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A review by robotswithpersonality
Tripwire by Lee Child
5.0
That was stunningly good. There are those who will insist I'm 'grading on a curve', comparing it to the preceding books in the series, rather than mysteries or novels in general, to come up with such a glowing statement, but I honestly think this was just a well written book, designed to effectively entertain and engross the reader.
The first book in the series I liked, the second book I didn't, this third book: I loved.
Lee Child is consistent in delivering atmospheric descriptions, always taking a moment to provide an often poetic sense of place, regardless of how benign or undesirable the place may be.
He's consistent in providing a mystery (that I only got just before it was revealed, which is my perfect ideal in mystery books, and to me demonstrates skill on behalf of the writer, leading the reader) that will be methodically investigated; this book did that even better than the first two did, and when it's done at the right pace that's something I really enjoy reading. Which leads into the first of two key differences that boosted this book in my estimation in comparison to its predecessors.
1) The pacing
2) The female characters
1) How this story was divided up and bounced between following various people moving toward certain goals never felt like we were moving away from the action, even with what might be termed not the main players, it's not just that things were in a state of skillfully ratcheted tension, and you care about the characters because they are well written, complex motivations etc, it was that the plot was written in such a way that you want to go along, see how it unfolds, if various people will succeed, and somehow it's written so even portions which others might argue are slowing down the action are worth reading.
2) I would be totally unsurprised if after the second Reacher book, Child got a buttload of negative feedback about how his female character(s?) were written. If so, he definitely took it to heart and did better here.
Yes, the threat of sexual violence against women looms large over a significant part of the narrative, increasing the repugnance of the villain(s), but it never actually becomes a part of the plot/on or off screen action. Yes, Marilyn and later Jodie are both objectified by bad men, but, and I recognize this is subjective, it didn't feel excessive or gratuitous within the context of the narrative.
Yes, for moments at a time Marilyn and Jodie fit within the parameters of damsels in distress, but they spend the vast majority of the story in partnership with male characters who are aided by them, who defer to them when circumstances require their skill, resources, expertise, equanimity. I'll even throw Mrs. Hobie into the mix, because she was a more vibrant physical presence of the two parents, and Crystal, because for the little we saw of her at the beginning, I would gladly have had her as Reacher's partner for this book: exotic dancer exuding independence and confidence, enjoying her skills and resultant revenue with a beautiful car competently operated and under no illusions about Reacher's availability.
I get that readers will react differently to the age gap and background between Reacher and Jodie, but I think Child's framing is about as unobjectionable as you can get given the circumstances.
On an unrelated note, and one I find harder to articulate, I admire how Child handled the discussion around the Vietnam War. Don't get me wrong, these books could easily win a 'pro-military/military propaganda' label. Given some characters consulted in pursuit of the mystery are serving military, the resentful manner in which they talk about the Vietnamese is not a shock, and also not comfortable to read. The bias is evident, the reader is to empathize with American soldiers who lost their lives, not so much with the military brass who mis-handled the conflict, covered things up, tried to minimize news of deaths and deny culpability by leaving more MIAs than confirmed deaths on the record. The dual heartbreak of promising young men lost to violent death, many conscripted for such an end, and the later work of those who struggle to identify remains. You can't help but sympathize with parents left without answers, with the righteous anger of those who recognize the tragic waste in the loss of life. Obviously a different book might not have that be such a one-sided criticism of the war, would also consider the POV of the Vietnamese, also fighting a foreign military force, which also caused great loss of life, and which media/pop culture (I'm not too informed on the history) suggests often acted unethically during the conflict.
I think if there's one area that really shouts 'I was written in the late 90s!' it's the ableism prominent in a main villain having extensive burn scarring, an amputation and a prosthesis, a hook, of course, and how often those features are focused on to increase the sense of menace he exudes. There's no objective reason to fear someone who has traumatic injuries, who is essentially a disabled war veteran, but Child wants the reader to associate this appearance, with his grotesque behaviour, make it ugly, as if one were a mirror for the other, the same kind of thing unenlightened horror films of earlier decades did (still do?). I sincerely hope it's the last time the author feels the need to aim for such a harmful and lazy shorthand.
I am curious where the series goes from here, as there are definitely 'putting down roots' potential offered at the end of this book that I didn't see in the last two, but considering how many books there are in the series, I'm just hoping nothing bad happens to any of the characters previously introduced to get him back on the road.
I'll definitely be picking up the next book, cross your fingers the writing quality endures, even improves!
⚠️ violence, gore, abelism
The first book in the series I liked, the second book I didn't, this third book: I loved.
Lee Child is consistent in delivering atmospheric descriptions, always taking a moment to provide an often poetic sense of place, regardless of how benign or undesirable the place may be.
He's consistent in providing a mystery (that I only got just before it was revealed, which is my perfect ideal in mystery books, and to me demonstrates skill on behalf of the writer, leading the reader) that will be methodically investigated; this book did that even better than the first two did, and when it's done at the right pace that's something I really enjoy reading. Which leads into the first of two key differences that boosted this book in my estimation in comparison to its predecessors.
1) The pacing
2) The female characters
1) How this story was divided up and bounced between following various people moving toward certain goals never felt like we were moving away from the action, even with what might be termed not the main players, it's not just that things were in a state of skillfully ratcheted tension, and you care about the characters because they are well written, complex motivations etc, it was that the plot was written in such a way that you want to go along, see how it unfolds, if various people will succeed, and somehow it's written so even portions which others might argue are slowing down the action are worth reading.
2) I would be totally unsurprised if after the second Reacher book, Child got a buttload of negative feedback about how his female character(s?) were written. If so, he definitely took it to heart and did better here.
Yes, the threat of sexual violence against women looms large over a significant part of the narrative, increasing the repugnance of the villain(s), but it never actually becomes a part of the plot/on or off screen action. Yes, Marilyn and later Jodie are both objectified by bad men, but, and I recognize this is subjective, it didn't feel excessive or gratuitous within the context of the narrative.
Yes, for moments at a time Marilyn and Jodie fit within the parameters of damsels in distress, but they spend the vast majority of the story in partnership with male characters who are aided by them, who defer to them when circumstances require their skill, resources, expertise, equanimity. I'll even throw Mrs. Hobie into the mix, because she was a more vibrant physical presence of the two parents, and Crystal, because for the little we saw of her at the beginning, I would gladly have had her as Reacher's partner for this book: exotic dancer exuding independence and confidence, enjoying her skills and resultant revenue with a beautiful car competently operated and under no illusions about Reacher's availability.
I get that readers will react differently to the age gap and background between Reacher and Jodie, but I think Child's framing is about as unobjectionable as you can get given the circumstances.
On an unrelated note, and one I find harder to articulate, I admire how Child handled the discussion around the Vietnam War. Don't get me wrong, these books could easily win a 'pro-military/military propaganda' label. Given some characters consulted in pursuit of the mystery are serving military, the resentful manner in which they talk about the Vietnamese is not a shock, and also not comfortable to read. The bias is evident, the reader is to empathize with American soldiers who lost their lives, not so much with the military brass who mis-handled the conflict, covered things up, tried to minimize news of deaths and deny culpability by leaving more MIAs than confirmed deaths on the record. The dual heartbreak of promising young men lost to violent death, many conscripted for such an end, and the later work of those who struggle to identify remains. You can't help but sympathize with parents left without answers, with the righteous anger of those who recognize the tragic waste in the loss of life. Obviously a different book might not have that be such a one-sided criticism of the war, would also consider the POV of the Vietnamese, also fighting a foreign military force, which also caused great loss of life, and which media/pop culture (I'm not too informed on the history) suggests often acted unethically during the conflict.
I think if there's one area that really shouts 'I was written in the late 90s!' it's the ableism prominent in a main villain having extensive burn scarring, an amputation and a prosthesis, a hook, of course, and how often those features are focused on to increase the sense of menace he exudes. There's no objective reason to fear someone who has traumatic injuries, who is essentially a disabled war veteran, but Child wants the reader to associate this appearance, with his grotesque behaviour, make it ugly, as if one were a mirror for the other, the same kind of thing unenlightened horror films of earlier decades did (still do?). I sincerely hope it's the last time the author feels the need to aim for such a harmful and lazy shorthand.
I am curious where the series goes from here, as there are definitely 'putting down roots' potential offered at the end of this book that I didn't see in the last two, but considering how many books there are in the series, I'm just hoping nothing bad happens to any of the characters previously introduced to get him back on the road.
I'll definitely be picking up the next book, cross your fingers the writing quality endures, even improves!
⚠️ violence, gore, abelism