![]() ![]() And Spenser's acceptance of this interpretation takes me out of the story. ![]() When Spenser and Susan finally get to talk about her choices and the events of the story, including those terrible things Spenser was forced to do to save her, the entirety of the conversation is about her problems and how her choices made sense TO HER, as if that is all that matters. I'm not sure if it's a fault of the plot or the point, but Susan chooses a man that any reasonably sane woman would steer clear of. Spenser is forced to do a lot of morally questionable things in order to extricate Susan from a situation which by her own admission is of her own making. It's when you get to Spenser and Susan when things take a turn for the weird. Hawk and Spenser genuinely feel like they are thinking through incredible odds to triumph in ways that at least seem plausible. ![]() It hits the ground running and doesn't stop. The good: this is some of the best pure action you're likely to get in a Spenser novel. This is where the series starts to get weird, and it's hard to disassociate it from the personal life of the author, if you have any knowledge of that. ![]() What made the experience of listening to A Catskill Eagle the most enjoyable? ![]()
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