Robert B. Parker
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By: Delacorte Press
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Customer Reviews:
Total reviews: 17
Average rating: 4.0 of 5
Symbolism Steeps & Steams. Spenser Loses Sleep, Speaks-in-Tongues to Loss & Life 5 out of 5 stars.
2 of 3 people found this review helpful.
This might not be much of a review since the only word which has come to mind since I've finished the read is, "WOW."
More than most offerings in this series so far, # 11 VALEDICTION concluded a catharsis which had been building through previous plots. The theme set by the title and dedication in THE WIDENING GYRE, # 10, continued to gyrate here, accumulating insight about the center holding (at the cliff-edge of a workable level of obsession), weathering The Storm, using as Super Glue a commitment to Capital "L" LOVE.
Even so, I believe that a reader could open this offering in the series as a first taste of Spenser and easily slip into the plot (more like willingly fall down a well) and enjoy it. I'm thankful, though, that I received the addictive effect of having carefully read and reviewed the previous 10 books in order, prior to approaching VALEDICTION.
The solitary, diary-narrative-style set in GYRE continued in VALEDICTION, yet with a gradual erosion of the set-apart, lonely P. I. Emotions ran (and rutted mesmerizing-ly) so deeply that, especially in retrospect, I felt more like I had lived within this book instead of reading its words. I fell so far into the story that I'm not able to immediately recall details of the action, though there was plenty (of delicious detail and apothecary action).
I was particularly intrigued by purposely-parallel-situations exposing various levels-of-obsessions. Parker used Spenser's male client as a juxtaposition of nearly identical feelings of loss endured in a contrasted way to Spenser's handling of Susan's journey taking her further and further away. The precise way in which Susan initiated her abandonment of Spenser was quietly shocking, to the reader as well as to Spenser. Yet, Parker's way of dealing with this complex type of trauma, through Spenser and other characters, was one of the best dramatizations I've read, of coming through the deepest types of separation or loss.
This novel traveled to the ends of several roads in the visceral labyrinths of human intimacy. Lusciously included in this labyrinth were signature scenes with Hawk, Paul & Paige; touching phone conversations with Susan; and a Partridge-Pear-Tree-Gateway, which opened "Through-The-Looking-Glass" of the woman-at-the-drawing-board who'd been posed through several previous novels, in the window across from Spenser's office. Whew. Take a breath.
Impressive to the Nth degree, Dr. Parker. You've done it again, yet gone beyond anywhere you'd been. I have no doubt that the next eleven Spenser novels have been written at sequential levels of mastery, with the first eleven proving a foundation of perfection.
Landmark. Lazarus. Phenomenon. Whatever. Wow.
Linda Shelnutt
Editorial Review:
The most dangerous man to cross is one who isn't afraid to die. But the most deadly is one who doesn't want to live. And Spenser has just lost the woman who made life his #1 priority. So when a religious sect kidnaps a pretty young dancer, no death threat can make Spenser cut and run. Now a hit man's bullet is wearing Spenser's name. But Boston's big boys don't know Spenser's ready and willing to meet death more than halfway.
"Tough, wisecracking, unafraid and unexpectedly literate --in many respects the very exemplar of the species." (The New York Times)