The Classic Car Killer
-
- 3,49 €
-
- 3,49 €
Beschreibung des Verlags
A 1928 DUESENBERG! Most of them were rich, most of them were beautiful, and now one of them was dead in an unexpected and particularly nasty way. Oh, and a perfectly maintained, priceless 1928 Duesenberg Phaeton, the royalty of collectible, classic automobiles, had disappeared. Where do you hide a totally recognizable Dusie? Insurance man Hobart Lindsey is back on the case...along with his sometime sparring partner and lover, homicide investigator Marvia Plum, Lindsey’s troubled mother, and a cast of unforgettable characters. Introduced in The Comic Book Killer, Hobart Lindsey and the rest of those memorable characters return in a baffling, complex mystery with roots stretching back to the violent era of World War Two and the dark despair of the American Depression. Introduction by Donald E. Westlake.
PUBLISHERS WEEKLY
Lupoff ( The Comic Book Killer ) cleverly builds this second adventure of mild-mannered insurance adjuster Hobart Lindsey around several cases of ``anachronistic mimesis,'' otherwise known as imitation of other eras. We meet an eccentric club that pretends it's 1929; Lindsey's mother, who has mentally blocked out all years since 1953, when her husband died; and unrepentant Nazis who decorate their outwardly normal homes with WW II memorabilia. During a ``1929 gala,'' a 1928 SJ Duesenberg convertible Phaeton valued at $425,000 vanishes from Oakland, Calif.'s Kleiner mansion. Lindsey rushes to the scene to question the revelers; the only witness was too drunk to accurately determine when the car drove off. Soon, rumors that the Kleiner mansion's bankrupt former owner has a fortune stashed away are linked to the car's theft; the stakes go up when the unlovable Kleiner heir is found dead, homicide detectives join the fracas and Lindsey is hit by a bullet. This multidimensional mystery is on the bland side, and the way Lindsey discovers the villain's hidden identity is undeniably contrived. However, Lindsey's rekindled interracial romance and subsequent teamwork with Marvia Plum, a female cop, is handled with sensitivity.
