The Girl in the Green Raincoat

I missed The Girl in the Green Raincoat when it was serialized in the New York Times Sunday Magazine.  I haven't read any of the serials, actually - I never seem to get in on the first chapter and I hate starting in the middle.  If I had read the serial, though, I might have known before reading Life Sentences that Lippman had decided to stop writing about Tess.

The Girl in the Green Raincoat starts with Tess attempting to adjust to bed rest.  When she first discovered she was pregnant, she also discovered that it was a great 'cover' for surveillance.  Who's going to expect a pregnant woman to tail a suspect, and if anyone did notice her, well, they'd just ask baby questions.  That ends when a celebratory lunch with her friend and sometime accomplice Whitney ends with a dash to the emergency room where Tess is diagnosed with preeclampsia.  On bed rest, with little to do but worry about her baby and her business, Tess tries to pass the time by watching the dog walkers pass her house on their way to the path through the woods.  She focuses on the most regular walker, a young woman in a green raincoat walking a greyhound in a matching garment.  

One day, Tess sees the dog running - alone.  What else would an immobilized PI do but investigate the woman's disappearance?  She's hampered, of course, by the fact that she can't leave her sofa, but she does have her laptop and her assistant Mrs. Blossom (little old ladies who knit on park benches are even less likely to be identified as detectives than pregnant women are), and Whitney is always willing to play Nancy Drew.  They discover that the missing woman's husband has been married twice before - and both wives died suspiciously.  Lippman wrote a tightly plotted mystery with an unexpected but well-supported solution, and also fits in several subplots (one per chapter, several involving love stories) in 158 crisply written pages.  It's not the typical Tess Monaghan mystery, but it's a nice way to end the series.

Smokin' Seventeen

I still look forward to the new Stephanie Plum novels, but I wonder if Janet Evanovich does.  She's been in a bit of a lull since about 13 or 14 - they're still fun, but a bit more routine.  I wonder if she's preparing to wind down the series around #20 or so.  That being said, Smokin' Seventeen is a nice diversion for a holiday weekend.

Vinnie Plum is back in business - his father-in-law is once again bankrolling the bail bonds office.  Unfortunately, the actual office was fire bombed at the end of Sizzlin' Sixteen so Vinnie, Connie, Steph, and Lula are now working out of Mooner's RV.  It's a nice plot device which allows for the proper amount of Mooner content - he's amusing, but a little bit goes a long way.  The lack of an actual office is not good for business, but the bodies appearing at the construction site where the office used to be are even worse.  The body of Lou Dugan, owner of a local topless bar and all-around shady character appears one morning, pinky-ringed finger reaching out as if signaling from beyond the grave.  Soon after, the decaying bodies of several of Dugan's business associates and poker bodies turn up - one of them addressed to Stephanie.  

This is not Steph's main problem, though - Morelli's Grandma Bella has put a sex curse on her, she still can't choose between Morelli and Ranger, and her mother has decided to fix her up with an old classmate who's returned to Trenton.  Dave Brewer was the captain of the football team back then, but now he's returned home after serving time for financial shenanigans in Atlanta - perhaps not an ideal mate, but he can cook, so Steph at least considers him until he gets creepy.  

All of this (as usual) is set against a framework of Lula's outfits, minor FTAs (including an alleged vampire and a capture that involves a fight over a bottle of wine), funerals, car death, and family dinners.  The ending seems a bit contrived, and while Smokin' Seventeen is entertaining, it's not particularly memorable.  Maybe Evanovich needs a Bella to put a spell on her - a good one that brings back the right balance of wackiness and tight plotting.

Time and Chance

Trilogies should probably be read in sequence - particularly trilogies where each installment is over 500 pages.  That's a lot easier if all three books have already been published when you discover them than if you pick them up as they come out.  Time And Chance periodically refers to events in While Christ and His Saints Slept, and after 5 years, my memory of some of the details is somewhat hazy.  If I'd read them back-to-back, that wouldn't have been a problem, but since Devil's Brood didn't come out until 2008, I would have just shifted the problem to the third book. 

I read Sharon Kay Penman's Welsh trilogy alongside Alison Weir's biography of Eleanor of Aquitaine, and those books started my interest in medieval England.  Eleanor was a supporting character in Here Be Dragons (her granddaughter, John's illegitimate daughter Joan, married Llewellyn  of Wales), and she's the center of one of the plot threads in Time and Chance.  Her marriage to Henry II provides one of the plot threads in this sprawling novel, the compelling and sometimes explosive relationship between two intelligent and strong willed leaders which is eventually destroyed not by Henry's affairs but the fact that he falls in love with one of his mistresses.  Losing Eleanor's affection also means that he loses her shrewd political advice (the one time he goes against her counsel is when he nominates Thomas Becket to be Archbishop of Canterbury), and eventually leaves Henry alone in the political crisis of his own making.

Penman's usual style is to make a minor (or, in this case, fictional) member of the court a major character through whose eyes we see the plot.  In this trilogy, she gave Henry I an extra son (with 20 known illegitimate children, who's going to notice another one) named Ranulf.  Raunulf's mother was Welsh and in While Christ and His Saints Slept, he married his cousin and serves and a bridge between the two countries, as well as being the voice of reason to his nephew, Henry II.  Penman masterfully twines the two plot threads, but Ranulf's story frequently refers back to the prior novel and at times, I felt that I needed to check While Christ and His Saints Slept to fully understand Time and Chance.  Still, I enjoyed the novel and it's evocative descriptions of medieval court life - I just recommend reading the trilogy as more of a unit than three separate entities.

Mildred Pierce

I bought Mildred Pierce during my early-90s noir period - it's a 'quality' paperback on the Vintage Crime label, and the cover price is $6.95, considerably less than the rapidly disappearing pocket-sized paperbacks I prefer go for today.  "Crime" is also a bit of a misnomer - while Cain was best known for his thrillers and the 1944 movie adaptation was reworked as a murder mystery, Mildred Pierce is a straight domestic drama.  

At 17, Mildred married Bert Pierce and quickly had two daughters, Veda and Ray.  They lived well off the sale of new housing subdivisions until the Depression hit, leaving Bert (who'd never really had a job) essentially unable to cope with his uselessness.  Mildred, who'd been making a few odd dollars baking cakes and pies, threw him out, looked for work, and eventually swallowed her pride and became a waitress in a downtown diner.  With the help Bert's former business partner, she opens a restaurant, and eventually expands her business to three restaurants with different atmospheres and a commercial baking business supplying pies to other establishments.  Then, because of her poor choice in men and inexplicable devotion to her monstrous daughter Veda, loses it all.  

I know it sounds like a fairly routine book, but what saves Mildred Pierce is the characters.  Bert's a decent guy, just not quite up to the challenges of surviving the Depression, and he stands by Mildred, proud of her success and there for her when she fails.  They don't really want to divorce, and maybe Mildred would have been better of staying with him.  But she doesn't - as her business takes off, she begins an affair with Monty Bergeron, a wealthy man who sleeps with her and scorns her and take her money when he his family fortune disappears but bonds instead with Mildred's haughty teenage daughter Veda.  There's a subtext there that 'polite' novels would have ignored in 1941, but I suspect that pulp readers saw what I saw in Monty's comments about Veda's emerging bust, or in the closeness between the two.  Mildred, however, doesn't see anything inappropriate in the relationship between her daughter and her lover, and also doesn't see that her beautiful and musically talented daughter constantly manipulates her.  It's Mildred's devotion to Veda's musical career that leads to the loss of her business, and eventually to her loss of Veda.

The other thing I noticed while reading Mildred Pierce was how foreign the novel's setting appeared, even though it takes place in the decade before my parents were born.  Not everyone has a telephone, radio was new, and a blood transfusion from a professional donor with no testing or typing is seen as a potential cure for a bacterial infection.  Like Knots and Crosses, Mildred Pierce is set in the close enough past to be recognizable, but far enough away to be almost an entirely different world. 

The Vintage Caper

A friend of mine used to have a second job in a movie theater.  A few times a year, he'd tell us what lobby posters were available and he'd get them for us - I've got Casino Royale and A Perfect Year hanging in my living room.  While it's nice to see Russell Crowe in a sunbeam as soon as I walk in my front door, that's not why I wanted that poster - I'm a big fan of Peter Mayle.  20 years ago, my mom handed me Tojours Provence and I was hooked.  Mayle has crisp, descriptive writing style and a dry sense of humor - and he appreciates good food.

Movie producer Danny Roth has a problem.  It's not that he's totally repellant (apparently, that's beneficial to his career), but that no one appreciates his sophisticated palate and his multi-million dollar wine collection.  Naturally, he arranges for the LA Times to do a puff piece on his collection, and equally naturally, someone steals it while he's skiing in Aspen.  Elena Morales, the VP for private claims at Knox Insurance calls her ex-flame, lawyer-turned-criminal-turned-investigator (and all-around connoisseur) Sam Levitt look into the theft.  Sam's a typical Mayle hero - charming in a roguish sort of way and attracted to brilliant and witty  women who just happen to be incredibly attractive.  After a consultation (over a gourmet meal, of course) with a friend in the LAPD, Sam flies to France, meets Sophie Costes from Knox's French office, and Sophie's journalist cousin Phillipe.  Together, they conclude that Roth's wine was stolen by a media magnate I can only describe as a French Burlesconi and devise a suitable resolution.

The Vintage Caper isn't Mayle's best novel (that would be Hotel Pastis), because it's much too routine.  Sophie is suitably sophisticated and Phillipe is suitably rumpled, and at times the plot seems to be an excuse to string together a series of meals.  The meals, though, are fabulous - Mayle may have lightly lifted some dishes from his travel writing, but these meals are worth repeating - the plot holds together, and Mayle's dialogue is (as always) brisk and witty.  I read the final few pages on the train one evening, and smiled so broadly that my seat mate asked what I was reading.

Knots and Crosses

Ian Rankin didn't set out to write mystery novels.  How he could have thought that he would not have been listed as a 'mystery novelist' when his first book focused on a police detective hunting a serial killer is even more of a mystery than the plot of Knots and Crosses, but it doesn't detract from this compelling psychological novel.  

We first see John Rebus at his father's grave, and that sets the tone for Knots and Crosses.  Rebus is chronically depressed and psychologically scarred by his military service.  He's recently divorced, on uncertain terms with his brother (a stage hypnotist), not well liked by his colleagues, and he lives in a very grey version of Edinburgh.  There's a serial killer stalking pre-teen girls, and Rankin alternates between the investigation in which Rebus is involved and scenes featuring his 12-year-old daughter, Samantha.  

Knots and Crosses is a well-written, tightly plotted mystery, and I didn't guess the killer until a few pages before the end.  What struck me, though, was how different the world was in 1987.  There are no cell phones, few computers, no internet...Samantha looks for a library book in a card catalog and the investigation involves shuffling paper instead of scrolling through screens.  There's even a brief passage discussing whether computers will ever replace legwork.  1987 is an almost foreign world, but I lived there - as a college student and a legal adult.  How odd will the world depicted in books published today feel in 2025?

Jane and the Madness of Lord Byron

Warning - Mild spoilers

The last two Jane Austen mysteries have had a bit of melancholy air to them, with a pall cast by the loss of Jane's Gentleman Rogue.  Jane and the Madness of Lord Byron starts with the death of Jane's beloved cousin Eliza but it's a much more vibrant novel than its immediate predecessors.  

Jane and her brother Henry travel to Brighton to recover from Eliza's death.  Along the way, they rescue a young woman who has been kidnapped by the dissipated Lord Byron, a young woman who eventually turns up dead, sewn into a shroud made from the sails of Lord Byron's boat.  Jane is not exactly part of this social circle, but Lord Harold's niece Desdemona (whom Jane befriended in a prior novel) asks for her help on behalf of one of Lord Byron's acknowledged lovers, Lady Oxford.  (Can you imagine how much fun the supermarket tabloids would have with these convoluted relationships?)  

Jane, of course, uncovers the truth but the real joy in the novel is in seeing Jane enjoy her new-found fame.  Everyone is reading Pride and Prejudice, and we get a little bit of a thrill when Byron tells Jane that he wanted to meet her because one must know the competition.  A little bit of money and some undercover fame (according to Barron, if Jane were to admit authorship, she would no longer be able to eavesdrop at the local dinners and balls which serve as her source material) return Jane to the vivacious woman of the earlier novels.  She may ruefully acknowledge her out of fashion robes and her greying hair, but in a way this is her second debut into society.  Sadly, we know it will be a short-lived social career.  Jane has only four more years to live, and only three more years of health.

The Minotaur

Barbara Vine's mysteries aren't so much 'whodunnit' as 'whydunnit' - she usually frames her books as a present-day retelling of a past event, focusing more on how her characters interact than the actual events.  The Minotaur follows that pattern.  Cartoonist Kirsten Kvist is on vacation in Riva when she sees Ella Costway, a member of the family with which she lived when she first came to England from Sweden.  

As a university student in late 1960s Sweden, Kirsten fell in love with an English student and earned a nursing credential so she could follow him back to England.  He helped her find a job as a nurse/companion to John Cosway, a mathematical genius diagnosed with schizophrenia and living in the family home with his domineering mother and three downtrodden sisters.  It doesn't take long for us to realize that John is not schizophrenic but autistic, and that he's been drugged into a near trance, but the book isn't really about John.  It's about his sisters - resigned housewife-without-being-a-wife Ida, 40ish spinsters Winnifred and Ella, and wealthy widow Zorah who on her periodic visits is the only person who treats John as a sentient being.  During Kirsten's year with the Cosways, Winnifred becomes engaged to the local curate and Ella begins an affair with a loutish artist who's moved into the village.  It's a novel of small things which have major outcomes, and one in which the central events just couldn't happen in today's world of cell phones and internet research.  Miss Marple would enjoy The Minotaur - it's a book for students of human nature.

Burn Out

It's amazing how much younger characters become over the run of a series.  When Marcia Muller introduced Sharon McCone, her detective was 28 and I was 8 and more than a decade from discovering her.  24 years later, we're about the same age, and I suspect that I will be older than she by the time Muller retires the character.  Some convenient amnesia comes with the Dorian Gray syndrome - McCone's Berkley days and the 20-odd years it took for her brother-in-law to go from a struggling country musician to a superstar have faded over the past several books - but Muller hasn't totally ignored the passage of time.  Once the lone investigator for a legal co-operative, McCone is now the head of a thriving investigative agency with a dozen operatives and little reason to leave her office.

This development (and the particularly nasty case solved in The Ever Running Man), led to the titular Burn Out.  Theoretically pondering her next career move (but in reality nearly paralyzed by depression), McCone has a chance encounter with a young Paiute woman who is murdered a few days later.   McCone investigates, mainly because the victim's uncle is the caretaker for her husband's ranch, and soon finds herself enmeshed in a web of family secrets and small-town intrigue - which somehow connect to a reclusive billionaire.  

Maybe I've become too good at solving mysteries, or maybe it's only a middling detective novel, but I solved this a bit too early for my taste.  Where Burn Out succeeds is as a psychological novel.  Muller slowly (and I think realistically) draws McCone from her depressive state to 'the old Sharon' as she teases apart the puzzle.  I enjoyed watching McCone wake up and begin to solve the day-to-day problems in both her personal and professional life.  It's a mystery novel for people who want more than justice for the dead in their mysteries.