Rob Parker (1)

At some point, later, I’ll have to have a word with myself about how it got to this, but sometimes your hand is forced. There’re goodies, baddies, your side, their side. Winners get to go home, losers get dead.

And I've got a family I need to get back to.

WHAT'S THE WATCHMAN ABOUT?
Ben's benefactor, protector, ally, and almost-father-figure, William Grosvenor comes to him for a favor: go to New York and get an envelope for me. Ben can't know what's in the envelope, he just needs to bring it back. Grosvenor throws in an obscene payday to sweeten the deal.

Ben really doesn't want to do this—he wants to stay at home with Carolyn and the kids. But it's not the kind of money you can walk away from—especially with three kids to provide for—and that's assuming Ben's sense of duty wouldn't oblige him to answer Grosvenor's request.

Almost everything you can think of going wrong once he had the envelope goes wrong. Ben and his American contact find themselves on the run, they're just not sure who from, they only know they have guns and aren't afraid to use them. But soon, Ben's able to summarize things like this:

This is turning into something preposterously big. The FBI, the CIA, the Secret Service, maybe Russia and perhaps my own countrymen back home – all wanting the contents of one little envelope.

Ben neglected to mention a New York Crime Family in his list, which is odd, as he says this to their head (but maybe he assumes she's aware that she's one of those making the situation preposterously big).

Ben and the American stay one step ahead of all these groups (by the skin of their teeth) all over an envelope they don't understand the significance of. They move from NYC quickly to another state, and then another...and well, you get the idea. The chase is lethal, demanding, and quite likely full of treachery.

SOMETHING NEW IN PARKER'S ARSENAL
In last year's Far from the Tree , Parker used multiple perspectives quite effectively. But in the Ben Bracken series, it's all been Ben's first-person point of view up until this point. In The Watchman, he sprinkles in some chapters in the third-person. These chapters follow a figure called Sinclair, and it's a long time before we have any idea about the connection between the envelope and Sinclair. But you know that he's important right away.

It's always risky (I think) when an author starts putting third-person chapters in a first-person narrator's book. Parker's use is effective, you want to know more about Sinclair—you want to understand what he's up to and to learn more about him in general, with the curiosity about how he ties into the envelope coming in third place to the others. All three items are covered in these pages, thankfully, leaving no lingering questions.

BEN IN THE U.S.A.

My smile broadens irrepressibly. There’s something about this country that, while I can’t quite put my finger on it, I really enjoy. The expanse maybe. The freedom of choice. The sensation that you can have it all. No wonder immigrants have flocked to it in their droves, drunk on the idea of streets paved with gold.

Equally entertaining—and far less stressful than the rest of the book—is watching Ben's reactions to America. He has great comments about NYC, our roads, cars, food, politics, and so on.

Ben's been around a bit, he's seen things, and can come across as fairly jaded sometimes. It takes a lot to impress him. Until he enters the U.S. for the first time, and then almost all of that is stripped away.

One of my favorite examples is his reaction to the idea of fried gator on a menu—both before and after ordering it—it's just great. I wish we could read more of Ben reacting to American restaurant fare.

Actually, that's a great idea for a short story—Ben uses some of the money he makes in this novel to bring Carolyn and the kids on an American vacation. There's no death, no fights, no danger—just them touring a few states and eating strange things.

THE THING I CANNOT TALK ABOUT
For a while, you start to wonder if the envelope is the equivalent of Marsellus Wallace's briefcase—inside it is something that everyone wants, but no one will tell you what it is. Thankfully, that ends at some point and we get to look into it.

The contents of the envelope—and here's where I have to be careful what I say—indicate something that's a frequent idea in Fiction—Fiction of various genres, not just Crime Fiction. I hate it. Really. It's over-used. Usually not used well and/or interestingly. I also usually find it fairly distasteful, yet dull. I've complained about it elsewhere on this blog in less-spoilery circumstances. I can count on the fingers of one hand the number of times I've seen it used well or interestingly—and would still have a few phalanges to spare.

That said? In The Watchman, Rob Parker pulls it off. I bought it. I was curious. I got over my initial groan once and enjoyed it. I wish I could say more, but I really can't. So let me just say that for me, Rob Parker pulled off a feat here that few have, and should be applauded for it.

SO, WHAT DID I THINK ABOUT THE WATCHMAN?
I started this week talking about how much of an improvement the fourth book in this series was over the others. This book is similarly an improvement over the fourth. It was just great.

For those who might care, this novel features two of the most disgusting deaths I can think of. I don't mean to put anyone off from reading this—just know that there are two or three paragraphs you may want to skim and not think too hard about. Thomas Harris and M. W. Craven need to work a little harder to assert their dominance in the area.

There's a reveal towards the end, that I sincerely hope wasn't supposed to be shocking, because I think Parker pretty well telegraphed it from the opening chapters of the book. It makes sense that it shakes the characters in the novel, but no one who reads the book should be surprised (although I'm glad Parker revealed this later in the book, rather than spelling it out in a descriptive passage toward the top of the book.

Do you need to have read the previous four novels to appreciate this one? Nope. It can be read as a stand-alone, but it helps if you have read them so you understand what drives Ben—what keeps him moving forward and helps him get through the discouraging, political, or dangerous parts of his job. All that will come through if this is your first exposure to Ben, but not quite as clearly.

Parker's outdone himself here—it's tense, twisty, and compelling. Even when dealing with things that frequently make it hard for me to finish a book, Parker's writing and pacing kept me turning the pages. In the end, The Watchman is going down as one of my favorite thrillers of 2021. Do yourselves a favor and pick it up.… (más)

This originally appeared at The Irresponsible Reader.
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I’ve never been at a large crime scene before, moreover I’ve usually been part of their creation and have high- tailed it before the flashing lights showed up. Consequently, this is interesting. It’s a hub of activity, of urgency, of constant footsteps and the cold crackle of static.

I take a moment, and feel it.

WHAT'S TILL MORNING IS NIGH ABOUT?
So Ben's got a day job (under an assumed name) working with the National Crime Agency. He's doing some data entry work, some number crunching—and theoretically, he's around to impart some of his special knowledge when needed.

The NCA is focused on a sudden upsurge in the drug trade in Manchester (which had experienced a good drop in criminal activity after the last time Ben was in town). So they've sent in an Undercover Officer. When we start this novel, that officer is dead—in a particularly vicious killing, almost performative. Ben accompanies some of his colleagues to the Crime Scene (his first out-of-the-office work), which leads to some more time out of the office—and eventually, fieldwork.

If you've read any of the Ben Bracken works, you have a pretty good idea what follows his being given a Field Work assignment. If you haven't read any of these—let's just say there are many bullets, probably some explosions, some hand-to-hand combat, and a decent number of people who end up bloody and beaten (very possibly Ben).

DCI OKPARA, MAASAI WARRIOR
There are a lot of new characters introduced in this book—and I"m not just talking suspects/targets for Ben, but allies, colleagues, etc. But DCI Okpara stands out—I'm not going to describe him much, because that's the kind of thing that ruins the effect of meeting him in the novel. And really, who needs more than "DCI" and "Maasai Warrior" referring to the same character to not want to know more?

There's just something special about this guy—he's the second character this year that I'd love to see as the subject of a spin-off series. I know I'd buy at least the first three installments.

BACK TO HIS ROOTS
Circumstances have brought Ben back to Manchester where we first met him. I'm a little troubled about some of the details on that front, I realize as I write this, but that's neither here nor there.

He's back because he recognizes one of the main suspects for the killing--someone he met in A Wanted Man, other experiences he had in that novel pave the way for him to be a very effective presence for the NCA for the case. Bringing him back to the beginning at this point works well, both in terms of story and character.

I DIDN'T SEE THAT COMING
Jack Reacher, Zeb Carter, Orphan X, Peter Ash--and all the other lone gunman/vigilante/hero types you can think of along these lines—have a few things in common beyond their uncanny fighting abilities and high body counts. One of those is lack of a day job—but Ben breaks the mold a little here. As I said, he has a job as a consultant for the National Crime Agency. No running around three steps ahead of the law for Ben, he is the law. Or at least consults for it.

The other relates to thing these characters have in common relates to a personal life—and wow, you're not going to believe what's going on for Ben there.

APPORACHING THE POLITICAL
Ben gets a little political in response to some of what he's forced to listen to over the course of this novel, but not much—and it's not that preachy. But Ben does end up spending time around a group dedicated to getting Britain "back" to a purer state (read: white), which was a little hard to read*. It frequently reminded me of a UK version of Ace Atkins' Tibbehah County.

* Just to be clear, it's ard to read because Parker does a good job portraying that kind of bigot, not that he or Ben are bigots.

Of course, this group had a plan to take over the UK government as a means to get that pure UK. Over the last 2 years, I've read more books where a militant and powerful group wants to take over the British government and clean up society. This is the first one that seemed plausible—the one that might actually work in the real world. And that's terrifying.

SO, WHAT DID I THINK ABOUT TILL MORNING IS NIGH?

There is indeed more than a few things that are extremely horrible about the way that the man has been quite clearly executed, but too many times I have witnessed human life reduced to nothing but tissue and pulp, the romance of the miracle of life lain exposed for what it really is. Each time I have seen someone split asunder, their contents revealed, what comes out of the person is always the same as the last. Blood and organs arranged artfully on bone. No myth, no mysticism. We are made of soft material that splits and spills, nothing more.

This. This novel right here is the payoff to the potential I saw in Ben Bracken back in A Wanted Man—I liked it, and the novels that followed, but I didn't think they were everything the character could be. This is exactly the kind of thing I thought Ben could be, and probably a little more. Sure, Parker's more than capable of writing a better thriller, and there's room for Ben to grown and/or develop—I'm not saying this is the definitive Rob Parker/Ben Bracken. I'm just saying that this surpasses everything that's come before.

I'm curious about what happens to those behind the death of the UC officer in general—but don't foresee Parker spending time on that in the future. I'm very curious about the fallout from this on Manchester and the NCA team Ben's associated with—assuming Parker decides to let us see that. But mostly, I can't wait to see what comes next for Ben, in terms of story and quality. Thankfully, the next book of the series is out and I can jump into that in a day or so.*

* Also, I have to—I have a Book Tour spot for the next book on July 1. But I probably would've jumped in this week anyway.

Can you jump on at this point? Yeah, you could. I do think it's worth it to get a running start with the earlier books in the series, but it's not a deal-breaker either way. The main takeaway from this post should be that if you want to see a Thriller writer doing just about everything right and seeming to have a lot of fun with it while he's at it—grab Till Morning is Nigh.… (más)

This originally appeared at The Irresponsible Reader.
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WHAT'S THE PENNY BLACK ABOUT?
After the...shall we say, extreme conclusion of Morte Point, Ben Bracken has to disappear. Not like he disappeared after he escaped from prison either—this is a whole new level. Not only does he have to hope that the several governments and criminal organizations never learn what he did, but he also has to hope that the 3 other people who know what he did don't come looking for him.

So he assumes a name and lives in a tiny town called Horning. He gets a job that pays him just enough, he boards with an older couple (some of the nicer people you'll ever meet). Ben takes the time to recuperate, to soak in the atmosphere, to remember what it is about people—British people, in particular—that made him love his country so much that he is what he is.

As he starts to prepare to leave this town and move on, he stumbles on to a criminal conspiracy in this quiet community. Because that's what Ben Bracken does. Bears bear. Bees be. Ben finds conspiracies.

Ben feels like he owes people of Horning a debt because of the solace they've given him. So he decides to clean up town on his way out.

Things go from quiet and bad to loud and worse before long—and then it gets deafening and horrific.

SO, WHAT DID I THINK ABOUT THE PENNY BLACK?
It wasn't bad. It wasn't my favorite, but there were some really good moments. The fight scenes were well done, as I've come to expect, and I really liked the self-reflection Ben undertakes and the steps he takes to move on with his life.

I honestly don't have a lot to say—and I feel bad about that. It was alright. I think it'll end up being a pivotal moment in the series, and I'm eager to see where things go from here, but I just can't get that excited about this one.… (más)

This originally appeared at The Irresponsible Reader.
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I’m...enjoying myself.

Some people like collecting beer mats. Some like keeping tabs on birds, bugs, animals… whatever. Some like walking, running, going to the gym. We all get our kicks from somewhere. I’m open enough to enjoy all the above. But I’m never happier, nor more focused, than when I am getting shit done while the chips are down. Now, floating between the shallow rocks off the Atlantic, using my wits, guts and training to elude a mysterious force, I am in my element; my absolute, unrelenting element.

WHAT'S MORTE POINT ABOUT?
Something is about to happen at Morte Point, he can't get into details with Ben, but his police contact and his entire agency have been waved off from it by a higher power. Which just means it's time for something unofficial to happen—enter Ben Bracken, the former soldier, escaped convict, and patriot on his one-man crusade to take on the criminals that England's justice system can't handle.

With only a couple of details given to him, Bracken finds his way to the North Devon coast just in time, retrieves the item he was sent for—and then has to spend the next few days eluding armed men of various skill levels, government officials with differing priorities and ethics, and nature red in tooth and claw—and a few other hazards.

Can he survive long enough to do the right thing with what he retrieved? Is there a right thing to do with it? Is Ben on his own enough, or will he have to find allies to get the job done?

DOES PARKER HAVE SOMETHING AGAINST BEN?
The number of things that go wrong for Ben in the first 40% of this novel is pretty astounding. And by "go wrong," I generally mean "inflict some sort of injury" to him. He's being hunted by a group with numbers, resources, and determination; he cannot make contact with anyone he can trust; and he's injured repeatedly (to varying degrees of seriousness). It's bad enough that if you didn't know there were two more books published (with one imminent), you'd start to wonder if the last half of the book was going to get a different narrator. It's like Parker was angry about something and took it out on Ben.

Things to lighten up for him—which isn't to say that the rest of the book is easy, the problems continue, just less frequently (but they're of a higher degree of seriousness).

A STEP TOO FAR?

I sleep the sleep of a man who knows he has done wrong. I sleep a sleep that is deep, yet forced, unbroken yet tormented, as my subconscious pretends that what I did hasn’t happened at all. And if it did somehow happen, surely it is not time yet to wake and face it.

Not long after the physical hazards lighten up, the moral and psychological ones become more pronounced. Ben has certain ideas about what kind of person he is—so does the audience at this point. Ben takes a couple of actions that are truly disturbing, and may (should) haunt him. It certainly looks as if they will.

A lot of this kind of "wandering one-man army" type characters don't seem to think much about their acts of violence for very long, and it seems like Ben might be an exception to the rule—and I think we need more like him. One of these morally questionable acts is fairly justifiable for a fictional action hero, but the other (the one prior to this tormented sleep)...I don't know He has a hard time letting himself off the hook for it, and I'm pretty much with him on that one. I'm curious to see if later books see him shying away from that kind of thing.

SO, WHAT DID I THINK ABOUT MORTE POINT?
Parker's writing is crisper; while outlandish, the plot seems more grounded; on the whole, the action scenes are more convincing and exciting (although the destruction of the floating nightclub in A Wanted Man tops anything here); the characters are better fleshed out—and, when applicable, more chilling. Generally speaking, Parker took what he did in the previous novel and improved it—exactly as one would hope to see. Parker barely establishes a status quo before he proves that he's willing to blow it all up—a gutsy move this early in a series.

However...

I can't quite put my finger on it but something about this didn't work as well as A Wanted Man. I think objectively, it's probably a better novel, but subjectively, I'm not as enthused about it. I'm still diving into the next one in a day or two—I want more Ben Braken, I just also want a bit more out of the books. Nevertheless, if you're looking for a thrill ride full of action, adrenaline, and morally complicated choices? Morte Point will deliver.… (más)