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Now & Then par [Parker, Robert B.]
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Longueur : 316 pages Word Wise: Activé Composition améliorée: Activé
Page Flip: Activé Langue : Anglais

Descriptions du produit

From Publishers Weekly

When a client who suspects his wife is cheating on him is murdered in Parker's 35th snappy Spenser adventure (after Hundred-Dollar Baby), the Boston PI takes it personally, not only because the case resonates with Spenser's past history with love interest Susan, but also because, like Dashiell Hammett's Sam Spade, Spenser feels he can't let a client get murdered without doing something about it. The repartee is up to Parker's high standards, and the detection is hands on and straightforward, with Spenser carrying the load. Since Spenser's aides, including the stalwart Hawke, outclass the heavies, Spenser has time to deal with the mysterious other man, Perry Alderson, whose academic background appears as suspect as his dealings with various subversive groups. This briskly paced cat-and-mouse game offers Spenser fans exactly what they've come to expect from the reliable Parker—no-nonsense action and plenty of romantic give-and-take between Susan and Spenser, who even find the subject of marriage intruding once more. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.


*Starred Review* In his Spenser novels, when he's writing at the top of his game (which he is here), Parker is like a brilliant musician. From the opening chords—which, in just about every Spenser novel, comprise the staging of the first meeting between private-eye Spenser and a troubled client—you know you're listening to someone who has absolute command of his work. And it just gets better, as Parker builds his theme, with variations both comic and thrilling. This time out, in the thirty-fifth addition to the series, the troubled client is a husband who feels his wife has been behaving bizarrely. Spenser thinks she's probably having an affair, and through the magic of a planted listening device, he presents the worried husband with the damning evidence. The device has also picked up that the wife's lover is involved in a group called Last Hope, which turns out to be a kind of brokerage outlet for terrorists looking for equipment and other terrorists. The case has moved from the kind of private-eye work that Spenser finds sleazy to one with horrific ramifications. The story itself makes compelling reading on its own, but Parker, as usual, spikes it with caustic wit and the interplay between Spenser and his longtime love, Susan. And here he ups the ante by calling on Spenser to use all his brain and brawn to protect Susan. Terrific. Fletcher, Connie

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 511 KB
  • Nombre de pages de l'édition imprimée : 316 pages
  • Pagination - ISBN de l'édition imprimée de référence : 0399154418
  • Editeur : No Exit Press (28 octobre 2013)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B00F21X5WC
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Commentaires client les plus utiles sur (beta) HASH(0x9eaf3210) étoiles sur 5 148 commentaires
63 internautes sur 71 ont trouvé ce commentaire utile 
HASH(0x9ea311ec) étoiles sur 5 Unquieted Demons 30 octobre 2007
Par Mel Odom - Publié sur
Format: Relié Achat vérifié
The last couple of Spenser novels written by Robert B. Parker focus on old issues that the private eye and author have stepped around for years. Now both are getting enmeshed in events that bring those old troubles and insecurities to the forefront so that Spenser finally has to lay them to rest.

Last year's Hundred Dollar Baby is the final tale in the April Kyle saga. She was the young prostitute Spenser saved, sort of, in the series' ninth book, Ceremony. Fans, especially women readers, got split over the resolution in that novel.

This year's offering, Now & Then, is going to unite all the fans and leave them waiting with baited breath for next year's entry. Ah, but the good Dr. Parker has learned how to unleash the power of the soap opera endings. He's doing the same in the Sunny Randall and Jesse Stone series as well.

In the opening pages of Now & Then, Spenser is approached by, and eventually hired by, Dennis Doherty. Doherty is a cagy customer and doesn't act like he really wants to know if his wife is cheating on him. Before he knows it, Spenser finds himself relating to Doherty because of the breakup he had with Susan Silverman all those years ago (Valediction and A Catskill Eagle for series purists).

It takes Spenser little time at all to confirm that Doherty's wife is indeed cheating. Spenser enlists the help of Hawk, his darker side, to track down the answer. Hawk is the first to advance the notion that Spenser is getting too personally involved. It's this interplay of these two characters that I've come to love so much. Getting to peer inside of male bonding at work is awesome, and no one does it better than Parker.

Spenser struggles over how much to tell Doherty. While dealing with that, he talks with Susan and it dredges up all the old hurts he'd covered over after she left him. He finally says that telling Doherty is the right thing to do. By that time, he's also figured out that Doherty is an FBI agent, which is going to cause even more problems for his client.

Old readers are going to feel the resonance of this case to the pain Spenser was going through when Susan left him. We can see what bothers Spenser so much, and it's great. I hadn't thought of Parker dealing with this unresolved issue, but - all of a sudden - here it is.

After he tells Doherty and gives the client a copy of the tape that reveals Jordan Richmond's affair, Jordan shows up in Spenser's office. At first the blusters and threatens, then she offers sex in exchange for the copy of the tape that he has. Spenser says no.

Bothered by the woman's desperation, especially since her husband already knows her husband is aware of her infidelity, Spenser has Vinnie Morris (a longtime character in the series) and Hawk stay on the straying wife and her lover. In short time, Doherty announces that he's thrown Jordan out. That night, a man ambushes Jordan and kills her. Vinnie, being Vinnie, kills the killer.

Spenser knows someone has raised the stakes, but he doesn't know who. Doherty has gone missing and the police suspect he killed his wife. Spenser doesn't. He knows from personal experience that you don't kill those you really love - no matter how badly they hurt you.

That's just one of the lessons I've paid attention to as I've read the Spenser books. Parker is a keen observer of the human condition and how people's minds and motivations work.

Susan Silverman usually splits the audience for these books as well. She's modeled on Parker's real-life wife, Joan. Most of the time I can't stand Susan because she always seems to have the answers, while at the same time exhibiting neuroses that drive me - and a great many other readers - crazy. In this book, though, she really comes across as a great person and a great character.

Then Doherty turns up dead. When his body washes up in the river, people think he killed himself. Spenser doesn't buy that for a moment, pointing out several inconsistencies to the homicide people as well as an FBI liaison he's working with.

In order to lay to rest his own demons from the breakup all those years ago, Spenser has to figure out what really happened to these two people. And fans get one of the best Spenser novels we've had in a long time.

In addition to Hawk and Vinnie, we also get to see more of Chollo, the L. A. gunner Spenser has crossed paths with and aligned himself with on other cases. This book sparkles with deep emotions, witty dialogue, and an insight into the best private eye to hit fiction in decades. This is a must-read for long-time fans, and a good place to start for those who haven't read Parker before.
44 internautes sur 51 ont trouvé ce commentaire utile 
HASH(0x9ea43e10) étoiles sur 5 Solid, like Spenser's left hook 24 octobre 2007
Par Bruce Trinque - Publié sur
Format: Relié
Just a nicely solid Spenser novel, with the Boston PI doing what he does best: being a chivalrous thug righting wrongs. And loving Susan Silverman. This time, it's about avenging the deaths of two people, one of them a client, while contending with some ghosts of the past. Along for the ride are the usual cast: Susan, of course, and Hawk and Vinnie and Chollo and some other familiar faces. And there is even some genuine detecting going on as Spenser investigates the past of the prime suspect. Spenser is wise-cracking and tough, everything he should be. And a nice bonus in the book is the endpaper map of "Spenser's Boston" showing the locations of various significant spots, including Spenser's apartment and his office, enjoyable for those of us who know Boston reasonably well and for those who have never been there.

The scale is very manageable in "Now & Then", with the villains not too super-sized for credibility. And the somewhat uneasy alliances between Spenser and the Boston cops and the FBI are enjoyable and believable.
24 internautes sur 28 ont trouvé ce commentaire utile 
HASH(0x9ea43d50) étoiles sur 5 Now & Then, Why? 28 décembre 2007
Par Grubb Street Rapscallion - Publié sur
Format: Relié
Now & Then is an extremely weak and shallow current outing by Robert B. Parker, in which little happens, save for a rehashing of whether or not Spenser and his longtime lady friend should marry. Years ago, Susan Silverman ran off with another man, leaving a void in both Spenser's life and the once-shared life of Susan and Spenser. In this novel, the attempt to close the latter void comes up again and again, with the repetition tedious and quite boring. When that void arises the first time, both Susan and Spenser are good with it; they state that they have gotten past it and have built a much stronge life together, than the one before Susan left. Yet, they rehash that issue, ad nauseum.

Equally tedious is that, while there is an implied terrorist threat, the tension levels are so low concerning such a possibility, that the reader's interest is nil. All we see is a handful of people who might be part of some terrorist plot, showing nothing to that effect, thus eliminating dramatic tension. There is no abreviated timetable that is controlling the action, no recognizable and deadly threat, no real danger. As to the supposed leader of the plot, the only time he shows any action is when he is seducing women--(two that we see)...and that action is extremely low. Even when he attempts to seduce Susan, we only have her word to that effect.

Indeed that is what is wrong with this novel: Mostly talk and little action. Even Hawk, who is the epitome of action versus talk, is relegated to a positon of a bodyguard. None of his celebrated pent-up and explosive energy is there. Even Spenser only throws one punch, yet he is supposedly dealing with demons that have been eating at his sense of "Right" ever since Susan left. And, there is the obligatory and minimal--one page--shootout in Susan's office. Then, it is back to rehashing the past. This dramatic question was stated early on in the novel; there is no need for Mr. Parker to continually repeat it.

What this reader missed the most was the witty repartee among Hawk, Susan and Spenser, three wonderful creations who appear to be escaping from Mr. Parker's literary world.

One wonders is it might be time for Susan and Spenser to marry and move off to some secluded Vermont smalltown where they both can retire, leaving Hawk to do what he does best. Susan and Spenser could continually rehash the singular mistakes in their lives: Susan leaving and Spenser not destroying the man who took her away, without readers having to suffer through such incarnations.

Now & Then leaves this reader asking Why? Why bother, why waste money on the book, why not just rent it from the local library?
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x9ea4efe4) étoiles sur 5 Didn't I read this four years ago? 14 novembre 2008
Par Amazon Customer - Publié sur
Format: Broché
I've read every Spenser novel, beginning when I was in high school in the '80s. I've reread a number of them.

In the past decade, I've grown very bored of Spenser's new novels. I wonder if Dr. Parker isn't growing bored, as well.

I rarely read the dialogue between Spenser and Susan. They love each other. They are hot for each other. They have complex emotions. They bore me.

Spenser's supporting cast reads like a joint United Nations/Politically Correct Univ. task force on thuggery. Check 'em off: African American? CHECK. Italian-American? CHECK. Native American? CHECK. Latino? CHECK. Homosexual? CHECK. Each is aware of his group's stereotypes and the role he is to play in the UN/PCU exercise. The banter is dry and witty: think Oscar Wilde with a BowFlex and a shotgun.

This novel, in particular seems as if it was written by cut-and-paste from all the other Spenser novels. There's no need for character development anymore, because the same characters (or archetypes) keep popping up.

Each time a new Spenser novel comes out, I tell myself I won't read it. Invariably I do. I am assured of a speed read through a familiar plot, 30-40 pages of Spenser/Susan dialog I can skip, a few well-written scenes of violence, some food/alcohol references, and some knight errant meditations on the harshness of the world.

I have avoided Dr. Parker's other series because his voice will always remind me of Spenser. And I want to remember the younger, MORE complex, MORE passionate, MORE violent Spenser, rather than his aging, tired self.

Maybe it's time to send Spenser and Hawk off to the old thugs' home...
6 internautes sur 6 ont trouvé ce commentaire utile 
Par P. Schumacher - Publié sur
Format: Relié
This Spenser starts out well.

It takes an abrupt turn, does a couple of unexpected things, and is intriguingly puzzling.


But then it goes off the shallow end. It becomes just another pointless revenge drama--revenge at second hand.

Worse still, it dredges up the absolute worst of Spenser: the time when Spenser and Hawk went to rescue the improbably kidnapped Susan Silverman in the 80s.

There are many Spenser novels, some good, some bad. In fact there are SO many that there are now subcategories of bad.

There are the simply Dull Bad--Double Deuce, Cold Service.

And then there are the Aggressively Bad: anything with more than a little Silverman, and especially the ridiculous ones about Spenser's and Susan's infidelities.

One would have to have a heart of stone to read these and not laugh--or puke.

And this one, Now and Then, keeps referring back to those horrid abominations, as though they were milestones of literature or life.

They're not. They are simply undigested chunks of Spenser's (or Parker's????) neuroses.

Susan is simply a ghastly creation. Arrogant, self-centered, shallow, not very smart, selfish, trivial, and worst of all, dull.

There has never been any evidence for why anyone should like her, and abundant evidence why no one can.

She should have been killed off years ago. After all, she's not a real person, not even a real character, merely a cardboard projection.

Whenever she's not around, Spenser, and the novels, instantly perk up.

Alas, that doesn't happen here. She's on horrid view all too much.
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