In 1974, a revolutionary group held up the Old Shawmut Bank in Boston's Audubon Circle. Money was stolen. And a woman named Emily Gordon, a visitor in town cashing traveller's checks, was shot and killed. No one saw who shot her. Despite security-camera photos and a letter from the group claiming responsibility, the perpetrators have remained at large for nearly three decades.
Enter Paul Giacomin, the closest thing to a son Spenser has. Twice before, Spenser's come to the young man's assistance; and now Paul is thirty-seven, his troubled past behind him. When Paul's friend Daryl Gordon-daughter of the long-gone Emily-decides she needs closure regarding her mother's death, it's Spenser she turns to. The lack of clues and a missing FBI intelligence report force Spenser to reach out in every direction-to Daryl's estranged, hippie father, to Vinnie Morris and the mob, to the mysterious Ives - testing his resourcefulness and his courageousness.
'the book's genial mood, saucy tone and ripping action...discourage all attempts to put it down.'
- Eugen Weber, The Los Angeles Times [read the full review]
Back Story wends and jerks its switchback way through geological layers of back stories, deceptions and lies evoked by an actress' wish to see more clearly into her own past, into who killed her mother and why: a bad idea that sets off mines in the present. But it is the book's genial mood, saucy tone and ripping action that discourage all attempts to put it down.
Eugen Weber, The Los Angeles Times
'What makes this superior Parker is the moral dilemma. Spenser is pursuing a case that no one wants him to pursue, including the person who had asked him to in the first place, and six Krispy Kremes is not a good enough reason.'
- Richard Dyer, The Boston Globe [read the full review]
What makes this superior Parker is the moral dilemma. Spenser is pursuing a case that no one wants him to pursue, including the person who had asked him to in the first place, and six Krispy Kremes is not a good enough reason.
"I did this work because I could. And maybe because I couldn't do any other. I'd never been good at working for someone. At least this work let me live life on my terms . . . and if you are going to live life on your own terms, there need to be terms, and somehow you need to live up to them. What was that line from Hemingway? `What's right is what feels good after?' That didn't help. I took a long drink of Scotch and soda. There was that line from who, Auden? `Malt does more than Milton can to justify God's ways to man.' I could see my face reflected in the window glass. It was the face of a guy who used to box - the nose especially, and a little scarring around the eyes."
Genre writing doesn't get any better than that.
Richard Dyer, The Boston Globe
'Parker surrounds his hero with reliable friends and familiar foes to renew their vows to the codes of misconduct that were laid down three decades ago [in The Godwulf Manuscript]'
- Marilyn Stasio, New York Times [read the full review]
Robert B. Parker sends out a reassuring message in his 30th Spenser novel, Back Story, which, by coincidence or design, marks the 30th anniversary of his first Spenser novel, 'The Godwulf Manuscript.' Without waving a flag about it, Parker makes his intention clear in classic he-man style: having achieved the ideal stage of maturity, his courtly knight will not age, wither or forsake his heroic mission. And that's not all. Hawk will always be scary. Susan will always be a beauty. And there will always be a dog named Pearl in the house.
As the title implies, the story is full of references to the past, starting with an unsolved 1974 robbery in which a young California mother visiting her sister was shot dead when she went to cash some traveler's checks at the old Shawmut Bank in Boston. Spenser takes the case to give the victim's daughter peace of mind, only to discover that he has disturbed a cover-up involving the F.B.I., an organized crime figure and the remnants of a gang of counterculture revolutionaries. Without losing touch with the present - it doesn't get any more immediate than Spenser's nimbly choreographed shootout with three triggermen in Harvard Stadium - Parker surrounds his hero with reliable friends and familiar foes to renew their vows to the codes of misconduct that were laid down three decades ago.
Marilyn Stasio, New York Times
'one of the strongest Spenser novels in recent years'
- Michael Carlson, Crime Time [read the full review]