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Hundred-Dollar Baby (Spenser), by Robert B. Parker
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April Kyle, a prostitute from Spenser's past, comes back into his life-with deadly complications.
- Sales Rank: #54163 in Books
- Published on: 2007-09-04
- Released on: 2007-09-04
- Original language: English
- Number of items: 1
- Dimensions: 7.39" h x .86" w x 4.30" l, .40 pounds
- Binding: Paperback
- 320 pages
From Publishers Weekly
April Kyle, the damsel in distress that Spenser rescued in two earlier books, Ceremony (1982) and Taming a Sea Horse (1986), again turns to the iconic Boston PI for help in the 34th entry in Parker's popular series. Cynical yet romantic, Spenser easily handles the immediate threat of some men trying to muscle in on the high-class Boston whorehouse April is running. Unfortunately, that isn't the real problem, and Spenser without much surprise finds that April, the thugs and everyone else involved is lying to him. Instead of walking away, Spenser continues to probe, following trails that lead to New York, a con artist, mob connections and other complications. This is vintage Parker, with Spenser exchanging witty dialogue with the faithful Hawk, sexy dialogue with his beloved Susan and smart-alecky dialogue with cops and villains. The old pros can make it look easy, and that goes for both the author and his hero as they deliver the goods smoothly and with inimitable style. (Oct.)
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
April Kyle is the young runaway Spenser rescued from Boston's notorious Combat Zone in 1982's Ceremony. Bereft of conventional options, he left her in the care of Patricia Utley, operator of an upscale New York bordello. Now she is back in Boston operating a branch office for Utley and needs Spenserian assistance. Some locals are trying to move in on her operation. Perhaps Spenser and Hawk can dissuade them? They make quick work of the muscle but learn the catalyst for the takeover may have a more complex motive. April knows more than she has revealed to him about the source of the threat and her complicity. Spenser's frustration with Kyle's dishonesty and his avuncular need to help forces him to keep digging. The latest entry in the long-running series finds Parker revisiting familiar themes such as the often-deleterious effect that families have on their members and whether the damage can ever be truly undone. The banter between Spenser and his significant other, Susan Silverman, and the imperturbable Hawk--typically a highlight of the series--seems flat here, even veering toward cliche. Still, no Spenser novel fails to be entertaining, but Parker just may be doing better work these days with his two other series characters, Sunny Randall and Jesse Stone. Here's hoping he gets the big guy back on track. Wes Lukowsky
Copyright � American Library Association. All rights reserved
Review
...and especially when it's "vintage Parker."
"A plot that turns on [Spenser's] vulnerability and one of his good deeds gone bad."
"Boston P.I. Spenser remains a lovable, troublemaking wiseacre...the plot gallops along."
"There are few things as satisfying as a cozy evening with good friends, especially when [it's] Boston P.I. Spenser."
"Spenser and company guarantee a pleasant outing to Boston with just enough thrills and bad guys to spice up the tri."
Most helpful customer reviews
38 of 39 people found the following review helpful.
It's a Comfortable Long Term Relationship
By Lisa Shea
Spenser is really a series that you have to read from the beginning if you want to understand what is going on. Hundred-Dollar Baby is no exception. April Kyle, the lead character from Ceremony and Taming a Sea Horse, is back again - now running her own whorehouse in Boston. Unfortunately, someone's trying to take a cut of her profits, and she doesn't want any "men" interfering with her female-only business.
This is "comfort zone" for Spenser - many of his cases have involved feminists who insist they want to do things with women only, and end up relying on Spenser for help. There's not even any preamble in this one - April's in his office from moment one of the story, needing Spenser to rescue her from trouble. And while she claims she doesn't really need any man-help, it turns out her entire plan for life was laid out by a man and she had a male bouncer keeping her safe.
Of course, as is traditional, things get messy quickly, Spenser has no idea what's going on, so he randomly follows people to see what happens. He stirs up some hornets nests. Susan and he talk dirty and have a sex life that's rather active for someone who, according to stated birthdates, has just turned 70. But we suspend disbelief and understand that even though he was 37 in 1973, he hasn't quite aged "normally" since then.
The key here is that if you've read the series all along, when just like long-term married couples, you are extremely familiar with the people and situations. You know Teddy Sapp, Patricia Utley, Hawk, and other people who move in and out of the story - you know their ups, downs, quirks, loves. It's like when an older couple has a conversation along the lines of "Remember that time in Paris?" "I loved the whipped cream". They don't need to say any more, they both know the whole story and meaning and why it's relevant to the current situation. The same is true here - you know that Susan's look is palpable, you've heard that 20 times. You know Hawk can easily switch between high English and low po-boy talk.
So you don't read Spenser books for shocking gore or Philip K Dick like twists. You often can outguess what is going to happen. If anything, Hundred-Dollar Baby is more comfy than several previous ones. No front-page topics here, just another whore story where Spenser tries to give them a hand, defeating thugs who try to take him in, and talking with various underworld types. No new Russian mob, no terrorists, no new characters at all, really. No new locations - you stick right around Boston and a little of New York.
Interestingly, depending on your point of view, this can be good or bad. I really liked this book a lot - I thought it had a different ending than most Spenser books tend to, and it didn't do the "bring in 20 characters for a hoe-down" which had been done several times in the past. The few characters brought in were important to the story. I appreciated that he didn't re-hash items (like the Palpable Susan Eyes) that often get mentioned in every single book.
On the other hand, my boyfriend, who's also an avid Spenser fan and has read all the books, seen all the tv-movies etc., felt there was little going on here. It's more of a short story of "What happened to April" with little development, character, or plot. He felt the storyline was so broadcasted that you could sort of read along in your sleep, since you knew pretty much what each character would do and say.
So there you go. If you're looking for a cutting edge, new story with intricate characters and 24-alive plotlines, this probably isn't the book for you. If you're looking to pick up your first Parker book, I wouldn't start here. It'd be like walking into a 40th wedding anniversary without knowing anyone and missing out on all the in-jokes and story backgrounds. But if you've been reading Spenser all along - or are willing to spend a few weeks catching yourself up on the storyline, this really is a nice continuation. It's a closing out of a story we spent a lot of time with, and it adds a little more depth to Spenser's character.
0 of 0 people found the following review helpful.
As usual a great read
By Rphoff
This author seems to never disappoint. His banter with Hawk and Suzanne is as sharp as usual. A fun read!!
1 of 1 people found the following review helpful.
Classic Spenser
By E. Matsuoka
A Spenser novel is as wonderfully dependable and mildly disappointing as a Nero Wolfe novel. Both offer characters with codes of conduct that are stronger than but often different from any codes of law, and both give most of their pleasure from the interaction of the two leads, with plots serving mostly to allow for variations on these interactions. The disappointment comes because the ends are always somewhat sudden, never lingering and giving the reader a chance to absorb the end in the company of friends.
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