Early Autumn: Spenser, Book 7

Spenser is just settling in to a new office, after his old one got redeveloped out of existence, when a new client walks in. Patty Giacomin's ex-husband has taken their 15-year-old son Paul, and Patty doesn't know where the ex-husband lives. That makes even having him served with a summons rather difficult. What she wants from Spenser is to find him, and bring Paul back home.

This does seem to be mostly about not letting her husband win.

Finding Mel Giacomin turns out to be fairly easy, and since he is also mainly concerned about winning and not much about Paul, it's not hard to convince him it isn't worth a fight with Spenser. It's not long before Spenser has delivered Paul to his mother, and that's the end of the matter.

Except it isn't.

The Giacomin elders are really messed up, and they can't seem to stop using their son as a pawn in their battle with each other. A few months after the initial event, Spenser gets a phone call from Patty, who says that thugs hired by Mel tried to kidnap Paul.

It's the first step in Spenser becoming far more involved in Paul Giacomin's life than he ever imagined.

The "detective story" aspects of this novel are fairly minimal, there only to provide Spenser a route into this quite different story. The real core of this story is in the relationship that forms between Spenser and Paul. With such lousy parents, he figures Paul's only chance at a decent life is to grow up fast, and learn to become autonomous, to the extent possible, at just fifteen. Spenser can't be a father to Paul, but he becomes, at least, a big brother. Initially with Patty's consent, because it's a way of keeping Paul out of Mel's reach, Spenser takes Paul to Maine, to Susan's property near Fryeburg, and embarks on a crash education course. He teaches Paul what he knows: weight-lifting, running, boxing, carpentry, appreciation of good food--and how to say what he wants, and to have confidence his own real likes, desires, and goals. Paul, Spenser, and Susan all have real emotional challenges to face in this excellent but somewhat atypical Spenser novel.

Recommended.

I bought this book.

One my favorite Spenser novels.

Having read all the Spenser novels at least once, they all blur together...except for this one. Spenser's attempt to reclaim the heart and soul of an almost lost boy is completely memorable. The book reads quickly, although in this early novel, Parker hasn't pared his style down to 2-page chapters that consist of nothing but dialogue--screenplays without camera directions. Eventually he became almost a caricature of himself. But he's one of the best, and this is one of his finest.

I've read quite a few books in the Spenser series, but this was the last one I read and my notes state: "corny, macho drivel." So my guess is that this particular book in the series just didn't do it for me.

4 of 5 starsstatus: Read in May, 2011Reading this story was like visiting old friends. I've read ten of Parker's books and have come to love and able to anticipate the approach and actions of Spencer and his alter ego, Hawk. Now that Parker is gone, I'm searching through his collection and trying to pick up those I've missed. This particular story again shows Spencer's soft heart as he collects a fifteen year old boy who is lost in an emotional game where his parents use him as a token to inflect pain on each other. Spencer takes the actions necessary to allow this displaced youngster to grow and mature to the point where he is able to thrive in an environment that Spenser and Hawk create to compensate for his parents lack of love. Of course there is action and Spenser and Hawk have to push up against the mob and they both are great examples for youth to emulate. It is nice to see the soft side of Parker and his model of how a boy should be raised. Heart warming story.

I've loved this Spenser outing since I was a teenaged sprout. When Spenser takes an interest in a fifteen year-old kid who's about to "go down the tubes" (as Spenser puts it) because his parents have no interest in him, we get a story that is part typical Spenser PI fare, part coming-of-age story, and part character study. And it's brilliant. If I ever had a troubled son, I'd send him off with Spenser to "grow up fast" in a heart-beat. Love Hawk here, too. One of the very best Spensers, this.

Robert B. Parker's books are comfy. They are light---especially in paperback, so easy to hold lying down. Spenser's style of talking is simple and often funny. The scenes around Boston and Cambridge are nostalgic. And he usually surprises you with something wise. (see the quotes)

It is one of my favorite books. I did not expect to find a mystery that dealt with the issues of growing of age and bonding.

This was one of the Parker books I have read. Spencer takes responsibility for a young man after his parents all but abandon him. They go to a remote cabin where Spencer teaches this boy how to build a cabin, how to box and how to be tough. You throw in the usual cold heart of Hawk and it makes for a great 4 hour read.

This is the second Spenser novel I've read, I liked it much more than the first, but I think that's because I've settled and become comfortable with the character; it's not because of the great writing. Reading Parker is like wearing a dirty pair of pants. Easier than pressing a new pair when they're right there...

Parker puts it all together in this one. Spenser as surrogate father. We get the Paul Giacomin story. Strong Spenser/Hawk interplay.

# 2013 - 90#

Funny how men dote on these Perfect Men that shoot well, cook well, have the perfect thing to say at every moment, and charm the ladies. What makes a man a Man? Is it the span of his chest, the stomach-muscles-that-are-very-well-developed framework, his towering height, bold face, calm countenance, full beard, mustache, or deep croaky voice? Spenser epitomizes all these traits...

Is this a coming-of-age story or pulp noir fiction? If genre is a type of cultural ritual, what does the combination of genres imply? Does it imply that genres in their traditional form no longer fulfill the needs of the noir fiction culture? The best examples of Noir Fiction are the ones that are able to merge several types of fiction modes, like this book here. Genre works best by using a set of literary codes that are recognized and understood by the reader and the author via shared literary devices as the faux-plot, which is clearly on display here. The classical faux-plot depicted here is the damsel in distress, who wants to protect her son from the father (with ties to the bas-fond). This is a simple way for the damsel's son and Spenser to be introduced. This device allows Parker to introduce a bit of standard private detective lore and a mini-mystery for Spenser and Paul, the son, to pursue. The mini-mystery provides more than one benefit to the young man struggling to find an adult identity.

It's not so much a detective novel as a story about a teenager's path to adulthood that utilizes pulp fiction devices (eg,faux-plot) for story progression. In that regard it works wonderfully.

NB: My last book of 2013... For 2014 I want to wish to myself that I won't care about weight gain, or be depressed about it. I also want to grow taller, but due to the fact that height-wise my genes tend to the short side, maybe that won't happen. And even if I grow bigger horizontally and vertically, I think it's just a matter of personal perspective to accept myself or not...Enough said (smile)!"

Gosh this one was fun; the best book in this series so far. Spenser decides to save a teenager whose parents mostly use him for a pawn in their divorce games. The salvation project involves building a cabin, listening to Red Sox games, attending the ballet, and weightlifting. This causes some stress in Spenser's relationship with Suze, but that gets straightened out in the end.

Spenser is a bit less snarky in this book. He takes on the care of a teenaged boy because neither parent really wants him, and they have never given him much attention. We get to see the softer side of Spenser in this installment. There is some violence, and Hawk makes an appearance to back Spenser up, but a great deal of the story revolves around him building up the young man's confidence.

The very first Spenser I read, my favorite, and I think his best. It goes off in such an unexpected and personal direction. Shortly after reading it I began collecting all his Spenser books.

This originally appeared at The Irresponsible Reader.---This is the least "Spenser"-ish of the Spenser novels, and it's the most quintessentially "Spenser"-sh. If that's possible. I've probably read it more than any other in the series and probably could've written 75% of what I'm going to end up saying here without cracking it open. But why deny myself?I'm going to try to keep this from getting out of control, but no promises. Please. I have no one else. Please." "There's a qustion whether you need anyone else," I said, "but I'll take a whack at it on one condition." "What?" "You tell me your name so I'll know where the bill gets sent." She smiled. "Giacomin," she said, "Patty Giacomin." "Like the old Ranger's goalie," I said. "I'm sorry?" "Gentleman of the same name used to be a hockey player." "Oh. I"m afraid I don't follow sports much." "No shame to it," I said. "Matter of not being raised properly. Not your fault at all." She smiled again, although this time it was a little unsure, as if now that she had me she wasn't certain she wanted me. It's a look I've seen a lot.WHAT'S EARLY AUTUMN ABOUT?Patty Giacomin comes to Spenser (in a newly relocated office, this will be important a few books from now) for help, her ex-husband has taken their teenaged son in some sort of revenge move. She wants Spenser to get him back. He does so, in possibly the dullest scene in the series (only because it was so easy). This is not the kind of stuff we read P.I. novels for—Paul's back home by page 30.Three months later, a stranger attempts to kidnap Paul, but he escapes. Patty hires Spenser to stay with them and protect Paul—and her, after the would-be kidnapper and an accomplice try to break in and take Paul. Spenser interferes with that plan, but Paul's safe, Patty's eventually kidnapped by these men, and the exchange is set up, son for mom.Spenser and Hawk interfere with that plan, and this time it gets a bit more violent. Clearly things are going to keep escalating, so they need another tack. It's decided that Patty will lie low with a friend for a while, and Spenser and Paul will go out of town until the heat dies down. Spenser had promised to build a cabin for Susan on some property in Maine, so he and the boy head off to do that.At this point, it's not just about keeping Paul safe for Spenser. He's trying to help the kid—trying to push him into being an autonomous person with skills and interests. Angela Duckworth would say that Spenser's trying to foster grit in Paul, who certainly needs something.Clearly, Mel Giacomin has some less-than-savory friends/business associates if he can get this kind of help. Spenser moves the bodyguarding to the side and beings investigating—why would Mel be able to find this kind of help? Would knowing this give Spenser the leverage to get Mel out of Paul's life?PAULWhen we first meet Paul, he's a sullen, almost affect-less fifteen year-old whose major form of communication is a shrug. He has no interests, few friends, really doesn't seem to care which parent he's with, and would rather just sit around watching syndicated reruns all day than worry about any of this. (one can only imagine how a Paul would be written today with hundreds of cable channels, Netflix (and the rest)—not to mention the Internet—rather than the few choices that 1981 TV provides.When Spenser starts to teach him to exercise, to box, and to swing a hammer, Paul couldn't care less about any of it. He goes along because he has nothing better to do (there's no TV at the cabin) and because Spenser's not really taking no for an answer. Soon Paul goes along with it because he's seeing and feeling the results of an active lifestyle.When Spenser gets ready to investigate his parents, Paul's more than willing to tag along and help. He's not a budding P.I., this isn't Spenser adding a Robin to his Batman. It's Paul exercising some self-determination. By the end of the novel, he knows who his parents are. He understands their motivations and what they're like when they're not being some of the lousiest parents you'll encounter in print. More than that, he'll know the kind of man he wants to be and he'll know how he wants to become that kind of man.SUSANPreviously to now, we've seen Susan understand and support Spenser's work. She may not enjoy it or agree with his methods, but she understands and supports him—even assists him as best as she can (when feasible). But that's not the case in Early Autumn, she discourages Spenser from following his plan. She's outright critical about parts of it, and spends most of the novel in one "funk" (Spenser's word) or another. This case, and Spenser's approach to it, puts a strain on their relationship, and it's easy to understand why that is from her perspective (his, too, neither are wrong).While Susan doesn't seem to come across all that well for much of the book, she does come across as human. She's not perfect, she's a little jealous, she's put out that Spenser will just drop strangers on her front door with no warning claiming to be in danger. But when the chips are down, she pitches in, and eventually embraces Spenser's mission regarding Paul. In a few years, we won't see that complex of a reaction from Susan. The character (and the series) will be less for that, so when possible, I've got to enjoy it.HAWKWe get a scene in this book that in my mind we get a lot more than Parker actually wrote (although it does show up in Spener: For Hire a few times), someone has contacted Hawk about a hit on Spenser. Something Hawk would never do, but not too many people know that. It's a great scene, and Hawk seems to enjoy it more than even I do.He's not around for much of this book, but when he is, it matters. I don't think Hawk's appearances before now have qualified, but I'd say he steals almost every scene he's in. It's one of those cases where a supporting character becomes as, if not more, beloved than the series protagonist/central character.He's ruthless, he's dependable, and he does what he thinks is necessary—even when it conflicts with Spenser's wishes—because he thinks Spener's soft. Frequently, he lets Spenser's "rules" get in the way of what he wants to do. But this time, he won't--because he's convinced it'll get Spenser killed, and then Hawk would have to come along and get revenge later. He'd rather cut out the middle stuff and take care of it now. No matter what Hawk, Spenser, and others may say about the two of them being the same. They're not. And it's because of things like this.THE CRIMINAL INVESTIGATIONAs I said before, it's obvious that Mel Giacomin is up to something. Upstanding citizens don't enlist criminal help in a custody case (they wouldn't know how). Spenser and Paul take very little time or effort (although there is some, helping Paul increase his grit) to uncover enough to send his father to jail—or to blackmail him into supporting Paul's education while keeping him safe from further abductions.It's a step or two above perfunctory, and it really doesn't matter. The core of this book is Paul. Paul and his relationship to his parents. Paul and Spenser. Paul starting to think and act on his own behalf, making choices, and being autonomous to whatever degree he can. Parker has to throw in the criminal activity because Spenser's not Spenser without a villain to thwart. Also, how else would it stay in the genre?SO, WHAT DID I THINK ABOUT EARLY AUTUMN? You've gotten yourself in a lot of trouble over this, Jack, and don't you forget it," he said. I said, "Name's Spenser with an S, like the poet. I'm in the Boston book." I stepped through the door and closed it. Then I opened it again and stuck my head back into the hall. "Under Tough," I said. And closed the door, and walked out.I love it. We get the clearest, and most unabashed description of Spenser's code of honor, code of life, and way of approaching things that we'll ever get. He's embarrassed to talk about it to Rachel Wallace, he'll joke around the truth with others, and he and Susan will cover the same ground ad nauseam. But here he's trying to pass it on to Paul, even if Paul doesn't embrace it wholeheartedly, Spenser wants to inspire Paul to come up with his own code, his own guiding principles and the best way to do that is by being open an honest.We learn so much about Spenser here that it's essential reading for anyone wanting to understand the character.I was younger than Paul the first few times I read this book, and I won't say that it inspired me the same way it does Paul. I can't say I developed the need for, or interest, in being an autonomous person, or in defining my own moral code. But the novel did inspire me, it made me think about life in a way that most people my age didn't do (probably still don't).The dialogue was snappy, I learned early on that it a shrug shouldn't be used as an all-purpose method of communication, the action was good (if almost an afterthought), and anything that contains a couple of strong Hawk scenes is worth the read.This isn't Spenser at his smartest, his toughest, or even his funniest. But it's Spenser in the raw, the Platonic ideal of Spenser on display for readers and characters alike.It's a great read.

Good one, this is the one that introduces Paul

My favorite of the Spenser books, by far.