Ace Atkins

I never read Lullaby. First Spenser book I haven’t read since 1973, when Robert B. Parker wrote The Goldwulf Manuscript. I tried it out; read the sample on my Nook. But it wasn’t the same, and I never finished it.

I like Ace Atkins. I’ve got a couple of his books. I particularly like his Quinn Colson series. But Spenser is a Parker creation, blood, bone, and brawn, and nobody will ever be able to write him like Parker.

I had no plans to read Wonderland. I’ve missed Spenser since Parker show more died, but I knew it would not be the same. But then it appeared on the list for Early Reviewers, and I thought, “Why not?”

It’s good. Very good. Atkins writes well, and it is obvious that he puts a lot of thought and effort into remaining true to the characters as Parker created them. If I’d never read a Spenser book, or if I’d just read one here and there over the years, I probably would not have noticed the difference. But, alas, I have, and Atkins just can't nail the dialogue or the characterization. You see, Parker's detective novels have never really been about the mystery; Spenser usually figures out who done it fairly early on, and then spends the rest of the novel proving it, all the while dispensing with witty repartee and literary allusions. And that has always been the draw; the characters themselves and the relationships between them. And Atkins just can’t write that in a way that makes it ring true to one who has come to know those characters.

I’ve read every one of the forty Spenser books Parker wrote. And not just once; I own copies of all of them, and there’s probably not a single one I’ve not read at least thrice. So, I enjoyed the book, and I appreciate the diligence Atkins paid. But I won’t buy another Spenser book. The character, as I’ve known him for so many years, died with Robert B. Parker.

And perhaps that’s just as well. The Godwulf Manuscript, the first Spenser novel, was published in 1973. Spenser was thirty-seven when he solved that particular caper. And here he is, forty years later, still rattling around the streets of Boston. Seventy-seven is a little long in the tooth to be busting bad guys. In fact, when Parker wrote Sixkill (which was published posthumously in 2011) and introduced the character of Z, I wondered if Spenser was heading for retirement. We will probably never know now.

It saddens me. Spenser has been an old and valued friend. But with Parker’s passing I think that, rather than continuing to publish the series with another writer, Spenser should be allowed, at long last, to drive off into the sunset, Susan and Pearl the Wonder Dog by his side. show less

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WHAT'S EVERYBODY WANTS TO RULE THE WORLD ABOUT?
The year is 1985, and apparently, there are USSR spies everywhere. At least in Washington, D.C. and Atlanta, GA. Reagan's push for his "Star Wars" program is strong, and the KGB wants to know all it can about it before a summit between Gorbachev and Reagan. Tensions are high, cards are set up, and one show more teenaged boy is about to send them toppling over.

Because his mom is dating a jerk and Peter has an active imagination fueled by pulp novels and sensationalized "news." He becomes convinced that his mom is dating a Russian agent and tries to enlist the help of a mostly failed novelist (and his drag queen buddy, a retired NFL player) to expose the boyfriend.

Meanwhile, a KGB officer defects so he can reunite with the love of his life; an actual Russian agent (who may, or may not be the boyfriend) has killed someone; the FBI is investigating that death, and another Federal agent wants to run away with an exotic dancer and is trying to leverage that defector to help him do that.

There's gotta be another storyline or three that I didnt't squeeze into that paragraph, too.

The point is, there's a lot going on. Few of the people involved are properly qualified to deal with it. And the direction of the Cold War hinges on what happens over the next few weeks.

It should be noted that this is a comedy.

WHY DID I PICK THIS UP? WHY DID I KEEP READING?
It’s Ace Atkins—the last decade has taught me that I’m likely to enjoy a book he writes. Also—a comedic take on Russian deep cover agents in the 80s is right up my alley. Put the two of those together…

I stuck with it because that’s exactly what was delivered. A great plot with more twists than a corkscrew, a great voice, and an oddball cast of characters.

WHAT DOES THIS BOOK SAY ABOUT HUMANITY?
There is a deep thread of self-deception going on throughout the book—the stories we tell ourselves about who we are, how others regard us, and what we think we’re capable of.

There are a couple of major characters who are honest about themselves—and largely understand others. But the rest are deluded to one degree or another—how heroic they are, how things will go when they reunite with an old flame, how their life will be better when they ditch their wife and kids for someone new (who any rational person will see isn’t that into you), how the world is against them, and so on.

Some of these are understandable—the teenage male tossing aside common sense because a hot stranger seems into him. Some are relatable, maybe even admirable—the writer who hasn’t sold anything in ages continuing to try. But the others are kind of sad once you stop to think about them—but you do have to force yourself to stop and think about them, because Atkins has you too focused on jogging to keep up with the book and chuckling at their foibles.

THE 80S OF IT
There are a couple of ways to approach the time setting of the 80s. One way is to go over-the-top like The Wedding Singer or That 80s Show. The other way is restrained—like The Americans or Mad Men (different era, but same idea).

Atkins mostly stuck to the restrained approach, it is an 80s story with 80s concerns and ideas and the setting is appropriately depicted.

But every now and then, in the spirit of the book’s flavor, I do think he went a little over-the-top with the references in a Sandler-esque way. And I loved each time he did that. Over all, Atkins goes for realism and restraint—but when he indulges himself (and/or the reader), it’s just a treat.

Oh, and this is maybe a Content Warning I should give...you'll find yourselves thinking a lot about Prince and Phil Collins, possibly driven to listen to them...at the very least, you'll have a couple of songs acting as earworms for days.

SO, WHAT DID I THINK ABOUT EVERYBODY WANTS TO RULE THE WORLD?
I wasn't thrilled with Atkins stepping away from the Spenser or Quinn Colson series, as curious as I was about what he'd do next. I'm still not—but if this is what he's doing instead? I'm getting over it quickly.

This was ridiculous fun. Fast-paced, not quite frantic (because Atkins doesn’t let it happen) filled with crazy coincidences, turns you cannot see coming, twists you think you see coming and are only right occasionally, real people doing stupid and human things—frequently illegal, too.

It is a comedic work, but that comedy is successful because none of the characters is in a comedy. They’re all deadly serious (though some will express that by being a smart arse), worried, scared, or scheming. The danger is real, the stakes are high, people get hurt, lives are changed—it’s a very straightforward thriller that way. But when you can see the whole board, see what they don’t know—it’ll bring a grin to your face and possibly a cackle from you.

A lot of social media/news media can make us all think that the world is ending (and, I’m not for a second suggesting that it might not be)—but this book reminds us that it’s almost ended before. And we’re now far enough away from the genuine, grounded, and realistic fears that we can laugh at them. Isn’t it nice to think that 40 years from now, someone can write a book about now to relieve some stress?

I expected to enjoy this book, I didn’t expect to have fun with it. I don’t know how readers who grew up post-Cold War will react to it. But readers of a certain age will have a good time with Everybody Wants to Rule the World. show less

For nearly a decade I've been waiting for Ace Archer to write the Quinn Colson novel I know he has in him. Sadly, once again this one isn't it.

It's not that he hasn't developed a quality protagonist. Colson holds his own with the Davenports and Boschs of the world.

It's not that he hasn't created a formidable supporting cast. He's brought to life a cast of Missippeans that rival anything in print. Though it must be pointed out that now federal marshall, but former Tibadoh sheriff Lilly show more Virgill continually becomes less and less believable and more of a caricature than a character.

It's not that he writes lazy plots. Each book brings a fresh tale of greed and opportunity.

In the end, it's the dialog that continually sinks his ship. It just rings of inauthenticity. It's like he grew up with the type of people that he writes about but has spent his life distancing himself from them. As a result, he writes from what feels like a distorted memory instead of actuality.

The dialog is so bad that it serves as a frying pan delivering a blow to the face every time the reader starts to lose themselves in the compelling story.

Oh well, next year will bring another Colson novel, and once again I will be holding out hope. One day that hope will be filled. show less

Tanya Jane Byrd, known to her friends as TJ, never gave a damn about being famous. But here she was, four days on the run from Tibbehah County, Mississippi, with that girl Chastity passing along che burner phone to show they now had more than a hundred thou sand followers on Instagram. They only had six posts, the newest one from just two hours ago after TJ cut her hair boy short, dyed it black as a raven’s wing, and made her ultimatum to that cowardly son of 2 bitch Chester Pratt. She show more called him out for not only her mother’s murder but the money she and her little brother John Wesley were owed.

On the forty-five-second clip shot outside the Tri-State Motel in Texarkana, she held up her fist on the diving board to an empty pool and said, “Fair is fair,” remembering the line from one of her mothers old VHS tapes in the trailer.

“What do you think?” Chastity asked.

"I think I better drop that phone into the nearest creek."

WHAT'S THE HEATHENS ABOUT?
Seventeen-year-old TJ Byrd has spent her life convinced that her father was killed by Tibbehah County's Sherriff, the uncle of the current Sherriff. This has left her with a pretty jaded view of law enforcement. So when she's suspected in the disappearance—and then the murder of her mother, it's understandable that she doesn't assume she's going to get a fair shake from those that suspect her. So, she grabs her little brother and with her best friend and her boyfriend, they hit the road and run. They're not sure where they're driving to, but it's far away from Tibbehah.

That's maybe not the brightest move, but she's desperate.

Former Deputy/now US Marshall, Lilly Virgil assumes that TJ killed her mother. Lilly has seen what happens when the two of them fight and assumes that TJ has gone one step too far. Lilly pulls some strings and gets herself assigned to the fugitive hunt for TJ and the rest.

Sheriff Quinn Colson isn't that convinced of TJ's guilt but would like to talk to her about what happened. With her on the run, he does some legwork on the case on his own—looking into her mother's boyfriend, finances, and history. The more he finds, the less he's convinced that TJ had anything to do with her death, he just needs to find enough evidence to convince Lilly.

Meanwhile, Johnny Stagg is at work greasing palms and making plans for the future—and what he has in mind will look entirely different than anything we've already seen from him. He's also trying to get a father and son to join his team—they have a penchant for violence, and Stagg is pretty sure he'll have some work for them.

TJ BYRD

...I'm real sorry, TJ. You're too young to got through a mess like this."

"My life's been a mess since I was born," TJ said. "Don't shed a tear for me, Sheriff."

TJ Byrd is one of those characters that you can sense that an author really enjoys writing, and it carries over to the reader—she's just a blast to read about. I felt like I got a better sense of her than I have a couple of protagonists this year. I want to write a lot about her, but I won't because I just don't want to take away the joy of discovery from a reader. So let me just say that if you can see the joy in reading about a rebellious, stubborn, delinquent teenager on the run from the law because she's suspected of the gruesome murder of her mother, you're really going to have fun with her. If that kind of character doesn't really seem like something you'd enjoy—give Atkins a chance to prove you wrong.

The only thing I do feel safe in saying is that Atkins made a great Spotify playlist based on the character, and it tells you a lot about her (and makes pretty good reading/writing music if you're dragging a bit).

A NEW SIDE OF COLSON?

The little girl wide awake now, as Maggie wiped her face with a napkin and handed her over to Quinn. He held his daughter tight, the child's eyes wide and unfocused. Halley so small, light in his lap, while she checked out all the smells and sounds of the Fillin' Station diner.

"She sure is curious," Maggie said.

"Skeptical," Quinn said.

"I guess she comes by it naturally."

Quinn's been a great step-dad to Brandon—and was a good uncle to Jason. But it feels different now with Halley in the picture. It seems like Quinn's going to be a good, involved dad (as much as his job allows). I got a real Joe Pickett-vibe off of a couple of passages with Quinn at home in this one. Which is good—Joe at home is the most appealing part of the character, so seeing Quinn in this light makes me look forward to seeing how he develops along these lines.

MYTHOLOGY VS. "MONSTER OF THE WEEK
It's a little off-genre here, but when I was thinking about this novel and its relation to the rest of the series, I thought about The X-Files and Fringe. There were essentially two types of episodes for those series—"Mythology" episodes that advanced or at least explored the overarching story about the series, and "monster of the week" episodes that were pretty much about some freakish thing that was taken care of within one episode—and while nods might have been made towards the mythology, overall it was independent of that story.

The Heathens follows a major mythology novel, The Revelators that tied up storylines that went back to the beginning as well as some new ones. The Heathens takes a break from it, telling a largely stand-alone story. This is good, it gives readers a chance to catch their breath, it gives Atkins a chance to tell a different kind of story while beginning to set the stage for the next big mythology chapter.

That said, it's not "mythology"-free. The "new, improved" Johnny Stagg (who will remind you a lot of the "old, corrupt" Johnny Stagg) starts making plans, giving readers a hint about the kind of misery that's heading to Tibbehah County and Quinn's life. And there are references to and advances on some of the ongoing subplots, but they're not the focus of the novel.

EDGING TOWARD A SPOILER IN THE PARAGRAPH
I don't like to think this—even about fictional characters—but there's a character death that brought me just so much pleasure. I'm not going to ruin it, as much as I want to. Murdered Character is someone I find nothing redeemable about—Stagg, at least, is entertaining to read about/detest. But this one? Didn't enjoy reading about them, was hoping never to see them again—but if Atkins is going to bring them back just so he can kill them off? That's more than okay by me.

SO, WHAT DID I THINK ABOUT THE HEATHENS?
This is a great way to start phase 2 of the Quinn Colson series, taking a little breather from major arcs to focus on this story—one that Quinn and Lilly really play supporting roles in—is a nice break from the intensity of the last couple of novels.

It's also a great place to come on board the series if you haven't read any of it before.

Lilly and Quinn being on opposite sides of the case—not really working against each other but sure not helping each other too obviously—is another nice touch. There's an honest difference of opinion, and on the whole, they treat each other like adults set out to get to the bottom of something, no matter their divergent positions when it comes to how to deal with TJ.

Especially in the Quinn Colson series, Atkins has a history of giving us solid plots, great characters, and something extra. That's the same here, but it feels a little fresher, a little rejuvenated after The Heathens. Choosing to focus on a few kids from Tibbehah County, while Lilly and Quinn are closing in on the truth (and the teens) is a nice change of pace, too.

As much as I enjoy his Spenser novels, it's these Quinn Colson books where Atkins can show the world what he's capable of. This is no exception to the rule—do yourself a favor and pick this up. show less