God Save the Child (Spenser)

Robert B. Parker and Tony Hillerman are the two authors I most consistently check when I go to a library or a bookstore. When it is a great day, one of the two has a new book. When it is a tremendous day, they both have a new one out and I have to decide which to read first! In the meantime, I am making do by going back over their collected works as books on tape. I have a long drive to work every day and Spenser makes a very good ride-along companion. I have long-since read all of the older Spenser books, but the beautiful thing about a faulty memory is that the plot lines get a bit hazy over time and now I can enjoy them all over again! Besides, it is always interesting to see how the reader interprets Spenser and the gang. One of the best to capture Spenser smart-aleck comments was Burt Reynolds, although his interpretation of Hawk was pleasurable, but questionable in terms of accent. The reader for this version was a Michael Prichard. His interpretation of Spenser was neither here nor there, neither good nor bad. However, his reading of the Mrs. Bartlett was right on the money. Here's the scoop on Mrs. Bartlett: She and her husband hire Spenser to find her son. He is missing and a note has been sent to the Bartletts asking for $50,000 for his safe return. Mrs. Bartlett is an insipid, vapid twit of the first order. A woman more concerned with fashion than her child's safety. She hosts a dinner party in her house on the same day that a man is killed in it and during the time her son is missing. She is a woman who believes herself to be an artist because it gives her an excuse for her bad behavior. Prichard nails her so dead on that you wish you could reach through the radio speakers and smack her upside the head on at least half a dozen occassions. So, how's the plot? Good thriller, although you could see the ending coming as soon as you hear the details of the missing boy's case. Of course, that could be some latent memories from when I read the book 10 years ago... We meet Susan Silverman. We meet Healey of the State Police (Prichard nails him too - I never noticed before that Healey was funny, but Prichard reads him as Spenser's straight man foil and I laughed out loud a couple of times). There's plenty of Spenser's dogged style of detecting and plenty of smart comments. This listener was struck as to how old Spenser really is - there is a lot of descriptive detail about clothing from the 1970s that reinforce that fact. Luckily, Spenser is forever middle aged but tough enough to take on the world and Susan Silverman is forever ageless and beautiful. I give this one an A-

Follow any mention of the guinea pig in GOD SAVE THE CHILD. It's like a clue-magnet for unraveling character, plot, and purpose (or motives, however you want to call it). Parker opens ths second Spenser novel with the P.I. droning in liquid narration, turning fool's gold into the functional lead of realism. Spenser artfully exposes his disgust for the husband/wife clients in his office. His descriptions of the outfits and arguments adorning these two seersucker, suburban bozos become a classic caricature setting for the husband/father's comment that his son took his guinea pig with him when he left home and disappeared. That single observation, made by Roger Bartlett, that his son came home to get his pet before taking off, lifted him from the miasma his self-absorbed wife had immersed him into, beginning under his skin, continuing outward through the awkward, classless, tasteless clothing she had him don for the interview with Spenser. The only comment which cleared through the putrid artifice of that interview was Bartlett's mention of the guinea pig, which, of course, the wife, "mother" hated. So, okay, Spenser, you were telling me that the only thing in that home which may have given warmth to this kid was that pet. And, the fact that the father noticed his child's attachment to it without rancor, began to paint the man out of the seersucker and into the quiet, subtle honesty of a man who cared about his son, but had probably not been able to demonstrate it. The first two chapters were so impregnated with 70's ambiance (hey, yeah, this classic mystery was written then, and is still around to be bought and sold!), so packed with clues and character enrichment, I'm surprised this book didn't birth a horde of ... Well ... actually, in a sense, it did ... Decades later Parker's readers have a total of 33 Spenser novels to trudge through with high entertainment diligently dogging their heels. This novel, along with the pilot, THE GODWULF MANUSCRIPT, felt to have been composed in a more sensual, molasses-type rhythm, gathering more dense, lush detail around settings, character enrichment, and classic mystery dynamics, than Parker's later Spenser offerings. I enjoy the early narrative labyrinth meandering as well as the later smooth, speedy jazz. Mostly I enjoy that Parker's writing style has rhythm. Not all novels do. All novels (by definition) have some sort of plotting, setting, narrative means, and characters. But, actually, not many writers have a discernable syntax rhythm, which draws a reader along on its natural, symphonic momentum, through dialogue and plot machinations. Most novels draw readers through a book more by baiting curiosity than by rhythm-ing their brain waves into a dance through literary prose cast so smoothly the reader might not notice the constantly effective undulations of literary lace. More likely, the reader notices he's collecting an increasing repertoire of questions about what (among a pletho

This, the second of the Spenser series, is a really good read. The plot twists and characters are all believable. The author handles the subject of teenage homosexuality with great aplomb. I would recommend this to anyone!

I have read Robert B. Parker since I was 13 and devour his Spenser books instantly, as he is one of only three authors that I will buy in hardback (Grafton and Evanovich are the other two). So I feel qualified in stating that this is one of his best stories in the series.Spenser is hired by the Bartlett's to find their missing son. Mom and Dad are far from perfect - Mom's a self-centered alcoholic, Dad's a passive workaholic. Kevin, the son, appears to have been kidnapped (I'll leave the plot surprises for you to discover!), and it's up to Spenser to save him. This is truly Parker at his best. The plot is terrific and never becomes secondary to Spenser's emotional life, as sometimes happens. This also happens to be the book that introduces the erstwhile Susan Silverman, which adds a nice kick to the story. The fact that this story takes place in the mid to late 70's in no way detracts from its value. Buy this book and treasure it!

Although, Spenser continues his ogling ways, he meets his match in Susan Silverman. You know the repartee can only develop between these too, and you know that Spenser sees a certain toughness in Susan that compliments his own.After two books, Parker continues to put the fun in dsyfunctional, as he creates the perfect suburban couple trying to be something they're not (a recurring them in most Spenser novels). Yet, he leaves enough room for redemption, and the beginnings of reformation and restoration.Once finished, I couldn't wait to continue Spenser's journey, and see where Parker would go next. My annual ritual of moving through the series - for 10 years now - never fails to satisfy.