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The critically acclaimed author of the New York Times bestseller A Land More Kind Than Home—hailed as "a powerfully moving debut that reads as if Cormac McCarthy decided to rewrite Harper Lee's To Kill a Mockingbird" (Richmond Times Dispatch)—returns with a resonant novel of love and atonement, blood and vengeance, set in western North Carolina, involving two young sisters, a wayward father, and an enemy determined to see him pay for his sins.
After their mother's unexpected death, twelve-year-old Easter and her six-year-old sister Ruby are adjusting to life in foster care when their errant father, Wade, suddenly appears. Since Wade signed away his legal rights, the only way he can get his daughters back is to steal them away in the night.
Brady Weller, the girls' court-appointed guardian, begins looking for Wade, and he quickly turns up unsettling information linking Wade to a recent armored car heist, one with a whopping $14.5 million missing. But Brady Weller isn't the only one hunting the desperate father. Robert Pruitt, a shady and mercurial man nursing a years-old vendetta, is also determined to find Wade and claim his due.
Narrated by a trio of alternating voices, This Dark Road to Mercy is a story about the indelible power of family and the primal desire to outrun a past that refuses to let go.
240 pages, Kindle Edition
First published January 14, 2014

Writing in the voice of a child has its risks and rewards. Children often lack the power of reflection that adults possess, so their narratives can charge forward without the breaks of reflection or evaluation. Adults are more cautious, especially about what they divulge. If a child is an unreliable narrator it’s probably because he or she doesn’t fully understand what he or she is talking about. If an adult is an unreliable narrator then it means that he or she is hiding something. But child narrators also offer a challenge in terms of their emotional make-up. Their reactions to tragedies great and small are often displayed in similar ways. A young child’s reaction to the death of a pet can be similar to the reaction to the death of a family member. With that in mind, you have to be very careful about how you portray a child’s emotional scale. You want the reader to be able to intuit its depth even if the child’s reaction doesn’t reflect it. - from the Crime Fiction Lovers interviewEaster, Brady, and Pruitt are the three alternating narrators through whose eyes we see the events in Cash’s tale. We see Wade mostly through Easter’s eyes.

Mom always said that she’d named us what she’d named us because those were her favorite things: Easter was her favorite holiday and rubies were her favorite jewels. Me and Ruby used to ask Mom all the time what her other favorite things were, and we’d pretend those things were our names instead…It seems crazy to say we played make-believe like that now, but we used those names so much they almost became real.Easter has to contend with a real-world decision concerning her name, and there is at least one adult in the story with a temporary alias, and another who has adopted a new name permanently.
”Oklahoma, Texas? California?” His eyes got bigger as he listed the names. “We could keep going clear on to the Pacific Ocean if we wanted to.”This is an engaging and fast-paced story. A pretty fair read. I do have some gripes of course. While the attempt for a North by Northwest moment was ambitious, it was not fully realized. Of course by then you have already enjoyed 95 percent of the book so it is not a huge issue. I still read Stephen King and I usually do not much care for his endings either. I did feel that some decisions made by characters here were stage-managed a bit too much. Why such and like has to take place here and then might fit into the author’s desire for the most dramatic possible setting, but did not make all that much sense to me as something the characters would actually do. There are also some convenient events that are inserted into the story to prepare one for the finale. It seemed to me that these were artificial and a bit jarring. Fine, whatever. It’s still a pretty good read, and those elements might not make your Spidey senses tingle the way they did mine.
“Then what?” I asked. “We can’t live in this car forever.”
“I don’t know,” Wade said again. “I guess that’s why they call it an adventure.”









