Most helpful customer reviews
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4.0 out of 5 stars
Paris Minton's Fear Makes Him Brave, April 19 2007
If you have not yet read Fearless Jones and Fear Itself (the first two books in the Fearless Jones series), I strongly urge you to do so before reading Fear of the Dark. Both of those books are better written and more entertaining than Fear of the Dark. Without the perspective that those books give you on Fearless Jones and Paris Minton, you'll like Fear of the Dark less than you might.
Paris Minton is a most unusual character for Walter Mosley. Paris is the owner of a used bookstore in Watts in the mid-1950s that he has to subsidize with a part-time job. Minton is a largely self-educated black man from Louisiana who came to California to find libraries that were open to all. His store's books are discards from local libraries. He has achieved a fragile kind of peaceful life, living and working in his bookstore (and reading when there are no customers, which is often). His head is full of classic literature (the oldest Greeks are his favorites) and carries a heroic perspective into every situation: They only trouble is, he's no hero. Paris is afraid of everything and almost everyone.
How does Paris cope? He has the equivalent of Dumbo's magic feather in the swashbuckling Fearless Jones, a modern archetype for the knight errant. Whenever trouble looms, Paris calls on Fearless for help. In many cases, Fearless's reputation is enough to solve the problem. But when rough stuff is needed, Fearless is your man. A World War II hero, Fearless met when Minton when Minton spontaneously bought Jones a drink during the post-war celebration. "He appreciated my generosity and gave me a lifetime of friendship for a single shot of scotch." As you can see, Mr. Mosley writes like an angel. Minton, the man of logic, reciprocates by helping Fearless solve problems where his bravery and reputation are not enough.
The two characters remind me of a Star Trek episode where a transporter malfunctions and Captain Kirk is divided into two people, one who is totally dominant and carnal and the other who is caring and weak. Paris and Fearless are similarly opposites, yet totally compatible as though they came from the same source. Obviously, Mr. Mosley is equally fascinated with how the opposite ways of pursuing the masculine life play out.
Since Paris operates in a tough area, he won't open his door for just anyone. He has an elaborate series of mirrors that allow him to see who wants in. When the mirrors show that his cousin Ulysses S. Grant IV (generally referred to as "Useless") is at the front door, Paris turns Useless away. Why? The last time he let Useless in, Paris almost ended in being framed for a robbery that Useless had done. No fool, Paris isn't about to repeat that mistake. "Useless was like monosodium glutamate for problems; he brought out the evil essence and magnified it." Useless leaves a cryptic message for his mother with Paris, "Tell Three Hearts that there's a man named Hector wrote my name on a black slip'a paper. Tell her that I tried to make it work with Angel, but I guess I was mudfoot just like she said."
Three weeks earlier, Paris had found his own way into trouble. He rescued a skinny young white woman named Jessa Brown who was trying to run a con on a small restaurant. The two became lovers . . . which becomes a problem when Jessa's ex-boyfriend Tiny (who is anything but) shows up at the bookstore while they two were engaged with one another on the floor.
Life gets more complicated from there. First, Tiny shows up dead in the bookstore. Then, Aunt Three Hearts shows up looking for Useless, and Paris cannot turn her down. Why? She has a reputation for putting the Evil Eye on those who don't do her wishes. Fearless Jones is tied up protecting Milo Sweet, the bail bondsman, from a dangerous felon, but Fearless does double duty in helping Paris as well.
It soon becomes clear that Useless has gotten himself into some very dangerous waters. Paris and Fearless set out to unravel the mystery and put the pieces back together again.
I found Fear of the Dark to be less interesting than the earlier two books in the series because the secondary characters and their motives are much less inspiring in Fear of the Dark. Why would anyone other than his mother care about Useless? As fine a woman as Three Hearts is, it's not as rewarding as it might be to read about her trying to save her son from himself. You know that Useless will just end up in some new trouble. There's also a lot of sexual innuendo in the book that didn't really advance the story or develop the characters beyond where they were at the end of Fear Itself.
But if you enjoy Paris Minton as a character, I think you'll feel rewarded for reading the book. The best part of the story is how Paris ends up taking on lots of danger so that he can avoid things that he's even more afraid of. Yes, a frightened man can be brave . . . especially when all is required is intellectual courage. Just don't have your highest expectations in place when you begin Fear of the Dark (a good double play on Paris's fear of dark places and society's fear of the African-American male).
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5.0 out of 5 stars
Rhapsody in Noir (Continued), April 19 2007
Fear Itself wonderfully lives up to the superb quality of Fearless Jones, which began this series. If you haven't read Fearless Jones, I recommend reading that book first.
Fearless Jones is the finest new mystery I have read in decades. Its qualities place it alongside classics like The Maltese Falcon, while its deep exploration of human nature causes it to transcend the mystery genre. The story's subtle psychology reminds me of an ancient Greek drama. This book represents a new peak in the imagination and the writing of the immensely talented Mr. Walter Mosley. You have a rare treat in store. Start this book early in the day. You probably won't want to put it down.
Like the frozen expressions on Greek tragedians' masks, Fearless Jones considers three kinds of human motivation: The self-interested satisfaction of the senses; the rational mind assembling the pieces of a puzzle; and good character that comes the heart. The narration builds from the rational mind and conveys all of the classic elements of the best noir mysteries. Mosley's point is that good character will naturally triumph because of the finer emotions and responses it will evoke in others. I suspect that you will agree with him, and feel uplifted by this tale despite the plot's pathway through many dark alleys of depravity.
Few writers can take you inside the mind and body of the characters like Mr. Mosley. In both Fearless Jones and Fear Itself, you will think and feel along with Paris Minton, the owner of a used bookstore in Watts in the mid-1950s. Minton is a largely self-educated black man from Louisiana who came to California to find libraries that were open to all. His store's books are discards from local libraries. He has achieved a fragile kind of peaceful life, living and working in his bookstore (and reading when there are no customers, which is often).
His friend, Fearless Jones, is the archetype of the medieval knight errant . . . always looking to do a good deed. In Fear Itself, Fearless (Tristan) Jones wakes Paris up in the middle of the night because Fearless has promised to help a woman Fearless had never met before, Leora Hartman, who was holding the hand of a three year-old who was crying his eyes out. A World War II hero, the two met when Minton spontaneously bought Jones a drink during the post-war celebration. "He appreciated my generosity and gave me a lifetime of friendship for a single shot of scotch." As you can see, Mr. Mosley writes like an angel.
The book revolves around a missing farmer from Wayne, Texas, Kit Mitchell, who has been hiring Fearless to distribute his watermelons. The mystery soon adds more missing people and items, and other people who want to pay Paris and Fearless to find whatever is missing. However, people are more willing to pay than to describe what they are supposed to be looking for. Whatever it is, it's dynamite!
The story reminds me The Big Sleep in a positive way.
No review of this book would be complete without observing that Mr. Mosley again demonstrates an unbelievable ability for capturing the black experience in Southern California in the post-war period. He has an equally uncanny skill for weaving a personalized view of that vulnerable, hopeful footing into the fabric of the overall society during those years. I think that Fear Itself is his most imaginative work in this regard. He adds richness to black heritage in an unforgettable and intriguing way. As much as I enjoyed the story, these heritage elements overshadowed the mystery completely.
After you finish reading the book, I suggest that think back to the many moments of spontaneous kindness in the story. How did you feel when you read them? How would you feel if someone behaved in this way towards you? When was the last time that you offered the fullness of your heart's purest motives to a stranger or near-stranger? How would you feel if you did so more often? Who are you? Who could you be? Who do you want to be?
Live beyond your fears and your desires . . . and be free!
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5.0 out of 5 stars
Rhapsody in Noir (Continued), April 19 2007
Fear Itself wonderfully lives up to the superb quality of Fearless Jones, which began this series. If you haven't read Fearless Jones, I recommend reading that book first.
Fearless Jones is the finest new mystery I have read in decades. Its qualities place it alongside classics like The Maltese Falcon, while its deep exploration of human nature causes it to transcend the mystery genre. The story's subtle psychology reminds me of an ancient Greek drama. This book represents a new peak in the imagination and the writing of the immensely talented Mr. Walter Mosley. You have a rare treat in store. Start this book early in the day. You probably won't want to put it down.
Like the frozen expressions on Greek tragedians' masks, Fearless Jones considers three kinds of human motivation: The self-interested satisfaction of the senses; the rational mind assembling the pieces of a puzzle; and good character that comes the heart. The narration builds from the rational mind and conveys all of the classic elements of the best noir mysteries. Mosley's point is that good character will naturally triumph because of the finer emotions and responses it will evoke in others. I suspect that you will agree with him, and feel uplifted by this tale despite the plot's pathway through many dark alleys of depravity.
Few writers can take you inside the mind and body of the characters like Mr. Mosley. In both Fearless Jones and Fear Itself, you will think and feel along with Paris Minton, the owner of a used bookstore in Watts in the mid-1950s. Minton is a largely self-educated black man from Louisiana who came to California to find libraries that were open to all. His store's books are discards from local libraries. He has achieved a fragile kind of peaceful life, living and working in his bookstore (and reading when there are no customers, which is often).
His friend, Fearless Jones, is the archetype of the medieval knight errant . . . always looking to do a good deed. In Fear Itself, Fearless (Tristan) Jones wakes Paris up in the middle of the night because Fearless has promised to help a woman Fearless had never met before, Leora Hartman, who was holding the hand of a three year-old who was crying his eyes out. A World War II hero, the two met when Minton spontaneously bought Jones a drink during the post-war celebration. "He appreciated my generosity and gave me a lifetime of friendship for a single shot of scotch." As you can see, Mr. Mosley writes like an angel.
The book revolves around a missing farmer from Wayne, Texas, Kit Mitchell, who has been hiring Fearless to distribute his watermelons. The mystery soon adds more missing people and items, and other people who want to pay Paris and Fearless to find whatever is missing. However, people are more willing to pay than to describe what they are supposed to be looking for. Whatever it is, it's dynamite!
The story reminds me The Big Sleep in a positive way.
No review of this book would be complete without observing that Mr. Mosley again demonstrates an unbelievable ability for capturing the black experience in Southern California in the post-war period. He has an equally uncanny skill for weaving a personalized view of that vulnerable, hopeful footing into the fabric of the overall society during those years. I think that Fear Itself is his most imaginative work in this regard. He adds richness to black heritage in an unforgettable and intriguing way. As much as I enjoyed the story, these heritage elements overshadowed the mystery completely.
After you finish reading the book, I suggest that think back to the many moments of spontaneous kindness in the story. How did you feel when you read them? How would you feel if someone behaved in this way towards you? When was the last time that you offered the fullness of your heart's purest motives to a stranger or near-stranger? How would you feel if you did so more often? Who are you? Who could you be? Who do you want to be?
Live beyond your fears and your desires . . . and be free!
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