Return to form--
a form I don't remember since the first book, as a matter of fact.
Hallinan's Poke Rafferty series has a tension running through it, as Hallinan tries to combine conventions of the crime thriller with conventions of the domestic drama. It's not just that Rafferty has married, and adopted a child--the second book in the series introduced his father and sister, too. In the tradition of American noir, Rafferty is leaving behind his dysfunctional family, and trying to create something to replace it, though the past keeps managing to come back and get him. In this entry, the past is not so distant as his California family, but a job he pulled two books ago, the consequences of which have continued until this episode.
What rejuvenates the book, for my money, is that in this case the domestic drama is put on the back burner, and the family Rafferty originally tried to create when he came to Thailand: the ex-pat community, most of whom are losers of one sort or another. At this point in the story, their mostly elderly, mostly drinking themselves to death--a fate Rafferty himself barely escaped. But the community throws up one last problem, as well as its solution.
Hallinan has no illusions about the community from which Rafferty came; the easy choice would have been to portray them as a comical Greek chorus, but he avoids that (reserving it, instead, for a pair of lady-boys, since the structure of the book otherwise needs such a group). Rafferty is mostly at a loss through this book, in over his head against an aggressive antagonist, almost superhumanly so for this series. It's a distinction from my memory of the earlier books, when Rafferty seemed freakishly competent. (Even so, he's still a bit of a Mary Sue.)
There are throwbacks to the other books, notably Rafferty once again spiriting his wife and child to a hiding place, trying to keep them safe. (This has become tiresome.) Arthit, his best friend and a police officer, has devolved from a complicated character earlier on to something of a plot device and conscience for Rafferty. There's Mia in school again and in a new play.
The book feels leaner than more recent entries in the series, though the pay-off, I don't think, was as good--it was kind of obvious how things would be resolved--and there was a slight feeling of incompletion. The emotion at the end, some of it, seemed unearned; the book's title never really came into play, except obliquely, and the antagonist's menace never added up to what was foretold. It's also true that there were some plot strands left dangling, presumably to be taken up in the next book.
Mostly though these are cavils, picayune. I gave it four stars because the story was tight and focused and noir-ish and engaging all the way through. Hallinan stretched himself as a writer in this one, and the imagery felt organic and real, at times almost lyrical; though far from the street poetry of a Chandler, there was a family resemblance.
A very solid, nice outing in the series.