The Chalk Man, by C.J. Tudor**

It’s a rare book that I find abrasive right out of the gate, especially since there are no controversial social messages here, just a mystery that I didn’t like and didn’t finish. Thanks go to Crown Publishing and Net Galley for the review copy, which I received free and early in 2017. I should have written a review long ago, of course, but I found it hard to reconcile my antipathy for this story—a debut, no less—with the nearly unanimous adulation expressed by other reviewers. I am still a bit bewildered, but there it is.

This is a book that tries too hard. There are too many cutesy nicknames, and the structure of the plot feels gimmicky and formulaic, as well as mighty unlikely. Of course, most mysteries have aspects that are unlikely because most real-life murders and other mysterious doings have logical, obvious, dull explanations. We agree to pretend the murder mystery is plausible in exchange for being entertained. The problem is that I wasn’t, and so I couldn’t.

Two other factors that contributed to my grumpiness were the overwhelmingly male list of characters, and the cultural collision between British fiction and my brain. I’ve read and enjoyed some British fiction; if not, I wouldn’t have requested this galley. But here the culture and jargon are thick on the ground, and the inner narrative feels endless.

I no longer have to be concerned that I will crush this author’s hopes and dreams; Tudor’s debut is a huge success both in terms of sales and the corresponding enthusiasm of its readership. This author has gone on to publish more books, and I have had the good sense not to request those this time. Ultimately this came down to taste more than anything else, but I have to call ‘em as I see them, and I found nothing to love, apart from a compelling jacket and an attention-getting title.

The Broken Road, by Peggy Wallace Kennedy**

“I was perhaps Daddy’s most important legacy of all.”

Thanks go to Bloomsbury and Net Galley for the review copy, which I read free and early in exchange for this honest review.

I was a child during the Civil Rights era, and although I didn’t live in the American South, I recall news footage of Kennedy’s father, George Wallace, the man that the author rightly attributes as a harbinger of the Trump movement. Instead of “Make America Great Again,” Wallace urged his constituents—including the Klan, whom he openly welcomed to his campaign—to “Stand Up for America.” When the federal government signaled that it would enforce the segregation ban, Wallace made headlines around the world by literally standing in the door of the schoolhouse in order to turn the first Black student away from a public school in Alabama.  My own father was a redneck of the first order, but even he distanced himself from this extremist. Wallace ran for U.S. president but was defeated; upon returning to the governor’s mansion, he was shot and paralyzed from the waist down. By that time Malcolm X was dead and could not have told us that this was a case of chickens coming home to roost, and yet it may well have been.

Although the book’s summary suggests that Kennedy is vastly different from her father politically, her prose indicates that her true, bitterest grievances all center on his philandering betrayal of her sainted mother and his failure to be a strong provider and dedicated family man. She tells us that even in the 1960s, she felt his racist rhetoric was wrong, and so I waited for what I thought must surely come next: the moment she either confronted him or simply moved out of the house to another part of the country to restart her life in saner surroundings. None of this happened, as it turns out. She stayed in the governor’s mansion, thrilled by the relative affluence and privilege she regarded as her due following a tumultuous, sometimes impoverished childhood.

The title is taken from a Hemingway quote, and in her own story designated the location of her maternal grandparents, whose simple, homespun nurturance provided relief to her mother and herself when her father went on the road politicking and didn’t send money home for them to live off of. At the beginning of the book she uses the expression often enough to beat it to death, but once her father becomes governor she rarely speaks of these kind, gentle people. Toward the end, she parenthetically notes that her grandmother died at some point back in the middle of the book.

It’s interesting that although Lurleen Wallace was elected governor in order to circumvent what was at the time a state law against successive terms for her husband, the author says nothing at all about her mother’s civil rights policies. We see that she won the governorship in a landslide and was loved by all, and yet if her policies diverged much from George’s, that would have created screaming headlines. It’s just one of the many inconsistencies within this memoir.

The last several chapters are devoted to her father’s redemption politically, or so she asserts. He never hated African-Americans, she tells us, but only did and said those things in order to gain office. Later in life, he asked a handful of Civil Rights leaders for forgiveness and spoke in Black churches about his error. She follows this up by pointing to the large numbers of Black voters that returned him to the Capitol.

I find myself wondering a lot of things, and foremost among them is why anyone would consider a candidate that makes the cold-blooded decision to promote violent racism for the sake of gaining office to be morally superior to one holding the genuine belief in the inferiority of other races and ethnicities. Wallace, she tells us, didn’t sign onto the Klan’s program because of his convictions, but because of what they could do for him. And while the parallels she draws with Nixon are apt ones, the rationalization of her late father’s destructive, ethically bankrupt lifetime is chilling in its own way, but she underplays this aspect of his career.

Her “daddy” lived long enough to appoint her 26-year-old attorney husband to the state bench.

The second star here is reluctantly provided because she does some very nice things at the outset with regard to her description of time and place in the life of poor white folks in mid-twentieth century rural Alabama.  If you’re looking for a silver lining to this wretched work, there it is. It’s all I can find.

I would place this book in the child-revenge category along with Christina Crawford, Patti (Reagan) Davis, and Carrie Fisher.  Read it if you want to wallow, but when you’re finished, you will likely want to shower and gargle.

Quantum, by Patricia Cornwell**

I’m a longtime fan of Cornwell’s Scarpetta series, so when Amazon offered me a free, early look at this first book in the new Captain Chase series, I was over the moon. Thanks go to Amazon First Reads, and I am sorry not to provide the kind of review that I expected to write, but this one doesn’t work for me.

Whereas her earlier series was the original forensic thriller genre, Calli Chase, our protagonist, is a cop for NASA. Perhaps I should have seen this problem coming. I am generally not interested in the sciences, at least to any detail. I don’t mean to sound like a Luddite: I maintain the practical knowledge necessary to raise plants, provide quick home-medical treatment when called upon, and carry off other every day, practical matters. But physics? Chemistry? That whooshing sound right now was me leaving the room. So all of the science chatter early in the narrative led me to close the book and read something else several times, until I realized we were past the pub date and I owed a review. Surely it would get better, once we got into the actual plot. We have heavy foreshadowing that lets us know that some big bad event is about to unfold, and more foreshadowing that tells us there are some great big ol’ skeletons in Calli’s closet and that of her twin, Carme.

But that’s another matter. The foreshadowing used in the Scarpetta series is masterful stuff, suffusing me with a profound sense of dread that makes me turn the pages faster just to know what in the world is around the corner. This foreshadowing, on the other hand, is so heavily troweled on that it makes me impatient. This foreshadowing feels like filler by the 25 percent mark, and there are places in my notes where I say, Enough already. What. Just tell us and get on with it.

As Cornwell’s Scarpetta became a long-running series, she did what great writers of the genre do, moving more deeply into character. After a certain point readers became jaundiced as our hero was once again knocked out, blindfolded, and stuffed in a car trunk or whatever–how many times can this happen to the same person?–and so she moved more toward a psychological thriller, where there were possible enemies within the fortress, so to speak. Could she really trust her Benton, her husband, who is keeping secrets from her? Could she trust her niece? What about her work partner? There was all sorts of scheming and things were not as they appeared. Some readers grew cranky at this point, but I found it fascinating, because I felt I knew her core characters so completely.

But with Captain Chase none of this works, because the author has basically created the same characters with different names and relationships. Perhaps wary of this inclination, the protagonist is unlike Scarpetta, but obnoxiously so, and Chase is not a character I believe. Every tenth word from this character is a euphemism, with copious amounts of the first person narrative explaining and re-explaining how much she hates vulgar language. But whereas I have no problem with most off-color language, I’ve had people in my life that avoided it on principle, usually due to a religious conviction, and not one of them used euphemisms like this character does. Most of them believe that a euphemism is wrong because it’s a swear word dressed up as something else, and the best thing to do is omit them altogether. Instead of yelling ‘Gosh darn,’ they would say ‘Oh no!’ or, ‘How did this happen?’ But with Chase, it’s one long eye-roll, and so when we get to our less-than-stirring climax and she actually says, “Shit!” (and then of course has to talk about having actually said that word) I let out a snort and closed the book. I quit at 85 percent and didn’t stick around for the ending.

It’s a sorry thing, having to write a review like this for an author I like, because of course I cannot help but wonder what personal circumstances would make a bestselling author write and publish something this unworthy. Money? Health? But I don’t know, and ultimately my responsibility is not to the author but to my readers.

As for you, if you are fascinated with NASA, maybe you won’t find this story as repellent as I do, but I would urge you not to spend big on it. Get it free or cheap unless your pockets are very, very deep.

Imaginary Friend, by Stephen Chbosky***

It was the best of books; it was the worst of books. Big thanks go to Net Galley and Grand Central Publishing for the review copy. This book is for sale now.

Chbosky met fame twenty years ago with The Perks of Becoming a Wallflower. He takes a bold step—and I would still argue, a good one—in switching genres with Imaginary Friend. The whole thing is written in accessible language and mostly short, simple sentences with the overall effect of the world’s creepiest bedtime story. At first I wasn’t sure I was down for 720 pages of simple sentences, but he makes it work. I like the horror of it, and I like the voice too. And so when I saw the mixed reviews, I was preparing my heated defense of this work before I was even halfway in. And halfway, sadly, it where the thing begins to weaken.

The premise is that seven year old Christopher is learning disabled, but his mother urges him to keep trying. Nothing much works until the day he is lost in The Mission Street Woods. He is called by a friendly face in the clouds; once he is there, he is incapacitated and held for six days. When it’s over, The Nice Man leads him out. He goes home; the perpetrator is never identified because Christopher recalls none of the six days nor who took him. But suddenly he is the world’s cleverest kid. His grades rise, and he graduates from the special classroom. Later in the story, he is called again to build the tree house to end all tree houses; he must do it furtively at night, because he is no longer allowed in those woods, and naturally that’s where the project unfolds.

This aspect of it is very cleverly conceived and executed. Christopher does all manner of things that no seven year old child, however advanced intellectually, would be able to do but it is plain to us that this is part of the supernatural effect that is part and parcel of The Nice Man and that face in the clouds. Likewise, there are many areas where he infers adult meanings and feelings, but we know that these are also supernaturally bestowed. Meanwhile, he is in most ways the way one would expect a child his age to be. As his friends—the twins and Special Ed—are drawn into the project, they too become capable students with unusual talents. But as to the tree house, that’s a big damn secret. Parents and the public are not in the loop for a long, long time.

As the story unfolds we have numerous subplots and several characters that have significant roles here. They are largely bound together by the children’s school, although we also have the sheriff and a handful of people from the nursing home where Christopher’s mother, Kate works. I have no difficulty keeping up with this large cast of characters, and Chbosky deserves kudos for creating so many distinct characters that stay consistent throughout the story. We see the ways that people become warped, often by the disappointments that life has meted out, and sometimes by mistaken goals, particularly where the children are concerned. I liked this a good deal too. We see a great deal of kickass figurative language, although I would have preferred to see a lighter hand with regard to the repetition. At first when the song “Blue Moon” is used, it gives me chills, but by the end of the story, whenever music enters a scene I find myself grumbling, “Oh let me guess. I bet I know what song is playing.” (The MAD Magazine of the 1970s would have had a field day with this book.)

A number of other reviewers have suggested that the second half of the story could do with some serious editing down, and I echo their concern. It would be stronger if it were tighter. But there are two other more serious concerns that dropped my rating from four stars to three. They have to do with mixed genre, and with Chbosky’s depiction of women and girls.

It is a brave thing to combine horror and literary fiction, but there is such a thing as trying too hard. The last twenty-five or thirty percent of this story becomes tortuous, confusing and overlong with the heavy use of allegory along religious lines. There are multiple places where the plot just doesn’t make sense at all, but because the author is determined to provide us with a virgin birth, stigmata in multiple characters (what?), sacrifice and redemption and yada yada yada, what has been a good horror story becomes a little ridiculous and a lot pretentious. It’s a crying shame. Had the author let the horror story be a horror story, or had he been satisfied with a more subtle level of allegory rather than the screaming-red-flags variety that is shoehorned in here, this would have been a much better book.

The other aspect , the one that made my feminist heart simmer is the way that women are depicted here. We have several important female characters, and none of them is developed in even the tiniest way beyond their relationship to men and their capacity to be nurturers. Our greatest female hero is Kate, mother of Christopher, and I have not seen as two-dimensional a character in many a year. The only thing that matters is her child. The only. The only. Gag me with a stick, already.  And had the author been content to have a horror story that is just a horror story I would cut him a little slack, because most horror stories do not have brilliantly developed characters. Even so it’s ham-handed, but I might have been tempted to call this a 3.5 star read and round it upward. But this is the most reactionary treatment of women—the girlfriend that feels filthy because she rendered oral sex; the women coming unstuck because of husbandly inattention; the stereotypical mean-old-broad at the nursing home—that I have seen in decades. It’s appalling, and it bothers me that other reviewers haven’t mentioned this at all. What the hell, guys?  And with literary fiction, a responsibility for nuance and character development is conferred in a way that horror novels do not require.

In other words, don’t talk the talk unless you’re gonna walk the walk.

Should you buy this book? Probably not, unless your pockets are deep and you have a good deal of free time. For the curious, I recommend getting it cheap or free. But if you are going to read it, read it critically, and don’t hand it off to your middle-schooler until you have read it yourself.

Today We Go Home, by Kelli Estes**-***

I expected to love this book, and I wanted it to be great. The premise is terrific: Larkin, a wounded warrior home after falling apart while on tour in Afghanistan, finds the diary of Emily, a woman that fought in the American Civil War (albeit in drag.) It’s a cool idea, and between the feminist moxie and my enthusiasm for local writers, I was ready to be wowed. It didn’t work out that way, but my thanks still go to Net Galley and Sourcebooks Landmark for the review copy.

The contemporary component is the part I found strongest and most appealing. I haven’t seen a lot of novels featuring women in uniform (or freshly out of one,) whether in the Middle East or elsewhere, and the pain that Lark carries for her best friend, Sarah, is visceral and in places, haunting. Sarah served with Lark and died in an ambush that Lark believes she could have prevented. Lark sees her die, and then has flashbacks and nightmares that make my gut roil. Lark’s mama is dreadful, and I am heartily weary of seeing mothers take it on the chin in fiction, but I like the relationship between Lark and her grandmother and the way it is developed.

I had hopes for the second thread, the one about Emily fighting alongside her brother in the Civil War, but this part is unfortunately plagued by historical revisionism and too much convenient coincidence. For a woman to be as forward-thinking as the politically correct Emily—and this is the first time I have ever used this term in a negative way, leaning much farther to the left than your average American—would have been very unusual indeed, and for Emily to have slipped beneath the social radar in other regards would have been nearly impossible. Emily thinks at one point that her brother David is gay, for example, but she worries only for his safety, because she herself is sure that gay people are just made that way by God. And while this is a lovely sentiment, a researcher could turn under every historical rock and go through every collection of Civil War diaries and letters, and she would probably not find this sentiment in any of them. And in another case, Emily is sympathetic toward a runaway slave, not only in the sense that slavery is wrong or that the runaway is toast if his pursuers find him; she views him as her social equal. Aside from the late and admirable John Brown, and possibly his sons, it would be a hard thing indeed to find such a Caucasian person in the early 1860s, North or South. Many that fought against slavery assumed that former slaves would be deported to Africa; nearly nobody is on record during that period suggesting that Black folks were equal to whites, or that they could become friends and neighbors on equal footing.

I imagined Ta-Nehisi Coates reading this novel and howling with laughter at its naiveté.

To round it out, Emily virtually trips over another woman-disguised-as-a-male soldier, and given the vast numbers of men fighting in the Civil War, even the most generous estimate of women that served covertly makes this unlikely enough to be ludicrous.

I am not sure whether the pacing of the novel is also slow, apart from these inaccuracies and inconsistencies, or whether it was slowed by them, that sad moment akin to one in which Toto has pulled the curtain aside and revealed that Great and Powerful Oz is actually just a little dumpy bald guy talking into a microphone. All I know is that by the thirty percent mark, I was forcing myself to continue reading because I had a review copy and an obligation. I actually like having one galley with a sedate pace that I can read before I turn out the light, but my frustration with the issues noted above prevented me from reading it and then dropping off into peaceful slumber. At the sixty percent mark, I let myself off the hook. I took a quick look at the denouement to check for mitigating developments at the end, and then closed the book.

Estes is a talented writer, but I believe she has tried to do too much here. A simpler novel focusing exclusively on Lark would likely have been stronger. However, she is a writer to watch, and I believe she will do fine work in the future.

This book is for sale now.

Night Boat to Tangier, by Kevin Barry*

I have never in my life dropped a galley so quickly. Thanks still go to Net Galley and Doubleday for the review copy, but I couldn’t finish this thing. Actually, I couldn’t even hold to my own reviewing rules.  This book is horrible.

The promotional description mentions several qualities that appeal to me.  I like literary fiction; dark humor; Irish fiction; and the Booker Prize nomination sealed the deal.  I was also aware that there would be violence and and that the characters would include terrible men, but I read grit lit—in small frequent bites when I can’t deal with longer stretches than that—and have reviewed many titles that include these things. But this is something else.

The distinctive writing style doesn’t appeal to me; I like a good paragraph, and having vast yawning spaces in between single brief entries seems wasteful to me. But that isn’t the deal breaker. The deal breaker is the hostility toward women.

Now of course one could say that twisted misogyny is not the author’s perspective but that of the characters, and blah-de-blah-blah, but let’s extend this a step further, for the sake of those that buy that kind of bilge as an excuse. Let’s write the whole thing, the whole book, as repeated child rape, with graphic descriptions and maybe a quick comeuppance or two at the end to make the reader feel better.

Would you buy that? Would you read that?  Then maybe you should give this a miss as well.  After all, this is fiction; its two purposes are to entertain and to convey ideas through the art of literature. How do either of these jibe with ugliness such as this?

My usual practice for a galley I don’t favor is this:  I read up to about 30% in order to give the author a chance, and then if I am still not engaged I skip to the last 25% to make sure there isn’t something wonderful about the climax and the conclusion that might make me reconsider. Fair is fair. But this book feels like a form of violence against women all by itself. I had trouble sleeping after having read five percent; I gave it a couple of days and came back, read another four or five percent, and queasily realized that this novel is the exception to my policy. I am not reading more of it for anyone or anything.

Usually when I don’t recommend a book, I consider whether there’s a niche audience that might still like it. Sometimes a lukewarm book gets a recommendation to read the book free or at a deep discount. But for this thing I confess that I would rather not be around anyone that wants it any time for any reason.

Hollow Kingdom, by Kira Jane Buxton***

I received a review copy courtesy of Net Galley and Grand Central Publishing. Buxton has had her work appear in The New York Times and some other impressive places, and I was drawn by the buzz. To be honest, this book didn’t work for me, but I also have to admit that I am probably outside the target audience.

The setting drew me first; it’s hard to resist work set in my own hometown of Seattle. The premise has to do with a smart crow and a dumb dog setting out to save what’s left of their world. It’s billed as a romp, and I make a point of punctuating my other reading with humor so it doesn’t get too dark out there. So there were reasons to think I would enjoy this book.

But I was expecting a story arc and a plot. And I noted at the ten percent mark that I had seen enough product placements for the rest of the story and a boxed set to go with it. I quit about halfway through and skimmed till I reached the 80 percent mark, and then read the ending; no joy.

If a friend has read this book and says they think that you will like it, that friend might be right. But I can only share what I have seen and give you my honest opinion, which is that this is only something to be obtained only if it’s free or cheap unless your pockets are deep.

Four Hours of Fury, by James M. Fenelon**

I love good military history, and so when I saw this title I requested and received a review copy, thanks to Net Galley and Scribner. It’s for sale now, but I can’t recommend it to you.

One of the first things I do when I read a new author in this genre is to check notes and sources.  A first rate military historian will have multiple sources for each fact cited, and a reasonably good one will have a variety of sources, primary sources being most desirable.

Fenelon doesn’t do this. Much of his information hangs on a single source, and often these are not well integrated. This is the first time I have seen military history published by a major house, that uses Wikipedia as a source. All of the history teachers I know send their students back to do a rewrite if they hinge their citations on Wiki, and if teenagers aren’t allowed to do it, I cannot think why Scribner permitted it.

What drew me to the book is the paratroopers. There seems to be a spate of these coming out right now, and I find it fascinating subject material. There’s also a trend, of which this book is also an example, of embracing the brave German troops against whom American forces fought, and not unnecessarily, either. I could get behind this trend more easily were it more universal, but somehow U.S. historians are quick to recognize the shared humanity of former enemies that are Caucasian, and others, not so much. If I could see one, just ONE WWII history that recounts kind of brave actions on the part of the Japanese during this conflict, I would be a good deal less cranky.

Be that as it may, this book is inadequately researched and inadequately documented. It’s not professionally rendered, so if you want to read it, do so critically and evaluate as you read. Get it free or cheaply; don’t pay full price.

The Lazarus Files, by Matthew McGough*

It’s almost as if two crimes are committed inside these pages: the first is the premeditated murder of Sherri Rasmussen, and the second is this atrocious book.  How many writers can take a compelling story—that of a cop killing her romantic rival, and her arrest and conviction—and make it this dull? So I still thank Net Galley and Henry Holt for the review copy, but nothing and nobody can make me read anything written by this author again. It appears that very few reviewers even forced themselves to finish it; those of us that soldiered on till the end either deserve commendations for our determination, or a mental health referral for not cutting our losses.

The book’s beginning comes the closest to competent writing as any part of this thing. We get background information about Sherri and John’s courtship and marriage, as well as John’s relationship with the murdering woman he scorned, Stephanie Lazarus. Don’t get me wrong; I am not saying this part is well written. Even here, there are serious issues with organization and focus, yet I continue, believing that when we get to the meat of the story where the truth is revealed and the killer arrested, tried and convicted, it will be worth the wait. In that, I am mistaken.

The author wanders anywhere and everywhere, apparently unwilling or unable to exclude one single fact about anyone, even those tangentially involved. Why do we need pages and more pages devoted to the life and times of people the victim barely knew? To add insult to injury, many of the facts he’s uncovered are inserted into multiple places in the narrative in a way that emphasis doesn’t justify.  It appears as if he is attempting to reveal a cop cover-up, but his inner attorney forces him to equivocate, hinting throughout without ever reaching the punchline. He infers that maybe Sherri’s husband John knows more than he’s saying, but again we see innuendo everywhere without an accusation being made outright. The writing is riddled with clichés. In many places he tells us how one character or another feels, or what they are thinking, and yet there are no citations anywhere for anything; this is a cardinal sin in writing nonfiction. I go to check the notes at the end of the book and there are none. The copious gushing over Sherri’s excellent character and intelligence, while it sounds warranted, is salted so liberally over 597 interminable pages makes me wonder if there is a connection between the author and the victim’s family, but again, if it’s true, he doesn’t say so. All told, it’s a very unprofessional piece of…writing.

By the time I consider abandoning this thing, I have put in the time required to read over a hundred pages, and so I see it through. I skip the section about the murder of someone else; had it shown up before I was completely disgusted, I’d read it in case it provides strong evidence to back up what the author is inferring but not saying, but as it is, I just want to get to the meat of the matter and be done with this thing.

Imagine my surprise when the Rasmussen murder case is not reopened, and Lazarus is not investigated, arrested, tried and convicted until…the epilogue.

There is not one redeeming feature of this book. It’s a train wreck from the start to the blessed ending. If I feel this way after reading it free, how might you feel if you paid money for it?

Alumni Association, by Michael Rudolph**

I received a review copy courtesy of Net Galley and Random House Alibi. It’s a short book, but the time I took to read it felt like forever. The teaser says it is for fans of John Grisham, but this story is nowhere even close to the caliber of Grisham’s legal thrillers. It isn’t much of a thriller at all. 

Our protagonist is Beth Swahn. An old school has come up for sale, and there is all sorts of subterfuge involving nepotism, drug smugglers, and international intrigue surrounding the deal to purchase it; Beth’s stepfather is part of it. The premise is a decent one, but by the time the author is done with it, it’s dead on arrival. The book will be available to the public February 5, 2019. 

There are overlong passages of deadly dull dialogue, and then there are overlong passages of tedious narrative. The transitions are ragged, and all told it is surprising to me that Random House would go anywhere near this thing. It’s possible that the hand of a high profile editor might be helpful, but were anyone to weed out the extraneous crud, what would be left would be either a lengthy short story or a short novella. I would love to point to some positives, but beyond the premise, I simply cannot find any. 

Not recommended. 
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