NO MERCY [2022] By Blake Pierce
My Review 2.5 Stars**
This selection by the prolific author of this series (and many others) was offered as a free book. I downloaded it because it was described as an FBI Suspense Thriller. It is the launch of Pierce’s newest series which features FBI Agent Valerie Law. The short novel was just released this year and the description on Amazon noted that it was Book 1 of 9. That puzzled me until I learned that four of the selections will be released this year (Book 4’s release date is this month) and the remaining five in the series are scheduled to be published and parsed out in 2023. Genre designations are “Women Sleuths” and “Suspense.” I dislike the word “sleuth” because it reminds me of “sloth” but I digress.
The brief intervals between the release of the installments in this series explains a lot. There were proofreading problems noted in addition to grammatical errors (“appraise” used instead of “apprise” for instance). Setting that aside the gist of the plot is the creation of a new unit within the already specialized departments of the FBI, namely the “CPU”. The FBI loves it acronyms, and this designation of CPU does not stand for our desktop computer’s “central processing unit” but rather “Criminal Psychopathy Unit.” The first two agents that are recruited to this elite new division are Valerie Law and her partner Charlie. Dr. Cooper, a celebrated civilian consultant is added to the equation. The latter is a famous forensic psychiatrist who has interviewed several psychopathic killers in prisons, but lacks field experience. The new “team” is assigned the daunting task of capturing a dangerous psychopath who has just escaped from a maximum security forensic psychiatric facility. Blake Harlow executed a brilliant escape and slaughtered two guards and his psychiatrist in the process.
Pierce is obviously a successful writer of crime fiction and quite prolific as previously mentioned. This novel was a quick read. It is my opinion that the unsophisticated writing style is comprised not only of short sentences, but is also repetitive and peppered with unimaginative dialogue. Charlie repeatedly asks Valerie what they are going to do, and she responds that they need to get some rest. Charlie does volunteer at some point during this mundane back and forth that perhaps a nightcap would be in order. Finally, after another question-and-answer session between the two about getting some sleep during their frantic hunt for a murderous psychopath they check in and rent separate rooms. They retreat to the hotel bar and proceed to have several drinks. The boss calls and when he detects that she has been imbibing, Valerie assures him they only had a couple drinks (while she nurses her third during the conference call).
It is like when you watch a movie and find yourself consciously aware of the soundtrack you know that it is a low budget film. There were so many elements to the narrative that I found irritating, such as Valerie and Charlie’s mutual commitment to cover any mistakes that either of them makes (like Charlie losing his weapon while chasing the killer). Their mutual ineptitude in attempts to capture the fugitive are reminiscent of the three stooges (Dr. Cooper leaves the safety of his vehicle and enters the fray to clock the bad guy with some object he picked up to save the two seasoned agents in one instance).
Valerie is a superlative example of the heroine carrying around so much emotional baggage that it is a miracle she can walk upright. Protagonists in crime fiction (male or female) who are guilt ridden and weighted down with past professional mistakes, personal losses, family problems, with or without superimposed substance abuse or other self-harming coping strategies, are unwelcome cliches to me. Crime fiction writers decided that the heroes had to be “flawed,” and the more flawed the better.
Character development was also largely absent thus the characters were one dimensional. The plot was riddled with forensic psychiatric insights that were both confusing and, in my opinion, inaccurate. The plot twist at the end did not make a lot of sense to me either. The term “psychotic break” is used to describe clinical psychiatric symptoms that are consistent with DID. The killer the team is chasing loses not “where” he is but “when” it is. He reflects on these episodes as “the child” manifesting, depicted as the weaker alter, and yet Blake Harlow cannot repress “the child” indefinitely. Valerie addresses the rare condition of DID later in the narrative and reports that a lot of criminals attempt to fake it. There is an implausible plot twist at the end which I will not disclose. Terms like “temporal psychosis” and “Hoffman’s Immersion Technique” are also bandied about. It suggests that the author does not think the reading audience has any knowledge of appropriate terminology or forensic psychology whatsoever.
Finally, the team investigates the reform school where Blake Harlow had been confined when his family could no longer withstand his psychopathy and violence in the home or school setting. This facility had been rightfully assessed as using severe measures in controlling the more dangerous and violent boys, “back in the day,” a time when Harlow had been the recipient of such methods as “solitary confinement” for periods of time that varied with the severity of his infractions. Valerie’s sympathies appeared to be skewed. It is obviously appropriate to alter any inhumane methods of treating violent pre-teens or teenagers when they are killing every domestic pet in sight, setting fires, siblings are terrified, and the parents are afraid to go to sleep at night. I get it. I do not get why a seasoned FBI Agent would be so quick to judge the facility especially when clearly Blake Harlow was the most violent boy the reform school had ever admitted.
I know many readers adore Pierce’s books, but they are clearly not for me.