He looked like a bullet standing on its end. And yet he was very calm, and came across altogether more thoughtful than the other two. That is to say, he came across as though he had thoughts.
In some ways, I’d have to say that Tom Trott’s private eye Joe Grabarz channels Philip Marlowe pretty well. He’s got the patter down, and a lot of the character. If the first Joe Grabarz novel, You Can’t Make Old Friends, didn’t entirely work for me, that’s very likely my own fault.
Joe Grabarz walks the mean streets of Brighton, the beach-front holiday town in England. As he describes it, it’s a little like a smaller New York City, where only the rich and the poor live. Joe definitely comes from the poor side, and he makes no secret of his grudge.
As the book starts, his private investigation business is in a slump. He used to help the police out; now he’s been blackballed. One of his clients is not only refusing to pay him, but suing him.
And then he’s asked to look at a body that’s washed up on the beach, and it’s a friend of his, Rory. Rory was his best friend in childhood, but they’ve been alienated since Rory became a drug addict and pusher. Still, he was a good guy once, and Joe’s going to get justice. On his own, if the law won’t do it.
His inquiries lead him to meet Rory’s sexy sister, whom he takes under his protection. And a beautiful woman cop who sparks off him like flint on steel. Respectable businessmen with lots of skeletons in their closets. And various thugs for beating up and getting beaten up by. In the end he’ll get a measure of justice, and a little redemption for Rory’s memory.
The writing in You Can’t Make Old Friends was good. Joe is an interesting character with a compelling voice. (He’s also very much opposed to drugs, even pot. I liked that.) What rubbed me the wrong way was the resentment in his voice, a persistent class envy. Class envy is understandable and forgivable, but it doesn’t make for pleasant company. So, regretfully, I don’t think I’ll continue this series.
You may like it better. Cautions for language, violence, and fairly graphic sex.