Double Deuce

Good book

This is a short book--but then most of Parker's are. It isn't the usual double space, but it's only 224 pages long--and a very fast read. It does, however, provide a number of insights into his 3 main characters via the ploy of Susan and Spenser living together as well as Hawk revealing some of his background as a foil to members of ghetto gangs (esp. Major Johnson) and a bit on their relationship with Tony Marcus. Thus, it is an important book for the Spenser series. It also includes quite a bit of social commentary and obvious contrasts between/among "the projects" and their residents, the middle class (i.e. Spenser, Susan, and Pearl--though not called "the wonder dog" herein), the media, and social workers. As usual Parker looks beneath the surface for reasons vs. the usual excuses or protestations of the characters. The plot isn't too much a mystery, but the book includes Parker's usual humor and brisk dialog as well as some deep insights into human nature: Robert B. Parker "Double Deuce" G. P. Putnam NY 1992 hardback: p.99: "There's some sort of inverse ration between social structure and what...honor codes? p. 100: If there are no things that are important, then things are assigned importance arbitrarily and defended at great risk. Because the risk validates the importance. p. 119: She smiled the smile that launched a thousand commercials. p. 145: None of the things people say on talk shows are very useful. p. 166: (quoting Wallace Stevens) One must have a mind of winter...to behold the nothing that is not there and the nothing that is. p. 169: Hawk could scare Mount Rushmore." All in all I enjoyed the book and believe Spenser & Parker fans in general would probably agree that it's worth reading.

Great read!

As a calculated contrast to life in the gang-infested DOUBLE DEUCE housing complex, scenes of daily doings in Susan's home provided prime parlay between Spenser and his lady, resulting in poignant posing in the DD bailiwick broken up by hearty humor in the SS Titanic. What a cartoon-funny difference (no black-tongued-grins from "THE WAR OF THE ROSES" there) Parker painted between Susan's fronted femaleness and Spenser's gangling guy-ness. As Parker obviously planned, the light-hearted clashes in SS roommate rambles became an "Accidental Family" foil to the heartbreaking reality-overwhelm of the gang members' no-relief lifestyle boring holes of terror into their "straight" neighbors. In DOUBLE DEUCE Parker created another classic "pair" of new female characters, providing them with reverse personalities and reverse first letters in their names: "E. M." was for Erin Macklin who drank her whiskey easy as she held the glass with both hands (contemplate why Parker repeated more than thrice how Macklin held her amber-filled glass, with the caring gesture of duel palms). "M. E." was for Marge Eagen, who pumped and primped her preen until Spenser crimped her lack of style. (For an opposite styled Marge character, a genuine, real-life article of bull dog class, see Coal & Coca-Cola ) As a Parker fan would anticipate, the scenes in which these two women seared the social brine with Spenser were intriguing, engrossing, and effortlessly entertaining. Hawk was featured in his best ebony sheen in DOUBLE DEUCE, as his image, which had preceded him into gangland territory, was developed through interactions with the gang members, all of which were fascinating, and felt to be on target with the tang and sizzle of those subcultures. Another side of Hawk's image was uncovered here, through his intimate study of black-lady Jackie, and her jigsaw-ed break-down of Hawk's heart hung low to capture her song. The continuation of Pearl-the-wonder-dog's character (she was introduced with pizzazz in PASTIME, # 18 Spenser) provided a welcome warm spot in this plot. I couldn't help but wonder if Parker might use the heart-healing-dog to get through to the gangs, as he used the 3 mongrels rescued in STARDUST (used them to help coax Jill's soul to return for another round of participation in life). In the first part of Chapter 37 an exquisite scene of an easy-dance-step, multi-manoeuver training seminar set itself up around mangy machinations (no hair lost on the dog) of Susan, Spenser, pancakes, and Pearl: >> I (Spenser) left my pancakes and went to the bedroom and put on a shirt (training from Susan). When I came back Pearl was still sitting gazing at my plate, but the plate was empty and clean. I looked at her. She looked back clear eyed and guilt free, alert for another opportunity. >> "Ah yes," I said, "a hunting dog." << Contemplate that in reference to Hawk's name, which clarified in DOUBLE DEUCE's chapter 37, especially in reference to Jackie's complaints that she couldn't "get to him." Having endured decades mired within a nurtured angst of ethical determinations, as humans trod toward the core of the Apple from "The Tree of Knowledge of Good and Evil" ... might they sometimes long for a temporary release from the moral gauntlet; might they long for a cease of constantly pushed cerebral convolutions defining every dot quantum on the eternal line between Right and Wrong ... might they wish for a few moments to experience the easy, non-complex mind, set into the nature of a hunting dog, or a Hawk ... might they sometimes long to be: "Clear eyed and guilt free"? In addition to primal concepts, prime setting descriptions were applied here, as only Parker could accomplish, in bringing to pose on paper the essence of ghetto life. Get a dog's life? The concluding scene in DOUBLE DEUCE catered a surprising twist to Susan and Spenser's attempts at traditional homemaking. The close was as refreshing to the double S as a storm-brought rainbow. The choice carried in DD's final chapter surfaced in silent style into the thematic structure of PAPER DOLL, # 20 in the Spenser series. A prolific author successfully carries a ranging style through time and time and time, until the heart says, "Take to the sky on the wings of a hawk." Linda Shelnutt

great