Characters and plot didn't come together for me until the last third of the story. When it finally did, the characters came alive and felt like they were driving the plot instead of the other way around.
The story did a good job of showing a soldier trying to get back to life after war and how hard that is. I would describe the story as a family-mystery-who dunnit-cop-courtroom drama.
About one-third of the way into the story, I didn't care much about any of the characters. Though I was interested to know more. I felt like I was reading a tv script more so than a novel at the one-third mark. The author felt like a writer that was a master at plot but not quite so much when it came to character. Though decent, there was just a disconnect for me.
About midway through the novel, as three main players are having a tense conversation, it stuck out like a sore thumb that none of the characters I'd spent time getting to know seemed unique. I could hear the author in all of it, what he wanted the character to say, or some cute dialog he'd put aside (and this was the moment he was going to use it). Cutting banter does not a character make.
Yet about midway, it started feeling like a few of the main players had a secret or knew something crucial. This is what kept me reading, to find who killed the dead guy.
At the two-thirds point, the main characters still didn't seem to have unique voices - yet some of the minor characters just popped. Things started heating up in the plot and I was very curious how it would all work out. The author gets high marks for plot throughout.
The one character that seemed the most real at this point was the dead guy. His presence, or lack thereof, felt real. Every character thinking or speaking of him felt authentic. That didn't feel fake or like they were going through the motions. Maybe that was the point ~ the dead guy as the protagonist? In a strange way, he did have an arc.
Even though the bones of all the main characters were there, it seemed more like a pile of bricks for an actor to make his own. I kept waiting for flesh and blood characters to jump from the page.
Chapter 20 was confusing as it started off with the protagonist talking about his dad's home office. It sounded like inner first person dialog and then seems to awkwardly jump to what seems outside the protagonist. Yet it made me think that when trauma happens such as with war or death, people do sometimes step outside themselves in some way. Maybe the dialog was a representation of that. Though the inner dialog of the horrors of war seemed off. Having never been at war, I imagine it would be more like flashes. But I could be off on this point.
Some of the dialog, for example between mother and son, seemed inauthentic. There's a shorthand with family where sometimes a grunt or silence can not only be more realistic, but more powerful.
Then the chapter with the aunt and the female detective happens and the aunt's character - who we don't really know - is so damn alive, her dialog is hers and hers alone, she is flesh and blood. It was striking how authentic her voice was compared to the main characters.
And then things start to heat up, the characters and dialog start to pop. It's as if a 1960s jiffy pop had been sitting on the heat with only a few kernels popped and wham, suddenly, it starts popping away as the foil top puffs up. It's as if it took this long for the writer to get to know his characters.
The last third of the book was significantly better than the first two parts, as far as characters feeling fleshed out and real. It's like the awkward dance the characters were doing with the plot finally got into sync.
The plot was better than the characters for most of the book, and then like a stew finally ready to he served, it was great. If the whole novel had been as good as the last third, I could have given this one more star. I definitely think this would make a good movie with a few tweaks and the right casting.
There were a few times I guessed what was coming but overall the story has satisfying twists and turns and doesn't end in any cookie cutter fashion. There are no cookie cutter bad guys or good guys here.
The story made me ponder war and inner cities. When we go to war with another country, soldiers go into residential neighborhoods with people like you and me that are probably feeling the same way we would if hostile foreign entities showed up on our doorsteps with war weapons. Kids are growing up in neighborhoods now that are hard to separate from war zones. The threats are as plentiful and the safety as hard to come by as 24K solid gold bars flying out of a poodle's ass.
At the end, not everything is tied up on a silver platter but there is resolution and revelation.
It would be interesting to carry this forward to another story with parallels of the protaganist (soldier) and antagonist (female cop). Though, I have a feeling the author may have seen the cop as the protagonist. It would be interesting seeing their stories unfold and more of their histories revealed as it feels there is a lot there to discover.