the first things I do when I read a new author in
this genre is to check notes and sources.
A first rate military historian will have multiple sources for each fact
cited, and a reasonably good one will have a variety of sources, primary
sources being most desirable.
Fenelon doesn’t do this. Much of his information hangs on a single source, and often these are not well integrated. This is the first time I have seen military history published by a major house, that uses Wikipedia as a source. All of the history teachers I know send their students back to do a rewrite if they hinge their citations on Wiki, and if teenagers aren’t allowed to do it, I cannot think why Scribner permitted it.
What drew me to the book is the paratroopers. There seems to
be a spate of these coming out right now, and I find it fascinating subject
material. There’s also a trend, of which this book is also an example, of
embracing the brave German troops against whom American forces fought, and not
unnecessarily, either. I could get behind this trend more easily were it more
universal, but somehow U.S. historians are quick to recognize the shared
humanity of former enemies that are Caucasian, and others, not so much. If I
could see one, just ONE WWII history that recounts kind of brave actions on the
part of the Japanese during this conflict, I would be a good deal less cranky.
Be that as it may, this book is inadequately researched and
inadequately documented. It’s not professionally rendered, so if you want to
read it, do so critically and evaluate as you read. Get it free or cheaply; don’t
pay full price.
It’s almost as if two crimes are committed inside these
pages: the first is the premeditated murder of Sherri Rasmussen, and the second
is this atrocious book. How many writers
can take a compelling story—that of a cop killing her romantic rival, and her
arrest and conviction—and make it this dull? So I still thank Net Galley and
Henry Holt for the review copy, but nothing and nobody can make me read
anything written by this author again. It appears that very few reviewers even
forced themselves to finish it; those of us that soldiered on till the end
either deserve commendations for our determination, or a mental health referral
for not cutting our losses.
The book’s beginning comes the closest to competent writing
as any part of this thing. We get background information about Sherri and John’s
courtship and marriage, as well as John’s relationship with the murdering woman
he scorned, Stephanie Lazarus. Don’t get me wrong; I am not saying this part is
well written. Even here, there are serious issues with organization and focus,
yet I continue, believing that when we get to the meat of the story where the
truth is revealed and the killer arrested, tried and convicted, it will be
worth the wait. In that, I am mistaken.
The author wanders anywhere and everywhere, apparently
unwilling or unable to exclude one single fact about anyone, even those
tangentially involved. Why do we need pages and more pages devoted to the life
and times of people the victim barely knew? To add insult to injury, many of
the facts he’s uncovered are inserted into multiple places in the narrative in
a way that emphasis doesn’t justify. It
appears as if he is attempting to reveal a cop cover-up, but his inner attorney
forces him to equivocate, hinting throughout without ever reaching the
punchline. He infers that maybe Sherri’s husband John knows more than he’s
saying, but again we see innuendo everywhere without an accusation being made
outright. The writing is riddled with clichés. In many places he tells us how
one character or another feels, or what they are thinking, and yet there are no
citations anywhere for anything; this is a cardinal sin in writing nonfiction.
I go to check the notes at the end of the book and there are none. The copious
gushing over Sherri’s excellent character and intelligence, while it sounds
warranted, is salted so liberally over 597 interminable pages makes me wonder
if there is a connection between the author and the victim’s family, but again,
if it’s true, he doesn’t say so. All told, it’s a very unprofessional piece of…writing.
By the time I consider abandoning this thing, I have put in
the time required to read over a hundred pages, and so I see it through. I skip
the section about the murder of someone else; had it shown up before I was
completely disgusted, I’d read it in case it provides strong evidence to back
up what the author is inferring but not saying, but as it is, I just want to
get to the meat of the matter and be done with this thing.
Imagine my surprise when the Rasmussen murder case is not
reopened, and Lazarus is not investigated, arrested, tried and convicted until…the epilogue.
There is not one redeeming feature of this book. It’s a train wreck from the start to the blessed ending. If I feel this way after reading it free, how might you feel if you paid money for it?
I received a review copy courtesy of Net Galley
and Random House Alibi. It’s a short book, but the time I took to read it felt
like forever. The teaser says it is for fans of John Grisham, but this story is
nowhere even close to the caliber of Grisham’s legal thrillers. It isn’t much
of a thriller at all.
Our protagonist is Beth Swahn. An old school has come up for
sale, and there is all sorts of subterfuge involving nepotism, drug smugglers,
and international intrigue surrounding the deal to purchase it; Beth’s
stepfather is part of it. The premise is a decent one, but by the time the
author is done with it, it’s dead on arrival. The book will be available to the
public February 5, 2019.
There are overlong passages of deadly dull dialogue, and then
there are overlong passages of tedious narrative. The transitions are ragged,
and all told it is surprising to me that Random House would go anywhere near
this thing. It’s possible that the hand of a high profile editor might be
helpful, but were anyone to weed out the extraneous crud, what would be left
would be either a lengthy short story or a short novella. I would love to point
to some positives, but beyond the premise, I simply cannot find any.
I enjoyed the first book in the Arlo Baines Series, The Devil’s Country, and so when I saw that this, the second in the series was available to read and review, I dove in gladly. Thanks go to Net Galley as well as Thomas and Mercer. This book is for sale today, but it’s disappointing, and you shouldn’t buy it.
The back story is that Baines was once a Texas Ranger, but after the murder of his family, he quit and now is a drifter that works on his own terms. When we join him, he has taken on the care of an orphan named Miguel in a platonic partnership with Javier, a friend whose life Arlo once saved. And right off the bat my antennae are flickering. How does anyone share custody, legal or otherwise, of a child if that person is a drifter? We learn at the outset that Arlo doesn’t want to stay anyplace more than a month or two, so how…? To be fair, later in the book he acknowledges that something must be worked out if he is to continue taking care of Miguel, but right from the get-go it’s obvious that more than one thing is off.
There is more than a faint whiff of the White Knight here, the “gringo”—a tired word I never want to see used in fiction again now that Hunsicker has used it a gazillion times here—who uses his training and superior judgment to help Latino people (referred to in the narrative as ‘Hispanic’) that somehow can never save themselves. We have Latino—uh, Hispanic—criminals, a woman-in-distress, an orphan, a good buddy, a murder victim, gangsters, and a villain—but what we don’t have is a Latino that’s a good person who can express himself or herself articulately in English.
But wait, I am not done. The women! Not that there are many of them here, but once again when they are present, they are here either as victims to be saved, or as a fem fatale. No women here are the competent sort that can save their own butts, let alone anybody else’s. For that, we need a man I guess. A gringo.
The sad thing is that Hunsicker seems to be making a genuine effort at working a social justice, immigrants’ rights angle, and for this reason I continued reading longer than I otherwise might have to see if he could pull it out of the water; this, of course, in addition to having enjoyed his work previously, (and this is my reason for providing the second star in my rating). I suspect he doesn’t realize that this novel comes across as patronizing toward women and people of color, rather than as a work that expresses solidarity and progressive values.
To top it off, toward the end of the novel he hits not one but two of my most-hated, overused devices in mystery and detective fiction.
Aaron Elkin has been writing mysteries for a long time, but he is new to me. When I saw this title listed on Net Galley, I went to Goodreads and found that his work is well regarded by some of my friends; add to this his residence in my own Pacific Northwest, and I am ready to give his work a try. Thanks go to Net Galley and Thomas and Mercer for the DRC, which I received free of charge in exchange for this honest review.
The story starts well. Val Caruso is an art curator, and his personal life is a mess. He’s stone cold broke, and so when he is approached to do a job involving a stolen-but-found Renoir, his interest is piqued. An ancient Holocaust survivor claims ownership of a painting that has been sold to someone else, and Caruso is hired to help. I particularly enjoy the character of Esther, the domineering but charming friend that connects the two men; alas, we will soon leave her behind when we go to Milan.
At the outset the amount of art related information feels just about right to me. The book is sold as a popular read rather than a niche item for art aficionados, and I am cheered by this, since I have little to no interest in art. As we travel to Milan, however, the art lectures become oppressive. By the forty percent mark I find myself watching the page numbers roll by, oh so slowly, and cursing myself for having taken the galley. Brush strokes? Historical nature of paint color? Who the hell cares? The travelogue aspect of the book also starts well, but eventually the level of detail slooows this story to a crawl. I find myself cynically wondering whether this series is simply a ruse for the author to claim his globe-trotting expenses on his tax returns.
Elkin has a solid reputation built on an earlier series, and at some point I may give that one a whirl, but Val Caruso and I are done.
I appreciate the DRC from Net Galley and St. Martin’s Press; however, this is too ludicrous to even continue. The premise is remix of the ’70s movie, The Omen, in which an evil, small boy seeks to kill his mother, but this one is with a girl child; however, if it was well written, I would push myself through the rest of it and write something up. However, anyone that attempts an inner narrative of a preschool child of any stripe has to have some concept of what a little kid’s vocabulary and development look like, unless they provide some reason for the tot to use an adult-level conversation. If it was established that some supernatural entity had endowed special intellectual powers on the brat, I could halfway buy into it. But this? This is sad. How did a good house like St. Martin’s end up with it? Go figure.
Here’s the thing that makes this title so difficult to review. It has tremendous strengths–strong concept, engaging protagonist, fearless prose. I like his animal sidekicks, Dink and Doofus. Crome is one of the finest sidekick characters I’ve seen in a mystery.
Thanks go to Henery Press and Net Galley for the DRC, which I received free and early in exchange for this honest review.
On the other hand, there are some serious issues with pacing, which is clearly uneven, and also some of the worst grammar disasters I have ever come across in prose written by an adult. “Had brang” comes to mind, but they are legion. I wanted to ignore this aspect, given that it’s a galley, but I’ve seen hundreds of them, and yet nothing that isn’t self-published has grammar this awful. The result is a deeply frustrating read.
What I suspect is that this could be a terrific series given the services of a high profile editor.
Those that admire and stand in solidarity with the Cuban Revolution will not find any measure of satisfaction here. When I read the promotional blurb, I noticed that this account was written by a Rolling Stone Magazine journalist, and that it was written soon after President Obama opened relations between the US and Cuba. I thank Net Galley for permitting me to read a review copy free of charge, but that cannot diminish my disappointment and irritation (thus one star) at the patronizing, reactionary vantage from which Symmes writes.
Has no one noticed that even the United Nations has recognized that Cuba is the only nation in Latin America and the Caribbean to eradicate malnutrition? And has nobody noticed that when Fidel died, the revolution didn’t die with him?
Most nations do not offer visiting heads of state a forum and opportunity to locate and meet with the disgruntled fringe citizens that might be open to overthrowing the government of the host nation. Symmes’ punch line here seemed to be that by Obama cutting his trip short, he was somehow making the Cuban Revolution ‘irrelevant’.
Do the other nations of Latin America and the Caribbean see it thus? Has Africa adopted this stance? I didn’t think so. It is only possible to see the Cuba in that light if one filters world news through the view of international business conglomerates and the U.S. government. Happily, there are independent thinkers here that can appreciate the contributions made by Cuba in ending hunger and oppression in that country and making medical advances from which the whole world benefits.
This book is a waste of ink, and a waste of space in one’s digital library.
2.5 stars rounded up. I was invited to read free and early by Net Galley and St. Martin’s Press, which is one of my favorite publishers. It looked promising; original and, the teaser said, “brutally funny” in places. I wanted to like it, but yet.
The title is a play on words (raising the dead, raising the dad, get it?) I didn’t realize it at the outset or I might have dodged it. “Dad” was declared dead many years ago. He was not going to make it, and everyone agreed to turn off the machines and let him go in peace. The widow believes she is a widow, but the fact is, he’s still alive.
What happens when a patient is brain-dead and you turn off the machinery and the patient continues to live? What if he lives a long, long time?
The question provides a great premise—though the particulars here are far-fetched– but if it had been my choice, the pitch and the cover would have been different. This is a gritty, dramatic topic, and the cover shouts that this is going to be a light, fun read. Oh reader, it really isn’t. There are some funny moments, mostly involving the protagonist’s badly behaved brother, Mike, but they aren’t enough to keep the story from being a grim, miserable grind.
When my confidence in a galley flags, I go to Goodreads to see what other early reviewers have to say. At least one other reviewer argued convincingly that although most of the story is slow and unpleasant, the last 100 pages are brilliant and illuminate the reason for the rest of the story being as it is. Because of this, I soldiered my way through to the 70% mark, waiting for genius to reveal itself. But for me, that train never arrived at the station though I was well into the denouement, and with a mixture of relief and disappointment, I gave myself permission to abandon the journey.
This book is for sale now, but it is not a good choice for a Father’s Day gift. Trust me.
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