Recently I watched several early episodes of “Blue Bloods,” a fine television series centered on a New York family with a tradition of law enforcement. The father is the New York City Police commissioner, his father is a retired policemen, and his children include a detective, an assistant district attorney, a rookie cop, and a policeman killed on duty. The series is justly touted for its realism regarding both police work and family dynamics. Yet in one of these episodes, the detective participates in a raid; he runs alone up a fire escape to enter through the window of an apartment while an entire contingent of fellow officers breaks through the front door. In all the episodes I’ve seen so far, the commissioner, a widower, is dating a television reporter, but still wears what definitely appears to be a wedding band on his left hand.
Questions: why is the detective running up the fire escape without backup? And why does the commissioner’s lover ignore the wedding band?
Hollywood often gives us movies or television shows in which coincidence is not justified, logic is sacrificed for emotion, and plot and character motivation is as flimsy as a doublewide in a tornado. Style trumps story, drama and excitement run roughshod over reason. Sometimes the magic works, and we are tricked against our better judgment into accepting certain premises, but just as often the curtain blows aside and we see the man working the controls. The magic ends, and we are left with a piece of creaky, irritating machinery.
Unfortunately, these same defects appear in some of the novels we may read.
In Carol Goodman’s The Ghost Orchid, set in an artist’s colony in upstate New York, the story grips the reader from the first page. The narrator of this Gothic tale, Ellis Brooks, is at work on her first novel. Goodman has a genuine talent for creating believable female protagonists, and through Ellis we come to know the other members of the colony: the renowned novelist Nat Loomis; the landscape architect David Fox; the eccentric and lovable poet Zalman Bronsky; the brooding biographer Bethesda Graham.
As in her outstanding first novel, The Lake of Dead Languages, Goodman displays a generous talent for creating tension, both among the characters and in the mystic elements — ghosts, mediums, a past-haunted present — surrounding the Bosco estate. The reader becomes caught up in the lives of the artists as they struggle to unravel the mysteries of the estate with its secret rooms, underground tunnels, mysterious sculptures, and living secrets.
About three quarters of the way through the novel, however, Ellis’ ability to “read” the other characters and to summon up the estate’s dark past become tiresome rather than intriguing. Worse, the connections of the other characters to the estate — by genealogical descent, by a past of which they are unaware — finally become too unreal to be viable. Worse still, for a reader skeptical about séances, poltergeists, and other supernatural phenomena, the last few pages of The Ghost Orchid become a tremendous cheat. The characters suddenly turn to cardboard, the plot to air, and the reader leaves the book feeling slightly ridiculous for having devoted several hours of breath and effort to so awful a contraption.
In The Affair: A Jack Reacher Novel, Lee Childs takes us back to 1997 when Reacher is still working as a special investigator in the Army. Sent to Mississippi to look into the murders of young women near an Army base serving as headquarters for secret missions in the Middle East, Reacher falls for the town’s sheriff, ex-Marine Elizabeth Devereux. Between bouts in the bedroom the two of them try to track down the killers. The Affair is vintage Reacher: finely-tuned dialogue, beautiful women who want to take Reacher to the sheets, Reacher’s own eccentricities (even here, while in the Army, he buys his clothing at thrift shops and throws away his old clothes rather than washing them and using them again).
From my reading of earlier Reacher novels, I had already learned that I needed to suspend certain conventional ideas regarding plot. In one novel, for example, Childs has Reacher randomly get off the bus in a small town. Before the novel is finished and the bodies are stacked higher than the bus, Reacher discovers his brother, a special agent, dead in the town’s morgue. To enjoy the novel, then, means that we must overlook the fact that the odds of this occurrence are spectacularly high.
But in The Affair, about midway through the story, I came to the final end of tolerance for Jack Reacher and his creator. Here Reacher has talked with a young black man, the brother of one of the murder victims, and has encouraged him to join the Army. The young man goes to the nearby post to enlist, but is shot dead by a group of vigilantes guarding the property. Reacher tracks these men down, discovers why they have been stationed around the post, then shoots one of them in cold blood and tells the others to haul the body away and never return.
It was on that page that I closed the book and promised myself never again to read one of these novels. Here we have a military policeman murdering a citizen and then casually telling his two buddies to take the body away. There are apparently no consequences for this killing; I didn’t read any farther into the book, but the other Reacher novels still depict our man running around the country single-handedly killing platoons of bad guys and eradicating evil. The sheer numbing stupidity of such a plot twist, and all the other unbelievable situations in this book and others in the series, have finally brought me back to my senses.
The appropriately titled The Affair brought an end to my own affair with these books. Unlike the traditional breakup line, however, I will say in ending our relationship: “It’s not me. It’s you.”
The Affair: A Jack Reacher Novel by Lee Childs. Delacorte Press , 2011. 416 pages.