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Hush Money reminded me of how much I enjoy Parker's writing. His characters are fun to listen to, and his descriptions are very funny -- I laughed out loud many times.
Overall, I'd recommend the paperback version of this book. It's a quick, enjoyable read.
You think maybe they're getting old? Nah!
But seriously, "Hush Money" is Robert Parker at his finest. Spenser is at his wise-cracking, one-liner best and Hawk is; well, he is Hawk. Audacious, inscruptible, redoubtable Hawk. Plus, we get a glimpse into Hawk's early life, before he met Spenser.
And as another bonus, near the end, we get to see another side of Susan. I never liked her more. But don't skip to the final pages, it will spoil the fun.
If you are a "Spenser" fan, you'll enjoy this book. If, however, you are a politically-correct liberal (or from San Francisco, same thing), you'll probably hate it. As a personal side note, I am a fairly conservative African-American - no Buchanan-lover by any means (pun intended for those who've read the book) but defintely neither liberal nor politically correct - and I can testify to the self-righteous hypocrisy and racism of the liberal White academics to Robinson Nevins. It is almost as if Robert Parker was privy to some of the conversations I've had in academia.
"Hush Money" is an excellent book; on many levels.
In this latest installment, Spenser hooks up with Hawk for the entire novel: he also hooks up with Susan Silverman enough times to turn foreplay into fiveplay, sixplay, even sevenplay. Spenser fans need read no further to know that a lot of fun is in store for them.
However, readers less familiar with this venerable series may need a few more facts. Spenser, the one-named private eye, has beaten up bad guys and bandied about bon mots on the bestseller lists for some twenty-odd years, in some twenty-odd novels. A poetry-spouting ex-pugilist with a gastronomic flair, he and his sidekick Hawk could waltz through the entire WWF stable without soiling their sartorial splendor. Hawk, imperturbable quick-tongued African American, was Spenser's "homey" before there was such a word. In HUSH MONEY, Hawk asks Spenser to help an African American professor at Harvard, denied tenure for spurious reasons; he supposedly spurned a young man who then committed suicide. As Spenser soon discovers, the professor was straight, and the boy was killed. Then, while Spenser carefully skirts the pitfalls of political correctness in the groves of academe, his main squeeze Susan entreats him to take on a stalking case for a friend of hers. Before long, Spenser finds himself treading lightly around the grounds of sexual harrassment, as the beautiful stalkee becomes his stalker. Spenser sets up the boy's murderer for he and Hawk to take out, while he sets up his stalker for Susan to take on.
The plot here is as thin as the "villain." However, the real pleasure, the power actually, lies in Parker's wordplay, a form of homage to Spenser's namesake, the great English poet. When Spenser's stalker demands to know what's so great about Susan, he replies without a beat, "The way she wears her hat,...the way she sips her tea." When his nemesis calls him an "unutterable" unnameable, Spenser admires the epithet rather than be insulted. At his best here, Parker spins a three-page tension-filled stake-out around the word "guileful." And, as always, he has a way with the vernacular: Spenser notes that what they have "...almost sounds like a plan; "'Do,' Hawk said, `don't it.'"
Good writing about people who are good company makes for a good time, and a great read.
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