Literary novelist Mark Winegardner, sort of a dark-horse surprise (his forte was doing novels of local color strongly referencing Cleveland and Florida) was selected with continuing the mighty Corleone family Mafia saga begun by the late Mario Puzo. His initial "The Godfather Returns," did crack the best-seller lists, and did well to follow Puzo's voice about second-generation Sicilian-immigrant mob lord Michael Corleone and his dynasty built on the REAL American dreams - of power, corruption, fear, love and "respect." Of course, some of Winegardner's plotlines, amusingly, were sort of "fix-ups," accounting for discrepencies between Puzo's original narrative and Francis Ford Coppola's inconsistent blockbuster movies (like the now-you-see-him-now-you-don't act pulled by key character Tom Hagen).
"The Godfather's Revenge " continues the saga. When last seen, Michael made a powerful enemy in his betrayed former underboss from Cleveland (Winegardner's home town, coming in for fewer gratuitous plugs here than last time), Fausto `Nick' Geraci, last scene languishing in a hideout in the Lake Erie Islands. Revenge takes place in the early 1960s, during a Winegardner invention, the Shea administration. Charismatic President James Kavanaugh Shea and his Attorney-General little brother Danny are two skirt-chasing Irishmen whose father was a mobbed-up bootlegger and who owe their rigged election to the Corleones. Yes, they're pseudo-Kennedys, and both Sheas have slept with Michael Corleone's present mistress, a movie actress.
Doesn't sound promising, but Winegardner narrowly avoids relying too heavily on yesterday's newspapers for a narrative template, as Geraci escapes his Lake Erie hideout and begins mustering his own forces in the underworld for a vendetta against the Fredo-haunted Michael and his advisor Tom Hagen, and the body count includes major players.
Sometimes the author does have a bit too much fun with the disguised parallels, dropping in one-shot mythologisms of Sammy Davis Jr. and Vaughn Meader, and - in a move that threatens to take this into the sci-fi alt-universe genre of "The Man in the High Castle" - even Mario Puzo logs a pseudonymous cameo. Still, The Godfather's Revenge should satisfy regulars, even if you need an extensive companion-guide (helpfully provided by the publisher in the frontispiece) to sort out a cast conjured tandemly by Puzo and Winegardner (and, to a degree, filmmaker Francis Ford Coppola).
These characters stride across an epic, tangibly pessimistic crimescape of a United States, depicted as a place where machinations of big business, politics, racketeering, `family' and vengeance have intersected ever since the first Indian got whacked by the first predatory European. Winegardner wraps up this installment with aplomb, in a way that can bring the mob opera to a satisfactory conclusion - or open it up to further additions. And indeed, the publishing industry continues to crank out Corleone sequels (without Winegardner's participation), whose acquaintance I have not yet made.