From Publishers Weekly
Starred Review. Leonard's 40th novel, set in the world of 1930s gangsters and gun molls, features characterizations so deft and true you can smell the hair oil on the dudes and the perfume on the dames. Young Carlos Webster tangles with his first gangster at 15, when bank robber Emmet Long robs an Okmulgee, Okla., store, kills an Indian policeman and takes away Carlos's ice cream cone. Seven years later, Carlos, now Carl, a newly minted deputy U.S. marshal, gets his revenge by gunning Long down, an act that wins him the respect of his employers and the adulation of the American public, who follow his every quick-draw exploit in the papers and
True Detective magazine. Cinematically, Leonard introduces his characters—Carl's colorful pecan-farmer father, Virgil; Jack Belmont, ne'er-do-well son of a rich oilman;
True Detective writer Tony Antonelli; Louly Brown, whose cousin marries Pretty Boy Floyd—in small, self-contained scenes. As the novel moves forward, these characters and others begin to interact, forming liaisons both romantic and criminal. At the stirring conclusion, scores are settled and the good and the bad get sorted out in satisfactorily violent fashion. The writing is pitch-perfect throughout: "It was his son's quiet tone that made Virgil realize, My Lord, but this boy's got a hard bark on him." The setting and tone fall somewhere between Leonard's early westerns and his more recent crime novels, but it's all pure Leonard, and that means it's pure terrific.
Agent, Andrew Wiley. (May)
Arliss Howard offers a straightforward reading of Leonard's latest, a foray into the 1930s' Wild West. The hot kid of the title is a young U.S. marshal based in Tulsa, Oklahoma, who wants to become the most famous lawman in America by nabbing gangsters--Dillinger, Pretty Boy Floyd, Bonnie and Clyde. The gangsters, meanwhile, are striving to be number one on the FBI's "Most Wanted" list. This is perfect territory for Leonard, who makes the most of the adventure. Howard adopts the tone of a movie western, reminiscent of John Wayne or John Ford. It's gritty and direct, and it works. The only difficulty is with the high number of quote attributions in Leonard's dialogue-driven book, some of which Howard reads in the voice of the speaker, rather than the narrator. It can be confusing. Otherwise, this is an entertaining listen. R.E.K. © AudioFile 2005, Portland, Maine--
Copyright © AudioFile, Portland, Maine
