Up front disclosure. I read most of James Patterson’s books and have for several years. Some might ask why and that’s another whole discussion best saved for another day. I have really enjoyed some, liked some, and didn’t really care for others. On a personal level, I must admit that his Women’s Murder Club series – focused on the professional and personal lives of four women in San Francisco - has been very hit and miss over the last couple of years with more weak outings than not.
This year’s outing - “22 Seconds”- has two primary plots, involving Lindsay and Joe, and two subplots, involving Claire and Cindy. Yuki plays more of a supporting role this time.
It starts off with a new restrictive gun aw in San Francisco (SF) that is bringing pressure to Lindsay
Boxer and her team of detectives. someone is killing cops in the San Francisco and Oakland area and attaching a mysterious note that reads “You Talk, You Die”.
Her husband, Joe, an FBI consultant is also pulled into the situation when he goes undercover at a local gun show to catch a Mexican arms dealer specializing in illegal guns. Things don’t go well and Joe finds himself not only risking his life, but getting in the middle of a serious guns and drug war.
It doesn’t take long before both Lindsay and Joe have large targets put on their backs, their family members, and close friends.
In addition, to the primary plots, Dr. Claire Washburn, SF’s chief medical examiner has been called in to help autopsy the dead body of a six-year-old girl, found dead under mysterious circumstances in a small rural town a short flight from SF. Before Claire knows it, she finds herself discovering awful secrets that are heartbreaking.
At the same time, Cindy Thomas is working on her true-crime thriller about Evan Burke, a high-profile killer that was caught in the previous book of the series.
This book tried hard to stay busy, moving back and forth between the various storylines, most of the time at full throttle speed. However, it was a bit choppy and messy at times and it continued to add my mixed feelings about this series over the last five to six books.
There were some things that I liked. I liked Patterson and Paetro focusing on a major two-way connecting “A” plotline with a couple of “B” storyline developments with the recurring characters. Each of the primary characters had a focused arc except for Yuki, but that’s okay. It’s hard to have a plotline for everyone in each book. The twist and turns were okay. Not bad, but not great. I really liked the involvement of Ted Swanson, ex-cop and bad-guy from a previous book in the series. How he was brought back and used was an interesting touch to the plotline. And what saved the book for me was how Patterson and Paetro were able to tie everything together in the end when things were looking like a lot loose threads would be left unexplained.
And now for the bad news. There were some things that I didn’t like, and I spent some time really thinking and asking myself why I don’t get as jazzed up when I read this series as I used to. It took me a little bit and then I figured it out what it was that was bothering me. The answer was subtle, but it was right in front of me.
The Women’s Murder Club has tended to use the same structure for the most part. Each book generally has a major plotline involving Lindsay (and sometimes Joe) and two to three secondary plotlines focusing on the other three female characters. In the more recent books, the major plotlines were focused on serial killers, vigilante hit teams, etc. that were proactive and terrorizing SF and making Lindsay run around and react for half of the book or more. While this is going one, the two or three subplots are sprinkled in between to fill things out and provide enough pages to fill the book. Over the last five to six books, there has been a lot more violence and deaths, with Lindsay running around from one scene to another trying to chase the unknown suspect in a reactive and defensive mode. Three are always one or two shootout scenes with Lindsay lucky to make it through (and Joe in this one too). Then in the last eighty pages or so, something breaks and they find out who the killer is or the group of killers are and everything gets wrapped up, the killers caught and our heroes safe.
The problem is that the formula has started to wear out for me. The violent killings in the major plotlines have grown old and lost a level of creativity. I have found myself losing interest in the bad guys, their purpose, and the sense of tension they cause our heroes. They feel like carboard characters who are just evil to be evil and lack authenticity and dimension. The structure has also made parts of the books choppy. For example, in one chapter of this one, Joe has been kidnapped and is in serious danger. When the next chapter begins, he is suddenly at home and no explanation is provided at all of what happened. Was he released? Did he escape? What the heck?
The worst part of all this, at least for me, is the lack of growth and development of the characters over the last ten or more books. They have all flattened out. No matter how dangerous the villains are; no matter how much havoc and death they create; our heroes are basically back in the same place at the beginning of the book as at the end. With all of the focus on action, the characters have become one dimensional and predictable. I am not asking to kill off or seriously maim one of our members of the Women’s Murder Club or their significant others, but how about some change, growth, and development of our characters from book to book? Other than Cindy working on her crime book, which could transition her from newspaper writer to author, everyone else is in the same place they were like ten books or more ago.
There have been some small changes, like Clapper becoming chief of police, but how about some growth opportunities for Boxer, Yuki, Brady, Cochran, or Claire? All of them have been in their same roles and situations for what feels like quite a while now. How about expanding their opportunities for new character development? Or create conflicts that reveal interesting things about their history and background? We don’t really know anything about their character’s history and background. That could be an interesting angle to explore.
As much as I wanted to enjoy this one, as well as other recent books in this series, I just find the formula and structure to be repetitive and predictable. It’s not to say that the book is bad, because it’s not. It’s just not memorable beyond a one-time casual read.
Overall, my rating is 2.5 out of 5 stars.