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3.77 AVERAGE
3.77 AVERAGE
"The Man with the Getaway Face" is the second installment in the Parker series by Richard Stark, a pseudonym of the prolific crime fiction author Donald E. Westlake. This novel continues the gritty and thrilling saga of Parker, a professional thief who is as methodical as he is ruthless.
The book opens with Parker undergoing plastic surgery to escape the mob and law enforcement after the events of the first novel. With a new face, Parker is eager to jump back into the criminal underworld, but he quickly realizes that changing his appearance doesn't necessarily mean escaping his past. The plot thickens when Parker joins forces with a crew to pull off a heist that promises a hefty payout. However, as is typical in Parker's world, things do not go as planned, and he finds himself navigating a treacherous path filled with betrayal, violence, and unexpected twists.
Stark's writing is sharp and concise, delivering a fast-paced narrative that keeps the reader on the edge of their seat. The prose is stripped down to essentials, reflecting Parker's own no-nonsense approach to life and crime. The character of Parker is further developed in this novel, presenting him as the quintessential anti-hero—capable of cold-blooded decisions while adhering to his own strict code of ethics.
What sets "The Man with the Getaway Face" apart is Stark's skill in constructing a complex, layered plot within the confines of a seemingly straightforward heist story. The secondary characters are well-drawn, each with their own motivations and flaws, adding depth to the narrative. Stark also excels in creating a tense, atmospheric setting that immerses the reader in the dark, dangerous world of professional thievery.
One of the strengths of the novel is its realism. Stark's detailed knowledge of criminal operations and the inner workings of Parker's mind provides a level of authenticity that is both fascinating and chilling. The dialogue is crisp and believable, driving the action forward while revealing character.
In summary, "The Man with the Getaway Face" is a masterclass in crime fiction writing. Stark's ability to blend action, character development, and a tight plot creates a compelling read that not only stands on its own but also enhances the overall Parker series. This novel is a must-read for fans of hard-boiled crime fiction and those who appreciate a well-crafted story that explores the darker facets of human nature.
The book opens with Parker undergoing plastic surgery to escape the mob and law enforcement after the events of the first novel. With a new face, Parker is eager to jump back into the criminal underworld, but he quickly realizes that changing his appearance doesn't necessarily mean escaping his past. The plot thickens when Parker joins forces with a crew to pull off a heist that promises a hefty payout. However, as is typical in Parker's world, things do not go as planned, and he finds himself navigating a treacherous path filled with betrayal, violence, and unexpected twists.
Stark's writing is sharp and concise, delivering a fast-paced narrative that keeps the reader on the edge of their seat. The prose is stripped down to essentials, reflecting Parker's own no-nonsense approach to life and crime. The character of Parker is further developed in this novel, presenting him as the quintessential anti-hero—capable of cold-blooded decisions while adhering to his own strict code of ethics.
What sets "The Man with the Getaway Face" apart is Stark's skill in constructing a complex, layered plot within the confines of a seemingly straightforward heist story. The secondary characters are well-drawn, each with their own motivations and flaws, adding depth to the narrative. Stark also excels in creating a tense, atmospheric setting that immerses the reader in the dark, dangerous world of professional thievery.
One of the strengths of the novel is its realism. Stark's detailed knowledge of criminal operations and the inner workings of Parker's mind provides a level of authenticity that is both fascinating and chilling. The dialogue is crisp and believable, driving the action forward while revealing character.
In summary, "The Man with the Getaway Face" is a masterclass in crime fiction writing. Stark's ability to blend action, character development, and a tight plot creates a compelling read that not only stands on its own but also enhances the overall Parker series. This novel is a must-read for fans of hard-boiled crime fiction and those who appreciate a well-crafted story that explores the darker facets of human nature.
this is book 2 of the Parker series. i like this one more than the first. this whole series is a mid-century, hard-boiled noir classic. this particular volume is an intricately plotted caper with loads of detail that make the 1960's come alive again. that Parker is a mean MF! on to book 3.
dark
mysterious
tense
fast-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
I liked this one a bit more than the first. It felt like it had more moving parts and I liked Stubbs. The job in the first half was cool, but I enjoyed the intensity of the second half a lot more. Really good ending as well. I’m excited to check out the next one.
dark
mysterious
tense
medium-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
No
Content Warnings
Moderate: Death, Gun violence, Homophobia, Murder
Minor: Kidnapping
“I said I’d be back.”
The storytelling in “Man with the Getaway Face” is stunningly good. The narrative is straightforward, chronologically pickup up immediately after Parker’s revenge of “The Hunter” . An underground plastic surgeon has given him a new face and identity, so that the Syndicate/Outfit/Bad dudes after him cannot track him down. There is a lot of detail about the logistics of his next impending robbery and how he and his abettors are going to pull it off. And there is always one bad apple.
Still, the narrative does not have a traditional or predictable feel. People show up or disappear at the wrong moments. Parker deals with trouble in a brutally simplistic way. He is not overly greedy, and despite being a degenerate and a murderer has a rough moral code that make his actions fascinating. I will continue to read his stories as long as they are this good.
The storytelling in “Man with the Getaway Face” is stunningly good. The narrative is straightforward, chronologically pickup up immediately after Parker’s revenge of “The Hunter” . An underground plastic surgeon has given him a new face and identity, so that the Syndicate/Outfit/Bad dudes after him cannot track him down. There is a lot of detail about the logistics of his next impending robbery and how he and his abettors are going to pull it off. And there is always one bad apple.
Still, the narrative does not have a traditional or predictable feel. People show up or disappear at the wrong moments. Parker deals with trouble in a brutally simplistic way. He is not overly greedy, and despite being a degenerate and a murderer has a rough moral code that make his actions fascinating. I will continue to read his stories as long as they are this good.
dark
funny
mysterious
tense
fast-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
The Man with the Getaway Face - Second Parker book but the first time Donald E. Westlake writing as Richard Stark sat down to write a Parker novel knowing he'd be writing a series of Parker novels.
Here's the scoop: Bucklin Moon at Pocket Books told Mr. Westlake he wanted to buy The Hunter (the first and only Parker novel at the time back in 1962) on the condition Parker would live, not die, at the end, and Pocket Books would be given more Parker novels.
Mr. Westlake signed the contract and the Parker series was born - and by the time 2008 rolled around, crime fiction fans could read and relish twenty-four Parker novels. Lucky us! - the longest crime series on record featuring one character who isn't a detective.
Since he was now writing an entire series, Mr. Westlake faced three prime challenges:
1) make each Parker book complete unto itself so it can be read as a stand-alone novel (one need not have read the other Parker novels);
2) each new Parker novel should build on previous books within the series, with occasional direct references to enrich the story for those readers familiar with other Parker novels;
3) since there's no question Parker will live at the end so he can star in the next novel, to create drama and tension in other ways.
Let me assure you, gang, all challenges exceeded - each and every Parker novel is a jewel. By the way, after reading and writing a review for Butcher's Moon, Parker #16, I became a new, enthusiastic fan. I plan to read and review all 24 Parker novels in sequence.
"When the bandages came off, Parker looked in the mirror at a stranger." The first line for the novel under review. Why the bandages? Parker needs a new face, a face not recognized by a highly organized, nationwide syndicate calling itself the Outfit. The details of how and why Parker crossed the Outfit are at the heart of The Hunter. (Again, you can read Getaway Face without having read The Hunter but having read Parker #1 makes Parker #2 a much richer experience).
Parker leaves the doctor's office in Nebraska and after a couple quick stops is in New Jersey to eyeball for himself a possible armored car job at a diner along Route 9. Sidebar: Parker doesn't give a second thought about his new face - for Parker, a face is a face; Parker knows what he's all about has nothing to do with his face.
Fellow heister Skimm outlined the plan for Parker back in Cincinnati, a plan cooked up by his new lover, Alma the waitress: the driver and two guards of an armored car always stop at the diner every Monday at a set time. Alma could block off that part of the diner facing the armored car and we could blah, blah, blah, blah. Parker knows very well Alma's plan reeks like Jersey cow manure but he needs the money so he tells Skimm he'll meet them in New Jersey.
On a Saturday, several days prior to their meeting, Parker takes a seat in the crowded diner, orders coffee, and tries to figure out which one of the four waitresses is Alma. We're given the colorful details of Parker's thought process as he carefully studies each waitress. Within minutes he know the German barmaid type with her sullen eyes and fat arms must be Alma.
Of course Parker is right - and for good reason. As Luc Sante notes: "As brilliant as he is as a strategist, he is nothing short of phenomenal at instantly grasping character." Such Philip Marlowe-like perceptiveness proves critical in Parker's line of work where the double-cross forever looms and a mistake on or after the job could mean years in prison.
We follow Parker, the brilliant strategist, as he scopes out the situation. It's Monday morning and Parker sits at the wheel of his car, a stolen car he nabbed back in Cincinnati, sits in the furniture store's parking lot across the street from the diner where Alma works. By this time he knows Route 9 both north and south and the exact location of all the various roads and highways in the area, particularly 440 East leading to Staten Island via the Outerbridge Crossing.
Parker watches as the red armored car pulls in at 10:43. He observes how the men take turns going into the diner. Then, when they're finished, he follows the red car south on Route 9, pulls over, waits for the men to make their bank stop and when they drive back north on 9 he follows them until he's satisfied he has all the information he needs.
Parker then has his meeting with Skimm and Alma along with Handy McKay, a heister both Skimm and Parker have worked with on prior jobs, a guy they can trust. One of the great strengths of Richard Stark novels - character portraits compressed in few words. Here's a couple lines on Handy: "He was long and thin and made of gristle, and his stiff dark hair was gray over the ears. He lipped his cigarette so badly the brown tobacco showed through the paper for half an inch, and he used wooden matches, the little ones, not the big kitchen matches."
Alma demands Parker tell her why he doesn't like her plan. "We need five men," she said. "We can't do it with less. For God's sake, it's an armored car." To which Parker replies, "You want to lay a siege and starve them out?"
There you have it, one of the highlights of the novel - Parker's sarcastic remark that might qualify as a laugh line. But damn Alma and her big mouth. "This Alma was a busher, a new fish, she didn't know how this kind of operation was handled. Parker knew this, because this was his line of work, but he didn't say anything about it." You bet he knew, after all, supersharp Parker has been working heists for eighteen years.
Following the meeting, riding with Handy McKay in the Ford, the boys notice they're being tailed by another car. Turns out, the guy in the car, a black Lincoln, is following them for a reason having to do with the doc who gave Parker his new face.
Aha, we have ourselves a subplot. Another moving part for Mr. Westlake/Richard Stark to work with. For, as per Luc Sante: "Like all machines but unlike lesser thrillers the Parker novels have numerous moving parts, and the more the better - more subplots, more businesslike detail, more glimpses of marginal lives."
The Man with the Getaway Face makes for a crackerjack novel. Richard Stark sets down the four part structure common to all future Parker novels: planning the heist, assembling the crew, the heist itself, the escape - with betrayal, ineptitude and/or the double-cross as real possibilities at every step.
My recommendation: read The Hunter first and then The Man with the Getaway Face second. You'll get hooked. Then on to the other Parker novels you go.
American author Donald E. Westlake, 1933-2008
adventurous
dark
fast-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes