Skip tracer Henry Swann cares little about anything but money, so when a beautiful Upper East Side woman shows up in his office and hires him to find her missing husband, he smiles and takes the cash. But when this seemingly simple missing-person case turns into homicide, Swann finds himself trapped in a complex web of connections and multiple identities that takes him out of New York City and across two continents.
Praise for SWANN’S LAST SONG …
“Swann’s got the smarts and hard-boiled cynicism of Sam Spade, but he’s also got a wicked sense of humor that keeps things cool even when the action gets hot.” — Brian Kilmeade, author of The New York Times bestseller The Games Do Count
“Salzberg’s a hell of a writer. He delivers thrills, insight and plenty of laughs. Swann is a very cool take on the classic P.I.” — Andrew Klavan, author of True Crime and Don’t Say a Word
“A veritable travelogue of suspense, SWANN’S LAST SONG grabs hold of the reader and doesn’t let go. Salzberg’s anti-hero is a soulful investigator and one of the most paradoxically endearing characters I’ve come across. I hope this isn’t Swann’s last song.” — Joy Behar (co-host of The View)
“Salzberg defies expectations left and right in this subtly subversive, genre-twisting page turner. SWANN’S LAST SONG is where literature meets entertainment” — Mark Goldblatt, author of Africa Speaks
Despite a strong beginning, Salzberg's debut takes too many wrong turns to satisfy. Henry Swann, a throwback to the 1950s PI, subsists on a bleak if steady diet of repo work until Sally Janus, an attractive, well-to-do woman, shows up at his seedy upper Manhattan office and asks him to find her missing husband, Harry. The lucrative assignment proves to be short-lived as Harry's corpse turns up in a sleazy local hotel, the victim of an apparent robbery. When Sally hires Swann again to find her husband's killer, the investigator embarks on a meandering and less-than-plausible international trek that takes him to Mexico and Germany in search of a conspiracy possibly connected with the Peking Man fossils. The contrast between the compelling and gritty opening scenes and the later tepid action sequences suggests Salzberg would be better served by focusing on the former in future books.