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Book Author: S. J. Rozan

THE ART OF VIOLENCE by S. J. Rozan: Book Review

Sam Tabor, recently released from prison, has turned to his friend, private investigator Bill Smith, for help.  Sam was sentenced to fifteen years to life for killing Amy Evans, a young woman he met at a party.   There he unknowingly drank punch that had been laced with PCP, and after leaving the party with Amy, he killed her.  He was judged insane but able to participate in his own defense, which he did against the opinions of his brother, his attorney, and Smith.  Sam then proceeded to disregard their advice, pleaded guilty, and happily went to prison.

In prison he was permitted to paint and his art, which had always been Sam’s secret, was discovered by a therapist.  What followed was praise by New York art critics, and a Free Sam Tabor crusade was begun for his early release.  Now that he’s out, he’s overwhelmed by the media attention and is incredibly anxious about an exhibit of his paintings opening at the Whitney Museum in Manhattan.  So once again he wants Smith’s help, but for a very unusual reason.

Since Sam was released, there have been two murders in the city, and he thinks he may be the murderer.  He describes himself as a functioning alcoholic and tells Bill he can’t remember what he was doing on the nights the two young women were killed.  “I came here for help,” he tells Smith.  “Prove it’s me.”

Arrayed against Sam and his desire to return to prison are his brother Peter, Sam’s lawyer Susan Tulis, his artist friend Elissa Cromley, photographer Tony Oakhurst, and Sherron Konecki, the owner of the prestigious art gallery Lemuria.  They all have a vested interest in keeping Sam out of prison–either financial, professional, or personal.

Even Detective Angela Grimaldi of Manhattan’s 19th precinct doesn’t think Sam committed the latest murders.  When Sam went to the precinct to turn himself in, “She told me to get lost,” Sam recounts to Smith.  Grimaldi later tells Bill, “Your guy, Tabor, he doesn’t fit the profile.”  But Sam thinks, or perhaps hopes, that he did commit these two crimes, and it’s up to Bill and his partner Lydia Chin to find the truth.

The Art of Violence is the thirteenth novel in the Lydia Chin/Bill Smith series.  Ms. Rozan’s mode of operation is to alternate the protagonist in her novels.  Bill Smith is the lead in this one, but he cannot do it without the help of his partner Lydia.  And for readers of the previous books in this series, there’s an absolutely wonderful chapter toward the end of the novel in which Sam Tabor meets Mrs. Chin, Lydia’s intimidating mother.

It’s terrific to see Bill and Lydia in action again and at the top of their game.  S. J. Rozan is the recipient of many awards, including the Edgar, Shamus, Anthony, Nero, and Macavity awards for Best Novel and the Edgar for Best Short Story.

You can read more about her at this website.

Check out the complete Marilyn’s Mystery Reads at her website.  In addition to book review posts, there are sections featuring Golden Oldies, Past Masters and Mistresses, and an About Marilyn column that features her opinions about everything to do with mystery novels.

GHOST HERO by S. J. Rozan: Book Review

Lydia Chin and Bill Smith are together again. They are private investigators in New York City; given Lydia’s ethnicity, they do a lot of investigating in Chinatown.

Quietly drinking tea in a Lower East Side tearoom, Lydia is approached by a new client.  He introduces himself as Jeff Dunbar, a man interested in contemporary Chinese art.  Lydia is a bit put off by this, wondering if he has chosen her for her “Chineseness” or her knowledge of Chinese art; if so, she thinks, he’s in for a rude surprise.  Her lack of knowledge of art, most especially contemporary Chinese art, is profound.

Dunbar tells her it’s not her knowledge of the art scene that made him come to her but her reputation at finding people or things. What he wants her to look into is a rumor circulating around the city’s galleries that several previously unknown paintings by Chau Chun, a Chinese artist who was killed in Tiananmen Square in the 1989 uprising, have surfaced in New York.  Dunbar portrays himself as a new collector who wants to find out if these painting exist and, if they do, to get them, authenticate them, and sell them.

But Lydia isn’t taking him at his word.  After he gives her a retainer and leaves, she searches through the web for information about him–no hits.  He gave her a card with his name and cell phone number but no company name, address, or e-mail.  And his clothing and demeanor don’t shout money to her either.  Her suspicions are aroused.

Intrigued by Lydia’s description of and questions about Dunbar, Bill Smith brings her to a friend of his, another Chinese-American private detective, Jack Lee. After hearing Lydia’s story about her new client, Jack shares his own–he too has just been approached by a client to find these paintings.  But his client wants to find the paintings, if they exist, to declare them fraudulent.  The client, a Professor Yang at New York University, was a friend of Chau Chun’s in Beijing, and he knows there are no recent or undiscovered paintings by the artist because he was there when the artist was killed.

There’s a strong sense of Chinatown in this novel, with its winding streets and myriad restaurants; the food descriptions alone make the book worth reading.  There’s also a fair amount of humor in this novel, more than I remember in previous books in this series.  The art scene is portrayed as a dog-eat-dog one, with money being the prime motivator.  Lydia’s stereotypical mother makes an appearance, as does her cousin, a nineteen-year-old techie who can find out just about anything Lydia want to know.

The only problem I had with the book with the lack of a crime. It’s really a “cozy” in the sense that there’s little violence, little crime, and no deaths.  The mystery and the plot are strong, but I would have enjoyed a bit more tension than was present.

You can read more about S. J. Rozen at her web site.