Will this start of a new investigator/series continue? Stay tuned. Here Freeman does all the Freemanly things. It's a character-driven novel in the sense that character secrets and trauma are important to understanding the full story. It's also plot-driven in the sense that Freeman is a master of the complicated, interlocking plot where seemingly unrelated events are in fact related and important. In typical Freeman style, he pushes the plot connections a little too hard, though this story is not as over-done as some of his work. For my personal taste, the most annoying trademark of the Freeman novel is that every character is deep in trauma. Like his overwrought plots, every character is dying of cancer, a meth addict, a former hooker, been to prison for pedophilia, an angry racist, suffering dementia, or still trying to use AOL. Because every character is suffering, there is no joy to be found in Freeman's books, only sorrow and regret. To riff on a 'Simpsons' episode: If I had to cover up a murder, I'd leave a Freeman novel close by so the cops would know it was suicide. To quote the excellent mystery writer Craig Johnson, 'Every character needs a distinct sense of humor.' Which I take to mean both the character HAS a sense of humor and the character EXPRESSES their sense of humor. Freeman does neither; and I've come to believe this is an important failing. His desperate, depressed, hopeless, traumatized characters earn my compassion, but halfway through I stop thinking of them as real and start thinking of them as contrived trauma zombies. Instead, Freeman hammers physical descriptions: we never meet a character, no matter how minor, without learning everything about their appearance, from their socks to nine details about their hair, jewelry, color and quality of clothing, size and shape of facial features, limbs, hands, fingers, as well as any accessories. Detail is good, but less truly is more. If every new character is seen with such intense detail, why is every character doing the seeing so obsessive? Because these details are presented neutrally (except for evidence of trauma, e.g. tired eyes, looking older than real age,) there is no character building accomplished (other than the character trait of ongoing trauma.) To make this marginally worse, we have to revisit these details in each new scene as the character will have changed their clothes, shoes, and combed their hair since last seen. Freeman also is a chronic over-writer. He loves the false drama of 'A thin man stepped out of the vehicle holding a shotgun. She watched him trudge through the snow, his head down as though lost in sorrow. When he reached the porch, he saw her and started. "Hi Dad," I said. "Are you ready for lunch?" He does this all time, where the narrator obviously knows the person, knows what's going on but deliberately keeps it from us for a prick of false tension. Freeman also abuses filters. Instead of 'the man stepped out of the vehicle,' he writes, 'I noticed a man step out of the vehicle.' I saw, I heard, I spotted, and on and on. Yes, it's always the narrator narrating so we know it's you who saw, heard, and noticed. Please stop saying so.