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1 - Great action
2 - A tightly wound plot
3 - A feeling of suspense, knowing that Reacher is going to kick someone's butt at least a couple of times in the book...it's just a matter of when and how hard.
'Echo Burning' finds Reacher hitchhiking in West Texas. He's picked up by a woman who definitely needs help. Her abusive husband (whom she helped send to prison) is coming home soon, and not to treat her with tender loving care. The husband's family (who hates the woman because she is Mexican) is also anxious for his return and is, of course, on his side. But is the woman telling Reacher the truth? Is there more to the story than what she's telling?
'Echo Burning' is not a great story, but it's good. Child's description of the West Texas heat and atmosphere get a little old and repetitive, but you can overlook that. As mysteries go, 'Echo Burning' is not a bad way to spend an afternoon.


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Hill has no feel for American culture. He is apparently a Canadian who spent some time in London and is primarily a film historian. His sense of cultural history in a broader scale is ludicrously third-hand, delivered in broad generalities on the order of, "America was in the grip of repressive McCarthyism in the early fifties," or "Many well-meaning people were concerned about the plight of the negro."
Paradoxically, Hill titles his book 'A Grand Guy,' although his lack of feel for modern American cultural history makes it impossible for him to tell us where Terry Southern's 'Grand Guy' persona came from. The 'Grand Guy' act, a compound of heartiness, mock-haughty superciliousness, and college-humor hyperbole, was a standard persona for those of Southern's generation. Many of Southern's contemporaries (from Gore Vidal to Bill Buckley and even Norman Mailer) played the same notes on their fiddles. This act was a continuation of the tongue-in-cheek snootiness you find in the early years of the Luce publications (where Time letter writers would be accorded a put-down caption on the order of, "Let Subscriber Brailsford Mend His Ways!") as well as The New Yorker (think of Peter Arno's captions or E.B. White's snotty captions for squibs pulled from local newspapers). This was the accepted "hip" idiom for the 20th Century Quality-Lit man, and it reached its full effulgence in the Esquire of the 1960s, when an unrelenting, over-the-top mockery of sacred cows became the mark of sophistication. Southern's tragedy, perhaps, is that he got stuck in what was essentially a passing style of ephemeral journalism, and he was unable to grow beyond it, and he had no friends to encourage him to grow beyond it. Thus, by the early 70s, his output was reduced to self-parodying letters to his friend and imitator at the National Lampoon, Michael O'Donoghue.


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This book is engrossing despite its flaws. Josh Jin's career and his personal life are slipping away due to his emotional collapse caused by the death of a daughter. Resulting mistakes caused him to lose respect and position. Jin is forced into a case in which he finds himself conflicted from grief, loss of status, ugly politics and morals, cultures, and outrage. A 13-year old rape victim refuses to talk. There is no physical evidence. He has nobody's confidence and no professional support. The accused ex-con may not be the one. Worse, his legal adversary is a powerful ex-girlfriend he once jilted who knows how to pull his chain. He cries in court and colleagues think he is without hope.
Jin struggles back from the edge while pulling another from disaster. The reader learns a bit about the Chinese-American culture and very real child sexual abuse, accurately rendered. As the story unfolds, there are surprises aplenty.
This BOMC alternate is awkward but remains a page turner. It is a complex crime story based on what is really happening, though a bit overplotted. A tale of lives in crises, untidy politics, horrifying crime, sleazy judges, shoddy legal work, messy lives, committment and personal salvation. Lee toys with the reader right up to the last few words. This is a book of passion dotted with clever observations and characters that resonate. Readers will think about this book for a long time despite it's rather unbelievable legal, political core. Gus Lee could do better and has done so(Honor and Duty) than this sometimes confusing book, but "No Physical Evidence" remains a worthwhile read.



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I felt that I was reading someone's thesis -- a well written one, but something that was about the micro, not macro themes and ideas behind Smith's work.

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Jack's a loner, and it is fitting that he's back on the road again after trying unsuccessfully to settle down. He's in hot, dry, west Texas (and Child really makes you feel as though you are there - you're thirsty throughout the story!) where he's enlisted himself to help an abused (?) wife, Carmen Greer, and her daughter, Ellie. Greer's tale is fraught with lies, and, if I were Jack, I would have given up on her. She's not able to escape her husband, Sloop, and his secretive pack of friends that
have a past that leads to bloodshed.
The pace bogs down from time to time, and it is difficult to root for Carmen. The ending is a lot more transparent than anything Child has given us previously. Worst of all, Child gets bogged down in his own descriptiveness, a problem encountered in his earlier works, where it was more forgiveable and did less to hurt his characterization and his pace.
Not giving up on Jack, because he is the most refreshing hero of the past few years, but one more average work by Lee Child will send me scurrying for some new authors!