Ruby Josen is a meek woman. She’s passive, she’s uninteresting, and she’s unadventurous, but mostly she’s just complacent. She recently applied for and was rejected for a promotion at the graphics company where she works in a small Tennessee town. To add insult to this injury, Millie, the woman given the job, is an angry, pushy, demanding person who seems to have it out for Ruby. To then heap even more insult onto the injury and the first insult, Ruby learns that her friend, Simone, who had promised to recommend her for the promotion, reneged and actually helped Millie to get the job.
The insults keep coming, but not before Ruby meets Bryce, a mysterious and seemingly prescient stranger, at a local festival. He promises to remove the obstacles which have been keeping Ruby back. It’s this apparently random happenstance encounter that sets the action into play. People begin turning up bludgeoned to death in this small mountain town – people who have been making life hard for Ruby.
Move by Sherri Fulmer Moorer is a paranormal thriller that explores the philosophical issues of free will, fatalism and why-are-women-so-mean-to-each-other? With a strong focus on the minutia of office politics, Move is a meticulously plotted examination of the butterfly effect. Each action results in – not a snowball, but an avalanche of cause-and-effect chaos.
Move fits nicely into the milieu of tales throughout history that have examined the idea that the fates which control our lives are an amalgam of malevolent and benevolent sprites with their own agendas and rules which bind them. From the Morai through Job to Daniel Webster and Robert Johnson, every culture has a story like Move. The author seems to understand this, and she judiciously picks a little from this legend and a little from that one to create her own unique template on which to build.
Yet this is not a novel without problems. Much of the dialogue is repetitive. The characters rehash the same discussions multiple times. This gives the story a realistic conversational feel, but unfortunately slows down the narrative in several places. Much of this is due to the personality of the main protagonist, Ruby. Has she been treated unfairly? Yes. Do we care? Not really? She’s a woman who has given up on life, and it makes us wonder why so many of the supporting characters are still in her corner when she’s off sitting in the bleachers.
What the story has in its favor though is a clever twist on the paranormal character, Bryce. Is he psychic? A ghost? A dybbuk? An angel? Also, until we learn for certain who the killer is, suspicion is genuinely fluid. Is Bryce the killer? Is Ruby? Maybe it was Simone or Ruby’s strongest friend and advocate, Denise.
One thing that is clear, Ms Fulmer Moorer is well versed in the inner-workings of freelance art companies. She has clearly embraced the SOP writerly advice to write-what-one-knows. If we remove the metaphysical aspects and the murder plot, I’m pretty sure we’re left with a look into the author’s personal journal with the names changed to protect the innocent.