From Publishers Weekly
Starred Review. It isn't an easy job for an actor to bring to audio life all the many facets of Mosley's Easy Rawlins—the street smarts and survival skills that make him a good detective; the devoted family man who works as a junior high school custodian; the shrewd and compassionate historian of L.A.'s black community. Easy walks the razor's edge between the straight, property-owning life he aspires to and the crime and violence that surround him. Boatman, who did such a solid job on Rawlins's
Little Scarlet, works harder and shines even brighter here. Desperately needing more money than he can raise to send his adopted daughter, Feather, to a Swiss clinic to treat her rare blood condition, Easy almost agrees to join his deadly best friend, Raymond "Mouse" Alexander, in an armed robbery. Boatman catches all the nuances of their first scene together—Easy full of moral qualms and practical fears; Mouse as calm and reassuring as a shoe salesman. When Rawlins gets a job in San Francisco, Boatman gets the chance to play crooked detectives and lawyers, mysteriously sexy females and that now-familiar gallery of supporting characters only a black Balzac could create.
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Mosley's long march through the 1960s continues as Easy Rawlins, now in his forties, finds himself thrust into multiple family crises. His daughter, Feather, has contracted a rare blood disease and is likely to die unless Easy can find a way to pay for treatment at a Swiss hospital. His lethal but loyal friend Mouse has just the ticket--an armored-car holdup--but Easy, determined to bring some stability to his life, opts instead to help a fellow sleuth track a vanished lawyer and his beautiful assistant, Cinnamon Cargill. The armored-car job might have been a wiser choice. Soon Easy has nothing but trouble: dead bodies turning up wherever he goes, a stone killer on his trail, and a potentially scandalous plot involving decades-old dealings with the Nazis. The trail takes Easy from L.A. to San Francisco and affords him his first bemused look at the burgeoning counterculture in Berkeley and Haight-Ashbury. Mosley's justly celebrated series typically juxtaposes human drama against a recognizable historical moment (last year's
Little Scarlet took place during the Watts riots), revealing what history feels like from the perspective of an individual African American man. This time the historical moment is less vivid--the hippie encounters are mostly peripheral--but the human drama is more highly charged than ever. Readers accustomed to the aggressive interaction between history and character may feel less engaged this time, but the melancholic, inward-turning Easy who emerges here offers his own multidimensional rewards. Like the best crime series, the Rawlins novels continue to evolve in surprising ways.
Bill OttCopyright © American Library Association. All rights reserved
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