To call a writer's work "formulaic" must be criticism's supreme insult, for it calls into question the creativity that is the author's raison d'etre. In the realm of series mysteries, however, a writer must ever walk a tightrope between preset formula and altering familiar characters so much that readers lose interest. Some writers can't take the restrictions, and thus write only a handful of series installments. Others are apparently content to pound out book after book, happily recycling descriptive phrases or the protagonist's inner thoughts. In a more lucid moment, I once likened such series to a 1960s suburb full of tract houses with identical floor plans; differing only in the owners' tastes in landscaping, furnishings, and color schemes.

Robert B. Parker's "Spenser" series has always seemed the consummate formula series to me, for every installment seems to have more or less the same plot. The most recent release, Back Story, is no exception:

{Client} arrives at Spenser's door with an unsolved murder case, in which {Victim} was killed {N1} {Time Periods} ago. The murder is now a cold case, since the {City1} police have been unable to solve it. Spenser, who never seems to charge for the case in question, calls on friends on the police forces in {City1} and {City2}. Someone in the {City1} {Organization} learns of the investigation and attempts to discourage Spenser by violence. Spenser is undiscouraged. The {Officer} of {City1} {Organization} arranges for {N2} assassins to chase and attempt to kill Spenser, who enlists the aid of {Array of Thugs} to protect himself and {Array of Innocents}.

Spenser and/or {Thug [1]} kill and/or hospitalize all {N2} assassins to protect {Innocent[1]} and allow Spenser to continue to investigate the case, even though {Client} has decided s/he wants to call off the investigation. Spenser, however, feels honor-bound to complete whatever he has started, so he and {Thug[1]} commit a {Felony} to get the goods on {Murderer}, pry him/her loose from the protection of the {City1} {Organization} and bring him to justice.

At random moments during the plot, Parker inserts references to the timeless beauty of Innocent[1], the thuggishness of Thug[1], and to Spenser's rigid code of honor, which is the main reason why the beauteous and eminently classy Innocent[1] loves such a violent man.

The plot of Back Story with proper substitutions for the formula variables can be found at the bottom of the page.


Formula for Success

The redoubtable joubert recently noted that Parker has of late shifted into overdrive, publishing as many as four novels yearly in three different series (the protagonist of series number two, Jesse Stone, makes a cameo appearance in Back Story). How can he do it, when it takes most other full-time authors a year to write a new novel? From where I sit, it looks like Parker has developed several "speed-writing" methods:

First, all he has to do to create a new Spenser novel is to plug in the variables and flesh out the details. Face it, after thirty Spenser books, there's little that's new to say about the guy.

Second, the book reminds me of a graduate-school research paper by a mediocre student: the margins are wide, the type is large, and the leading is extra-thick. Although it's nearly 300 pages long, a reasonably fast reader can expect to power through its dialog-rich text in a single evening. That dialog, by the way, is so predictable that it could easily be recycled from prior Spenser novels. Expect Spenser and Hawk to talk at length about how tough Spenser is and how mysterious Hawk is. Count on Spenser and Susan to discuss their undying lust for one another and marvel at how the gorgeous Jewish shrink can be so in love with the supremely violent Irish Catholic ex -cop and -boxer.

Third, Parker no longer bothers to write scenes with Spenser in a jail cell or an interrogation room. The Boston Police Department appears to have issued Spenser and Hawk an unlimited stack of "Get Out of Jail Free" cards. Between them the two kill a total of five people in Back Story - three in Harvard's football stadium - plus commit felony kidnapping, and no one even bothers to investigate. Vigilante justice? I was pretty certain that executions came after jury trials in this country.


Parting Shots

Lately among socially conservative writers, the term "hippie" has taken on a pejorative cast. Somehow the actions of a tiny minority of the 60s-70s counterculture - such as the Symbionese Liberation Army, the Weather Underground - have been imputed to everyone of the generation who ever wore tie-dyes and long hair. Parker's no exception - his plot revolves around drugs and free love and an ill-defined organization called the "Dread Scott Brigade" (so ill-defined that Parker can't even get their timeline right). Parker's antipathy toward the Baby Boomers (a generation younger than he) is obvious. My guess is that the guy's jealous 'cause he missed out on all the fun.

As for you, dear reader, I doubt you'll miss out on much fun if you skip Back Story. That's my recommendation.





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The Case At Hand

Daryl Silver arrives at Spenser's door with an unsolved murder case, in which her mother Emily Gold Gordon was killed 28 yearsago. The murder is now a cold case, since the Boston police have been unable to solve it. Spenser, who never seems to charge for the case in question, calls on friends on the police forces in Boston and Los Angeles. Someone in the Boston "Mob" learns of the investigation and attempts to discourage Spenser by violence. Spenser is undiscouraged. The Godfather of Boston "Mob" arranges for five assassins to chase and attempt to kill Spenser, who enlists the aid of Hawk, Vinnie, Ty Bop, and Louie to protect himself and Susan, Paul Giacomin, and Pearl the Wonder Dog II.

Spenser and Hawk kill all five assassins to protect Susan and allow Spenser to continue to investigate the case, even though Daryl Silver has decided she wants to call off the investigation. Spenser, however, feels honor-bound to complete whatever he has started, so he and Hawk commit a kidnapping to get the goods on The Suspect, pry him/her loose from the protection of the Boston "Mob" and bring him/her to justice.

At random moments during the plot, Parker inserts references to the timeless beauty of Susan, the thuggishness of Hawk, and to Spenser's rigid code of honor, which is the main reason why the beauteous and eminently classy Susan loves such a violent man.




Recommended: No