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M is for Malice (Sue Grafton) description
"Every investigation has a nature of its own, but there are certain shared characteristics," explains private eye Kinsey Millhone in her 13th alphabetic outing. "Here's what you hope for: a chance remark from the former neighbor on a skip-trace, a penciled notation on the corner of a document, an ex-spouse with a grudge, the number on an account, an item overlooked at the scene of a crime. Here's what you expect: the dead ends, bureaucratic bullheadedness, the cul-de-sacs, trails that go nowhere or simply fade into thin air, denials, prevarications, the blank-eyed stares from all the hostile witnesses. Here's what you know: that you've done it before and you have the toughness and determination to pull it off again. Here's what you want: justice. Here's what you'll settle for: something equivalent, the quid pro quo." All of the above are on display in Grafton's latest entry in her increasingly popular series set in a thinly-disguised Santa Barbara, as the virtually ageless Kinsey finds and loses a missing heir and gets back an old lover. |
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M is for Malice (Sue Grafton) Customer Reviews
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♥♥♥♥♥ |
Slow-paced, cliche detective story with some familiar, likable characters, a breezy tone, and some substance to the plot
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As soon as I read her earliest books, Sue Grafton became one of my favorite writers of light, straight, credible detective fiction. She can be a terrific storyteller. After rallying from the skimpy, disorganized "G" and "H" stories with stronger efforts in "I," "J," and "K," the "Lawless" book returned to the bottom of the heap. So I was not sure what to expect from "M." At least the book explains, "Mill-hone, ... Accent on the first syllable. The last rhymes with bone."
The book is very slow to get started. The murder does not happen until page 200. Even after it does, the book continues to drag at a self-indulgently slow, lackadaisical pace. The murder is a crude, boring bashing-in of a person's head while he is sleeping, so there is nothing clever or interesting about the method or any detection related thereto.
It looks as if someone from missing heir Guy Malek's bad-boy past has come back to kill him once Millhone runs him to earth for his construction company boss father as a now-humble, changed man. Millhone suspects the crime has its roots in a personal connection, fraud, and death from years ago. Without giving it away, the plot is a familiar cliche, embroidered with some complicated and sentimental details. So intent is the book on making Guy into a sympathetic character that it does not even have the courage of its convictions about his supposedly disreputable past. The characters are hazy and unmemorable.
Again, Grafton paints on some personal subplots. Millhone gets involved in the case because of her relative Tasha. The book mentions Henry Pitts and his brother William and ethnic wife, who runs the diner up the street. The book injects P.I. Robert Dietz into the story. But this is all tacked on, superficially, with no meaningful connection or theme, just as Grafton's attempts to forge a link between Millhone and Guy Malek fall flat. These personal angles seem to get ever more perfunctory; reviews that find great meaning in those in "M" are fooling themselves.
What distinguishes this book for me was its carefree, easy confidence, which makes it breezy reading in one sense. But it also makes the book slack, uninvolving storytelling that only really picks up in the last 50 pages. The book certainly has more to it than "L." "M" is in the ballpark of "J" or "K" only because, though hardly original, its plot ends up being more focused, coherent, and meaningful than those books. |
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