Well I certainly agree with Cathy on everything and I'll add another--
pages and pages of descriptions that just don't mean anything, for example, I don't live in LA so I don't know the area at all (and don't care) so all the mentions of street names and home areas was nothing but tedious and boring so I skipped a lot of pages on that stuff, then the descriptions of her cars, guns, clothes and on and on and on--tedious and nothing to help the story but--
like Cathy I kept reading to find out exactly what was going on with who was looking for her and how they knew about her being in that house
again, like Cathy, don't start with this book if you want to read this author just not a good way to start off
pages and pages of descriptions that just don't mean anything, for example, I don't live in LA so I don't know the area at all (and don't care) so all the mentions of street names and home areas was nothing but tedious and boring so I skipped a lot of pages on that stuff, then the descriptions of her cars, guns, clothes and on and on and on--tedious and nothing to help the story but--
like Cathy I kept reading to find out exactly what was going on with who was looking for her and how they knew about her being in that house
again, like Cathy, don't start with this book if you want to read this author just not a good way to start off
I am a big fan of Thomas Perry's Jane Whitefield mysteries in which Jane helps people disappear. Reading passages in those books makes readers feel as though they're reading a textbook on how to leave your old life behind and start all over again. You get that same textbook feeling reading The Burglar, but the reading enjoyment was much lower for me.
The repetition is deadly in this book. We are told over and over how pretty Elle is. How smart she is. How good she is at being a burglar. We are told over and over of her wardrobe changes and her rental car trade-ins. Over and over, world without end... This might have worked-- I might not have noticed all the repetition-- if Elle's voice hadn't been so dispassionate. As if everything she says must be taken as fact and it's useless to argue with her because she could care less what you think.
But I do insist on arguing with her. She may be pretty, and she may know how to trade in rental cars and choose just the right outfit for each occasion, but she's not nearly as smart as she likes to think she is. She knows someone is following her, someone who committed a triple homicide. What does she do? Go to a friend's house to stay. In another instance-- having even more proof that she's being followed-- she attends a funeral and is surprised by what happens there. There are even more examples of Elle being Too Stupid To Live, but there's no need to list them all. Seasoned crime fiction readers will know what I mean. This character was driving me insane.
The only thing that kept me going was the fact that I insisted on knowing what was going on, why it was going on, and how it would all be wrapped up. That was interesting, and it helped that the point of view at the end switched from the smug, flat-voiced Elle. My ear needed a rest from her, and the different point of view helps readers see how everything fit together.
At the end of The Burglar, I was happy to know how everything turned out and even more thrilled in the knowledge that I'd never have to spend any more time with Elle Stowell. If you've wanted to read Thomas Perry-- and you should-- it's better to stick to a standalone like The Butcher's Boy or his Jane Whitefield series. This is not one of his better books.
The repetition is deadly in this book. We are told over and over how pretty Elle is. How smart she is. How good she is at being a burglar. We are told over and over of her wardrobe changes and her rental car trade-ins. Over and over, world without end... This might have worked-- I might not have noticed all the repetition-- if Elle's voice hadn't been so dispassionate. As if everything she says must be taken as fact and it's useless to argue with her because she could care less what you think.
But I do insist on arguing with her. She may be pretty, and she may know how to trade in rental cars and choose just the right outfit for each occasion, but she's not nearly as smart as she likes to think she is. She knows someone is following her, someone who committed a triple homicide. What does she do? Go to a friend's house to stay. In another instance-- having even more proof that she's being followed-- she attends a funeral and is surprised by what happens there. There are even more examples of Elle being Too Stupid To Live, but there's no need to list them all. Seasoned crime fiction readers will know what I mean. This character was driving me insane.
The only thing that kept me going was the fact that I insisted on knowing what was going on, why it was going on, and how it would all be wrapped up. That was interesting, and it helped that the point of view at the end switched from the smug, flat-voiced Elle. My ear needed a rest from her, and the different point of view helps readers see how everything fit together.
At the end of The Burglar, I was happy to know how everything turned out and even more thrilled in the knowledge that I'd never have to spend any more time with Elle Stowell. If you've wanted to read Thomas Perry-- and you should-- it's better to stick to a standalone like The Butcher's Boy or his Jane Whitefield series. This is not one of his better books.
