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But the best-laid plans are those that go hideously awry. Sully survives that night in the desert, clawing up through the dirt of a shallow grave, only to become "a boundary walker trapped inside the self of past." His reputation ruined by a clever frame-up, he will spend the next 10 years in self-imposed exile until a journalist named Landshark brings him back to L.A. to clear his name. His return touches off a deadly "blood waltz across reality" in which lives count for nothing and survival is everything--and in which his only ally is the young woman who led him to his death a decade earlier.
Boston Teran stunned critics with his debut novel, God Is a Bullet. Most raved about its explosive prose and in-your-face action, though a few felt that the author's style was a bit too much of a good thing. Teran is admittedly a writer for whom excess is glorious and for whom language is a wondrous, near-tangible commodity. His second novel, however, reveals a definite maturation: if God Is a Bullet reveled perhaps a bit too much in its own linguistic conceit, Never Count Out the Dead never allows the brilliance of its language to cast all else into shadow. Taut rather than bloated, the novel is as edgy as a hollow-eyed junkie and as extravagant as a drift of desert orchids. Teran retakes the stage with the assurance of an elegantly seasoned performer.--Kelly Flynn --This text refers to the Hardcover edition.
Copyright 2001 Cahners Business Information, Inc.
--This text refers to the Hardcover edition.
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Most Helpful Customer Reviews
8 of 8 people found the following review helpful:
5.0 out of 5 stars
A Darkly Disturbing Tale of Revenge,
By Gary Griffiths (Los Altos Hills, CA United States) - See all my reviews (TOP 1000 REVIEWER) (VINE VOICE) (REAL NAME)
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This review is from: Never Count Out the Dead (Hardcover)
With all the subtlety of a sledge hammer, Boston Teran's second novel again stuns and shocks, while spinning a story that is nearly impossible to put down. As in his first novel (God is a Bullet), Teran sets the scene in the gritty southern California desert wasteland. The bleakness of the desert diners and roadhouses proves the perfect setting for a new cast of Teran characters: hard women, bad cops, an agoraphobic writer. Unlike "Bullet", in which sometimes Teran's overly rich language gets in the way of his story, the prose in "Dead" is lean, tight, and gripping. If you like the happy plastic people found in James Patterson and other popular "thriller" writers, either of Boston Teran's novels will likely disturb and possibly offend your senses. But if you're looking for an in-your-face, by-the-throat, modern tale of noir and raw-boned terror, THIS is your ride.
5 of 5 people found the following review helpful:
5.0 out of 5 stars
Cinematic Prose,
By
This review is from: Never Count Out the Dead (Hardcover)
Boston Teran's NEVER COUNT OUT THE DEAD is an amazing and enviable feat for any writer, but a wildly successful accomplishment for a novelist fixated on the seedier byways of human relationships. There is not one badly drawn character in this novel, not one implausible moment, but Teran is most successful with Dee and Shay Storey, a pair who make Clytemnestra and Elektra seem like Girl Scouts. Dee, especially, is the sort of character that any actress of a certain age would give her capped eye teeth to play. This is a fully formed living, breathing pathology, wholly unreedemed and as elemental as lava. I would love to see this book on the big screen. It would make an absolutely terrific (in every sense) movie.
5 of 5 people found the following review helpful:
3.0 out of 5 stars
Wish I liked it more--Characters never really come to life.,
By
This review is from: Never Count Out the Dead (Hardcover)
This is the sort of book that's usually right up my alley. I love the darker, grimmer side of crime writing. James Ellroy's one of my favorites. But I just couldn't get into Boston Teran's latest. His characters are tragic and haunted by life. They make grand speeches about how pointless everything is. Dee Storey, the hellish monster/mother at the center of the story, should be much more frightening/horrifying than she is. For whatever reason, the characters just lie there, flat on the page, never truly coming to life. This could have been a great, great book, but just doesn't quite make it.
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