Book review: Lethal White

So, it’s here at last! The continuing sleuthy adventures of Comoran Strike, his Gordian Knot of a love-life and his “will-they-won’t-they” relationship with his very capable partner in crime-solving, Robin Cunliffe. 

This is the fourth book in the series (and I’ll quickly add that they make really good telly), and takes us through a rather complex plot involving strangulation of a child and how it all ties together with the murder of a prominent MP who I get the feeling was modelled on Boris Johnson. It’s set against the backdrop of the London 2012 Olympics, but to be honest, I’m not sure why, as this didn’t really add much to the plot, other than giving one of the characters a job.  So aside from that one small niggle, how was the rest of it? Well, I’m not going to delve too deeply into the story, but it’s written to the same standard we’ve come to expect from Robert Galbraith (yeah, she’s sticking with the name).  The prose is clean and precise, with a fantastic lightness of touch and some well-executed patches of humour. It’s a little bit more cerebral than the other books in the series: a lot less running around (which Strike does really well considering he’s an overweight detective missing a leg) and a lot more talking to witnesses and potentials suspects. If you’re the kind of reader who likes to solve the crime as you’re going along then you might need to make notes, because you’re not just looking to solve a murder, you need to battle your way through a couple of other mysteries along the way, which may be why I didn’t enjoy Lethal White as much as I thought I would. There’s a lot of fluff in here, and I think it’s a bit too distracting.

I think the other problem I had with the novel was the sheer number of characters: there were a least a small village of players here, and unfortunately, most of the were very similar. They were split into two broad groups: the rich (posh, privileged, shallow and very annoying), and the poor: (just annoying) which made it difficult to get a sense of how the characters were tied to the plot, especially during the sequences where Robin and Strike are reviewing the case together. I mean, ‘Fizzy’ and ‘Tizzy’ as two character names? Throw us a bone here … And of course while all this is going on, Robin and Strike have very complicated personal lives to deal with, which we have to deal with along with them. 

I will say though that once you get your head around who’s who then the book really starts to motor.

I guess the problem with writing a book with multiple intertwined plots is that at some point, the whole thing has to be tied together. Clues slowly resolve into patterns that take you closer to the culprit … that’s what usually happens. In this case, the whole case (and a few other loose ends) were tied up in a rather large and awkward information dump right at the end. I have to say, I wasn’t too keen on it.

So, did I enjoy it? As I said, yes I did, though not as much as the others (I think Silkworm is my favourite). From a writer’s perspective, it’s an excellent example of quality writing. Nevertheless, I’m going to be a little harsh, give it six out of ten, and look forward to a return to form for the next one.

Absolutely love the cover, by the way …

The Curious Case of the Missing Comma – Part II

You might remember that last year, I wrote a piece about a legal battle in Oakhurst Dairies of Maine and its drivers. The case was over $10million the drivers said they were owed in back overtime pay, and hinged around a comma missing in law concerting overtime payments made years before.

If you need a refresher, here it is:

The Curious Case of the Missing Comma.

Turns out both sides have agreed to split the difference: in February, the company agreed to pay its drivers $5million to settle the dispute … over a missing comma.

So don’t let anyone ever tell you that punctuation doesn’t matter.

Film review: Bohemian Rhapsody

This was always going to be a tricky one. Bohemian Rhapsody has stumbled and tripped its way to the big screen after one or two well-publicised setbacks (the main one being Sacha Baron Cohen quitting the film over creative differences). I think the glacial gestation has, unfortunately, caused a few problems with the final result: the pacing was uneven, the editing a little strained in places, and I thought that some of the segues used to jump us through time were a little naff in places, and MIA in others.

But you know what? It doesn’t really matter …

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