A Holly, Jolly Murder (Conclusion)

The conclusion of this story bears strong resemblances to that of other mysteries that follow - I hate to over-generalize – the standard “formula” for such stories.  The protagonist, who is almost always the person solving the mystery, gets into a dangerous and deadly situation that it seems will result in their demise.  I first noticed this reading Sue Grafton (A is for Alibi), and later, John D. MacDonald (The Something-Colored Something-or-Other) and found myself wondering earlier in this book if it would happen here. 

So the murderer turns out to be the person who was suspected all along.  Now that’s a new twist!  All facetiousness aside, it was good to note that we weren’t told at the end that the murderer turned out to be someone we least expected (the butler did it) instead of the most logical candidate.  But, yes, the murderer captures the amateur sleuth at gunpoint and takes her to a secluded place to murder her.  The sleuth takes advantage of a minor slip-up on the part of the murder (a rather flimsy one in this case) and gets away, resulting in a breath-taking chase scene. 

As hackneyed as all this sounds, it really plays out well in the writing.  If you’re going to follow “the formula” you’d better do it very well; and she does.  Backing into the murderer in his own hearse is nice irony, and driving him to the emergency room in it (“I told them the body was in the back.  They were hesitant to open the doors until I’d explained that I wasn’t looking for the morgue.”) is icing on the cake. 

More between-the-lines commentary about the uncomfortable fit of paganism and family life is sprinkled here and there.  “The van reeked of patchouli oil and dried peanut butter.”  The author never really gets “preachy” at us, but makes it clear that she thinks alternative religions are misguided, sometimes even dangerously so.  She appears to fall into the common comfortable disregard of the fact that the major, accepted religions have a lot more blood on their hands than the so-called New Age religions.  Oops, speaking of being preachy…!

 

It does take an entire chapter to tie up all the loose ends.  But that is mitigated by the fact that even more time is spent on resolving the sub-plots and revisiting some of the quirkier characters and relationships (the heroine’s “science fiction hippie” for example).  As always in this book, the author’s snappy humor makes up for a lot, including a prologue chapter that might otherwise have been just a little too long.  Claire’s daughter justifies her mother’s trust in her by coming through with a smart – though risky – solution to her own dilemma.  Over all, a satisfying ending to a superbly entertaining book.  I came very close to buying the first book in the series and starting it immediately!  But…time to move on!

[Addendum from CJ:  I finished this book way before Christmas & just never got around to posting.  I probably never would have chosen it myself, as I am not much of a fiction/murder mystery person. However I found it an easy, enjoyable read and cheered for everyone at the end.  I had to laugh at Claire and her final encounter with "the suspect". I too was a little fed up with all the twists and turns and probably would have gone into mama bear mode myself. I liked the underlying theme of the underdog winning. Whether it be Claire's daughter outwitting the rich & powerful, or Claire herself connecting with the hippie.  I agree that it was somewhat Agatha Christi-ish in that the sleuth got so involved by complete happenstance, but the comedy kept it fresh and out of the mundane pile.  I must admit, I'm a little curious about how the situation with the boyfriend and his ex-wife is going to work out. I may have to go for the next in the series just to see what happens there. I always do enjoy a good melodrama.]




Our book for January will be "Clockwork Angels" by Kevin J. Anderson and Neil Peart! This is a pretty recent publication, not out in paperback yet as far as I know. But it is timely, given that it is based on the story outlined in the lyrics of Rush's latest CD, and that Rush has recently been honored by induction into the Rock and Roll Hall of Fame. Join us!

A Holly, Jolly Murder (Chapters 9-12)

My misgivings about this book degenerating into another predictable series of question-and-answer sessions – the stereotypical Mystery novel – were unfounded after all.  True, there is quite a bit of amateur-sleuth-style questioning going on, but the circumstances leading up to each encounter vary greatly and the storyline sweeps along naturally, with many intriguing personality juxtapositions along the way. 

Rather than simply accumulating clues toward the solution of the mystery, the tension and momentum increase as well, revolving around the very captivating theme of Pagan religions and their darker manifestations, complete with visitations by a demon named Ambesek - accompanied by the author’s ever–appealing dry humor: “…I heard a crackling noise from somewhere behind the firs.  Not the rustling of a small animal, mind you, or the fluttering of dried leaves in the branches, or even the blazing of a satanic furnace as something slipped out for a field trip.”  Parenthetical asides are used in much the same way:  “ ‘…I’m just not sure that doctors and shrinks can battle forces from the bowels of hell.’  Stephen King, please pick up the white courtesy phone.” 

Our author, speaking through our heroine, never really tries to conceal her contempt for those who claim to believe in Druidism or other “pagan” religions.  As for myself, I have somewhat more sympathy for them, feeling that their beliefs are not significantly more far-fetched than those of other religions; just held by a smaller minority and therefore given less deference.  At one point, Hess seems to lump vegetarians in with the same mindset she is exploring in the “offbeat” religion realm – an understandable error, one supposes, since the two concepts often seem to be linked by proximity.  Hess’ comedic references to bean sprouts, for example, really are well delivered. 

One of the underlying concepts here, relating to paganism, is that when people involve themselves in belief systems that dabble in “dark forces” or “sinister realms,” these people will more than likely encounter negative experiences suggestive of those forces and realms, through the self-fulfilling prophecy psychology.  That is probably a valid premise, and it’s one that is being deftly explored throughout this story.  All of the difficulties that the group of people who call themselves “the grove” encounter seem to originate, at least in part, with such beliefs.

 

The sub-plots; especially the one involving Claire’s daughter, Caron; still seem wedged into place artificially, if seamlessly.  It’s hard to see how Caron’s situation adds to the overall picture, other than as a distraction to keep Claire from staying completely focused, perhaps causing her to commit a dangerous slip later in the story.  If Caron’s exploits somehow become inserted into the main story line at some point near the end, in a way that makes sense, I will be very impressed!  I’m giving the author the benefit of the doubt for now…



Our book for January will be "Clockwork Angels" by Kevin J. Anderson and Neil Peart!  This is a pretty recent publication, not out in paperback yet as far as I know.  But it is timely, given that it is based on the story outlined in the lyrics of Rush's latest CD, and that Rush has recently been honored by induction into the Rock and Roll Hall of Fame.  Join us!

A Holly, Jolly Murder (Chapters 5-8)

FM:  This book continues to be entertaining, but I can’t help feeling that it falls into a trap that I’ve seen before, especially with Mystery stories.  The first quarter of the story contains all the fun of introducing the characters, establishing the momentum of the story, discovering the corpse/theft/puzzle that needs to be solved: in short, everything that makes the story a Mystery.  After that, the rest of the book is dedicated to the standard running around, looking for (or stumbling over) clues, certain characters questioning certain other characters, disclosing the facts needed to solve the mystery in just the right order and at just the right pace. 

CJ:  You can't really say this is a nail biter, but it has a definite pull! I'm finding myself reading ahead in this book that on the surface seems a little bland, but takes you twisting and turning through with people who seem quite unlikely in the setting of a murder. 

FM:  Some people read mostly or even exclusively Mystery novels, and presumably don’t get jaded on this sameness of approach book after book.  There is an element of puzzle-solving for the reader that these readers presumably get hooked on, trying to guess how the ending will play out – figuring out “Who Done It.”  For me, it feels like too-familiar territory and I’m ready for the plot to suddenly veer into an entirely new direction, fearing that it probably won’t.  Hess’ special brand of humor continues to add a lot, but it can’t really carry the story by itself.  Something totally unexpected needs to happen, not just new information coming to light. 

CJ:  The shifting drama between the old Druids, the potentially psychopathic Roy, and the normal daily teen drama with Caron keeps me turning pages.  I can kind of relate to Claire. Plain & boring, but way too much into everyone's business without realizing it. Her attempt to corner Roy from his apartment to Fern's duplex makes you wonder why she didn't just stop looking? Something is driving her to find something she may not really want to find. 

FM:  One device that seems to be a favorite among Mystery writers is to bring in a sub-plot, a secondary story completely unrelated to the plot of the Mystery itself.  This book is no exception; in fact we are treated to two of these sub-plots.  One of them involves Claire’s teenage daughter, Caron, who can be a real parenting challenge. 

CJ:  I have acquired a new favorite saying from this one! "Dealing with teenagers can be like building a castle with dry sand".  I've been searching for those exact words for years! 

FM:  Caron has hired on at the mall to help with the Santa Claus kiosk, where small children line up to sit on Santa’s lap and tell him what they want for Christmas.  This is, in fact, the sole aspect of the book relating directly to Christmas.  She gets involved in a legal wrangle for picking up a lawyer’s child and the worst seems about to happen. 

CJ:  I particularly enjoyed the "Willie Wonka" Violet scene at the mall! How many times have I wanted to correct a poorly parented brat in public! I was cheering for Caron, despite the fact that I knew that a child that spoiled would spell serious trouble. Then the inevitable happened. Another twist in a book with more turns than a hog’s tail!

 

FM:  The other sub-plot involves Claire’s significant other, Peter, and his out-of-town trip to deal with his mother’s boyfriend issues and – uh-oh – his ex-wife drops everything to go and help with that, bringing up real fears and jealousies that Claire is now having to deal with. 

CJ:  A little part of Claire brings to mind Peggy Hill. Like Peggy, she seems to imagine because she somehow ended up in a murder investigation in the past & her boyfriend is a policeman that she now has super sleuth powers. I wonder when Peter is going to confront her involvement in this one?  Speaking of Peter, the ex-wife entering the picture was a nice twist. I could almost feel the hackles go up when that announcement was made! 

FM:  These sub-plots are engagingly dealt with and interesting enough in their own right; but I still get the feeling that they are “filler” designed to help flesh out an otherwise thin plot or to break any possible monotony or jadedness the reader might be experiencing with the standard Mystery plot devices.  Here’s hoping for big surprises to come – but whatever happens, I can recommend this book very highly! 

CJ:  Good call, Foreverman! I was thinking, how about a little Tarl Cabot for old time’s sake? 

FM: We’re certainly on the same page about doing some sci-fi/fantasy for January – I’ve wanted to do that anyway! I would like to defer the Gor novel (Tarl Cabot’s series) until February if everyone’s cool with it, so we can read Kevin J. Anderson’s "Clockwork Angels" in January, as close to Rush's Rock and Roll Hall of Fame induction as possible.  [“Clockwork Angels” is the newest CD by Rush, and the book mirrors the story line depicted in the album lyrics!]


Next week's Chapters: 9-12

A Holly, Jolly Murder (Chapters 1-4)

FM:  Joan Hess has a very natural, engaging writing style which is always a pleasure to read.  This is the first Claire Malloy book that I have read; I am familiar with Hess’ writing through the Maggody series, which is made from a very different literary recipe: think Andy Griffith (with a female protagonist) and Rhoda and The Beverly Hillbillies all rolled into one.  Claire Malloy is a different breed of cat, but the dry, often tongue-in-cheek humor is still there and just as much fun.  In both series, the variety and depth of characterization is masterfully done.

CJ:  I particularly like the character development. Even though Claire has spent just a few hours with each of the other characters, there is an intimate feeling of relationship with them. Especially Roy. I know his type, he just wants attention & love. Claire sees that, but is afraid to bring him into her life for fear of permanently scarring her own child.

FM:  Despite the Christmas-related title of this book, the author is actually taking a close look at “alternative lifestyle religions” here, in particular the New Age versions of ancient Celtic sects, such as Druids, Wiccans, Pagans, and etcetera.  It’s not an entirely impartial analysis; probably even offensive to those who “practice” those religions; but the practitioners in the story are at least seen in very human terms and not stereotyped as people.  There is very little reference to anything having to do with Christmas; but one might wonder if the author is indirectly pointing a satirical finger at traditional religion as well; and one wonders how it will tie in. 

CJ:  I too am waiting for the revelation of how the title fits the book. I'm guessing there will be some mix of Christianity with the other mishmash of religions/beliefs.   I must say, being a little like Claire, I was anticipating the deep secrets of the Druids in their winter solstice ritual. 

FM:  True, we don’t get a good look at what was supposed to have gone on there.  But the parenting techniques give us a hint: “…They got into a tussle last night and knocked over a bookcase.  Sullivan was furious enough to ground them for two weeks.  He doesn’t believe that they should be allowed to express their aggressive impulses.  I’m afraid they’re becoming stifled.  Cosmos, in particular, needs to act out his inherent urge to compete with his father for tribal dominance, which is all he’s doing when he attacks Rainbow.  She, on the other hand, must deal with her sexual attraction to her father and her resentment toward me.” She touched a bruised semicircle below her eye.  “She was so upset last night that she hit me.  She cried afterward, but I assured her that she was only acknowledging her basic instincts.”  I tried to hide my revulsion at her psychobabble.  “It’s a shame they’ll miss the ritual.”  “Perhaps not,” she said. “Last year Cosmos ate so many tarts that he threw up in the van.” More than a yuk-yuk moment, that last comment shines a light on the fact that children have a knack for bringing us back to reality – and any universal belief system from which we need to be brought back to reality is, well, unreal. 

CJ:  The banter between and about the children makes me giggle. It brings to mind the struggle between parents to raise children properly and accentuates the extremes that I see every day as a teacher.  My visual of the Sawyers is something of a combination of the Munster's and The Brady Bunch with Johnny Depp as the dad and Lady Gaga as the mom. So weird you'd swear they do some serious drugs, but clean as a whistle. 

FM:  There is indeed a stark contrast between Claire and her newfound acquaintances.  But as down-to-earth and practical as she is - presented to us as a remarkably logical and consistent armchair detective  –  she seems to fall short of that at one point:  “Six to eight hours ago…That would put the time of death between midnight and two.  I suppose after they’d decorated the living room, the others left and Nicholas turned off the lights and went to bed. When he heard the window break, he went downstairs to investigate.  Bad decision.”  “Could have happened that way,” Jorgeson commented.  “Which means,” I commented, “that the members of the grove had nothing to do with this.”  Hmmm.  I think we dropped a couple of syllogisms there.  How does she rule out one or more of the party returning to do the deed?  Here’s hoping this is just a case of sloppy editing in an otherwise extremely enjoyable book.

 

Next week's Chapters: 5-8

Lunatics, (Conclusion)

CJ:  Thank you Amazon.com for having this one on your recommendations for me!

FM:  Years ago, I would sometimes finish a book and say something like, “Wow, that would make a great movie!”  Now, it’s hard to find a good book that hasn’t been made into a movie.  More and more, it seems that authors write books with an eye toward getting it cinematized, because that’s where the real money is in writing books.  “Lunatics” has that made-for-movies feel.  Enter Donald Trump!  Cameo appearances; brief guest roles in movies and even TV shows; are not at all unusual these days.  This role for Trump is a bit more than a cameo, but I would wager that he would be up for it if it were offered to him!  His casual offering of a million dollars apiece to our heroes if they will endorse him, his expectations of his entourage of yes-men and yes-women who gasp when Peckerman calls him “Donny boy,” and his general demeanor throughout a rather lengthy scene are all designed to create an image that is consistent with (though decidedly NOT flattering to!) the public persona he has evoked.  This “realism,” if you will, in no way detracts from the humor, however; if anything, it amplifies it. 

CJ:  As usual I'm a slow reader! But honestly I could only deal with this book in small doses. It is so funny that I had to stop frequently to breathe! I can't remember when I laughed so much except maybe when I read my last Dave Barry book about 20 years ago.

FM:  And speaking of book-to-movie deals; what about that title? Movie-makers have been known to take even a classic and change the title for the movie.  (Have you seen “Blade Runner”?  It’s a pretty faithful rendition – a classic in its own right - of Philip K. Dick’s sci-fi masterpiece “Do Androids Dream of Electric Sheep?”)  For some reason, I’m a little disappointed by the fact that the title didn't show the same ingenuity as the story, which keeps us hurtling forward through an almost bewildering sequence of scenes.

CJ:  Every chapter has a new twist that only can be thought up by writers watching some pretty boring news & smoking some pretty good weed! Bits and pieces were predictable, but overall the journey from the soccer field to...the soccer field was good old fashioned gut busting hilarious! 

FM:  I rarely read comedic books, and whenever I do, I wonder why it’s so seldom.  (The same is true with biographies, as I stated a few months ago with a different book.)  Thanks again to CJ, who recommended this one!  In fact, I’m ready to read another comedic book next month, from an author I admire but haven’t read in a very long time, Joan Hess.  And since it’s our December book, I’m proposing one of her seasonal mysteries, “A Holly Jolly Murder.”  Enjoy!

 

CJ:  I’m ready to be introduced to a new author on my bookshelf!

 

Our book for December will be "A Holly, Jolly Murder" by Joan Hess! Copies should be easy to find at your library or used book store.  Note: the starting date for this book would presumeably be December 1st, so we'll skip a week and open for comments on December 7th.  See you then!

Lunatics, (Chapters 33-46)

In this third quarter of the book, the action slows down just enough to accommodate a more complicated plot sequence.  It’s almost a relief when, for instance, both of the main characters go off on a tangent about their previous experiences on camera.  Unlike the moments when reading, say, The Brothers Karamazov, we think to the author, “Come on, get back the story already!” these asides continue to be humorously engaging and even closely connected with the action at hand; not at all distracting. 

The extremely unlikely plot twists and improbable accidents of fate that keep the story moving forward (and keep our heroes alive!) are not believable – they aren’t supposed to be!  They play a large part in maintaining the farcical quality of this impressive work.  Will there be readers who are put off by that?  Probably.  They will simply be missing the point.  No matter where the wildly veering zigzag plot leads us, this aura of a Farce (capital F) remains remarkably consistent.  This is harder to do, as a writer, than many might realize. 

Having pointed that out, there is still the pervasive feeling here that the authors are improvising.  In one of the Indiana Jones movies, Jones and company are in a very tight spot when he is asked, “Okay, what’s the plan?”  He answers, “Plan?  I’m making this up as I go!”  When Barry and Zweibel were writing the section early on in the story about the events on the Washington Bridge when the “Lunatics” were first thought to be terrorists, did they already have in mind the idea that our heroes would go on to accidentally solve some of the world’s most pressing international problems?  Or were the authors just “making it up as they go?”  I suspect the latter, though I wouldn’t be much surprised if that’s not the case. 

The addition of the special chapters depicting the news coverage which begins well into the book is a smart move.  We get a sense of how the events are being perceived by the world, and the routine of alternating first-person narratives is given some relief.  The newscasters involved in these exchanges keep making a point of using each other’s first names, just as real newscasters do; as if they’re close buddies in real life who routinely have drinks together after work.  It’s hard to tell whether the authors are poking fun at this or just using it to add realism. 

 

In one of the newscasts, an announcer mentions that there are already plans to make the story of these two Lunatics into a movie.  They even disclose the fact that top-draw actors have already been approached to play the two men:  George Clooney as Horkman and Brad Pitt as Peckerman!  I greatly admire both of these actors, and while I have no doubt that they could play these roles admirably, they wouldn’t be anyone’s first choice (I could be wrong!) to play these two particular gentlemen.  I have mentioned before that I like to mentally “cast” people (sometimes famous actors, occasionally acquaintances of mine) in the main roles early on in a book I’m reading, as it heightens the visual impact of a story for me.  If you want to know who my picks were for these roles, just message me!



Our book for December will be "A Holly, Jolly Murder" by Joan  Hess!  Copies should be easy to find at your library or used book store.

Lunatics, (Chapters 17-32)

FM:  The plot of this amazing story continues to whiz by almost faster than it can be assimilated! I have read a few science fiction short stories and even novels that come close to this velocity, but I believe this story sets the record for me. It does slow down ever so slightly to introduce us to a new key character or three, but then accelerates again in a sequence of events so unlikely and bizarre that we have no time to even consider whether to suspend our disbelief. We just go with the flow because it’s so much fun! 

CJ:  I'm a little behind on my reading, but I honestly can't read more than 3-4 chapters of this a day. It is so gut busting funny that my cheeks hurt from laughing! 

FM:  As rare as it is that I actually laugh out loud at something I'm reading, my dogs kept wondering over and over if I was trying to get their attention!  The main source of out-loud chuckles still comes from the left-handed humor and witty turns of phrase that Dave Barry is famous for. Yet there is a difference in this humor between the two main characters, with the relatively cultured Philip employing a more subtle or understated delivery. Jeffrey’s delivery, on the other hand, relies somewhat on colorful expletives, much as Richard Pryor compared to Jay Leno. Again the question arises; is this difference a reflection of the styles of the two co-authors? I still have my doubts. Maybe I’m giving them too much credit, but I think it’s just good character development.  

CJ:  The banter back and forth between the two … umm, I think they are both antagonists ... reminds me of a chapter by chapter blow in a courtroom. I can almost imagine that the finale will be a judge passing sentence on the two main characters for their part in terrorizing Manhattan! 

FM:  "Antogonists" seems to be the right description, though the irony here is that they are "antagonistic protagonists," if you will.   In comparison, the appallingly mercenary attitude of a new character, Sharisse Fricker, could only be considered humorous in a farce such as this.  The fact that Sharisse’s well-planned scheme backfired on her is, of course, cosmic justice at its finest. The revolutionaries take for granted that the extorted money was destined to fall into their hands; the bizarre turn of events seems to make it clear to them that this is indeed the case. Our "heroes" maintain just enough presence of mind at just the right moments to go along with the misunderstandings, and the revolutionaries willingly misunderstand their motives and slips of the tongue just often enough to keep them from getting suspicious. All of this is as beautifully choreographed into the plot and dialog as in the very best of humor writing.

Lunatics, (Chapters 1-16)

I have long been an admirer of Dave Barry and his signature style of humor.  This book is full of his amazing wit, though necessarily tempered by a nicely developed plotting and writing style which, presumably, can be attributed to his co-author, Alan Zweibel.  I say “necessarily” because, like a too-rich dessert, Barry’s humor can be cloying in large doses.  His short essay-like expositions found in the newspaper are the perfect length.  Reading more than five of those in a row is simply too much of a good thing. 

In smaller doses, though, his humor has an appealing Mad-magazine-on-steroids zing that takes his readers by surprise and has us laughing out loud before we realize we’re going to.  Compact quips, such as in this book, describing a very angry man thusly, “His face turned the color of Hawaiian Punch,” are Berry’s stock in trade, and perfect for a fast-paced, tightly plotted novel such as this. 

The pace is surprisingly brisk, with the action unfolding almost faster than we can keep up.  But we don’t get the idea that this is done to disguise the fact that the story is short on substance.  In fact, there is an abundance of social commentary here, about racism, husband/wife relationships, environmentalism, and much more.  The balance between depth and pace is very impressive, but there’s no time to savor it; the book almost demands a re-reading, even at the first quarter mark. 

Pausing to catch your breath, one realizes, for instance, that this is a fascinating study in collaborative writing.  One can’t help but wonder about the process that the authors used to bring this result about.  Was it entirely a brain-storming session, with the ideas coming fast and furious?  Did they take turns, passing the manuscript back and forth, refining one another’s ideas over a longer period of time?  Did they spend as much time laughing at each other’s wackiness as we would have if we had watched the process in action?  Whatever approach they eventually hit upon, whether sooner or later, it works magnificently! 

It is tempting to assume, because the chapters alternate exactly one-to-one between the two very different main characters, that each author took a character to represent and took turns writing the chapters.  But even if the authors began with this idea, there seems to be too much consistency of style from chapter to chapter.  Yes, they could have gone over it after the fact and eliminated the rough edges that might have resulted; and yet, my instinct tells me it wasn’t that cut and dried.  One character cusses like a sailor (even though his wife admonishes him to watch his language in front of their daughter) and the other apologizes for a slightly off-color phrase.  The characters are each very consistent in their personalities; yet I hear Dave Barry’s “voice” throughout, as well as a strong counter-voice that rings true page by page.  And I expect this will prove to be a consistent aspect throughout the book.



Next segment, Chapters 17-32

Witches on the Road Tonight, (Conclusion)

The odd – very odd – assortment of characters in this story gets even odder as we near the end.  But part of the message here seems to be that we are all this odd; we just don’t see ourselves objectively enough to realize it.  When the husband of the witch at Panther Gap comes home to find it invaded by some curious city-folk, the chemistry which comes about is very strange indeed; yet, it’s quite believable in retrospect – we have all been in uncomfortable social situations that seem just on the verge of going completely off the tracks. 

When the “witchcraft” we’ve been waiting for finally takes place, it is presented in an almost allegorical manner, as the victim runs for his life in a panic, yet sensing just what it is he has to do to survive.  Strangely, we never really know whether he did, in fact, survive, or what became of him afterward - although there are hints earlier in the narrative - and the story concludes without our ever receiving the answer.  Perhaps this adds to the mysteriousness of the tale. 

The promiscuity of the adult heroine mentioned earlier is overshadowed by the revelation of the latent homosexuality of her father.  Of course, the book starts with allusions to this, but when it is revealed in the story, it comes as rather a surprise, and there is little to connect the two manifestations of the character.  Again, the message here may be that in real life that’s the way things happen, despite our expectations of the way things should be. 

The issue of suicide – or perhaps our sometimes tenuous grasp on our survival instincts – is explored here.  Our heroine feels the persistent guilt of the last thing she said to Jasper before he kills himself: “You were right,” she says. “If you were dead, we’d all be so relieved.”  When her father’s suicide attempt at the end is thwarted by her, she wonders if she shouldn’t have just let him have his way.  The fact that he had given her a clue, almost as if daring her to interfere, is telling – this, too, happens in real life, documented in suicide cases.  He thanks her at the very end. 

Those of us who were looking for a more “spooky” story were left hanging a little.  This story is more about how tough life can be and how it can throw you some nasty curves.  Yes, there is some spookiness involved, and a taste of supernaturalism, but these are very secondary features.  We are taking a good long look at some of the thornier patches in the human psychological make-up with this novel.  And this is done very well.




November's book has been changed to "Lunatics," by Dave Berry and Alan Zweibel! (If you already got a copy of "White Tiger," let me know and we'll read that in January or February.) Lunatics was recommended by a club member and is an excellent choice - good call, CJ!

Witches on the Road Tonight, (Pages 123-195)

The jumping back and forth on the timeline is beginning to be a little disconcerting at this point.  In this segment, we start in 1980 with the younger version of our main heroine going to the isolated cabin with her father who was the little boy who grew up there; to 1967 when her mother was pregnant with her and discovers photographs in a photography display of her husband when he was that little boy, taken by the woman who appeared in the first main segment of the story; to 1940, when the father was a little boy and the photographer and her bewitched husband appeared at the cabin.  It’s starting to appear as if there is no justification for all this skipping around, and that perhaps the story would have been just as appealing, or more so, without it.  Keeping an open mind to the end, however. 

The discovery of the father (who was once the little boy) that the husband of the photographer had met with a bad end is delightfully disturbing.  His anguish over the fact that he had waited in vain all those years for the man, who was presumably dead, to return, and his daughter’s attempt to comfort him, are poignantly told.  There are some very thoughtfully crafted passages like this throughout the book, as well as subtle interplay between the characters.  The original witch and her 1940 victim have a fascinating relationship that takes several unexpected twists and turns.  We’re building to a climax here which promises to be chillingly superb. 

Reading novels written by women, I’m always hopeful that I might gain some insight into how women think.  It’s actually strange to me how seldom this happens, but occasionally it does, and sometimes in profound ways.  Consider the following passage from this book: “She always imagined she’d marry someone useless, have a brilliant decorative husband she could admire but who was fragile so that she’d never be tempted to lean on him.  Who puts weight on a china poodle or a failed playwright?  A husband she could lean on would be the worst possible thing, because then she might be tempted to relax, to soften, and then she would be lost.”  It seems we’re always seeing certain couples in public and thinking, “What’s an outstanding-looking woman like her doing with a creep like him?”  Does the passage above help explain this?

Just as there are different conceptions of vampires (contrast Edward in “Twilight” who “sparkles” in the sun, with Bill in the Charlaine Harris books who would perish in the sun), there are different conceptions in the fictional depiction of witches.  The oddity of a witch who literally sheds her skin - then looking like a medical dictionary’s muscle chart and dripping blood as she goes - is an idea of witches I haven’t previously encountered.  Maybe it’s fresh with this author?  Very creepy.  In a good way!

 

Maybe it’s just my imagination, but the scenes set in 1940 seem to take on an “old black-and-white movie” quality at times.  Is it the dialog?  The phrasing and sentence structure?  The allusions to outmoded clothing and photographic equipment?  I would like to ask the author if she did this purposely, to create a different atmosphere for each period.  If so, this is masterful prose indeed!  (It might also explain the timeline skipping, to contrast the writing techniques even more.)


Next segment, Conclusion



November's book has been changed to "Lunatics," by Dave Berry and Alan Zweibel!  (If you already got a copy of "White Tiger," let me know and we'll read that in January or February.)  Lunatics was recommended by a club member and is an excellent choice - good call, CJ!

Witches on the Road Tonight, (Pages 64-122)

The prose, in this second segment of the story, continues to be remarkably fresh, a little odd, but very natural and accessible.  More memorable similes continue to delight, such as: “Through the fog, the neon lights of Shea Stadium glowed red like a flashlight shone through the palm of a hand.”  This kind of imagery is used just sparingly enough to continue to charm us, along with the “creepshow” imagery that is germane to the characters – such as the adult Eddie appearing as Captain Casket on late night TV as the host of old-time cheesy “horror” movies. 

This story is one of those that skips around its time line, giving us glimpses of where the characters are coming from or going to.  I know I’m not alone in my cynicism for this particular plot device, but for some reason I’m comfortable with it here.  There seems to be a compelling reason for constructing the story this way, though it’s hard to put one’s finger on that reason this early on.  Telling it linearly would be giving away too much too soon, one senses, so that it’s easy to be patient with the author. 

Her creativity with plot and simile extends to creating expressive terms and words as well.  I like “trailerish,” referring to something or someone as that which one might find in a cheap trailer park.  “He is mean and trailerish in the thin gray and green baseball shirt he wears, the ragged fringe of his cutoff jeans…”  This author uses such words and terms as an artist uses paint.  Not quite Percy Bysshe Shelley, but it does make me wonder if Ms. Holman has had any poetry published. 

And what about the “Witches” promised in the title?  Mostly we are tantalized by the most obscure references.  But this section does include a superb passage describing the young girl’s exit from the house late at night while everyone else is sleeping, and a convincing description of her spell-weaving with the victim’s hair and fingernail clippings, a candle … and more graphic substances as well.  She is the granddaughter of the woman referred to earlier in the book, though she has never met the woman or even heard much about her.  The Black Art just comes to her naturally – or perhaps, supernaturally.

 

Early in this segment, our main heroine blatantly cheats on her husband.  It remains to be seen why this is important to the story.  If it turns out not to be important, it’s disappointing; not because of any prudish sentimentality or conservatism, but because we want to respect this woman, and this stands in the way.  We don’t generally have a great deal of respect for those who don’t keep their promises, and marriage is perhaps the ultimate promise.  If this passage was intended to show weakness in our heroine, there must be better ways to do that.  Here’s hoping that the indiscretion turns out to be important to the plot.


Next segment, pages 123-195




November's book has been changed to "Lunatics," by Dave Berry and Alan Zweibel! (If you already got a copy of "White Tiger," let me know and we'll read that in January or February.) Lunatics was recommended by a club member and is an excellent choice - good call, CJ!

Witches on the Road Tonight, (Pages 1-63)

This book interested me because of the subject matter; being about witches (and this being October – Happy Halloween!), and described as being a fresh treatment of the subject, it intrigued me.  What I was not prepared for was the highly developed stylistic expertise it displays.  It is very intelligent writing without being the least pedantic or professorial. Very artistic without being pretentious or vague.  In short, precisely what I look for in a good writer. 

Ms. Holman doesn’t leap right into the story at the beginning, preferring to hint at things to come with a rather tangential (or so it appears at this point) sub-plot at the outset.  We are even left to guess and infer gender and sexual preference of characters referred to.  All this will become clear in due time, we can assume, as the plot develops.  Once the meat of the plot is begun, however, a linear momentum is established which takes us some way down an understatedly disturbing path. 

The characters are engagingly complex, helping the reader to imagine them as real people with comparatively little development.  I’m always impressed with writing that manages to do this, and the present book displays the talent particularly well.  Each moment in the action is adequately described without become tedious, while a subtle dark cast colors the sequence of events in just the right tone.  There is just enough “spookiness” here to whet our appetite for more.   

The technical aspects of the prose are impressive but not gaudy.  A representative example of the author’s touch with the simile: “Secrets are always hardest at the beginning.  After a while they settle in, like the cavities in your teeth, and you only think about them when they hurt.”  At the same time, sentences are often economically short, the dialog realistically terse.  “Taking his pouch of tobacco and his papers from his satchel, he rolls himself a cigarette.  He is too lost for comfort.  ‘Like one?” he asks.  Cora shakes her head.”  (This “present tense” style of writing is well-crafted, not distracting in the least.)

 

Descriptive passages of settings show the same deftness of presentation, not requiring long-winded exposition.  When we reach the isolated, dilapidated homestead in the wooded mountains we get a sense of being in the middle of nowhere, and a sense of how rundown and ancient the buildings are.  We feel what the city-bred characters must feel as they find themselves drawn deeper into the wilds.  And the idea of there being witches involved is brought to light gradually, so that the suspension of belief is coaxed from us by degrees.  Thus far, very satisfying!


Next segment, pages 64-122 (up to Wallis / Panther Gap / 1980)

Legend in Green Velvet, (Conclusion)

This segment begins with perhaps the most tension-filled scene in the book; Susan and James have been captured by the “bad guys” and are taken to a secluded place for questioning.  The secluded place just happens to be the torture room in an old historical building which is open to the public for viewing during business hours.  The torture devices are authentic, however, and at least one of the bad guys is just itching to use them.  Nice ambience here, and, as Susan admits to herself, a good representation of the darker side of Scottish medieval history. 

The story’s pace, characterization and rather chaotic action sequences begin to take on a decidedly “Disneyesque” aspect toward the end of the book.  Looking back, I realized that much of the book could very well have lent itself to being recast as a 1960’s or ‘70’s Walt Disney movie.  (The script would have to have had some expletives deleted, and to have been polished up a little, but many of the lines might have come directly from the scriptwriters of That Darn Cat or Mary Poppins.) 

The ending, especially, has a somewhat campy scripted feel to it, complete with a sort of nudge-nudge wink-wink interchange between characters who would rather not have everything disclosed at the moment.  It does manage not to be trite enough to make me roll my eyes; heck, even I enjoy a good family-feel wrap-up to an engaging story such as this.  It is actually a pleasant change from the darker semi-tragic feel of many of the works I have been reading lately!

Refreshingly absent for the ending of a book like this is the long-winded explanation usually delivered by one or more of the characters that ties up all the loose ends of the plot, revealing why things happened a certain way earlier in the story.  A couple of brief asides by a couple of characters, and all is clear.  There is a moment when the heroes are chagrined to be told that all the risks they took, and hardships they endured were unnecessary.  (“Oh, no,” Susan said slowly.  “Don’t tell me all this was un-” She can’t even bring herself to say the word.)  But then some doubt is cast on just how unnecessary it was as Mr. I-Have-All-The-Answers is stunned by further revelations.

 

Will I read more Elizabeth Peters?  Absolutely!  Have I been converted to a Mystery Reader?  Probably not, though I’m thinking of reading Ian Rankin next.  Mostly because he sets his detective novels in Edinburgh as well!  Legend in Green Velvet has mostly delivered us a novel in which the setting of Edinburgh and the surrounding countryside is engagingly explored.  Her novels set in Egypt sound intriguing as well; after all, she has a Ph.D.  in Egyptology from the University of Chicago’s famed Oriental Institute.  Egyptology?!  Maybe I should pursue a Ph.D. in Edinburghology!



Our book for October will be "Witches on the Road Tonight," by Sheri Holman!  The first comments can be posted October 5th, and cover up to page 64 (Wallis / New York City / Midnight).  Enjoy!

Legend in Green Velvet, (Chapters 5-7)

This segment begins an escalation of the chase.  The hero and heroine are discovered in his father’s castle by someone who is more than happy to turn them in, and off they go, on a desperate run to avoid capture.  If the sequence of events from this moment until the “bad guys” finally catch them seems to be unnecessarily drawn out, at least we see story and character development along the way.  We pick up clues with the main characters along the way which further develop the plot as well as the suspense. 

The love interest between Susan and James threatens to get out of control at one point, but the author deftly reins it in with a slip of the tongue by … Susan!  Gee, it’s not the guy for a change; what a nice touch!  Although, as excited as James seemed to have been getting, it’s hard to imagine most men being put off much by being accidentally referred to as a famous royal personage.  And the fact that he uses his resemblance to that person to strategic advantage on a couple of occasions, to get them out of a sticky situation or two, would seem to be enough to mitigate his attitude somewhat.  Maybe we’ll learn more later in the story why the resemblance bothers him so much.   

The introduction of the three elderly women doctors with their motorcycle which they gladly part with, thinking that they’re helping a famous national hero that James resembles seems a little unnecessary to the story.  But again, maybe this is more than just “filler.”  Giving the author the benefit of the doubt, maybe these ladies will somehow work their way back into the story later on to become a factor contributing to its satisfactory conclusion. 

Toward the end of this segment, we finally get to know our antagonists a little better as the heroes locate them and attempt to spy on them.  The fact that they’re caught almost instantly is a nice touch of hardcore realism, and a good demonstration that their number one nemesis really is as effectively dangerous as he seems to be.  That this section ends with them being led to a torture chamber of sorts is another nice, unexpected touch  

James’ rocky relationship with his father and the older man’s involvement with some vaguely questionable people seem to hint at complications that we will see some resolution of later in the plot.  It’s tempting to conjecture that perhaps the father and his associates will, in some direct or indirect way, come to the rescue.  But that seems to be assuming far too much.  Ms. Peters appears to be leading the reader to something altogether unexpected, not something that an experienced reader of Mysteries would necessarily be able to predict with any confidence.  Whether the resolution of the mystery will be as satisfying as the tale seems to warrant remains to be seen.  I am, however, rather optimistic that this will indeed be the case!

 

Next segment: Conclusion

Our book for October will be Witches on the Road Tonight, by Sheri Holman! Start looking for a copy right away, as this one is a little newer (copyright 2011), so it might be a little harder to find in used book stores or libraries.

Legend in Green Velvet, (Chapters 3-4)

The second quarter of this book now begins to feel more like a Mystery.  Characters we met in the first two chapters turn out to be something other than what they seemed.  We finally have a corpse (though the “mystery” appears to be somewhat more than just a “murder mystery”) and a lot of unanswered questions that will occur to the reader are directly articulated by the characters themselves.  Now that the premise and the setting have been thoroughly established, the plot seems to develop a momentum and an inevitability that one would associate with the genre. 

Also, now that the main characters are under extreme pressure and being chased by “the law” as well as “the bad guys” they are taking things more seriously, and the occasional triteness I mentioned earlier is absent … for the most part.  Susan, our heroine, still seems determined, however, to get the most out of her little vacation, and inexplicably seems to forget the danger she’s in from time to time.  When she meets James’ father and finds that he is more inclined to sing traditional songs and play the guitar than help them find a way out of their mess, she joins right in and happily sings and strums along.  I’m reminded of when I used to roll my eyes as a child while watching a musical, and the action would suddenly come to a screeching halt as the characters, no matter how desperate their situation, would suddenly break into song. 

The author continues to do an admirable job of blending the Scottish culture and countryside into the weave of the plot.  The descriptions of the topography in the Scottish highlands, the inclusion of the old rundown castle and the ruins of the old Pictish settlement are all quite engaging, stopping well short of turning the narrative into a travelogue.  The addition of the ancient underground tunnel from the village to the lower keeps of the castle is a nice touch, especially if it comes into play later in the plot. 

Ms. Peters demonstrates that she really knows her craft in keeping the reader as much in the dark as the hero and heroine, while creating a rather sinister aura around the “bad guys” in the form of Mr. Jackson.  The reader is confident that all will be revealed in due time and is not (at least if “the reader” is like me) at all impatient to find out who and what is behind it all, preferring to let the plot unfold and simply enjoy the ride.  I suppose this is one of the considerations of the judges who award those literary awards for mystery books that you hear about.   

It’s interesting to note the difference between a work like this that falls squarely into the mystery category and the works of, say Stephen King or Dean Koontz, that use many of the same techniques, such as leaving the reader in the dark until close to the end as to who exactly is committing the murders.  Suspense, Mystery, and even Horror share a lot of commonality.  Certain structural and procedural conventions are in play in this book that leave us in no doubt as to what kind of story we’re reading.  Anyone not used to reading true Mysteries and curious about what they really are would do well to give Elizabeth Peters a try!

 

Next segment: Chapters 5-7

Our book for October will be Witches on the Road Tonight, by Sheri Holman!  Start looking for a copy right away, as this one is a little newer (copyright 2011), so it might be a little harder to find in used book stores or libraries.

Legend in Green Velvet, (Chapters 1-2)

Elizabeth Peters is one of those authors that I have been curious about for a long time, having noticed that she has accumulated a large following of readers (evidenced by the large selection of her books available at used book stores and libraries). Mysteries, as a genre, have not appealed to me all that much in the past; they always struck me as being too stereotyped.  Silly me.  I have discovered some extremely entertaining writers lately that write mysteries. As discomforting as it is to admit it, it was the artwork of one Philip Singer on the covers of many of her books that first caught my attention; the hippo on the cover of The Hippopotamus Pool in particular.  When my mother asked me if I wanted her used copy of this book, it was the fact that it is set in Edinburgh, Scotland – not Egypt, as many of Peters’ books are – that sealed the deal.   

Having read somewhere that the book does a nice job of evoking the ambience of Edinburgh and the surrounding countryside, I was particularly interested in that aspect of the story.  So far, in these first two chapters, I have not been disappointed, though the little history lessons sandwiched in border on being a little too much for my tastes.  (Anyone who has read Alexander McCall Smith, e.g. The Sunday Philosophy Club, may have noticed that he has a similar quirk with philosophical asides.) 

The unexpected surprise for me was how fast-paced the book is and how much action there is early on.  The author is very aware of pacing, and how to keep easily bored readers engaged.  This is a plus, and yet it feels at times like the book is edging toward the Young Adult crowd, with the substance thinning a little.  Contrast that with the Twilight books or the Hunger Games trilogy, which are ostensibly written for young adult readers, but have enough real depth for more “mature” readers like me.  Here, I’m occasionally reminded of Nancy Drew or the Hardy Boys. 

Which brings me to the only real problem I have with the book so far.  Once in a while, Peters seems to be talking down to her audience just a bit.  Chatty clichés and trite turns of phrase can kill an otherwise good read.  This is not near as noticeable here as in books by, for instance, James Patterson or Danielle Steele, but even a hint of it sets off my Triteness Alarm.  Example: “Only her feeling that she must uphold the reputation of the entire United States, from sea to shining sea, kept Susan from turning tail.”  Ouch.  But as I mentioned, this is a rare enough event in this book not to be a serious detraction. 

To be fair, this book has a copyright date of 1976.  A lot of things that make us roll our eyes now were not considered uncool then.  At least there are no leisure suits or mentions of discos here.  Yet.  The characterization is good, though our heroine can be a little hard to relate to at times, singing and reciting poetry in public – on a bus of tourists, for example – while no one around her seems to mind.  She has enough spunk and intelligence to make up for this, again calling to mind the Nancy Drew mysteries.  And yes, I do find myself eager to find out what happens next.  That’s the litmus test of a good mystery, after all, right?

 

Next segment: Chapters 3-4

In Cold Blood (Part Four)

As I had anticipated, Part Four included the “Court Room Scene.” But there’s much more.  First, the long wait behind bars before the trial, and then later the much longer wait for the execution.  Not a lot of big surprises in this section, but quite a few intriguing details and asides.  The author takes this opportunity to enlighten us with some cogent background regarding the history of capital punishment and its important cases, not only in Kansas, but in the country as a whole.  The descriptions of the prison in Leavenworth and of prison life in that time and place are worth the time spent on them. 

Capote also takes time here to thoroughly cover the documentation surrounding the case which explores the ideas around insanity pleas and what constitutes the justification for altering cases based on finding a defendant not culpable by reason of insanity.  The fact that in this case, the issue didn’t come up – indeed was not allowed to come up – is interesting in itself.  The psychiatric evaluators involved were commanded by the court not to give details of their findings, but we are treated to documentation on what they would have brought forth if allowed.  This is compelling reading, prompting a thoughtful reader to take a look inward to see where he stands; the line between a healthy mentality that would never consider murder and the mind of a so-called murderer gets blurred in this evaluation and one wonders just how little it would take to be pushed across that line. 

The trial itself is not particularly eventful, though not exactly your typical television courtroom triteness either.  The actions and reactions of the various players are explored and some interesting sidelights are revealed.  It’s a satisfying rendition, if not very dramatic.  The reaction of the defendants to hearing the death penalty pronounced are fascinating; following a quip made by one of them they both burst out laughing, a fact made widely known by a photo of the incident which appeared in the papers. 

The subsequent incarceration at Leavenworth on death row is nicely rendered.  We get to know other death row inmates, some of them rather high-profile.  More asides describing other murders, cases, outcomes are provided adding, again, some illuminating background on such cases in general.  The mechanisms of the legal wrangling that so notoriously makes headlines regarding stays of execution, delays of capital punishment proceedings and the like are looked at in some depth.

 

The closing sequences describing the hangings themselves are well executed (pun alert).  Some morbid humor is passed around among the witnesses to the event, including members of the press.  The scene, as noticed by Agent Dewey who was in attendance, is surprisingly lacking in dignity, being carried out in a decrepit old warehouse-type building.  The actions and words of the condemned men are decidedly low-key, and the hangings themselves described in a not overtly grisly manner.  But, all in all, a very satisfying conclusion to what has been justly described, in my opinion, as “A masterpiece – a spellbinding work” and quite possibly “The best documentary account of an American crime ever written.”


In September we'll be reading "Legend in Green Velvet," by Elizabeth Peters!  It should be easy to find a copy at a library or used book store.  The first comments should wait until September 7th, and cover the first two chapters.  So we'll take an extra week to it get started, as this is a busy time for everyone who is involved in getting school underway.  Enjoy!

In Cold Blood (Part Three)

The “detective story” that I had anticipated in Part Two more or less takes place here in Part Three, such as it is.  Identifying the killers, which would seem a more daunting task than finding them, turns out to be almost the first thing that happens in Part Three.  It practically lands in the laps of the investigators.  Again, I had the feeling that the plot was moving along too fast, and that there wouldn’t be enough plot left to complete the second half of the book! 

The search for the suspects, once they are identified, starts off slowly enough, requiring some real field work on the parts of the investigators.  Agent Nye turns out to be the real bird dog here, leaving Agent Dewey comparatively fretting on the sidelines.   Several intriguing questioning sessions take place in the process of following up leads, evoking a more conventional detective story feel.  It’s admirably done, considering that the author’s task was to stick as closely as possible to the facts and events as they actually occurred. 

The leads that eventually led to knowledge of the murderers’ whereabouts were largely due to the carelessness and bad judgments of the murderers themselves.  While a fiction account would have provided a more involved sequence of clue-finding and lead-following with some clever twists and turns along the way, real “sleuthing” doesn’t work that way.  We have to keep reminding ourselves that this is a true account, and to not keep expecting the more entertaining aspects of storytelling, even though the author does a superb job of making it feel like a mystery.

The apprehension of the suspects doesn’t lead to a showdown of any kind, coming off rather smoothly – again, like it generally would in a real life situation.  A nice twist that did occur, one of the investigators points out, is that they inadvertently waited until the suspects had had time to locate and collect belongings that contained further incriminating evidence.  “What if we had nabbed them a few minutes earlier!”  Indeed, there are several minor wrinkles in the story that added some dramatic spice to the plot. 

One ironic detail is that it was the “tough guy” who actually broke down first.  Believing that further denial was useless, the implacable Dick cracked almost too easily and tried to pin everything on his partner.  Perry couldn’t believe he would do that, and was even in denial about it until, on the ride back to Holcombe, the town in which the crime was committed, Agent Dewey repeats something that Dick said about Perry’s sordid past that had nothing to do with the crime.  That’s when it hit him that his so-called partner had really sold him out.  A nice dramatic moment of personal awakening, leading to him spilling his guts and the reader is finally let in on a detailed account of the crime.  Our best guess now is that Part Four is…The Court Room Scene? 

Next segment: Part Four, Conclusion


Also, we hope you'll join us in September with the book, "Legend in Green Velvet" by Elizabeth Peters!

In Cold Blood (Part Two)

By the end of Part One I had that feeling that most of the story had been told, and wondered how the author was going to sustain the interest level of the reader.  Sure enough, the plot flags a little and the urgency, if not the tension, seems to abate.  A more jaded reader might give up on the book at this point, but that would be a mistake.  At the beginning of part two, I thought, Aha, this has evolved into a detective story!  The introduction of a new main character, Agent Dewey, in charge of the investigation, and his three main assisting detectives was new, welcome territory.

Some detective work is covered here, but it alternates with long passages describing the travels of the murderers to Mexico and back.  Many pages are dedicated to an in depth analysis of the lesser of the murderers, Perry Smith.  We begin to wonder if the author is so proud of all his research into the case that he is determined to include as much of it as he can get away with, even if the reading gets tedious.  But if the reader is content to go with the slower flow, there are many rewards to be found in this section.

Only toward the end of this section was I reminded that earlier in the book, the motives for the murder were rather glossed over, and that the references to the person or persons who supplied the murderers with the information about the victims were very vague.  As Agent Dewey tries to establish a motive, we realize that the author has cleverly withheld that from us.  Were the murderers misled by their informants into believing that there were valuables worth a substantial amount of cash in the house?  If so, did the mysterious (to us) informants know the family and have a grudge against them?  The conversations we are let in on between the two murderers give us no clue that they found the outcome unsatisfactory.  There are even a couple of suggestions that they were satisfied with it.

So the lengthy character study of Perry Smith might be leading to an understanding of why he might turn himself in, out of guilt or a suspicion that it was inevitable that he would be caught after all.  The fact that he is a very conflicted individual, with a sensitive side and a conscience is certainly drawn out in detail.  This is in stark contrast with his partner Dick, who seems in many ways to embody the heartless, conscience-free monster that we have come to associate with crimes of this type.  The section ends with them hitch-hiking back into the US, and Dick’s passing up a ride with a trucker because he wants to find a car with someone in it they can kill in order to confiscate the car and the victim’s wallet.

Missing from this section are several of the characters that were so poignantly introduced in part one, such as the boyfriend of the slain young girl.  I keep expecting him to come back into the story and play a role in the aftermath.  Several of the close friends of the family were described in enough depth to suggest that they would make a return appearance as well.  And more of the details of the detective work by Dewey and his men will surely bring us some nifty surprises in the two remaining sections, Parts Three and Four.

Next segment: Part Three

In Cold Blood (Part One)

FM:  I’ve known about this book, and wondered about it, for most of my life, but just now got around to reading it.

CJ:  I too have known about this book for years, but for whatever reason have avoided it. Strange though, I have a kind of deja vu that I have either read the story or seen a movie, but can't for the life of me nail it down.

FM:  I think there is a movie based on the book that is considered something of a classic in its own right, in much the same way that the movie of “To Kill a Mockingbird,” with Gregory Peck, is a classic.  Although we don’t encounter the dramatic event that “In Cold Blood” is centered on until the first corpse is discovered on about page 60, there is a palpable “slow build” up to that point which literally quickens the pulse.

CJ:  At first I struggled to keep track of character names, but quickly began to appreciate the chronological order of character development. I like the fact that the murders weren't introduced until page 60. It built suspense but by the time we got there we "knew" the characters and could almost picture their faces.

FM:  One interesting device Mr. Capote uses to help us relate to the characters better is that of ending each of the story segments – at least early on – with an ominous foreshadowing of the horror to come.  (“Then, touching the brim of his cap, he headed for home and the day’s work, unaware that it would be his last.")  While this could have come across as rather corny literary show-off ploy, the author uses just enough finesse to pull it off; indeed managing to make it add immeasurably to the story.  One of several odd touches that set this author apart.

CJ:  I found it odd that friends of the Clutters came to clean the crime scene. Is that standard procedure? TV never shows us what happens after the coroner drives away with the bodies.

FM:  So much has happened in this first of four parts that one wonders; how much plot line can be left for the remaining three?  It almost seems as if the climax of the book has already occurred.  But if the quality of writing to which we have already been treated is any indication, there should be plenty of intriguing plot line left to discover.  We have already seen some foreshadowing of the tensions that will build between the various members of this closely knit small community as the suspicions mount over who the murderer(s) might be.  And we already know that the real murderers are eventually discovered from fact that the details of their actions are so well known.

CJ:  I think the climax will come with the disclosure of the motive. It is obvious the killers know where the victims live, not an easy place to find for strangers. I'm also interested in knowing their previous crimes. Another piece of the puzzle yet unsolved is how authorities connect the killers to the crime.

Next segment: Part Two