A. J. Kazinski

"The correct interpretation of numbers determines whether we live or die. it's life or death That's something that every scientist understands. That was why Tycho Brahe got his nose sliced off in a duel."

"Because of numbers?"

"Because he claimed that so-called complex numbers existed. And his adversary claimed that they didn't."

"Who was right?"

"Tycho Brahe. But he lost his nose."

Venetian policeman Tommaso di Barbara has discovered a trend in killings around the world - every Friday at sunset, show more a good person is murdered. Humanitarian, lawyer, volunteer - they all die with a strange burn-like mark on their back. Niels Bentzon picks up the Interpol report - but can't bear the thought of travel and doesn't speak di Barbara's language. Only once he teams up with Hannah Lund, astrophysicist extraordinaire mourning the premature death of her son, is he able to impose a pattern and find out when the next murders will be. The question is, can he stop them?

Parts of this were really well written - as a police procedural, with all of the distractions from the climate conference and the terrorist threat, it succeeded. I kept reading, engrossed, all the way to the end with no trouble.

Niels and Hannah are both interesting characters - neither is perfect and each is dealing with their own romantic issues - but as a partnership they work very well. In particular, their weaknesses are key - Hannah's inability to deal with normal interpersonal situations, Niels' travel phobia; both are worked slyly into the story but are completely obvious as obstacles when we happen on to them.

Kazinski writes Venice and Copenhagen well - the floods, the abandoned madhouse/hospital, the cold, the ridiculous media interactions with the police at the conference, the conflicts between cyclists and cars in Copenhagen and most of all, the pervasive, penetrating, personal cold that a north European winter brings (I'm writing this with the heating on, socks and slippers, and a blanket over my knees).

However, this gets big negative marks for resorting to a fate-imposed, generational mysticism. I bought it until Niels tried to run away and whatever he did, events conspired to send him back to Copenhagen; similarly the suggested passing of the burden to a new soul at the climax dragged this novel down into Dan Brown land. Except worse because at least there, none of it is magical and spiritual and fate, it's all just bad guys. show less

Interesting story and a truly intriguing premise. It did drag in a few places and there were some loose ends left dangling. What really brought it down for me was the obvious flaws in technical knowledge about firearms. In one instance, a gun is “loaded,” but the only action to unload was dropping the magazine - no bullet in the chamber of a semi-auto pistol is not a loaded gun. The other instance involves a bit of a spoiler. Without giving away too much, a gun with no bullet in the show more chamber does not recoil when the trigger is pressed. Basic mistake the author could have avoided with a simple technical review.

Beyond those disappointments, the story, itself, was good. show less

The Last Good Man
By A.J. Kazinsk]
Narrated by [[Simon Vance]]
Ⓟ 2012, HighBridge Audio
13.9 hours

The "Tzadikim Nistarim" are the 36 hidden righteous people of the earth according to Jewish mystic tradition. None of the 36 people self-identify as being good or righteous, but their actions have the effect of being socially just or averting a greater humanitarian disaster. If all the Tzadikim Nistarim are eliminated, humanity is doomed. In 2009, a number of seemingly unrelated deaths span the show more globe, and one man - an Italian police detective named Tomasso di Barber in Venice, makes the connection: Someone is killing the righteous people of the world. And so begins this international thriller that races against the clock to identify and secure the eponymous man of the book.

The Last Good Man has all the makings of a great thriller: a touch of the occult, international settings, deadlines with dire consequences if not met, spiritual musings, flawed protagonists, and an elusive villain... and yet, it all falls a bit flat. The novel's arc is robbed of tension with its schizophrenic quality: Is this going to be a police procedural set in Italy? Or is it going to be a Scandinavian crime thriller ? Is the whole of the novel supposed to be a sort of modern, metaphorical, Talmudic commentary? A.J. Kazinski seems to have mashed three novels into one, supplying the listener with an overabundance of detail and sub-plots (e.g. eighty cents, Skype sex, an Arab terrorist, an architect...) that do nothing to advance the story and worse, weaken the overall narrative until it collapses into a series of anti-climactic events.

Simon Vance is the British-American narrator who brings his BBC4 polish and credentials as a reader of international thrillers (e.g. The Millennium Trilogy - by Steig Larsson) to The Last Good Man. His reading is clear, the pace steady, pronunciations are consistent, all characters are delineated well and credibly... all the things that listeners have come to expect as de rigueur from a seasoned professional such as he.

OTHER: I dnloaded a digital copy of The Last Good Man (by A.J. Kazinski; narrated by Simon Vance) from downpour.com. I receive no monies, goods or services in exchange for reviewing the product and/or mentioning any of the persons or companies that are or may be implied in this post. show less

I selected this book because I found a number of parallels in the structure to a work I'm currently writing. I was interested to see how the author (in this case, two authors working under a single name) handled the information readers need to know to understand the plot points as well as how that information was spread across multiple characters.
The first 100 pages were strong enough. But the middle part bogged down in elements that were repetative and, frankly, the devices used by the show more authors were clunky. I kept reading because I wanted to see how they finished the work and how the devices changed throughout. I can't say I would have kept reading if not for what I might learn about how to handle my own project.
I continued on because this was an "instant" bestseller in the authors' country and has received some press in the U.S. because of that. I was interested to see why this became a bestseller, and was surprised whenever I found another of those clunky devices, unnecessary repetition, and poorly executed scenes.
Then, the end matter told me what was really up. It seems the authors are both filmmakers in their home country. So the book was a bestseller pretty much because of their fame rather than any quality attributed to the book.
Was the plot interesting enough? Yes. But too many of the other elements associated with the book were poorly excuted to support its success. show less