Classic Spenser: The Godwulf Manuscript by Robert B. Parker

Classic Spenser

The Godwulf Manuscript

The Godwulf Manuscript

by Robert B. Parker
Series: Spenser, #1

Mass Market Paperback, 204 pg.
Dell, 1973

Read: January 25-27, 2020

Grab a copy from your local indie bookstore!

Driving back to Boston, I thought about my two retainers in the same week. Maybe I’d buy a yacht. On the other hand maybe it would be better to get the tear in my convertible roof fixed. The tape leaked.

I came to this series about thirteen (possibly fourteen) years late, but to be fair, I would have been thirteen (possibly fourteen) when I started reading it. I wouldn’t have been able to appreciate Spenser without having spent some time with Leroy Brown, Jupiter Jones/Peter Crenshaw/Bob Andrews, Tabitha-Ruth Wexler and others (as I’ve invoked Brown, I hope I remember to draw a line between Sally Kimball and Spenser’s version when I discuss Promised Land). The Godwulf Manuscript wasn’t the first novel I read in the series, I’m going to guess I’d read three or four others before I found this in a used book store. I did find, I now know, a copy with the original cover (as seen above). A year or two later, I loaned it to a friend who proceeded to lose it. I got over it (probably because I didn’t care about things like early editions then) and despite losing that copy, that friend later became my first college roommate, and I didn’t kill him in his sleep for it. Not even once.

That excursus down memory lane means nothing to you, but I put it there in case that friend reads this post. I hope he remembers the Klingon proverb, bortaS bIr jablu’DI’ reH QaQqu’ nay’.

I’ll hold off on talking more about my background with this series for now, but the fact I’ve been reading, and re-reading, and re-re-reading, and re-re-re-reading these books since 1986 (possibly 1987) probably gives you a pretty good idea what I think of them. I could probably write lengthy posts on the first twenty novels in this series without reading them again—but where would be the fun in that? Of the twelve Spenser novels I’ll be revisiting this year, this one is in my bottom two and I’ve read it at least fifteen times, and I don’t see me stopping reading it anytime until I start sleeping the big sleep.

Yeah, that was a purposeful Raymond Chandler allusion. Why? Because this whole novel is a giant Chandler allusion*. From naming his main character after a British poet; to Spener’s attitude, demeanor, voice, etc.; to the opening paragraphs; and so, so much more this whole book screams Parker’s debt to and affection for Raymond Chandler. Spenser as a Shadow of Philip Marlowe will ebb and flow over the years, but I don’t think it’s ever more pronounced than it is in these pages.

* Yeah, there are other influences afoot in these pages, I realize. But Chandler is the primary influence, and this isn’t a dissertation. I don’t have the time to be exhaustive, I have at least 9 other posts I want to complete this week and if I don’t cut a corner or two, I won’t be able to get to them.

So what are these two retainers mentioned above? The first comes from an unnamed university that bears a striking resemblance to Northeastern (Parker’s employer when this was released). An illuminated manuscript has been stolen and is being held for ransom. The problem? (or at least one of them) The University doesn’t have the kind of cash the ‘script-nappers want. They do have a suspect, however, a radical political group on campus: SCACE (Student Committee Against Capitalist Exploitation). Catchy, eh? Spenser starts looking into the group, focusing on a couple of the leaders.

Within a few hours, one of those leaders is dead and another is the prime suspect for the murder. She’d called Spenser for help right after the murder, and he believes her (for compelling reasons you should read for yourself). This leads to the second retainer, her father—a pretty successful capitalist, it should be noted—hires Spenser to clear her for the murder.

The hunt for the manuscript and the murder will end up involving a cult, a couple of very dysfunctional marriages, drug dealing, a couple of hitmen, and a mob boss. Basically, Spenser has his hands full.

While there are many aspects of this novel that Parker will tweak for future installments, there’s a lot that he establishes here that he’ll revisit. Spenser gets fired because of his attitude (as demonstrated by his ignoring—rightly—the University’s insistence that he leave faculty alone), his being fired doesn’t stop him from sticking with the job, however. There’s a shootout in an unpopulated area near Boston*. Spenser cooks a pretty decent meal for himself (not quite Fritz Brenner’s level, but close enough for a guy cooking for one), and proves himself more literate than anyone looking at him would assume. The climactic fight will be echoed in upcoming books, featuring someone who has no business fighting anyone taking on a hardened criminal of sorts solely on the basis of love and desperation. Parker does get away from this, which is good—if only for the sake of variety—but man, I love it every time he uses this.

* My knowledge of Massachusetts geography comes wholly from the novels of Parker, William Tapply and Dennis Lehane, so I can’t be more specific than “unpopulated”.

Spenser physically roughs up a couple of college kids and verbally pushes around an older man. Each incident is followed by Spenser berating himself. This is the kind of thing that you don’t see a whole lot in the hardboiled world before Spenser’s debut. Parker will do a more subtle job in the future of showing that while Spenser will resort to violence when necessary, he doesn’t relish it (except when he knows the recipient is guilty of something) and regrets the act. But here, it’s pretty clear that Parker’s trying to show that Spenser isn’t unfeeling about acts of aggression.

There are things that show up here that will disappear—Spenser sleeps with two different women and is fairly casual about it. He’ll later become a paragon of monogamy, but that’s a couple of years away. Still, he’s less of a player next time we see him. He’s also a bit more antagonistic to most of the police that he encounters than he’ll be in books to come. Some of that is a shift in Spenser, some of that is a growth in the relationships he develops with individual members of BPD.

The main thing that sticks around in the future are some of the characters—we meet people here that Spenser still knows and interacts with on a regular basis. Spenser flirts a lot with the secretary for the head of Campus Security, and we’ll see her later. A reporter for the Campus newspaper gives Spenser a lot of help and information about various people/groups on campus, her name is Iris Milford and when Ace Atkins brought her back in 2015, I may have let out an audible whoop. We meet Spenser’s lawyer, Vince Haller, who not only helps Spenser, but the college student being framed. Haller will eventually disappear from the stage (I realize as I write this), but he’s a frequent presence for a long time to come.

But the three big recurring characters are Lt. Martin Quirk, Sgt. Frank Belson and Joe Broz. Spenser and Belson (a homicide detective) have some history and clearly respect (and even like) each other. Belson’s smart, appears lazy (appears), perpetually has a cheap cigar in his mouth (I think that’s a characteristic in this novel, if not, it will be next time we see him). Belson’s superior is Lt. Quirk. Quirk is a very no-nonsense cop, he’s driven, almost humorless, and has no use for private investigators, but sees a little value in Spenser and begins to trust him a bit over the course of this novel. Joe Broz, on the other hand, couldn’t be less a homicide detective if he tried—you could argue Broz (and his employees) are responsible for the continued careers for a handful of homicide detectives. He’s a crime boss of some notoriety and viciousness. At this point (and for some time to come), he’s the most powerful mobster in Boston (although we will soon meet competition). Spenser will be a thorn in Broz’s side for a long, long time.

It occurs to me that I haven’t described Spenser himself. He’s a former professional boxer (not that good, but he did get his nose broken by someone who was very good); a Korean War vet; a former Massachusetts State Trooper, assigned to the DA’s office in a County that fluctuates depending on Parker’s memory; and now a Private Investigator. He’s very literate, he likes to cook (as I mentioned), he drinks a lot, thinks he’s funnier than anyone else does (except the readers of the novels)—which brings him a lot of grief. We don’t get a lot of insight into it in this novel, but honor’s very important to him and it will influence the way he deals with clients, victims, criminals and everyone else along the way. He’s very much a latter-day knight.

I’m not sure that the mystery is all that clever, but the strength of this book is riding along with Spenser as he goes around annoying people until someone does something that he can catch them at (a strategy he’ll spell out in the future, but follows here). I love the voice, I enjoy the character, and watching him go about his business is a pure joy for me.

I haven’t discussed the action/fight scenes yet, and Parker’s approach to them (particularly in the first 15-20 of the series) has always greatly appealed to me. Parker has to address violence, given his chosen genre–and Spenser is a violent man. But in months to come, we see the character address that in such a way to give us insight into why Parker uses it the way he does (I think). So I’ll put a pin in this for now (also, this is long-winded enough at this point that I’ll take any excuse to wrap things up).

I, obviously, highly recommend this book—but I’ll be the first to say that the second is much better and the fourth and fifth in this series are better yet. You don’t have to start with this one for future books to make sense—in fact, you might appreciate Spenser more if you start later on. But for my money, you’re not likely to find many characters as compelling in contemporary (or at least late-Twentieth Century) hardboiled fiction. For introducing the character to the world/the world to the character of Spenser, The Godwulf Manuscript is well-worth the time. Even if it wasn’t the start of something big, it’s still entertaining enough for me to encourage you to read it.

This post contains an affiliate link. If you purchase from it, I will get a small commission at no additional cost to you. As always, opinions are my own.

Food: A Love Story by Jim Gaffigan (Audiobook): Gaffigan’s Tribute to the Topic that Defines his Comedy

Food: A Love Story

Food: A Love Story

by Jim Gaffigan

Unabridged Audiobook, 7 hrs., 17 min.
Random House Audio, 2014

Read: December 11-13, 2019


This is largely what I said about the book in 2015, but I have a few more thoughts about Gaffigan’s book on parenting, Jim Gaffigan offers a book on his true strength: food.

As with Dad is Fat, a lot of this is material I’ve seen/heard elsewhere, but most of it isn’t. There’s more than enough original material to satisfy even those who’re familiar with has specials. I think, so anyway—I don’t have an encyclopedic knowledge of Gaffigan’s material, as much as my children want me to (I wouldn’t mind it, either).

On the whole, this is about what foods, dishes, and practices he likes—but he breaks it up with things he can’t stomach or understand. Sometimes, like with the chapter on Reuben sandwiches, he handles both.

The chapters on Coffee, Steak, Doughnuts, Breakfast, Hot Dogs and Bacon stand out particularly for me. Although the pair “Nobody Really Likes Fruit” and “Even Fewer People Like Vegetables” really amused me, even beyond the great titles.

Actually, there’s really nothing that didn’t amuse me.

Naturally, there’s an entire chapter devoted to Hot Pockets. That’s all I’m going to say about that, it speaks for itself.

Because the book is pretty tightly focused, there are two ways I’d recommend to read this book: in one setting, or broken up into tiny chunks over several days. There’s a danger of things getting repetitive that either of those tacks reduces.

I’m going to limit myself to just a few highlights, there’s quotable material on almost every page:

A.1. was always on the table when my dad would grill steaks. It seems everyone I knew had that same thin bottle of A.1. It always felt like it was empty right before it flooded your steak. Ironically, the empty-feeling bottle never seemed to run out. I think most people still have the same bottle of A.1. that they had in 1989. Once I looked at the back of a bottle of A.1. and was not surprised to find that one of the ingredients was “magic.”

Of course I am aware that doughnuts are bad, horrible things to eat, and according to my health-nut wife, they are not appropriate for a trail mix. I’ve repeatedly tried to explain to Jeannie that I’m on a different trail. Mine leads to the emergency room. Trail mixes have nuts, and my favorite nut is most definitely a doughnut.

In my opinion, however, the line of the book has nothing to do with food:

Bill Shakespeare himself, another actor who did some writing…

Listening to Gaffigan added a little more to the experience—sure, it’s easy to imagine him saying the same things, it’s another one to hear him do it. It’s not a superior experience to reading the book, but it’s an added flavor that makes it fresh even on the second exposure.

I’ve spent the last few months trying to change my eating habits, which made enjoying this celebration of unhealthy eating a little personally ironic (particularly for the 35 minutes I spent on a treadmill), but it still made me laugh. If you’re the kind of person who eats food, has opinions on it, and likes to laugh, pick yourself up a copy.


4 Stars

2019 Library Love Challenge<Humor Reading Challenge 2019

Fletch, Too (Audiobook) by Gregory McDonald, Dan John Miller: Fletch’s Ski Trip to Nairobi

Fletch, Too

Fletch, Too

Gregory McDonald, Dan John Miller (Narrator)
Series: Fletch, #9 (#2 Chronologically)

Unabridged Audiobook, 5 hrs., and 43 mins.
Blackstone Audio, 2019

Read: August 21-22, 2019


Up to this point, we know practically nothing about Fletch’s personal life—he’s been married (and divorced) twice and engaged once or twice in addition to that. He’s carried on an on-again/off-again relationship with Moxie Mooney. Served with valor in the Army, made a couple of good friends there. That’s pretty much it—most of what we know about Fletch is about his professional life—and then the amateur sleuthing/investigative journalism he’s done since he didn’t kill Alan Stanwyck. We know next to nothing about his family, his childhood, and so on.

In Fletch, Too McDonald decides to fix that. Picking up right after Fletch Won (like a day or two after) with his first wedding, the revelations start right away. We meet Fletch’s mother, a mystery novelist of some renown (but perhaps not of the highest caliber). After the ceremony, he’s handed a letter from someone claiming to be his father. Fletch had been told that his father had “died in childbirth,” so he’s taken aback by this. The letter describes (briefly) why his father had not been around for his life and that he’s “mildly curious” about his son. If Fletch is at least “mildly curious” about his father, he’s invited to visit him in Nairobi for their honeymoon, tickets are enclosed.

More than mildly curious, and driven to get some answers (or at least a good story), the two hop that plane (bringing their luggage and skis packed for a trip to Colorado). At this point, it stops being a standard Fletch novel and becomes something more akin to Carioca, Fletch. Before they leave the airport, Fletch witnesses a murder (unbeknownst to the murderer).

Fletch makes a couple of attempts to investigate the murder, but due to circumstances, a language barrier, police not given to outsiders’ help, and the lack of anything to go off of, he doesn’t get far. In fact, minor spoiler, the only reason Fletch “solves” the murder is that he recognizes the killer toward the end of the book. Which makes for a fairly unsatisfying “mystery” novel.

Where this book gets interesting is as Fletch and his wife meet some locals, explore the city, and meet a colleague of his father’s. We’re treated to a look at the culture, legal system (or lack thereof), history and some speculative Archeology about the area. It’s interesting—but it feels more like McDonald had an interesting vacation, read some good books on the region and/or had some great conversations with people from Nairobi and wanted to share what he’d learned (again, see, Carioca, Fletch).

I think I appreciated this more than the other non-standard Fletch because 1. I came in with low expectations (remembering how little I liked it) and 2. the supporting characters are more interesting.

At this point, I assume (and am supported by experience) that Miller will do a capable job with the Narration and he helped me enjoy the experience.

This is one for completists, for those who are curious about Fletch’s backstory, or for those who have a hankering for learning about Kenya. It’s not a bad book, it’s just not as good as it should be.


3 Stars
2019 Cloak & Dagger Challenge

Fletch Won (Audiobook) by Gregory McDonald, Dan John Miller: A Real Mixed Bag

Fletch Won (Audiobook)Fletch Won

by Gregory McDonald, Dan John Miller (Narrator)

Series: Fletch, #8 (#1 Chronologically)
Unabridged Audiobook, 6 hrs., 30 min.
Blackstone Audio, 2018

Read: June 20 – 26, 2019

This is chronologically the first Fletch novel, he’s a rookie reporter, who’s been bounced around from headline writer, to obituaries, to wedding announcements, and is finally sent to the Society pages—with a warning. Fit in, and don’t make any trouble or he’ll be unemployed. His first assignment is to meet with an attorney, Donald Habeck, in the publisher’s office to discuss a major donation he’ll be making to a local museum and do a puff piece about it. Fletch objects, wanting to do real news—the kind of stuff he’ll later be known for. His editor (Frank Jaffe, a name known to those who’ve read Fletch and Fletch and the Widow Bradley) refuses, insisting that this is his assignment—and maybe later he’ll get a chance to do something else.

There’s a catch—Habeck is murdered in the newspaper’s parking lot on his way to this meeting. Fletch jumps on the opportunity to report on this, but the senior crime reporter shoos him off (and Jaffe). Fletch tries to exercise squatter’s rights, but no one is having any of it. Naturally, this means that Fletch will ignore this and will investigate the murder on his own—and typically is a few steps ahead of both the police and the senior crime writer.

In the meantime, he has to do his actual job (at least until he has something he can print). There’s another story they want Fletch to work on, there’s a local “escort service” parading itself as a fitness establishment—Jaffe insists that Fletch do an expose about them. To stay employed, Fletch agrees—but threatens the most detailed and explicit expense report ever. This isn’t a story that appeals to Fletch—I don’t think he cares too much if this service is just close to prostitution, or if it’s the actual thing—and he has better things to do with his time. Also, he’s about to get married, the last thing his fiancé is going to want is him hanging around a brothel all day.

The opening chapter is a hoot. As are several of the encounters Fletch has with the members of Donald Habeck’s family (particularly his wife)—and Alston Chambers never fails to be amusing. The escort service story is fun, and ends up being the kind of thing that Fletch can write about—but its main purpose is to give Mcdonald an opportunity to opine on our cultural obsession with beauty, health, and so on, while causing problems for Fletch’s personal life. There’s not a lot of meat to this story, but there’s a lot of fun. On the other hand, the murder investigation is great and vintage Fletch. It’s the best part of the book (as a mystery novel, I guess it should be, right?)

All in all, a decent Fletch novel—full of interesting characters, a nice twist, Fletch bucking all sorts of authority (police, veteran reporters, Frank Jaffee), and more than a few amusing situations. It works as an origin story, how did he become the sort of reporter we know, etc. As I mentioned earlier, we even see young Alston Chambers — just starting as an associate in a powerful law firm. But—and this is a big but— this places Fletch at the newspaper we know he ends his newspaper career with as a rookie, as a man about to be married (for the first time). We know there’s not a lot of time between the end of his first marriage and Fletch, but there’s some. Enough for a second marriage and the Window Bradley events, but not much more. What there isn’t time for is the past referred to in Confess, Fletch, Fletch’s Fortune and even hinted at in The Man Who — and the first two of those depend on Fletch’s history to work. Unless we’re to believe that his wives let him leave the state, work in a variety of other papers, developing a Fletchian reputation, move back to the same paper he started his career in (with the same senior editor), and then hit him up for alimony and still be carrying a torch for him. It stretches credulity a bit too much for me to stomach. The next book, Fletch, Too, doesn’t help things.

Does that ruin Fletch Won for me? Not totally, but that alone keeps it out of my personal top-tier Fletch novels and rank it slightly above The Widow Bradley (only for the chuckles it gives me). Clearly, McDonald isn’t as picky about this sort of thing as many of his readers are, but man, that rankles. Still, it’s fun, it features entertaining characters— some odd poetry—and enough Fletchisms to keep you happy. It’s a good time, and if you ignore what it suggests about the rest of the series, you should have a good time.

—–

3.5 Stars
2019 Cloak & Dagger Challenge

Fletch and the Man Who (Audiobook) by Gregory McDonald, Dan John Miller: Mcdonald and Fletch at their Best

Fletch and the Man WhoFletch and the Man Who

by Gregory McDonald, Dan John Miller (Narrator)
Series: Fletch, #6 (#8 Chronologically)Unabridged Audiobook, 6 hrs., 14 min.
Blackstone Audio, 2018
Read: May 14 – 18, 2019

“Good morning,” Fletch said. “As the governor’s press representative, I make you the solemn promise that I will never lie to you. Today, on this bus, we will be passing through Miami, New Orleans, Dallas, New York, and Keokuk, Iowa. Per usual, at midday you will be flown to San Francisco for lunch. Today’s menu is clam chowder, pheasant under glass, roast Chilean lamb, and a strawberry mousse from Maine. Everything the governor says today will be significant, relevant, wise, to the point, and as fresh as the lilies in the field.” …

“Is it true you saved Walsh Wheeler’s life overseas?” Fenella Baker asked.

“That’s another thing,” Fletch said. “I will never evade any of your questions.” He turned the microphone off and hung it up.

I think this is my favorite Fletch novel (that spot may actually bounce between this and Fletch’s Fortune), and I could practically recite portions of this with Miller’s narration while driving. This doesn’t mean I didn’t catch anything new, it just means that I enjoyed this time through immensely.

An old Army buddy (and C.O.) of Fletch’s calls him up for a favor — his father, Caxton Wheeler, is running for an unnamed party’s presidential nomination and has just had to fire their long-term press secretary, could Fletch step in? Minutes before Fletch arrives at the hotel the campaign is using a young woman plunged to her death from one of the rooms on the higher floors (later shown to be the candidate’s room). Fletch’s first job is to discover if she jumped or was pushed — and then to make sure that it had nothing to do with the campaign.

Sadly, it appears she was pushed — and she was associated with the campaign. Even worse, it seems like she’s the latest in a string of dead women near the campaign. Giving Fletch a quandary. He needs to figure out who is doing this killing (assuming it’s one person), insulate the candidate — and keep anyone else (i.e. the press) from printing the facts.

Fletch as an obstacle/opponent/facilitator (all at the same time) of the press in any shape is just a lot of fun. His instincts, training, and inclination is to dig into a story, find the facts on his own, and run the story. His new job is to feed information to reporters, keep them from doing any fact-finding on their own, and to hide aspects of the story. It is so fun to watch him struggle in this role.

Particularly because one of the reporters on the press bus is Freddie Arbuthnot, someone who might be a better reporter than Fletch. She’s certainly more employable than he is — as she’s a crime reporter, her presence on the campaign tells Fletch a lot about how serious this string of murderers is. Also, she’s a whole lot of fun as a character, so the reader gets something out of it, too.

Speaking of returning characters, we get Alston Chambers again — I need to do a better job of tracking his career path, but I think he’s moved up in the world a bit since we saw him last, so good for him. Alston served with Fletch under Walsh Wheeler and provides some vital information for his friend. He’s also just a great guy for Fletch to talk to and bounce things off of, helping both the character and reader to process what’s going on.

So who are the recipients for Mcdonald’s critique/satire? There are so many — tabloids (particularly the mid-80s version of them), politics, the press’ political coverage (about the horse race, not the ideas/work), pressures on a candidate (Wheeler is given drugs to wake up, keep him going and then to go to sleep because there’s no way that he could do that naturally with the pressures/pace of the campaign). Given his target-rich environment, the book could’ve been twice as long just to give Fletch the opportunity to tilt at a few more windmills and wouldn’t have lost much of its punch. Like I said with Fletch’s Moxie, it seems like his satire is even more on-point now than it was thirty years ago. Which really shouldn’t be the case.

I appreciated the fact that Mcdonald left party names out of this, and none of Wheeler’s policies can be easily labeled as belonging to one of the major parties. Anyone can read him as being one of their own (or, if they’re so inclined, one of the other guys). There’s not targeting or critique of a particular party, just the entire process.

At one point, inspired by a conversation he has with Fletch, Wheeler has a moment of statesmanship (a no-no for a candidate, Fletch is told) where he talks about the ways that technology is connecting the planet and helping share information in ways unthinkable generations earlier, and talks about how it will increase in that way. Essentially predicting the Internet as we know it. Granted, it’s a more utopian vision of the Internet rather than the dumpster fire it frequently is. But Wheeler/Mcdonald has a vision for what today is in a way that no mystery writer in 1983 should’ve.

Caxton Wheeler and his driver, Flash, will show up in a Flynn book that takes place sometime before this. They’re not there a lot, but I remember the first time I read that and it blew my mind (that was my second Flynn novel and I’d yet to find Confess, Fletch so I had no idea the universes were linked) while in Middle School.

Dan John Miller is great yet again — I’ve got nothing new to say about him. I need to track down some of his other narrations, see what I think of them.

Mcdonald shifts gears with his writing and the series after this, and I really, really wish he wouldn’t have. A few more books in the vein of Fortune, Moxie, and The Man Who would’ve been a boon to his readers, and would’ve solidified Mcdonald amongst the all-time greats. I’m sure he had his reasons, but from my vantage point (now and for the last couple of decades), he shouldn’t have. In the meantime, this work is a great mystery, fantastic commentary on politics and the media, and even a bit of prescience — bundled together with Mcdonald’s sharp prose, winning dialogue and characters that demand to be re-read. I can’t recommend Fletch and the Man Who highly enough.

—–

5 Stars
2019 Cloak & Dagger Challenge

Fletch’s Moxie (Audiobook) by Gregory McDonald, Dan John Miller: Fletch Solves a Very Hollywood Murder in Key West

Fletch’s Moxie (Audiobook)Fletch’s Moxie

by Gregory McDonald, Dan John Miller (Narrator)
Series: Fletch, #5 (#8 Chronologically)

Unabridged Audiobook, 5 hrs., 51 min.

Blackstone Audio, 2018

Read: April 24 – 29, 2019

So in the last book, we met Moxie Mooney while Fletch was still a working journalist. They’d known each other for some time at this point, and it might have been just about the last time they saw each other until now, sometime following Fletch’s Fortune (when his tax problems were taken care of and he could return to the States), although she had visited him in Italy shortly before this.

Moxie’s decided she needs Fletch’s help with something, she’s got some sort of problem that needs investigating, and who better? When Fletch arrives on the movie set for her current project in Florida, he’s just in time to help her with a brand-new problem. She’s appearing on a (pre-taped, thankfully) TV interview with her business manager—the only people on the set (or near enough the set) are Moxie, her manager, and the interviewer. So when the manager is killed with a knife to the back, there aren’t a whole lot of suspects.

Fletch jumps to action and gathers a lot of information (as only he can) before the police really even know what’s going on, including an in-depth interview (that doesn’t look like one) with the widow. He then whisks Moxie away to the home of a business associate in Key West, to keep her out of the spotlight while he can do some digging into both of her problems.

Great plan, that doesn’t account for two things: 1. Moxie’s father, the illustrious stage and film actor, Frederick Mooney—known more now for a constant state of drunkenness is visiting her, too, and has to come along; 2. Moxie tells the director and most of the cast where she’s staying and they arrive, too. Having a cast of movie stars past and present staying in one house tends to attract a bit of attention—especially when they’re associated with an unsolved murder.

One thing Fletch has done recently is buying enough stock in GCN (Global Cable News—a CNN-like entity) that executives take his phone call and pay attention to his news tips. This turns out to be pretty advantageous and helps with some of his research—this will prove fruitful for future books, too.

Fletch investigates the murder in the way he does best—by talking to people and interviewing them without their realizing it and making phone calls. I just love watching him work. It’s an intricate problem and Fletch’s solution is quite clever.

This particular book gives McDonald a chance to do two things—better explore Moxie’s character (who might be a richer character than Fletch, but not one you could base a series on) and lampoon Hollywood and its approach to the art/business of movie-making. Almost everything he talks about in this 1982 book is still prevalent — and maybe moreso.

I have nothing new to say about Dan John Miller—he’s a really good narrator and perfect for the series. I assume at this point, I’ll hear his voice in my head for at least part of the time I think about this character in the future.

This isn’t my favorite Fletch book, but it’s one of the best and a great showcase for both the character and McDonald. Amusing, insightful, smart and fun—hard to ask for more.

—–

4 Stars
2019 Cloak & Dagger Challenge

Fletch and the Widow Bradley (Audiobook) by Gregory McDonald, Dan John Miller: An oddly contemporary-feeling Fletch novel that’s good but not really good.

Fletch and the Widow Bradley (Audiobook)Fletch and the Widow Bradley

by Gregory McDonald, Dan John Miller (Narrator)
Series: Fletch, #4 (#3 Chronologically)

Unabridged Audiobook, 5 hrs., 28 min.
Blackstone Audio, 2018

Read: April 1 – 4, 2019

Fletch checks in to his office before returning from a few days away to find out that he’s fired. He’d filled in for an injured colleague to write a profile on a small local business that the Gazette had written an exposé about a few years before, just to see how they were doing in the aftermath. They were doing fine, and Fletch had quoted recent memos from the CEO demonstrating that. The teeny tiny problem there is that the particular CEO had been dead for a couple of years. Quoting corpses is generally frowned upon (unless you’re writing about voters’ views on Chicago politicians, I guess), and so Fletch is fired. Not only that, he’s probably finished forever as a journalist.

Understandably, Fletch is incensed. He’s angry. He’s also mystified — he knows what he read. He knows he did good work — how did they fool him? More importantly, why? If his career is over, he’s going to know why it happened. So he starts interviewing those nearest the dead man — his business associates, family, and so on — he eventually flies across the country a couple of times (and up to Alaska, too).

At this point in Fletch’s life, he is notoriously dead broke — recently divorced (again) with attorneys looking for alimony payments, and (as mentioned) fired. So how does he afford the gas and airline travel? Well, he found a walled with a whole lot of money in it and cannot find the owner. So he borrows a little bit. This is a very odd little storyline that I honestly have never fully understood. Not the events in it, but the reasoning behind its inclusion in the book. Other than to give Moxie (more about her in a moment) and Fletch something to talk about, and to give Fletch money for plane tickets.

Now, close readers might pick up a thing or two (if they haven’t read the books anyway) — I said Gazette (the paper that Fletch was almost certainly fired from after Fletch) and “at this point in” his life and “recently divorced.” This is the first time where Mcdonald bounces back in time for a novel — this is why I’ve noted publication order and chronological order in my post headings for this series. Mcdonald needs Fletch to have a newspaper job to tell this story — and post Fortune, that’s not really likely (it’s not like he needs the money). This chronological flexibility is both rare in a series like this one, and will become a hallmark of the books.

The best reason to read this book is the introduction of the character Moxie Mooney. Moxie’s an actress — daughter of the legendary Freddie Mooney — a major acting star of both stage and screen. Moxie’s still struggling to make it at this point, but she’s got talent. She’s also a long-time on-again/off-again romantic partner to Fletch. There’s more chemistry between the two, more genuine feelings and more obvious compatibility between Moxie and Fletch than there is between any two people in this series. She’s funny, she’s quirky, she’s driven — not unlike Irwin Maurice himself. I’m not sure how often I would have re-read the book without her

At the end of the day, this one doesn’t have the same impact and entertainment value most of the rest of the series does. There are some great moments — and I love Moxie — but there’s something missing from this one. Still, Fletch books are like that old line about pizza — when it’s good, it’s really good; and when it’s bad, it’s still pretty good.

—–

3 Stars
2019 Cloak & Dagger Challenge