Stalking the Angel (Elvis Cole, Book 2)
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In this, the second of the Elvis Cole novels, Crais focuses upon a crime scenario involving the *yakuza*, the so-called "Japanese Mafia." The first part of the book sets out the elements of a potentially intricate mystery involving the stealing of a precious Japanese sacred text; this leads to murder, kidnapping, and a fascinating foray into the Japanese-American underworld by Cole and his gun-toting associate, Joe Pike.
The promise that is presented by the first part of the book, however, goes largely unrealized in the second. The "mystery" proves to be fairly easily solved, and the last portion of the story mainly involve a lot of chasing, fighting, and ultimately shooting of stereotyped Asian bad guys by Cole and Pike. Cole actually has a heart of gold (of course), and ends up doing much of his crime-solving work for free, because it is the "right thing to do." To a point, this is reasonable as part of the author's strategy for creating a hero appropriate to the genre. However, by the end of the book, the highly risky course of action followed by our heroes simply out of the goodness of their hearts seems way too implausible, and their methods for righting wrongs way too violent. The story actually impressed me as akin to something one might see in a private eye television series, i.e., light on intricacy of plot, heavy on "fightin' and shootin'," and with a highly simplistic differentiation between the "good" and the "bad" characters.
Crais is an indisputably skillful writer who can turn a phrase as well as any of the best crime story writers around today. However, *Stalking The Angel* is lightweight fare when compared to the deeper, more substantial work of say, Michael Connelly. Having now read Crais' first two Cole novels, I am curious to read one or more of his more recent works. I want to see whether as Crais has developed his mystery writing acumen he has shown himself capable of developing books in which the appeal to readers is based not just upon private eye wisecracks, alluring locales, and a socko series of action-packed sequences, but also upon a more highly-crafted plot structure.
I do not expect a detective story writer to be an Orientalist, but the author screws up the background so often that it is distracting. Tang is a Chinese name. Naming your Japanese villain Eddie Tang is like having a Gestapo general named Paddie O'Brian. Maybe to the author, these Orientals all look alike, like waiters in a Chinese restaurant. Thus the sentence in which Elvis performs the "dragon kata from the taekwondo." Dragon is a Chinese martial art element, not a kata, which is a Japanese term; adding a 'the' to Korea's tae kwon do is as annoying an affectation as his "the Nam". Maybe he's trying to show how macho he is, as in the scene -- which drags on for page after page -- in which the hero heroically eats all the pepper the sinister, ungrammatical Oriental cook puts in his food.
During and since the war, I have traveled all over Viet Nam, sometimes the only foreigner to set foot in a vicinity for years, and when I ate with these people, we all used chopsticks. Even in the boonies. Don't they know better? If they learned English and read American detective novels, they would discover the error of their ways. Crais informs us that people in Viet Nam don't use chopsticks. Either my friends were all mixed up, or the author was thinking of Burma, or maybe Indonesia. Can't tell all those pesky Orientals apart, can you, sir?
Belief must be suspended, credibility given wide leeway. If you kick someone in the side of the head with a reverse spin kick and he appears a few minutes later with a swollen cheek, either you didn't connect or your leg is made of cotton candy. Okay, one guard goes down, so the bad guys just walk away and let the hero sort of roam about at leisure in their stronghold. I did not realize California law was so lenient to PI's. Elvis and Joe go kill half a dozen bad guys, and go home: no inquest, no trial, just go home. Not even OJ got such a good deal.
Frankly, I thought the characters were paper-thin, especially Bradely Warren and Joe Pike.The only part of the book that really comes to life is the description of Traci Louise Fishman, a scared, lonely teenager. Here the author is dealing in territory he knows. The rest of it is like a Jet Lee movie: lots of posturing, but it's not the real stuff.
Elvis' clue gathering style is to keep stirring the pot of likely sources and suspects until something floats to the top. This time what comes up is trouble. Warren's family receives several threats, which he chooses to ignore. Suddenly the worst happens and Mimi Warren is kidnapped, leaving no trace. Incensed, Warren fires Cole and the detective decides to continue the case on his own. He promised Mimi he would protect her, and he's not about to let the Yakuza of two countries get in his way.
Robert Crais' tactic is to lure the reader in with Elvis Cole's humorous attitude and hard-boiled attitude, and then follow through with a series of severe hammer blows. Even when you know that there is a nightmare waiting to happen, its onset is a shock. Perhaps this is formula writing, but few authors can shift gears as smoothly as Crais can. One moment you are listening in on some sarcastic dialog between Cole and his partner Joe Pike, the next minute they are dealing out badness - and you are liking it.
In addition, Crais' characters are never one sided. If anything, they defy the common stereotypes. Cole and Pike don't simply hunt villains and right wrongs; they hold intelligent conversations and understand the issues they must deal with. Good plot, great characters and a fine eye for detail makes 'Stalking the Angel' a memorable story. One that will drive you back to the bookshelves looking for more.