When Lew Archer is hired to get the goods on the suspiciously suave Frenchman who's run off with his client's girlfriend, it looks like a simple case of alienated affections. Things look different when the mysterious foreigner turns out to be connected to a seven-year-old suicide and a mountain of gambling debts. Black Money is Ross Macdonald at his finest, baring the skull beneath the untanned skin of Southern California's high society.
|Publisher:||Knopf Doubleday Publishing Group|
|Series:||Lew Archer Series , #13|
|Product dimensions:||5.20(w) x 8.00(h) x 0.60(d)|
About the Author
Ross Macdonald's real name was Kenneth Millar. Born near San Francisco in 1915 and raised in Ontario, Canada, Millar returned to the U.S. as a young man and published his first novel in 1944. He served as the president of the Mystery Writers of America and was awarded their Grand Master Award as well as the Mystery Writers of Great Britain's Gold Dagger Award. He died in 1983.
Most Helpful Customer Reviews
Lew Archer is a Private Investigator based in Hollywood. In this novel he is hired by a very wealthy young man to stop his ex-girlfriend from marrying another man who he thinks will be bad for her. As Archer unravels the mystery it appears he may be right. The plot is full of red herrings with a new suspect every few chapters and another crime to go with them. There are leads towards organised crime such as the money laundering suggested in the title. There is a suicide that Archer thinks may have been murder and then there are two murders. Archer must determine if these crimes are connected, if there is more than one perpetrator and why they happened. He does this very well and keeps the action and tension going to the last page.
Black Money has all the Ross Macdonald staples: Oedipal angst, trans-temporal evil & socially mobile murder. Yet here these motifs reach their greatest expression. Lew Archer, the detective as shrink, navigates through a psychological underworld as depraved and down-and-out as any asphalt jungle. Macdonald evokes the pathos and alienation of LA loserdom with a master's touch. While the title refers to mob money, the real locus of crime is in academia, a world the author knew well. Here his Freudian fable plays out to its final, chilling conclusion. Ross Macdonald may have come after Hammett and Chandler, but he stands above them as the most poetic and passionate scribe of the mean streets.