Scan barcode
redsg's review
3.0
"Out on the Cutting Edge" presents a return to form for the Scudder series following the disappointing "When the Sacred Ginmill Closes". While it doesn't live up to the heights of "Eight Million Ways to Die" or even "A Stab in the Dark," I was overall impressed enough with the novel to recommend it.
That's not to say that it doesn't have flaws, which I'll definitely get to soon, but what I really enjoyed about "Cutting Edge" was how it delved deep into Scudder's mindset in a very similar way to "8 Million Ways." One of the biggest issues I had with "Sacred Ginmill" was how it forcibly threw in these changes into the Scudder series without fleshing them out. While this wouldn't be a problem for newcomers to the series, for those who would have been following the series like myself, it came off as pointless borderline-retcons. I get the need to spice things up in a universe but this didn't seem like the way to go.
"Cutting Edge" introduces more such changes - Jan Keane and Scudder have broken up, Scudder has stopped tithing churches, Armstrong's has moved to a different location and Scudder no longer attends it - but here things were fleshed out. We get more insight into Scudder's, now three-year, sobriety, and how he views drinking, alcohol, AA meetings, and alcoholism in general. I have to wonder if Block himself ever dealt with the illness as the writing, when it comes to this topic, feels authentic. Take Scudder's reaction to tasting scotch from kissing a woman- he doesn't have this "oh, I must have it" reaction that someone with no knowledge on the subject would write, but instead has more complicated feelings on the matter that ride the line between liking and disliking it. Which is how human beings in general are.
Jan isn't also tossed to the side the way Jane was in Thor: Ragnarok. Scudder really seems to miss her, and his ruminations on what went wrong fit in well with his character (ex. not being someone who would stay committed to a long-term relationship). I had been a fan of their relationship before in the prior books, so this part definitely hurt me a bit, but I understood why it happened and I really appreciated Block for giving it the care it deserved.
Scudder moving from tithing churches to giving money to the poor was an interesting, yet also very believable transition. I don't know how to describe it other than that it feels natural to who he is, and demonstrates that Block continues to have a strong understanding of his character in a way that other authors tend to forget over the years.
All this talk about Scudder's mindset would probably lead you to believe that this there isn't an important mystery here, and the answer to that question is both yes and no. Yes, "Cutting Edge" is definitely more akin to a psychological novel as it is more interested in the innerworkings of Scudder himself. However, there are a couple of mysteries woven as backdrops/starting points to this journey Scudder takes.
Unfortunately, the first (and main one), which involves Scudder searching for someone's missing daughter, starts off well but finishes on a disappointing note. It's disappointing because it's by pure coincidence (not deductive reasoning) that Scudder resolves the situation, and it feels like Block designed it this way from the beginning to tie his two plots together. It's written well-enough that it doesn't come off as contrived the way "Time to Murder and Create's" resolution felt, but it was still disappointing.
The second mystery, which I won't delve into as I don't want to spoil anything, is much better resolved and feels very genuine, though it also has a glaring flaw. See, one trend I've noticed in both "Cutting Edge" and its predecessor "Sacred Ginmill" is that Block deliberately has Scudder do some last-minute investigating to find the finishing integral notes to a case before delivering the finale off-screen. He describes Scudder (or rather Scudder describes himself) as doing these things, but doesn't go into detail as to what they are, and I have to ask why. Is it because he is getting lazy or is it because he wants there to be a real surprise for readers when Scudder reveals his cards?
I believe the answer to be a middle ground between these two ideals. I feel Block has forgotten that laying the bread crumbs throughout a story and then having the main protagonist pick them all up is what leads to a satisfying conclusion, not throwing in some hackneyed information that the detective gleamed from an outside source.
And that is what happens with this second plot. Though there are enough "bread crumbs" provided to make it satisfying, I still didn't like Block implementing this tactic (regarding the autopsy reports in particular). To be fair though, there is the chance that this was a case of fighting an editorial mandate of a page count limit, though I somehow doubt that to be the case here.
Overall though, I did enjoy "Out on the Cutting Edge." Because Scudder books generally have good mysteries, I was tempted to give this a 2.5/5 (upraised to a 3/5 per Goodreads scale). As I finished it though, I came to appreciate the psychological and slice-of-life aspects that Block incorporated into the book. He has really made Scudder a damn good character, which makes his adventures worth reading, even if the crime doesn't live up to his likable nature.
That's not to say that it doesn't have flaws, which I'll definitely get to soon, but what I really enjoyed about "Cutting Edge" was how it delved deep into Scudder's mindset in a very similar way to "8 Million Ways." One of the biggest issues I had with "Sacred Ginmill" was how it forcibly threw in these changes into the Scudder series without fleshing them out. While this wouldn't be a problem for newcomers to the series, for those who would have been following the series like myself, it came off as pointless borderline-retcons. I get the need to spice things up in a universe but this didn't seem like the way to go.
"Cutting Edge" introduces more such changes - Jan Keane and Scudder have broken up, Scudder has stopped tithing churches, Armstrong's has moved to a different location and Scudder no longer attends it - but here things were fleshed out. We get more insight into Scudder's, now three-year, sobriety, and how he views drinking, alcohol, AA meetings, and alcoholism in general. I have to wonder if Block himself ever dealt with the illness as the writing, when it comes to this topic, feels authentic. Take Scudder's reaction to tasting scotch from kissing a woman- he doesn't have this "oh, I must have it" reaction that someone with no knowledge on the subject would write, but instead has more complicated feelings on the matter that ride the line between liking and disliking it. Which is how human beings in general are.
Jan isn't also tossed to the side the way Jane was in Thor: Ragnarok. Scudder really seems to miss her, and his ruminations on what went wrong fit in well with his character (ex. not being someone who would stay committed to a long-term relationship). I had been a fan of their relationship before in the prior books, so this part definitely hurt me a bit, but I understood why it happened and I really appreciated Block for giving it the care it deserved.
Scudder moving from tithing churches to giving money to the poor was an interesting, yet also very believable transition. I don't know how to describe it other than that it feels natural to who he is, and demonstrates that Block continues to have a strong understanding of his character in a way that other authors tend to forget over the years.
All this talk about Scudder's mindset would probably lead you to believe that this there isn't an important mystery here, and the answer to that question is both yes and no. Yes, "Cutting Edge" is definitely more akin to a psychological novel as it is more interested in the innerworkings of Scudder himself. However, there are a couple of mysteries woven as backdrops/starting points to this journey Scudder takes.
Unfortunately, the first (and main one), which involves Scudder searching for someone's missing daughter, starts off well but finishes on a disappointing note. It's disappointing because it's by pure coincidence (not deductive reasoning) that Scudder resolves the situation, and it feels like Block designed it this way from the beginning to tie his two plots together. It's written well-enough that it doesn't come off as contrived the way "Time to Murder and Create's" resolution felt, but it was still disappointing.
The second mystery, which I won't delve into as I don't want to spoil anything, is much better resolved and feels very genuine, though it also has a glaring flaw. See, one trend I've noticed in both "Cutting Edge" and its predecessor "Sacred Ginmill" is that Block deliberately has Scudder do some last-minute investigating to find the finishing integral notes to a case before delivering the finale off-screen. He describes Scudder (or rather Scudder describes himself) as doing these things, but doesn't go into detail as to what they are, and I have to ask why. Is it because he is getting lazy or is it because he wants there to be a real surprise for readers when Scudder reveals his cards?
I believe the answer to be a middle ground between these two ideals. I feel Block has forgotten that laying the bread crumbs throughout a story and then having the main protagonist pick them all up is what leads to a satisfying conclusion, not throwing in some hackneyed information that the detective gleamed from an outside source.
And that is what happens with this second plot. Though there are enough "bread crumbs" provided to make it satisfying, I still didn't like Block implementing this tactic (regarding the autopsy reports in particular). To be fair though, there is the chance that this was a case of fighting an editorial mandate of a page count limit, though I somehow doubt that to be the case here.
Overall though, I did enjoy "Out on the Cutting Edge." Because Scudder books generally have good mysteries, I was tempted to give this a 2.5/5 (upraised to a 3/5 per Goodreads scale). As I finished it though, I came to appreciate the psychological and slice-of-life aspects that Block incorporated into the book. He has really made Scudder a damn good character, which makes his adventures worth reading, even if the crime doesn't live up to his likable nature.
ericwelch's review
4.0
Two for the price of one, although the investigation into Eddie’s death has more coincidence and serendipity than one would like. Then again, serendipity had much to do with the rationale for Paula’s death.
Matt’s looking for Paula. Referred to by a local cop, Matt is “hired” by her father to find her. She has disappeared with no trace. She’s 24 and Matt put her picture on the back of his business card. That often leads to wiseacres calling and asking for money in return for information when all they really have is a knife waiting for Matt’s ribs. But it also serendipitously leads to the solution. Simultaneously, Matt becomes concerned about a fellow AA member who had befriended him and had said he had something on his mind he needed to unload since expiation was considered important as one of the steps in the Twelve-step program. (We learn a lot about AA -- probably a little more than necessary, but it was a bit interesting and certainly part of Block’s style for the Scudder books.) Eddie didn’t show for their rendezvous and is now missing.
The book was originally published in the eighties, a time of transition for the area of New York known as Hell’s Kitchen. It had been known as a very undesirable place, but that was changing. The change becomes part of the solution to Eddie’s death.
Compelling reading in Block’s inimitable style.
Matt’s looking for Paula. Referred to by a local cop, Matt is “hired” by her father to find her. She has disappeared with no trace. She’s 24 and Matt put her picture on the back of his business card. That often leads to wiseacres calling and asking for money in return for information when all they really have is a knife waiting for Matt’s ribs. But it also serendipitously leads to the solution. Simultaneously, Matt becomes concerned about a fellow AA member who had befriended him and had said he had something on his mind he needed to unload since expiation was considered important as one of the steps in the Twelve-step program. (We learn a lot about AA -- probably a little more than necessary, but it was a bit interesting and certainly part of Block’s style for the Scudder books.) Eddie didn’t show for their rendezvous and is now missing.
The book was originally published in the eighties, a time of transition for the area of New York known as Hell’s Kitchen. It had been known as a very undesirable place, but that was changing. The change becomes part of the solution to Eddie’s death.
Compelling reading in Block’s inimitable style.
carol26388's review against another edition
4.0
Another fine entry into the Scudder canon. Scudder is always saying he's had a flexible kind of morality, but the truth is, he's one of the most ethical people around, and this book shows the extent of his growth. He tries to do right and be fair, even if it's dealing with a small-time hood or a menacing Irishman with ties to organized crime. As always, characterization shines, and the plotting isn't anything to sneeze at either. The search for a missing woman gives Scudder focus, and now that he's been sober, he's starting to get urges for something a bit more than passing time.
Synopsis: Scudder has come a long way. It's been three years since he stopped drinking, and even more significantly, he's comfortable enough to lead a meeting now and then. After one of the meetings, Eddie comes up to him and hints around he'd like to talk. Scudder recognizes him as a crook, but patiently listens to Eddie as he confesses he is stuck on the fifth step of AA, the one about confessing your sins. Meanwhile, Scudder's methodically working on tracking down a young woman from Indiana who has gone missing after coming to New York to break into acting. Scudder follows her trail from boarding house to acting class to various bars as he tries to get a feel for her life. Visiting Eddie's apartment leads him to meeting his super, and Scudder starts to fall hard. It's sweet to watch him come emotionally alive. Unfortunately, she's a heavy drinker, and he's finding that he's spending more and more time in bars trying to work leads.
Did I mention it's seriously fine? There's so much to love here: a decent mystery. Characterization and emotional depth that shines, without being overwrought or needing to use a single 'smoldering glance.' Period New York--there's virtually a throw-away scene when Scudder interviews a worker at the Actors' Equity who bemoans everyone being ill, and how "the earth has AIDS. We're all whirling merrily through the void on a dying planet, and gay people are just doing their usual number, being shamelessly trendy as always. Right out in front on the cutting edge of death." Makes me wonder how heartbreaking it must have been to be in New York during the early 80s.
More tiny New York vignettes capture the atmosphere of the city and the time: "Around one-thirty it started raining lightly. Almost immediately the umbrella sellers turned up on the streetcorners. You'd have thought they had existed previously in spore form, springing miraculously to life when a drop of water touched them."
And Scudder's mercilessly logical self-evaluation:
"There was a woman at our table named Helen who'd been sober about the same length of time I had, and for a while now I'd been toying with the idea of asking her out. Now I placed her under covert surveillance, and I kept coming up with data that got entered in the minus column. Her laugh was grating, she needed some dental work, and every sentence out of her mouth had the phrase you know in it. By the time she was done with her hamburger, our romance had died unborn. I'll tell you, it's a great way to operate. You can run through women like wildfire and they never even know it."
Perfect, for so many reasons.
Why not a '5'? I suppose because I save that for books I must own, and I'm okay for the moment to borrow these from the library. I may reconsider with this one.
Synopsis: Scudder has come a long way. It's been three years since he stopped drinking, and even more significantly, he's comfortable enough to lead a meeting now and then. After one of the meetings, Eddie comes up to him and hints around he'd like to talk. Scudder recognizes him as a crook, but patiently listens to Eddie as he confesses he is stuck on the fifth step of AA, the one about confessing your sins. Meanwhile, Scudder's methodically working on tracking down a young woman from Indiana who has gone missing after coming to New York to break into acting. Scudder follows her trail from boarding house to acting class to various bars as he tries to get a feel for her life. Visiting Eddie's apartment leads him to meeting his super, and Scudder starts to fall hard. It's sweet to watch him come emotionally alive. Unfortunately, she's a heavy drinker, and he's finding that he's spending more and more time in bars trying to work leads.
Did I mention it's seriously fine? There's so much to love here: a decent mystery. Characterization and emotional depth that shines, without being overwrought or needing to use a single 'smoldering glance.' Period New York--there's virtually a throw-away scene when Scudder interviews a worker at the Actors' Equity who bemoans everyone being ill, and how "the earth has AIDS. We're all whirling merrily through the void on a dying planet, and gay people are just doing their usual number, being shamelessly trendy as always. Right out in front on the cutting edge of death." Makes me wonder how heartbreaking it must have been to be in New York during the early 80s.
More tiny New York vignettes capture the atmosphere of the city and the time: "Around one-thirty it started raining lightly. Almost immediately the umbrella sellers turned up on the streetcorners. You'd have thought they had existed previously in spore form, springing miraculously to life when a drop of water touched them."
And Scudder's mercilessly logical self-evaluation:
"There was a woman at our table named Helen who'd been sober about the same length of time I had, and for a while now I'd been toying with the idea of asking her out. Now I placed her under covert surveillance, and I kept coming up with data that got entered in the minus column. Her laugh was grating, she needed some dental work, and every sentence out of her mouth had the phrase you know in it. By the time she was done with her hamburger, our romance had died unborn. I'll tell you, it's a great way to operate. You can run through women like wildfire and they never even know it."
Perfect, for so many reasons.
Why not a '5'? I suppose because I save that for books I must own, and I'm okay for the moment to borrow these from the library. I may reconsider with this one.
More...