From Library Journal
Like Parker's first two novels (Suspicion of Innocence, LJ 12/93; Suspicion of Guilt, LJ 2/1/95), this thriller thrusts Miami lawyer Gail Connor into perils from which she emerges owing mostly to luck. Gail, now engaged to Cuban exile Anthony Quintera, also a Miami lawyer, provides legal counsel for the Miami Opera. A promising young singer, Thomas Nolan, is to star in Don Giovanni, but his connections with Castro's Cuba may cause trouble for the opera should they become known. From this rather interesting beginning, the plot wanders further and further afield, until the reader yearns for the inevitable murder. Politics, nostalgia of the Miami exile community, and conflicting memories or reports of Gail's fiance and friends bulk out the story, which hovers uneasily between episodes of Gail and Tony's lovemaking and Gail's getting herself into cliched predicaments (donning a wig to stake out her suspect's movements, breaking into the home of the chief suspect). Sadly, this series demeans both women lawyers and Miami Hispanics. Buy only if you live in Florida and have a lavish book budget.
-?Elsa Pendleton, Boeing Information Svcs., Inc., Ridgecrest, Cal.Copyright 1998 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
From Booklist
Readers disappointed that Parker's last two mysteries did not feature attorneys Gail Connor and Anthony Quintana will be delighted to find the Miami twosome at the center of this complex, involving tale. With publisher promotion (including the simultaneous million-copy paperback release of
Criminal Justice, 1997),
Suspicion should also draw new readers. Parker (who earned Edgar-finalist status for her first effort,
Suspicion of Innocence, 1994) uses opera and Central America as effective counterpoints to the confrontation between Cuban and Yankee culture--within Gail and Anthony's romance and within Miami society--which has animated the series. To build business for her new solo practice, Gail takes on the Miami Opera as a client, only to learn of a pending crisis: the rising young bass-baritone scheduled to play Don Giovanni in Mozart's opera sang recently in Castro's Cuba. The singer may be in danger, as may several of Gail's opera contacts who have ties to puzzling aspects of Anthony's past, ties that lead back to Nicaragua in the late 1970s. A satisfying read.
Mary Carroll
--This text refers to an out of print or unavailable edition of this title.
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