Since the bulk of Middle of Nowhere takes place in the Greater Seattle area, the significance of the title eluded me until roughly 4/5 of the way through the novel. If one wanted a more thematic concept that applies to this novel, I think it would be “fidelity.” Middle of Nowhere considers the need to be faithful to one’s vocation, especially when the lives of one’s colleagues (as well as, in this case, lives of the general public) might be at risk. Unfortunately for me, there is a sub-plot dealing with faithfulness and intimacy in marriage which had already been resolved (for good or bad) in a novel from another of Ridley Pearson’s excellent series. Finally, Middle of Nowhere turns on the idea of obligations owed to be faithful to a blood relationship (in this case, with a sibling) with more than one impact on the story.
Although most of the mystery thrillers I read are specifically built around murder, the bulk of the mysteries involved in Middle of Nowhere are based on debilitating, but not necessarily fatal, physical attacks. Indeed, even within the solution, the protagonists face likely attacks. What really captivated me was the age-old mystery idea of “If only the victim could talk…” and the way Pearson worked within that context.
So, Middle of Nowhere is largely concerned with a series of burglaries that are “almost” locked door mysteries. The solution to the series of burglaries is foreshadowed about 1/5 of the way through the novel. Confession: I didn’t catch it. But it was fascinating to see the way Pearson weaved the warp and woof of his plot together.
I can also readily commend the quality of the writing, particularly descriptions. Since I once lived in the Seattle area, I very much appreciated the description of the Lake Union area. “The hippie feel of the past was giving way to Microsoft geeks who looked stupid smoking their cigars while sucking down their microbrewery beer on warm summer nights, with the city’s killer skyline forming a stage set in the near distance.” (p. 104) And, like anyone who has ever answered a wanted ad which turned out to be a multi-level marketing pitch or a sales boiler room recruitment, “The office tried too hard to imply money but reminded Boldt instead of a room found in a truck stop motel with a heart-shaped bath.” (p. 200)
Now, of course, as true to the mystery thriller genre, there isn’t just one mystery but multiple problems to solve. But that isn’t the beauty of Ridley Pearson’s crafting such stories. Rather, it is his ability to tap into the motivations and misgivings of characters such that one cares about what happens. As with the horror genre, torture and death doesn’t really affect one unless one cares about the character(s). The same is true in a thriller. Fortunately for Middle of Nowhere, one really cares about missed phone calls blackmail attempts, and physical threats that put various characters at risk.
Since I have no issues whatsoever with Middle of Nowhere and only words of praise to disseminate, I must give this the highest rating.