Friday, May 30, 2014

Memory in Death (J. D. Robb) Conclusion

I’m not a long-time Mystery fan; I’ve come to them rather late, and then chiefly because most of the best writers just happen to be Mystery writers.  Not sure why that is.  Crime Fiction is another name for many of the books I like these days – is there a difference?  Anyway the best of these include the fascinating “armchair psychology” that those of us who like to study and observe people enjoy tremendously.  With this book I have come to realize that the most intriguing psychological aspects of Crime Fiction are not necessarily the attempts to figure out how the criminal thinks (in order to catch him), but often a microscopic look at how the protagonist reasons (in order to solve the mystery).

Some of these books feature a sleuth who is a whiz at high-tech data crunching, and uses computers to catch the criminal.  Others show us a rather bumbling bull-in-a-china-shop detective who blusters his way into a solution, much to the criminal’s chagrin.  Eve Dallas, our heroine in this book, uses a very intuitive approach, often saying things like, “That doesn’t ring right, somehow,” or “For some reason, that theory doesn’t work for me.”  Combined with brusque way of dealing with people and her inability to sit still for any length of time until a case is cracked, this approach is a lot of fun to watch.

Eve likes to talk through the evidence and facts as they are known with one of a number of different people, including her understudy, Peabody and her husband, Roarke.  To one of the crime researchers at headquarters, Feeney:  ‘”He’s [the murderer is] smart enough, allegedly, to kill, remember the details to cover himself for the murder, get out and away undetected.  He’s smart enough, allegedly, to be on the spot in order to get another woman into a closed establishment, without anyone they passed noticing the abduction.  He leaves no trace there either.  But he flubs up the main deal?  He screws up on what we would be led to believe was the motive for murder?  You buy that, Feeney?”’  After hearing her cover all the bases as she currently sees them, Feeney – no novice himself – offers this;  ‘”You’ve got to get something on her – or him.  Something you can use to put the pressure on.  You’ve got yourself an onion.”  “I’ve got a what?”  “An onion.  You’ve gotta start peeling away the layers.”’
Her intuition tells her which layers to peel off first.  Sometimes her first or second choice doesn’t pan out.  In a couple of instances, someone says or does something that reminds her of another line of inquiry she had thought of earlier and put on the back burner.  (Sue Grafton’s private eye, Kinsey Millhone, always writes all this stuff down, forcing herself to take the time to sit and make detailed notes so that she doesn’t forget a line of inquiry she had thought of before – oh, and so that she has documentation to show her clients to prove that the money she’s charging them was worth it!)
The leads that she eventually get around to exploring finally link up to some evidence, not solid enough for a court case, but solid enough to convince her she’s on the right track.  I theorized last time that one of the abused foster children would eventually be discovered as the murderer, and not Zana, though she seems more and more likely as the investigation progresses.  Was I right?  Well, yes and no!  A brilliant ending culminating in some beautifully depicted interrogation techniques performed by Eve in order to squeeze out the confession!  Taking the resolution of the mystery and reconstructing the action backward from the end, it’s fairly easy to see how J. D. Robb constructed the plot.  But not until then!  An impressive display of novel-writing skills from a dedicated, veteran writer; way up on my list now!




Join us next month for Junes’s book of the month; “The Real Frank Zappa Book,” by Frank Zappa and Peter Occhiogrosso!

This is the second-best way to expose yourself to the particular genius of Frank Zappa (music is the best, after all)--through his own words. In addition to being an idiosyncratic American composer of some degree of controversy, Zappa was an orator of no small ability or scope. He was known for his ability to expound at great length (and to hilarious effect) on any number of topics. The Real Frank Zappa Book faithfully captures this side of its author, composed of essays on everything from his background and upbringing, to politics, capitalism, and raising children. Zappa takes the opportunity to dispel some of the most pervasive rumors that surrounded him right up to (and even persist after) his death in 1993 (no he didn't do drugs, or sleep with all those groupies). If you're familiar with the man, you will be able to hear his distinctive enunciations (aided by the bold-facing of certain words and Zappaisms) as you read the assorted road stories, his views on making music for a living, and scenes from two--count them, two--organized hearings on obscenity in music. Of course, the chapter titles speak for themselves and include such Zappa winners as "All About Schmucks," "Marriage (As a Dada Concept)," and "America Drinks and Goes Marching." – Amazon.com review (4.5 stars).
Determined to write a book that had " real stuff in it," the outspoken Zappa, one of the most inventive and controversial artists of the past 20 years, is frank, often disgusting, and always entertaining in describing his life ("How weird am I, anyway?"), his philosophy of music ("Take it or leave it, I now will this to be music "), and art in general ("The most important thing in art is The Frame "). Zappa also relates his opinions about the music performing and recording industries, but then rattles on about a myriad of things: church, drugs, yuppies, politics. The book would have benefited from a discography and a bibliography. Recommended for libraries with large pop culture collections. - Donald W. Maxwell, Carmel Clay P.L., In, from Library Journal.

Week 1:  Chapters 1-4
Week 2:  Chapters 5-8
Week 3:  Chapters 9-14
Week 4:  Chapters 15-19

Friday, May 23, 2014

Memory in Death (J. D. Robb) Chapters 12-16

Too many of the books I’ve read recently have been overly long, stretched out with what I think of as “filler.”  Usually this becomes an issue in the third quarter of the book, sometimes the second as well.  You hear about people reading the first 100 pages and the last 100 pages of a book, not having the patience for the entire thing, and I can see that perspective, but I could never be comfortable with it.  This doesn’t come across as something that writers do on purpose.  Rather, it seems they have a certain length of book in mind, a certain number of words or pages to shoot for, leading to a compulsion to make the story fit into that mold.  The idea of creating a story-board or some such visual aid in order to construct  the plot of the story and have it all mapped out ahead of time is supposed to eliminate the awkwardness of using “filler” to flesh out the book.  This approach is sometimes nothing more than a device to disperse the ‘”filler” more evenly throughout the book in smaller pieces; arguably an improvement over the alternative.

The real solutions are simple.  The author either shortens the book to the length that the nature of the story calls for – duh – or creates “filler” that is so interesting and compelling that the reader doesn’t mind if the action gets derailed from time to time.  This takes a very good writer.  Okay, maybe anyone who is not a “very good writer” shouldn’t write.  I could name a few highly successful ones.  “Memory in Death” utilizes this second option, and it works.  When the reader is thoroughly enjoying the banter between characters we care about, or the antics of the characters are sufficiently amusing, the “filler” doesn’t seem like “filler” at all.  What’s a better word for it?  In a newspaper, “filler” stories are often “human interest” stories, and in a novel, “human interest” is pretty much what it’s about as well.  Maybe it’s just “development.”  Close enough.
J. D. Robb is really Nora Roberts, very well-known as a “Romance” writer.  So we shouldn’t be too surprised if some of the “filler” in this book is sex scenes.  The fact that these sex scenes always involve a married couple might appear to make them more palatable to some people, but they still seem jarringly out of place, like sips of wine with your chocolate chip cookies.  Do we grow closer to the characters by watching them get it on?  Possibly some of us do, but to me it’s like watching someone in the next car pick their nose.  I feel like I’ve invaded their privacy.  Is this prudishness on my part?  The people who know me would laugh at that notion.  If I wanted porn, I know where to find it.
Ironically, it seems that Eve, our heroine, shares my sentiments:  ‘Straight in her line of vision, Peabody and McNab were locked in a big, sloppy kiss, hips grinding together as they used the music as an excuse for vertical humping.  “Stop!  Cease and desist, or I’m locking you both in separate cells for public lewdness.”  She kept walking.  When Peabody caught up, she was huffing.  Eve didn’t think it was the quick trot that had her breathing heavy.  “We were just -”  “Say nothing,” Eve warned.  “Do not speak.  We’re heading to the hotel.  I’m going to get those wires planted…”’  The relationship between these two women has been a sheer joy to behold throughout the book!
The case that Eve is working takes her and her co-workers through a confusing forest of details, clues and suspects.  Watching Eve’s approach to sifting through the evidence is all part of the fun of reading a book like this, and we feel the frustration right along with her of not being able to put our finger on the key that will suddenly have everything falling into place.  This might eventually lead to that feeling that we should have seen it all along, but somehow, in this case, I don’t think so.  One of the possibilities that Eve has considered is that one of the other foster children Trudy abused has come back to haunt her and is responsible for the murder.  That’s my favored theory at this point, but I wouldn’t bet a lot of money on it!
 
 
 

Next week:  Chapters 17-21 (Conclusion)




Join us next month for Junes’s book of the month; “The Real Frank Zappa Book,” by Frank Zappa and Peter Occhiogrosso!

This is the second-best way to expose yourself to the particular genius of Frank Zappa (music is the best, after all)--through his own words. In addition to being an idiosyncratic American composer of some degree of controversy, Zappa was an orator of no small ability or scope. He was known for his ability to expound at great length (and to hilarious effect) on any number of topics. The Real Frank Zappa Book faithfully captures this side of its author, composed of essays on everything from his background and upbringing, to politics, capitalism, and raising children. Zappa takes the opportunity to dispel some of the most pervasive rumors that surrounded him right up to (and even persist after) his death in 1993 (no he didn't do drugs, or sleep with all those groupies). If you're familiar with the man, you will be able to hear his distinctive enunciations (aided by the bold-facing of certain words and Zappaisms) as you read the assorted road stories, his views on making music for a living, and scenes from two--count them, two--organized hearings on obscenity in music. Of course, the chapter titles speak for themselves and include such Zappa winners as "All About Schmucks," "Marriage (As a Dada Concept)," and "America Drinks and Goes Marching." – Amazon.com review (4.5 stars).
Determined to write a book that had " real stuff in it," the outspoken Zappa, one of the most inventive and controversial artists of the past 20 years, is frank, often disgusting, and always entertaining in describing his life ("How weird am I, anyway?"), his philosophy of music ("Take it or leave it, I now will this to be music "), and art in general ("The most important thing in art is The Frame "). Zappa also relates his opinions about the music performing and recording industries, but then rattles on about a myriad of things: church, drugs, yuppies, politics. The book would have benefited from a discography and a bibliography. Recommended for libraries with large pop culture collections. - Donald W. Maxwell, Carmel Clay P.L., In, from Library Journal.

Week 1:  Chapters 1-4
Week 2:  Chapters 5-8
Week 3:  Chapters 9-14
Week 4:  Chapters 15-19

Friday, May 16, 2014

Memory in Death (J. D. Robb) Chapters 7-11

The introduction of two key characters, Bobby and Zana, further displays the author’s considerable skill at creating believable personae.  Their reactions to the news of Bobby’s mother’s murder seem so authentic that we have a hard time keeping them on our list of suspects.  When Eve questions Bobby, she cleverly fishes for signs that he might be involved:  ‘”I’m giving you the facts, Bobby.”  Cruelly, she thought but the cruelty could take him off the suspect list.  “I’m asking who she trusted enough, cared for enough to work with on this.  The only ones you’re coming up with are you and your wife.”’

Although this story is set near Christmas and mentions Christmas in multiple ways, it would be a stretch to think of it as a Christmas story.  But Eve’s attitudes about the holiday season and the obligations of gift-giving, shopping and visits really resonate with many of us, particularly me!  ’Now she’d have to visit.  Sit around, drink something, make conversation.  Exchange presents.  The last always made her feel stupid, and she didn’t know why.  People seemed to have this unstoppable need to give and receive stuff they could easily afford to go out and get for themselves anyway.’ [Exactly!]  ‘She happened to know Peabody had already bought three – count them, three – presents for Mavis’s baby, and the kid wasn’t due to be born for over a month.  What the hell did you buy for a fetus, anyway?  And why did nobody else think that was kind of creepy?’
I’ve mentioned elsewhere that I appreciate it when a plot takes a sudden swerve that changes where we thought it was leading us.  Here I was, all set to see just what kinds of mayhem Trudy was going to cause our heroic couple, and she turns up dead, the object of the murder investigation that is now driving the plot.  Then, just as we’re beginning to wonder if Bobby and/or Zana are involved in the murder, Zana is abducted and threatened by a man who identifies himself as the killer.  Or is this a ruse devised by the young couple in order to throw the investigation off their scent, hmmm?  Well, this is a murder mystery, after all, so the resolution is likely to be a big surprise.  I’m certainly not counting it out at this point.
The secondary character of Delia Peabody is a huge bonus in this story, and, one assumes, the other books in this series.  I keep visualizing Tina Fey in the role, if she’s not already too old, and the lines coming from the character keep working beautifully for that actress.  The veneer of air-headedness disguising a really quick and brilliant mind seems tailor-made for her:  ‘”… I’m nervous.  No, not nervous.  Terrified.”  “Of what?”  “Of meeting your family – all at once.  Of being the one you bring home for Christmas, for God’s sake.”  “Jesus, Peabody, who the hell do you want me to bring home for Christmas?”  “Me, you idiot…” … He just stared at her in the baffled way men had stared at women across the ages.’  The last statement, written by a woman author, is just another small example of her deep understanding of human relationships!
The minor surprises are a lot of fun – Eve is talking to her billionaire husband on the ‘link:  ‘”… Gotta do some media spinning so I’m tagging Nadine.  Appreciate the assist if you manage it.”  “Not a problem.  Squeeze some food into your schedule.”  “I’m having lunch with Nadine at some stupid place.”  “Scentsational,” Peabody told him, leaning over enough to get a glimpse of his face on the ‘link screen.  “Well, now, the world’s full of surprises.  Let me know what you think of it.”  It only took Eve a beat.  “Yours?”  “A man’s got to keep his hand in.  I’ve a lunch meeting myself.  Try the nasturtium salad. It’s very nice.”  “Yeah, that’s going to happen.  Later.  That’s flowers, right?”  She asked Peabody when she ended transmission.   “Edible ones.”  “In my world, flowers aren’t on the menu.”’






Next week:  Chapters 12-16
Week 4:  Chapters 17-21

Friday, May 9, 2014

Memory in Death (J. D. Robb) Chapters 1-6

Wow.  What a pleasant surprise.  I’ve known about Nora Roberts for years and years (just didn’t know she also wrote under the pseudonym of J. D. Robb) and had thoughtlessly written her off as a typical Romance writer that wouldn’t interest me.  Boy was I wrong!  Right from the start, I was enthralled by the level of wit in the prose, reminiscent of Joan Hess or even Sue Grafton but with a harder, streetwise edge to it, fresh and invigorating.  If the author can keep this up throughout the book, she has a new fan.  The dialog strikes the perfect balance between sardonicism and intelligence, especially the banter between Eve Dallas and Delia Peabody.

But the dialog between Eve and her husband Roarke, even apart from the witticisms, is honestly some of the best I have ever read.  When I try a new author, I like to compare them with other authors to sort of fit them into a continuum, or hierarchy.  This prose has a place of its own in my mental files.  Just wonderful stuff!  After stopping a purse snatcher, Eve is approached by the victim:  ‘“Ma’am.  I just don’t know how to thank you.”  “Start by not calling me ma’am…” …”… I’ve never had so much excitement … I’m from a little place called White Springs – just south of Wichita, Kansas …”  It had to be said.  “You’re not in Kansas anymore.”’
When Eve apologizes to Roarke for something she said in the heat of an argument:  ‘”I just need a minute to say I’m sorry.  So sorry.  I don’t know where it came from, I didn’t know that was in me.  I’m ashamed that it was.” … “Your family.  I’m glad you found them, I swear I am.  Realizing I could be small enough somewhere inside me to be jealous of it, or resent it, or whatever the hell I was, it makes me sick.  I hope, after a while, you can forgive me for it.  That’s all.”’ Roarke’s response:  ‘”We’ve both said things at one time or another we wish we hadn’t.  We can put that aside … As to the rest…”  “I was wrong.”  His brows shot up.  “Either Christmas has come early, or this should be made another national holiday.”  “I know when I’ve been an idiot.  When I’ve been stupid enough I wish I could kick my own ass.”  “You can always leave that to me.”’  Yep, sounds like a married couple!
Sprinkled throughout the narrative are occasional little reminders that the setting is in New York of the year 2059.  It’s speculative fiction – sci-fi – but it only speculates a little further out; which is actually harder to do than creating a world that is wildly different than the one we know.  It’s largely about guessing what kind of technological developments might have come about, and which ones haven’t yet developed.  Eve has a “communicator” on which she “tags” her coworkers and husband.  The copyright date of the book is 2006, when we just had “cell phones” and were still “calling” people.  She decides, at one point, to drive her vehicle instead of setting it on “auto.”  When she’s in a hurry, her vehicle “shoots into vertical” and later, it “nips back down to the street.”  And when investigating a murder scene, she opens a can of “Seal-It” and sprays it all over her hands to keep from leaving her fingerprints or disturbing the ones left by the murderer.  Oh, and there are ‘droids everywhere, including the one running the hotel she and Roarke visit.  And they don’t look like C3PO.
But like any good sci-fi, the human interest is still the main attraction, and is particularly well communicated by this so-called “Romance Writer” turned “Sci-fi Thriller Writer.”  Very intelligently written, smartly plotted, and peopled by very believable and engaging characters.  What a treat!






Next week: Chapters 7-11

Week 3:  Chapters 12-16
Week 4:  Chapters 17-21