First published in 1974, this is the sixteenth book in Richard Stark's acclaimed series featuring Parker, the amoral antihero criminal mastermind. While the book can be read as a stand-alone, it is really the capstone of the series to that point and the last Parker novel that would appear until Comeback, a full twenty-three years later.

The original plan seems simple enough: Two years earlier (in Slayground), Parker and several confederates hit an armored car in the Midwestern town of Tyler for $73,000. But before they could get away, the cops closed in and Parker was forced to hide out in an amusement park that was closed for the winter. A group of mobsters and a few corrupt cops laid siege to the park in the hope of separating Parker from the money. Ultimately, Parker hid the money in the park and managed to escape.

Now, after another job has come up empty, Parker decides to go back to Tyler and retrieve the $73,000. He recruits Alan Grofield, one of his long-time associates, and the two of them quietly go to Tyler, wait for the amusement park to close for the night, and head for the spot where Parker hid the loot.

It isn't there.

This will come as no great surprise to the reader because this is the longest of the Parker novels and Parker and Grofield discover that the money is gone on page 21, which means that they will have to spend the rest of the book attempting to get the money back.

Parker is not really surprised to find the money missing either. He reaches the logical conclusion that, in the wake of his escape, the mobsters searched the park until they found the money and appropriated it for their own purposes.

Parker explains to Grofield that he knows who the boss of the local mob is. Parker calls the guy and politely asks that he return Parker's money. Not surprisingly, the mobster claims that he doesn't have it. He insists that his men did search the park but couldn't find it. Parker naturally refuses to believe him and takes several steps to demonstrate that the mobster should not take his threats lightly.

As it happens, Parker and Grofield have arrived in town at a critical time for the local mob. A gang war is brewing and Parker decides that he'll show the locals what a real gang war looks like. He recruits his own gang, composed of a number of characters from the earlier Parker novels, and goes after the mobsters, leading to a sensational climax befitting what Stark originally intended to be the last book in the series.

This is a gripping and very entertaining book that will appeal especially to those who have read the earlier Parker books and who will recognize so many of the characters that Stark resurrects. But it's hard to imagine that anyone who loves crime fiction will not thoroughly enjoy Butcher's Moon.

This is a beautifully-written, captivating book about a number of mostly poverty-stricken rural characters, some of whom are down on their luck and others of whom are simply bad to the bone.

Set in rural Ohio and West Virginia, the story takes place over a period from the end of World War II until the middle of the 1960s. It weaves together the strands of several different stories, and the characters include a husband and wife team of serial killers who hunt their male "models" along the nation's highways. There are a couple of seriously screwed-up preachers, a totally bent sheriff, a war veteran who spends hours at his "prayer log" sacrificing and pleading with God to save his wife who is dying of cancer, and their son, Arvin, who pulls the various parts of the story together. The supporting cast includes a number of minor, but equally well-drawn characters, all of whom are unforgettable.

Also unforgettable is the setting. Pollock paints a vivid portrait of these small towns and isolated farms where hope and opportunity are totally foreign concepts. To say that these people lead often desperate, hard scrabble lives would be an understatement. Although the book is set in the middle of the Twentieth Century, in some respects many of these people are still living as though it were the beginning of the century.

There is a lot of brutal action in this book, but the story is so well-told that Pollock draws you in from virtually the first line. And even though it's very hard to sympathize with a lot of the characters, you turn the last page with a deep sense of regret that the book has ended. Donald Ray Pollock is also the author of the acclaimed Knockemstiff and he is definitely a writer to look for.

I know absolutely nothing about teenage girls--something that, sadly, was also true back when I was a teenage boy. Megan Abbott, on the other hand, either has a very good memory or has done prodigious research into the subject. Actually, I suspect that it's a combination of both, and the result is her excellent new novel, Dare Me. The book is a meditation on the nature of friendship, love, competition, betrayal and young girls coming of age, set in the world of cheerleading. In it, Abbott expose...moreI know absolutely nothing about teenage girls--something that, sadly, was also true back when I was a teenage boy. Megan Abbott, on the other hand, either has a very good memory or has done prodigious research into the subject. Actually, I suspect that it's a combination of both, and the result is her excellent new novel, Dare Me. The book is a meditation on the nature of friendship, love, competition, betrayal and young girls coming of age, set in the world of cheerleading. In it, Abbott exposes the dark underside of the cheerleaders' world and describes a culture that would have me quaking in my boots if I had a teenage daughter. Beth Cassidy and Addy Hanlon have been best friends since childhood. Beth is the tough-as-nails, natural born leader and Addy is her able lieutenant. They are both tanned and beautiful and are the stars of their high school's cheerleader squad. Until now, this has required little more effort than the occasional lackadaisical practice, maintaining their hairdos and shaking their assets come game time. But suddenly there's a new sheriff in town or, actually, a new coach who takes cheerleading seriously as an athletic competition. The coach, Colette French, is not that much older than the girls themselves, but she drills them like Marines and whips their bodies and their attitudes into shape. Before long, they're doing routines they never would have dreamed of before. Most of the girls, Addy included, buy into the program enthusiastically. But Beth is not happy. Coach or no coach, she has always been the team's natural leader, and she detests even the suggestion that she might be eclipsed by the new coach. She is particularly unhappy about the fact that in her view, Addy has turned against her by aligning herself with the coach, and Beth is not a girl who will take this lying down. The coach is a woman with troubles of her own, which soon bubble to the surface with dire consequences for the young charges she has drawn into her orbit. To say anymore would probably be to say too much. Suffice it to say that these characters are fully drawn, eminently believable, and may of them are scary as hell. But watching the story unfold is mesmerizing--you cannot turn away. Megan Abbott has delivered another very good book that will linger a long time in the reader's memory.

As the tenth book in John D. MacDonald's Travis McGee series opens, McGee is once again called upon to restore a grieving widow to psychological and sexual health. The grateful woman, Helena Pearson, returns to her normal life, but several years later, she is dying of cancer and calls upon McGee for one last favor. Helena's daughter, Maurie, has become mysteriously suicidal and Helena would like McGee to diagnose the problem and find a solution.

McGee dutifully journeys to Fort Courtney, Florida, where Maurie lives with her husband, Tom, a high-flying local developer. Maurie's younger sister, Bridget, is also in residence, helping Tom look after Maurie. Sadly, by the time McGee arrives, Helena has succumbed to her cancer and so McGee is left to feel his way through a very complicated situation if he's going to be of any help.

As is usually the case in one of these novels, things get complicated in a big hurry. A number of folks seem to be very interested in McGee's arrival; a couple of people will have to die; everyone will be enormously confused and only McGee may be smart enough and devious enough to sort things out.

Like all of the McGee novels, this one is obviously dated, and McGee spends a lot of time philosophizing about the world around him. There's not as much action in this book as in most of the others in the series--things are a bit more cerebral--and there's not a hulking, giant, Neanderthalish brute of an adversary as there often is. The climax beggars belief a bit, but still, it's a fun read and anyone who enjoys the series will certainly want to find this entry.

Introducing Kinsey Millhone

This is the book that introduced Kinsey Millhone and helped inaugurate a new era in crime fiction when female investigators like Millhone and Sara Paretsky's V. I. Warshawski could go toe-to-toe with the bad guys and more than hold their own with their male counterparts like Spenser, Sam Spade and Philip Marlowe.


Millhone has a modest solo practice as a P.I. that she runs out of a small office in the fictional town of Santa Teresa, California. Orphaned as a child and twice divorced, she lives a quiet, solitary life, eschewing the kinds of possessions and personal connections that most people take for granted. But this is her life and she's perfectly happy with it. Certainly she would never be mistaken for Miss Marple or Jessica Fletcher. And unlike any number of other female sleuths, she is perfectly capable of solving difficult mysteries without the assistance of a cat.

Enter Nikki Fife, recently released after an eight-year stint in prison for murdering her husband. One might wonder why Nikki got only eight years for a premeditated murder, but this is never explained. Nikki continues to insist that she was innocent and she hires Kinsey to find the Real Killer.

The husband, Laurence Fife, was a philandering attorney with a loose moral code who had antagonized any number of potential suspects. But the police and prosecutors argued that only Nikki could have poisoned one of Laurence's allergy capsules and she was thus convicted on this rather flimsy evidence.

Kinsey takes the case and almost immediately discovers that there was a lot more going on in the case than the police and prosecutors revealed at the time of the trial. To make matters worse, as soon as Millhone begins poking around, people with ties to the case start turning up dead, and before long, Kinsey may find herself in the line of fire.

This is a good introduction to a series that would develop very long legs and attract a huge fan base. Thirty years after the publication of "A" Is for Alibi, Kinsey Millhone still soldiers on and Grafton has nearly reached the end of the alphabet. Some have questioned Grafton's decision to leave her protagonist and these stories glued to the 1980s, and the books have become, as a practical matter, historical crime novels in which there are still no personal computers, cell phones or Internet and where the heroine remains perpetually in her middle thirties. But Grafton has attracted legions of fans to the series, so she must be doing something right. And certainly any fan of crime fiction should be at least marginally acquainted with Kinsey Millhone.

The Fourteenth Matthew Scudder

I've long run out of superlatives to use when describing Lawrence Block's Matthew Scudder novels which remain, easily, my favorite crime fiction series.

This is due entirely to the richly-drawn character that Block has created in Scudder who has continued to grow and evolve through seventeen novels and a number of short stories, published over a period of thirty-five years. It's hard to imagine a fan of crime fiction who has not yet encountered these books, but for those who might not know, Scudder is a former New York cop and recovering alcoholic who has spent most of his career as an unlicensed P.I. doing favors for "friends" who then pay him what they think the job is worth.

For most of this time, Matt lived alone in a tiny hotel room in the Hell's Kitchen neighborhood of New York, and the city has become a major character in the books. Now well into middle age, Matt has recently married Elaine Mardell, his longtime girlfriend, and moved into an apartment across the street from his old hotel room. He's also finally gotten a license as a private investigator, which enables him to work for attorneys and others from whom he can command a better rate of pay. The neighborhood is gentrifying which is both good and bad as Matt (along with the reader) mourns the passing of landmark institutions that had long populated his neighborhood.

In short, life is good, but then Matt's long-time best friend, the gangster and saloon owner Mick Ballou, comes under attack from a mysterious unidentified enemy. He appeals to Matt for help and almost immediately, Matt becomes a target as well.

As always, the real pleasure in this book is watching the interaction among the characters and listening in as Matt ruminates about the developments in the case and the changing world around him. This is one of the more violent books in the series, and the blood starts flowing early on. From almost the first page the bodies are dropping left and right, and the only question that matters is who will survive in a dangerous world where everybody dies.

This is another very good entry in Michael Connelly's series featuring L.A. homicide detective Harry Bosch. The case opens in the middle of the night when Harry's team is called out to the scene of a double homicide. A man and a woman have been shot to death on a trolley called Angels Flight. Harry cannot figure out why he has been called since his team is out of the rotation that night.


He arrives at the scene to find that one of the victims is an African American attorney named Howard Elias. Elias has made a career and a name for himself by suing the L.A.P.D. in cases where Elias charges police abuse of the city's minority citizens. Elias is in the midst of preparing an explosive new case against several police detectives.

Obviously, this will be a high profile case, and Harry isn't certain whether he's been assigned to the case because of his excellent record or because he's being set up as the fall guy if the case isn't solved. The cynic in Harry speculates that he's been given the case because the other two members of his team are black and the department hopes that this will help tamp down the furor that is bound to explode in the black community when the victim's names are announced.

Given the way the shooting occurred, Harry quickly concludes that Elias was the principal target and that the poor female victim was simply in the wrong place at the wrong time. The real difficulty in the case is that the most obvious suspects are the cops that Elias had sued or was in the process of suing.

Harry's team must thus navigate very treacherous waters. Lots of cops make it clear that they just want the crime written off as a robbery gone bad and swept under the rug. The black community wants "justice" which in their vew apparently means that they won't be satisfied until a cop is indicted and convicted for the killings. And, of course, Harry's bosses in the department seem more concerned about protecting the department's reputation than they do in seeking the real truth.

Harry being Harry, he is determined to solve the crime and let the chips fall where they may. The department throws all sorts of obstacles in the way of his investigation, and the black community is seething. Any spark could touch off a major riot. If all of this weren't bad enough, Harry is working through marital problems. The question is, can he push through all of this and solve the crime before the city explodes?

Connelly has written here a complex story with a number of flawed and well-drawn characters, principal among them Harry Bosch. He demonstrates once again his intimate knowledge of L.A., a city he obviously cares about deeply. Angels Flight makes an even stronger argument that no one is writing better police procedurals these days than Michael Connelly