The murder of a notorious public figure places Paradise, Massachusetts, police chief Jesse Stone in the harsh glare of the media spotlight. When the body of controversial talk-show host Walton Weeks is discovered hanging from a tree on the outskirts of Paradise, police chief Jesse Stone finds himself at the center of a highly public case, forcing him to deal with small-minded local officials and national media scrutiny. When another dead body-that of a young woman-is discovered just a few days later, the pressure becomes almost unbearable. Two victims in less than a week should provide a host of clues, but all Jesse runs into are dead ends. But what may be the most disturbing aspect of these murders is the fact that no one seems to care-not a single one of Weeks's ex-wives, not the family of the girl. And when the medical examiner reveals a heartbreaking link between the two departed souls, the mystery only deepens. Despite Weeks's reputation and the girl's tender age, Jesse is hard-pressed to find legitimate suspects. Though the crimes are perhaps the most gruesome Jesse has ever witnessed, it is the malevolence behind them that makes them all the more frightening. Forced to delve into a world of stormy relationships, Jesse soon comes to realize that knowing whom he can trust is indeed a matter of life and death.
The murder of Walton Weeks, a Rush Limbaugh-like political commentator in sleepy Paradise, Mass., drives the action of bestseller Parker's competent whodunit, a sequel of sorts to Blue Screen (2006), which first paired two of the authors' non-Parker series characters--Jess Stone, an ex-LAPD detective trying to resurrect his career as Paradise's police chief, and PI Sunny Randall--with predictable romantic results. After a stalker sexually assaults Stone's ex-wife, Jenn, Stone asks Randall to serve as Jenn's bodyguard. Stone finds himself under atypical media and political scrutiny, especially after Weeks's pregnant mistress is also found dead in Paradise. Both Stone and Randall are still weighed down with significant emotional baggage from their exes, and it's Parker's exploration of their ambivalent relationship that is this book's strength. The plot, however, is much less developed than Jane Haddam's Hardscrabble Road (2006), which likewise featured the murder of a right-wing radio commentator. (Feb.) Copyright (c) Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
-- PUBLISHERS WEEKLY.
Showing 1-1 of the 1 most recent reviews
1 . Please just kick out this stupid Jenn woman!
Posted July 16, 2009 by Kevin Kim , St. Albert, AlbertaRobert B. Parker's Jesse Stone stories have so far been amusing, humorous and satisfying with their staccato-style chapter divides; quick episode turns and developments like watching TV dramas; bare-bone dialogues sans beefy expressions and meandering monologues; characters who are all affable, sometimes comical, thereby very personable (except Jenn, who's extremely annoying mostly) and light-footed, agile, and yet relaxing paces.
However this book - High Profile - was far less satisfying both in terms of plot development and its ludicrous ending, and of course the perennially annoying Jenn, who's, according to the characters in it (i.e., Robert B. Parker also), supposed to be surprisingly intelligent and attractive, but to many readers including me, she's excruciatingly dull, dumb, annoying, shamelessly narcissistic, and most of all driving the whole Jesse Stone stories into a ditch by making the whole storyline more irrelevant than ever. It's beyond my understanding why the author constantly, persistently, almost stubbornly inserts this irrelevant character in Jesse Stone's life - is this author trying to make some sort of psychiatric case studies, or some kind of exploration of pathologically obsessive characteristics?? Why is she not completely disappeared but as passing memory pieces here and there with a few paragraphs in Jesse Stone story? I wonder how many people would agree with me or the author, but in my view, Mr. Parker is making Jesse Stone stories more and more far-fetched and unrealistic and truly fictional (in a negative way) with this Jenn woman. I know it's funny to compain a fiction being too fictional. :)
As a whodunit novel High Profile was far from satisfying - plots were too loose, lacking substantive factors that make readers guess and sit on the edge, and sit on the edge, and most of all ended up dumping readers on the middle of nowhere - so what? Is this it? With this stupid, pseudo-philosophical conversations between Jesse and Jenn??
February 06, 2007
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