theirresponsiblereader's Reviews (607)

emotional tense medium-paced
Plot or Character Driven: Character
Strong character development: Complicated
Loveable characters: Complicated
Diverse cast of characters: Yes
Flaws of characters a main focus: Yes

 This originally appeared at The Irresponsible Reader as part of a quick takes post is to catch up on my "To Write About" stack—emphasizing pithiness, not thoroughness.
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My first reaction to the setup for this novel was An Answer to a Question No One Asked...

In the end, I like what the book did for the relationship between Bran and Leah (and hopefully gets rid of some of the "ew" factor from Burn Bright). It didn't wow me, but I really enjoyed my time in this world again.

I'm sensing a trend here in the Mercy-verse, for the longest time, Vampires were the major threat, then we dabbled with the Fae, but it didn't stick as much as it could've--now we've had a couple of novels in both series where witches are behind all/most of the trouble. I wonder what the end game is... 
funny mysterious medium-paced
Plot or Character Driven: Plot
Strong character development: Yes
Loveable characters: Yes
Diverse cast of characters: Complicated
Flaws of characters a main focus: Yes

 This originally appeared at The Irresponsible Reader as part of a quick takes post is to catch up on my "To Write About" stack—emphasizing pithiness, not thoroughness.
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I did a Media Res post about this audiobook, and it was as fun as it seemed at the time. It's another comedic crime novel--there are a couple of cops running around, but the focus is on a couple of civilians who should absolutely not be the focus of a crime novel. Which is what makes it work.

Looking ahead, my least favorite character (actually, I had a hard time liking him at all) seems to be the focus of the series. It makes me reticent to carry on, but curiosity might get the better of me. 

But as a stand-alone? This works so well--a solid thriller but told with wild characters. It'd be really easy to edit this just a little and remove all the humor and end up with a pretty gripping thriller novel, but with the humor? I really strongly recommend this.

The narration is really well done, although the voice choice for Bunny McGarry irritated me--and I probably would've disliked the character anyway but it really didn't help. 
funny tense medium-paced

 This originally appeared at The Irresponsible Reader as part of a quick takes post is to catch up on my "To Write About" stack—emphasizing pithiness, not thoroughness.
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MG has so much to accomplish in this book--she has to get her bestie out of jail, uncover the vigilante running around as The Golden Arrow, keep the Hooded Falcon movie on track, and secure her career in comics--oh, and maybe embrace adulthood and a real relationship.

It was...fine. It was enjoyable, a little mad-cap, and frequently sweet. While better than the second novel, I don't think it achieved the levels of the first novel. I had such high hopes for this series--and I'm not saying I'm disappointed by the way it ended, because Molin wrapped up everything nicely and sent our characters off with happy endings. but I was underwhelmed. Still glad I read the series, just not as glad as I expected. 
funny mysterious tense medium-paced
Plot or Character Driven: Character
Strong character development: Yes
Loveable characters: Yes
Diverse cast of characters: Yes
Flaws of characters a main focus: Yes

 his originally appeared at The Irresponsible Reader as part of a quick takes post is to catch up on my "To Write About" stack—emphasizing pithiness, not thoroughness.
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This is a comedic police procedural with a dash of SF. A beat cop who ends up featured on a very embarrassing viral video gets the opportunity to capitalize on his inadvertent fame by becoming the face of an oddball group of crime fighting experts assembled by a tech guru to revolutionize policing. 

This screams TV movie as backdoor pilot to an 80s TV show. I could see this as a pretty long-running series. I'm guessing the sales weren't there--or maybe Meyer didn't have a second novel in him (maybe it was a stand-alone all along?)--because there hasn't been a follow-up. With something that feels so much a kick-off to a series, the fact that there's nothing more takes a little of the shine off the ending. Just a little. 

I enjoyed this--decent mystery, great cast of suspects--great cast of characters period--fun set up, solid (and goofy) execution. Lots of fun.

The narration on this was done by Luke Daniels, who I am an unabashed fan of, I'm not going to waste anyone's time talking about what a great job he did with this one, because it's obvious. 
adventurous tense medium-paced
Plot or Character Driven: Character
Strong character development: Complicated
Loveable characters: Yes
Diverse cast of characters: Yes
Flaws of characters a main focus: Yes

 This originally appeared at The Irresponsible Reader.
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Earlier this year, I read the eighth book in this series, Chasing the Pain, and enjoyed it enough that I had to go back to the first book and read the whole series. 
“What’s your first move?”

“We’ve narrowed it down to Michael Wheeler or the rest of humanity,” I said. “So let’s start with Wheeler.”
 
What’s A Reason to Live About?
Twelve years ago, Detective Marty Singer investigated a murder. A police officer was in the home of a woman he’d been harassing and shot her. Singer didn’t believe his story and arrested him, and worked as hard as he could to put the cop away. It didn’t work, he was acquitted and then disappeared. In the ensuing years, this has haunted Marty.

Now, that woman’s daughter, Amanda, has tracked him down—she’s being stalked, harassed by someone—and all the evidence points to it being the man who killed her mom.

So she comes to the detective she learned to trust all those years ago—she needs his help to keep her alive. The downside is that Marty recently retired from the force so that he could focus on cancer treatment. But there’s no reason to tell Amanda that—Marty feels he owes her (and her mother) a debt he can’t repay, so he’ll do the next best thing—keep her alive.

The Big C 
I’d been treating cancer like it was the flu, an inconvenience that I’d have to put up with temporarily. Except cancer wasn’t just a sore throat and a fever, and chemo wasn’t just a shot in the arm. Cancer wasn’t a bump in the road—it was the road, and I’d better make plans to treat it that way. My life, as I knew it, had changed for good.
 
Sure, there’s a murdering stalker out there, but the “Big Bad” of this novel is Marty’s cancer. It casts a looming shadow over everything, it affects the way that Marty can work—how he can investigate, protect, and defend.
 
I don’t know how many books will feature this struggle—I hope we get a couple more. I do know, thanks to starting the series where I did, that it’s not a constant presence in the series. I just hope that it sticks around for a bit—it’s refreshing seeing someone have to deal with things like this.
 
Amanda 
Amanda’s face was animated, happy. I realized I wanted it to stay that way. Why? Was it feelings of guilt from a job poorly done more than a decade ago? I’d probably done worse things to more people over the years and I wasn’t hustling to make amends with them. Was it paternal? Misplaced feelings for a kid I’d never had? Maybe. But the real reason was closer at hand. It didn’t take much imagination to wonder what I’d be doing right now, how I would feel, if she hadn’t had the guts to walk up to me
 
It almost feels like a creepy thing for Marty to find a reason to live in Amanda, but it’s not. As he says in the quotation—it’s like he found the daughter he never had—and he gets to do something for her that he couldn’t do twelve years earlier—identify and then stop her mother’s killer.

Add in the fact that Iden made her sweet and supportive, a nice person with a good heart, and obviously, readers will get invested in her quickly and will frequently be on the edge of their seats to see if Marty can keep her safe.

So, what did I think about A Reason to Live? 
And what became clear to me in that infinite moment is that, ironically, a man with cancer has more options than one that doesn’t. Having already stared my own mortality in the face, I couldn’t really be threatened with death.
 
When you have a thriller where the protagonist really can’t be threatened? That adds a little something
 
Of course, Marty’s lying to himself—there are threats that would make him stop everything—but as long as he believes he can’t be threatened, it does give him more options and adds a little something to the novel. Throw in the complications of his varying amounts of energy and stamina with the added complication of learning how to act without a badge to back him up.
 
Sure, some of the tension was eased because I knew the outcome for most of the characters, I knew the relationships that were being created here—just knowing that the series goes at least eight books tells you a lot right there.
 
Still, it was a gripping read, and a good introduction to Marty and Amanda and Marty’s retired life. A fast, enjoyable novel—it’s easy to see why the series has been going as long as it has been. You should check it out.
 
emotional funny reflective slow-paced
Plot or Character Driven: Character
Strong character development: Yes
Loveable characters: Complicated
Diverse cast of characters: Complicated
Flaws of characters a main focus: Yes

 This originally appeared at The Irresponsible Reader.
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The Opening 
Four months from now, on a secluded beach in Turkey, Davis Winger, who came thousands of miles to start over, will drop his towel and paperback on the sand, wade into the sea, and end up under the tire of a Hyundai that has just come screeching over an embankment. He will be trapped under that car, pinned to the seabed with one final breath crowding his lungs. Time enough to lament that his daughter might now grow up without him; that he might never hear words of forgiveness from the woman he adored, and betrayed; that he might not live to build the roller coaster that his six-year-old had dreamed up from a storybook and that he had spent the summer engineering into reality. Constructing that ride, harnessing his daughter’s giddy vision into a set of blueprints, was his best shot at winning back the people he loved and hurt and lost. The promise of redemption was slipping away. All alone and far from home, he’ll reach for the surface as the sea encloses.

That autumn day was coming. But today it was still spring, a mild Saturday in May, and when Davis awakened next to his wife in the charmingly overgrown Baltimore neighborhood of Mount Washington, he was still gainfully employed and still welcome in his own home.
 
With an opening like that, how do you follow it up? No really, how do you? How do you get your readers to care about your protagonist and what he’s going through when you know this is what he’s headed for?
 
Well, enough of that…let’s get on with the post.
 
What’s A Beginner’s Guide to Free Fall About?
Davis Wagner has one of those jobs that you have a hard time believing people actually have, but clearly, someone does. He designs amusement park rides, like roller coasters. Which is cool enough—but he’s witty, friendly, compassionate, has a great daughter, a wonderful wife, and so on. He’s close with his sister, his father, and his father’s…partner, I guess. (she’s lived with him for years, so girlfriend doesn’t seem to fit…)—Davis’s mother ran off with her therapist when he and Molly were young, leaving them to be raised by their father.

But we know from the opening paragraph above, that this charmed life doesn’t stay charmed—after introducing the reader to this family, Abramowitz starts dismantling Davis’s life—after an accident (that Davis bears no responsibility for), his career is on the line; after something that Davis bears all the responsibility for, his marriage is in shambles and doesn’t look like it’ll recover. The only thing that Davis has left is his relationship with his young daughter in the summer before her first-grade year.

In the (apparently) four months he has left on Earth, can Davis build on the foundation of his relationship with his daughter to save his marriage and career?

There are other plotlines, sure, but this is the focus of the book and the weakness of it drags down the rest.

Molly Winger— Not Pictured
 
The high school yearbook was basically Davis’s personal photo album, but when Molly graduated three years later, below her photo it read: “Molly Winger—Not Pictured.” And the thing is, she was pictured. Her photo was right there, above the words “Not Pictured.” That was the essence of Molly. Seen yet somehow undetected. There but unaccounted for. Actually, she preferred it that way.
 
I just loved that idea—well, I mean, it’s depressing as all get out when you think about what that says about Molly—but it’s a great image.
 
Molly’s still pretty undetected. She writes for an independent newspaper—one limping along financially—as if there weren’t another kind—primarily writing features, but really doing whatever she has to help keep it afloat. She’s dating someone years younger than her, and in no way right for her (or she for him)—she’s smart, literate, cultured. He’s in his mid-twenties, and when he’s not working, he’s playing video games or watching horror movies with his “boys.”
 
While her brother is trying to put his life back together, Molly stumbles upon a series of articles that will help her confront her own demons, help her readers, and maybe get her detected by people.
 
I’m glad I read this book if only for the Molly storyline/storylines—Abramowitz was at his strongest here. A character you can sympathize with, chuckle at, and hope for.
 
Sibling Rivalry
At some point years before we meet them, Davis and Molly started playing this game—Davis would call her out of the blue, and they’d pitch horrible ideas for businesses to each other. For example, a store that sells concert T-shirts for bands that you wouldn’t want to wear in public—Hanson, Sheena Easton, Julian Lennon, Spin Doctors, and so on.

It’s one of those things that makes the most sense in terms of siblings—a running joke that they may not be able to remember the origins of, but it’s something they’ll always do. When you stop and think about it, it’s really sweet.

If you don’t stop and think that much and just read the ideas? They’re hilarious.

Tom Petty
Similarly, Davis amuses himself by working Tom Petty song titles into his conversation around or about one character. It’s a strange way of showing affection, but it works. Sure, I think it’d get annoying in real life—but it’s exactly my kind of humor.

So, what did I think about A Beginner’s Guide to Free Fall?
It took me a long time to be able to care about Davis and his woes, much less his attempts at rehabilitation. I just couldn’t shake the opening paragraph. But I eventually came around and appreciated that part of the novel (which is good, because it’s the majority).

Still, I’d have probably DNFed this if Molly wasn’t around—the character and what she does in the novel are its saving graces.

Abramowitz can write a sentence—I really enjoyed the voice, the way he told the story (well, after the opening), and the themes he explored. I laughed and was moved, and thought a little about life. A Beginner’s Guide to Free Fall is worth the time and effort, you’ll enjoy it.
 
emotional funny reflective slow-paced
Plot or Character Driven: Character
Strong character development: Complicated
Loveable characters: Yes
Diverse cast of characters: No
Flaws of characters a main focus: Yes

 This originally appeared at The Irresponsible Reader.
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—Well, that was how it felt, he said. —Like we’d never been apart.

—But—.

—I know, he said. —I know. We’d never been much together. But I’m talking about feelings here, not facts. Feelings. The feel of the thing.

It sounded like something he’d said before. More than once.
 
What’s Love About?
Joe and Davy are men in their 50s—in their 20s, they were drinking buddies, spending every weekend together at as many Dublin pubs as they possibly could. Eventually, they grew out of it. Davy moved to England with his wife. Joe settled down, too.

Now they see each other once or twice a year when Davy comes over to visit his father. It’s really the only time Davy drinks anymore. And, boy howdy, do they drink a lot.

This novel takes place over the course of one night/early morning, starting after dinner when they have a couple of drinks. Joe has a story he wants to tell Davy, he needs to unburden himself. Davy has something he needs to talk about, too, but he won’t let himself.

And that’s the novel—the two going from pub to pub, having a couple of drinks, and moving on. Sometimes out of choice, sometimes because they got a little too loud and are asked to leave. They walk a bit, sober up a touch (while continuing their conversation), and find a new pub to have a pint or two in before being asked to leave.

And if that doesn’t sound that interesting to you, have you ever listened to a couple of Irish people telling stories?

The Title
In the cleverly titled book, The Four Loves, C. S. Lewis posits that there are four different types of love and spends some time describing each.* Others have come up with different numbers, different categories. Which is just to say that the concept of “love” is a tricky one to nail down. To borrow Justice Stewart’s phrase, most of us know it when we see it, and most of us settle for that.

* It’s beside the point, but I feel compelled to list them: Affection (storge), Friendship (philia), Romantic (eros), Charity (agape).

All this is to say, it’s really impossible to know precisely what the title refers to—there are several types of love displayed in this book, and I can see some people trying to argue for which one is most fitting.

After a little thought, I’ve decided that Doyle is referring to them all (and I don’t think that’s a cop-out). It’s about two men struggling—and aided by several of the pints in the cover image—to find ways to talk about love.

Feelings
There is a reason why men don’t talk about their feelings. It’s not just that it’s difficult, or embarrassing. It’s almost impossible. The words aren’t really there
 
That’s from the beginning of the book, Davy’s narration noting the difficulty that Joe’s having getting his story started. It’s seen a few times after that (I should point out that at least Joe is trying, Davy’s avoiding it entirely).
 
Which is where beer comes in, I guess. Joe never quite expresses himself the way he wants—Davy doesn’t help that much, really—but he gets asymptotically close. The number of pints they consume to get him to the point where he gets close is enough to make my liver sick. Part of the enjoyment of this novel is watching these two try to get the words right.
 
—The drink is funny, though, isn’t it? You see things clearly but then you can’t get at the words to express them properly.

—Or somethin’.

—Or somethin’, yeah.
 
Conventional wisdom suggests that two women wouldn’t need that much alcohol—or any, really—to achieve the same ends, if not do a better job of expressing and understanding the emotions being discussed. I expect that wisdom is right (but wouldn’t die on that hill)—and the ensuing novel might be less entertaining. Still, I’d like to see someone give it a shot.
 
So, what did I think about Love?

—It’s a thing abou’ gettin’ older, he said. —At least, I suppose it is. So many memories, you know. It become, harder to separate wha’ happened from wha’ might’ye happened an’ wha’ didn’t happen but kind o’ seemed to.

He was looking at me.

—Is it? he asked.

—Is memory reliable? I said. —Is that wha’ you mean?

—I think so, yeah. yeah.
 
This is a novel about love—obviously—and old friends, memory, nostalgia, the power of reminiscing, aging, dealing with the past (whether it happened or not), family, forgiveness, trust…and a few more things, too. All discussed in the story that Joe’s telling and the stories that Davy isn’t telling.
 
When I read this in a couple of years, it wouldn’t surprise me if I come up with a different list of subjects.
 
But in a sense, it really doesn’t matter what you think the novel is about—it can be enjoyed and chewed on just with the surface. A couple of old friends talking.
 
Doyle’s dialogue is as strong as it ever was. The dialect makes it jump off the page, you don’t so much read this book as hear it with your eyes.* It is funny, it is tragic, it’s heartbreaking, it’s wistful, and occasionally silly. It runs the gamut—both for the characters and the reader.
 
* Yeah, I know, I know. Roll with it, will you?

If you haven’t read Doyle before—this is a pretty good ice-breaker. If you know his work, this is exactly what you expect (a little closer to the feel of The Barrytown Trilogy than A Star Called Henry or Paddy Clarke Ha Ha Ha). His idiosyncratic punctuation and approach to dialogue tags and paragraphs might cause you to stumble at first—but once you catch on, you won’t even notice it.
 
It’s like you’re sitting there on a night on the town with these two, just catching up with old friends and enjoying the conversation with them (even if you’re not holding up your end). And who doesn’t think that sounds like a fun time?
 
mysterious tense medium-paced
Plot or Character Driven: Character
Strong character development: Complicated
Loveable characters: Yes
Diverse cast of characters: Yes
Flaws of characters a main focus: Yes

 This originally appeared at The Irresponsible Reader.
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What’s Stone’s Throw About? 
The mayor of Paradise is found dead at the site of a contentious land deal—it’s one of the most sought-after properties in Paradise, and the City is preparing to weigh in and deciding which of two buyers get to put a casino on it—while several citizens are trying to block the sale at all. The mayor is clearly sympathetic to the anti-sale voices, but it doesn’t look like he’s going to be able to do anything to stop it going forward.
 
And then he apparently commits suicide on that piece of real estate. Jesse’s not so sure about the suicide part, however, it doesn’t make sense to him for several reasons—his friendship with the mayor is just one of them (the fact that the left-handed man seemingly used his right hand to shoot himself would be another). 
Jesse just has to decide who has the most motive to kill him—one of the buyers? The seller? The anti-sale group? 

Then the leader of the conservation movement goes missing, and his girlfriend is worried. Then it turns out that Wilson Cromartie—Crow—is working for one of the casino builders. He and the Paradise Police Department have a very shaky history—his criminal past (all beyond the statute of limitations) makes Jesse dis-inclined to trust him, no matter how much assistance he rendered in finding a missing girl later. Is Crow on the side of angels this time, or could he be behind the mayor’s death? 

In a case that clearly calls for someone to “follow the money” there’s so much of it flying around that it’d be easy to get lost trying that, there are no easy answers for Jesse and the rest of the PPD. 

Molly 
From the beginning of the series, Molly Crane has been one of the highlights of the books and of the Paradise Police Department. She’s loyal, competent, and has a big heart. She’s stood by Jesse when things were at their worst for him—covering for him as much as she could. She’s almost too perfect—except for the one time she slept with Crow. That’s pretty much the only time she’s done something wrong. 

And since then—at least once per book*—Jesse has brought that transgression up. Every author—Parker, Brandman**, Coleman, and now Lupica—has had Jesse throw this in her face regularly. It’s always bothered me that it’s so constant, so frequent—the woman beats herself up for it, she’s been so good to Jesse, and this is how he treats her? 

* As far as I remember, I could be wrong about that, I doubt there’s been more than 2 books without it. 

** I honestly remember so little about the Brandman novels, I only assume he followed suit. 

And now, Crow is back—and he and Molly interact a bit, both with others around and one-on-one. Without getting into anything, I hope that this allows Molly to get past this act of infidelity—and that Jesse stops bringing it up. Really, there’s an opportunity for closure here, and I hope Lupica takes it. 

Talkin’ Baseball 
I always liked that Parker wrote Jesse as someone who became a cop not because he had the drive to see justice done, to serve and protect, etc.—but because he had to re-evaluate his life after his baseball career-ending injury and then came to the career in law enforcement. 

Parker treated this well, in a “road not taken” kind of way. Coleman did a good job with it—although Blind Spot was more about being part of a team, more than the sport. But Lupica? Lupica really knows how to write about this part of Jesse’s life. He has Jesse think about this a lot in the first chapter and I put in my notes, “this is the best passage in Lupica’s Parker books.” And then it comes up later in the book, too. I don’t know if it’s all the sports books in Lupica’s past, just a better insight into the mindset of the baseball player, or what—but this book has the best usage of Jesse’s former career that this twenty-book series has had. 

So, what did I think about Stone’s Throw? 
I wasn’t crazy about this at the beginning—it was always good, but I didn’t get sucked in right away. I also wasn’t crazy about the way that Crow was being used—it reminded me of the way that Parker took some of the danger away from Vinnie Morris, Bobby Horse, and Chollo after their initial appearances. But it started to grow on me the further I got into it—and by the last half, I was invested as I could’ve hoped to be. 

And even if I wasn’t—just being back in Paradise with Jesse, Suit, and Molly is good enough. 

Lupica’s got the voices down, he understands Paradise, he gets the cast of characters right and this book feels like he’s been writing Stone novels for more years than he has—I had to remind myself that this is only his second time with this series. I’d have easily believed this is the fifth. 

Whether you’re new to Jesse Stone, or you’ve been reading them since the beginning, this is a novel that will entertain you and leave you looking forward to the next one. 
challenging dark mysterious tense medium-paced
Plot or Character Driven: Character
Strong character development: Yes
Loveable characters: No
Diverse cast of characters: Yes
Flaws of characters a main focus: Yes

 This originally appeared at The Irresponsible Reader.
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At dawn, when the sun’s up ove rthe mountains and it hits the far edges of twon at the right angle, the pink caliche on the bluffs burns crimson and everytign runs red. Murfee alwasy wakes up bloody. The dead are her secrets…The missing are her ghosts.

I know who Deputy Cherry found out at Indian Bluffs, and so does my father.

My mother…his missing wife.
 
What’s The Far Empty About?
This is so hard to sum up in a few paragraphs. Murfee is a small town in Texas near the southern border—the area around Murfee is even less populated. There are farms, ranches, and a lot of uninhabited land—very close to the border—a great place for smugglers (of people and substances) to ply their trade.

We open on one of the ranches that’s used as a crossing point. The owner has discovered a body on the land and newish Deputy Chris Cherry goes to look at the scene. Any other deputy would do what the rancher wants and write this off as another dead Mexican*—but Chris wants to do it right. And as he’s careful about his business, he notices something that compels him to dig in and really investigate the circumstances around the death—and the identity of the victim.

* Actually, it’d be a slur, but let’s keep this civil. I’m not sure I read many terms for minorities in this book that weren’t racist slurs. Thankfully, the characters that are on the admirable side of things (not necessarily “good guys”) don’t use that kind of language.

Actually, that’s incorrect—we start with the Sheriff’s seventeen-year-old son, Caleb, talking about the men that his father has killed (that Sheriff Ross—aka “Judge”—is willing to talk about in public, anyway), the women he married and the reasons they’re no longer around. Up to a year ago when Caleb’s mother left town—or so the official story is—Caleb says he knows his father killed her.

“The Judge” is the most powerful man in this part of Texas—he doesn’t enforce the law, he is the law, in just about every sense of the word. He’s what Walt Longmire and Quinn Colson could be with a lot more ambition—and an utter lack of morality. He sleeps with who he wants to, takes what he wants to—and, presumably, kills who he wants to. And the people who keep electing him love him, he’s their hero. He’s really one of the more despicable characters I’ve read this year.

So we have Caleb trying to find out what happened to his mom, Chris trying to figure out how this corpse ended up buried on the ranch, Sherrif Ross up to all sorts of things—and a few other residents of Murfee up to things full of secrets and lies. Too many threads are interwoven to do a decent job of talking about them here—but it’s safe to say that because of what Caleb and Chris are up to, there’s a chance that this intricate web could start to fall apart.

A chance.

The Exception
We learn so much about every major character—their backstory, the secret lives they live, the lies they tell the world (and, in some cases, themselves)…with one exception—Melissa, Deputy Cherry’s girlfriend.

We get a hint about her past—just the barest of hints—and we know a lot about her life with Chris—before and after Murfee. But that’s all. Just a hint? It drives me crazy that I could write a page or more on the backstory of every other major character, and I can’t about her. She’s largely a mystery.

And the part that isn’t being driven crazy about that loves it. She’s shrouded in shadows, and someone in this town needs to stay that way.

Series Premiere vs. Stand-Alone
I knew this was the first novel in a series, but it never felt like it. I kept thinking that this was a stand-alone. It was only in the last twenty pages that I could see how it could continue.

I have to wonder—did Scott’s publisher say, “We like this and would like to buy it from you—but we’re going to need this to be a series, add something to the end, okay?” Because those twenty pages don’t need to be there—I’m glad they were, it was easier to move past the darkness that characterized the 426 pages before because of those last twenty.

But I’m not sure it’s a better novel because of them.

So, what did I think about The Far Empty?
This book deserves kudos for the atmospheric writing—you feel the emptiness of the geography. It also draws on the legends (and history) about Texas Lawmen and Criminals—placing these events squarely in that vein. It’s hard to walk away from this book thinking that any part of Texas could possibly be different from Murfee.

I spent a lot of the novel thinking “This is almost too noir, I need someone I can believe in, someone who seems to care about the law, morality, simple decency.” I knew from the first chapter on that it was brilliantly written—Scott’s voice, style, and ability shone throughout the novel.

But, man…it was so bleak.

Caleb and Chris, sure, did care about justice, what’s right, and so on—but their efforts seemed so Quixotic that it was almost painful to watch these two and their futile quests.

I don’t know if the novel eased up on that eventually, if Scott’s writing won me over, or if I eventually grew numb to it all. But at some point, I bought into it—I needed to know what was happening and started to care about many of these characters.

When I get to the sequels, I might change my opinion of the book as a whole—but on the whole, it didn’t work for me as much as I wanted it to. It wouldn’t surprise me if by the end of book two, I’m a rabid fan of this series, but for the time being I’m unable to think of it as more than “pretty good.”

I do recommend The Far Empty, Scott’s a guy to keep your eye on. Just don’t go into this thinking it’s a fun adventure.
 
adventurous funny lighthearted fast-paced
Plot or Character Driven: Character
Strong character development: Yes
Loveable characters: Yes
Diverse cast of characters: Yes
Flaws of characters a main focus: Yes

 This originally appeared at The Irresponsible Reader.
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“If” he said, and he repeated the word for emphasis, “if I go along with this entirely hare-brained idea, which’ll most likely end up gettin’ us all killed, Jayne’ll be in my debt.”

“That he surely will.”

“And I’ll have this to rub his nose in for months to come.”

“Again, yes.”

Mal crooked one corner of his mouth. “Then what the heck? I’m in. Just tell me this: when did a shipload of criminals, desperadoes, and fugitives become such a bunch of do-gooders?”

Inara had the answer. “When their captain showed them how.”
 
What’s The Magnificent Nine About?

Fourteen years ago, Temperance Jones walked out of Jayne Cobb’s life without warning. They’d been partners in crime for some time—and in a few other ways, too. Now, while Serenity and her crew are between jobs, Temperance (now using McCloud as a last name) sends Jayne a message—her town’s water supply is being held hostage by a local gang called the Scourers. If they aren’t stopped, her small town, like many others on the planet already—will fall to this group and what little water they have will come at too steep a price.

Mal’s not interested in helping, but the rest of the crew remembers how not long ago, they did something similar for Inara’s friend Nandi—and that went okay, right? (well, eventually). So they convince the Captain that this is the right thing to do.

It was probably when Wash almost didn’t out-maneuver a heat-seeking missile—which still resulted in Serenity being disabled for days—that everyone realized that this was going to be harder than defending Nandi’s ranch. But now, they had to find some way to stop the Scourers to save Temperance’s town and their own lives.

Oh, and somewhere along the way, someone needs to do some thinking about why the not-quite-fourteen-year-old daughter of Temperance is named Jane.

Random Observations
 
I’m not going to let myself fully geek out about this book, but some of the highlights and/or things I’d like to spend a lot of time discussing include:
  •  River got to talk to more cows!
  •  Shepherd Book’s Christianity was a little more pronounced than I’m used to (and they actually explicitly called it “Christianity”–it was always clear that’s what it was, but no one ever used the C-word in the show/movie)
  •  While trying to fly the ship away from the missile, Wash remembered the words of “his Zen Buddhist flight instructor”: You are a leaf on the wind. I almost threw the book away at that point, why do that to me?
  •  River defended Serenity using blades and guns—and was (again) the hero of the moment.
  •  Wash and Zoë have some great moments together. Zoë has some pretty good moments that have nothing to do with Wash, too.
  •  The Chapter titles (one of those things I never pay enough attention to) are even pretty fun: “The Inevitable Bar Brawl” and “Landmines of an Improvised and Somewhat Homespun Nature,” for example.
  •  Jayne described talking to River as “a radio and the signal keeps hopping, changing channels at random.” Hard to beat that.
 
So, what did I think about The Magnificent Nine?

This is just so much fun. Lovegrove captures the feel of the show and the voices of the characters so, so, so well that it’s impossible not to enjoy the book if you liked Firefly.

Is there anything else to say, really? This was a satisfying, entertaining, and nostalgic ride with Serenity, with the bonus of getting some good focus on Jayne Cobb—and maybe seeing him in a better light than you’d be tempted to otherwise.