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Books : Crime, Thrillers & Mystery : Authors, A-Z : P
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James Patterson has a position that is unassailable -- as one of America's most reliable crime and thriller writers, his best-selling status is assured. But it has to be said that he has tested the patience of his long-time readers by the series of books written in collaboration with other, lesser-known writers, in which it seemed that his own participation was the least important element. True Patterson fans will always welcome books such as Cross as the real deal: unadulterated James Patterson, sans collaborators.Here we have Patterson's favourite protagonist, Alex Cross, in the days when he was making his mark in the Washington, DC Police Department. To his horror, he witnesses his wife being murdered in front of him by an unknown killer. Years pass, and Cross has left the FBI for his former profession as a psychologist. He feels he has come to terms with the events of the past, but then receives a call from his ex-partner John Sampson, requesting a favour in tracking down a serial rapist in Georgetown. Soon, the case presents connections to the death of Alex's wife -- is he finally being given the chance to catch her murderer?
This is James Patterson, doing what he does best: delivering a narrative in which there is not an ounce of wasted fat. Alex Cross is always, of course, a strong protagonist, and the personal element here energises an already kinetic storyline. James Patterson, we are reminded, needs no collaborators. --Barry Forshaw
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In 2nd Chance, a young girl is shot down on the steps of a San Francisco church, and Detective Lindsay Boxer decides that the time is right to reconvene the Women's Murder Club, the loosely-knit group that cracked a baffling mystery in James Patterson's earlier 1st to Die. Collaborating with assistant DA Jill Bernhardt, reporter Cindy Thomas and coroner Claire Washburn, Boxer is soon on the trail of a canny murderer who has the knack of making his trackers into his quarry. Boxer and the Women's Murder Club begin to believe that the killer might have been on the force, but his ultimate aims are unguessable--and the revelations in store shock them all.Patterson is the maestro behind such winners as Cat and Mouse and Roses are Red, but his Alex Cross books are familiar territory for readers. His new team, however, are individually characterised with great skill, and though the short time we spend with each of them forces concision on the author--and his mysterious co-writer Andrew Gross's--part, the customary skills are all brought into play in this diverting mystery. It's always a gamble for an author who has established a highly successful series with one much-loved protagonist to inaugurate a new one with fresh characters but The Women's Murder Club has all kinds of possibilities and chances are will prove a formidable force. --Barry Forshaw
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Likened to a "young Muhammad Ali", Alex Cross, the Porsche-driving profiler, doctor, detective and father of two has seen his fair share of vicious killers. From a bloodthirsty butcher who came after his family (Cat and Mouse) to a devilish duo working cross-country (Kiss the Girls), Cross has managed to out-manoeuvre all of his enemies. Until he meets the Weasel.A series of killings in the forgotten, crime-infested ghettos of southeastern DC has sent Cross and his 6'9" 250-pound-partner, John Sampson in search of the "Jane Doe" killer. However, their racist, tyrannical boss George Pitman orders them to stay out of the southeast and investigate the high-profile murder of a wealthy white man. Cross already has suspicions that the murders are linked, but when Sampson's ex turns up in an abandoned southeast warehouse kicked to death, the two detectives carry on with their original investigation.
Meanwhile, Cross's long-time love, Christine, (Cat and Mouse) has taken prominence in his life and it looks as if the two will finally get hitched--with one hitch: Cross leaves the force. Although Cross's instinct tells him to quit--to not put everything he loves in jeopardy again--he's compelled to catch the Weasel. Akin to a slick, Hollywood action flick, Pop Goes the Weasel doesn't have time for meaningful character development and thoughtful moral analysis. And it doesn't need to. Its winning formula is based in short scenes (chapters average about three pages), addictive plot progression and mean dialogue:
"Sampson sighed and said, "I think her tongue is stapled inside the other girl. I'm pretty sure that's it, Alex. The Weasel stapled them together." I looked at the two girls and shook my head. "I don't think so. A staple, even a surgical one, would come apart on the tongue's surface... Crazy glue would work."
This review refers to the hardback edition of this title. --Rebekah Warren
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