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Editorial Reviews
From Publishers Weekly
After sifting through the secrets of suburban life in The Last Good Day, Blauner returns with a serpentine thriller about a decades-old murder case is reopened when the killer is released from prison. Twenty years earlier, Homicide Det. Francis X. Loughlin put the grisly murder of young doctor Allison Wallis to rest with the confession of teenage Julian Vega, but now Vega has been released on a legal technicality. Vega wanders the streets of Manhattan searching for signs of his former life, and though his old and new contacts won't give him benefit of the doubt, tough litigator Debbie Aaron believes in his innocence. When the body of a female doctor is found stabbed to death in the same manner as the original case, the investigation becomes increasingly complex. DNA evidence not only confirms Vega's innocence in the current death but calls into question the nature of the original murder. Already challenged by this tough case, Loughlin struggles with a debilitating eye disease that's robbing him of his sight. Though the low-key conclusion unfurls with little fanfare, Blauner excels with the sharp characterization and surefooted plotting that fans have come to expect. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The New Yorker
Francis X. Loughlin is an aging police detective haunted by a twenty-year-old homicide involving a young female doctor. A man named Julian Vega was put away for that crime, possibly without sufficient evidence, when he was seventeen. As Blauner's novel opens, Vega has just been released from prison, on a technicality, when Loughlin is called to investigate a crime that bears an uncomfortable resemblance to the earlier murder. Though the book sometimes takes the easy way out (the climactic twist feels both generic and arbitrary), it is elevated by Blauner's surefooted characterization of Julian. Newly free, struggling to find his way, dependent on the (somewhat tenuous) kindness of strangers, he is both sympathetic and tough; his portrait has a complexity that few authors could achieve.
Copyright © 2006 The New Yorker
See all Editorial Reviews
After sifting through the secrets of suburban life in The Last Good Day, Blauner returns with a serpentine thriller about a decades-old murder case is reopened when the killer is released from prison. Twenty years earlier, Homicide Det. Francis X. Loughlin put the grisly murder of young doctor Allison Wallis to rest with the confession of teenage Julian Vega, but now Vega has been released on a legal technicality. Vega wanders the streets of Manhattan searching for signs of his former life, and though his old and new contacts won't give him benefit of the doubt, tough litigator Debbie Aaron believes in his innocence. When the body of a female doctor is found stabbed to death in the same manner as the original case, the investigation becomes increasingly complex. DNA evidence not only confirms Vega's innocence in the current death but calls into question the nature of the original murder. Already challenged by this tough case, Loughlin struggles with a debilitating eye disease that's robbing him of his sight. Though the low-key conclusion unfurls with little fanfare, Blauner excels with the sharp characterization and surefooted plotting that fans have come to expect. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The New Yorker
Francis X. Loughlin is an aging police detective haunted by a twenty-year-old homicide involving a young female doctor. A man named Julian Vega was put away for that crime, possibly without sufficient evidence, when he was seventeen. As Blauner's novel opens, Vega has just been released from prison, on a technicality, when Loughlin is called to investigate a crime that bears an uncomfortable resemblance to the earlier murder. Though the book sometimes takes the easy way out (the climactic twist feels both generic and arbitrary), it is elevated by Blauner's surefooted characterization of Julian. Newly free, struggling to find his way, dependent on the (somewhat tenuous) kindness of strangers, he is both sympathetic and tough; his portrait has a complexity that few authors could achieve.
Copyright © 2006 The New Yorker
See all Editorial Reviews
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