Tag Archives: The Forgotten Man

The Forgotten Man, by Robert Crais

Today I voted. In my little corner of the republic, we were faced with only two decisions, both of them education related. One was the election of school board members. I voted for none of them, since their bios in the local giveaway newspaper made them all look indistinguishable to me. Margaret Sanger crossed with John Dewey.

The big question was whether we wanted to approve a property tax increase for education. According to our lords and masters, our school district will soon be reduced to teaching the kids in one-room schoolhouses with dirt floors and wooden benches.

Come to think of it, that might not be bad. The kids who went to those one-room schools generally learned to read and do their sums. Our present system can’t make the same boast.

Of course my true reason for voting “No” is my selfishness and bigotry. As a bloated member of the plutocracy, my true fear is that the brilliant plans of the National Educational Association will be brought to fruition. If that should happen, all our children will become geniuses and paragons of postmodern virtue. In short order they will end poverty, cure all diseases, stop global warming, abolish war, and prove scientifically that there is no God. This threatens my vested interests and entrenched power, so I’m fighting a vicious, yet futile, rear guard action against the tide of history.

The Forgotten Man is another Robert Crais novel. It really isn’t my intention to review a string of Crais novels all in a row. If I were following my inclinations alone, I’d be reviewing a string of Stephen Hunter novels all in a row, but just at this point in my life I’m cutting back on book buying. So I’m only reading stuff I can check out of the library or find at Half Price Books. My library carries no Hunter, and I’ve bought everything HPB has by him at this point. So I picked up some Crais, and that’s no form of suffering at all. The more Crais I read, the better I like him.

Once again in this book, detective Elvis Cole is forced to deal with the shadows of his dysfunctional childhood. His mother, who was loving but psychotically delusional, always told him that his father (whose name he’s never known) was a human cannonball in a circus. In flashbacks we see how the young Cole ran away from home time after time, searching carnivals for the right daredevil, without any success.

But now, a possible father has come to him (sort of). An unidentified older man, bizarrely tattooed all over his body with religious pictures, has been murdered in an alley. The policewoman who heard his last words says he told her that he was Elvis Cole’s father, come to Los Angeles to find his son.

Cole has been elevated to public hero status by his last case, in which he rescued the kidnapped son of the woman he loves. But in the aftermath she moved away, deciding (and Cole knows she’s right) that being with him is too dangerous a life for a mother who has a child to protect. Since then Cole has been in a funk. He hasn’t even visited his office.

The one thing that could draw him out, though, is the chance to at last learn the identity of his father. He gets permission from the police to assist in the case. But the man is a ghost. He seems to have no name, no past. All Cole learns at first is that the man made several outcalls to prostitutes.

Not to sleep with them. To pray with them. To pray for forgiveness for sins he wouldn’t name.

The story also offers healthy helpings of familiar supporting characters like Joe Pike, Cole’s Psycho Killer Friend™, and Detective Carol Stark, the heroine of Demolition Angel (Crais fixed her up with an FBI agent at the end of that book, but apparently decided he could make better use of her if he had her shamelessly throwing herself at Cole, so he unattached her again).

I’ve been impressed, as I’ve read the Elvis Cole books, by the way in which Crais has deepened and enriched what started out as a fairly shallow, perpetually adolescent character, the kind of detective who wears Hawaiian shirts and decorates his office with Disney collectibles. But maybe I failed to recognize that this was Crais’ intention from the start. The clock on Cole’s wall is a Pinocchio clock, and the figurine on his desk is Jiminy Cricket. And what is Pinocchio but the puppet who needs to learn moral lessons in order to become a real boy?