Spenser is summoned by the general manager of the Boston Red Sox and asked to investigate their start pitcher, Marty Rabb. There are some whispers that Rabb may be throwing games and Spenser is asked to provide a definitive answer one way or another. Spenser starts poking around and is soon on a trail that leads him to Illinois, New York, and back to Boston. What he learns only creates new problems and it's up to Spenser to figure out how to help Rabb and the Sox while keeping himself alive and healthy.

Spenser is a smart mouth P.I. who does his best to do the right thing. This may not make him the most original creation in modern fiction, but he's an enjoyable character. The banter is pretty solid and Spenser gets some pretty good lines. Most of the supporting characters were solid and had distinct personalities. The story moved along at a good clip and definitely held my interest.

Mortal Stakes is the third in the Spenser series with thirty-five published to date. This was my first experience with Robert B Parker as an author, let alone this character. It didn't immediately launch itself onto my list of all-time favorites, but I'm interested enough to try another Spenser book. Having said that, I would obviously recommend this novel to either first time readers or established Parker fans.

MORTAL STAKES is the third Spenser novel, and is one of the best ones. The plot involves Spenser being hired by the Boston Red Sox to determine whether one of their pitchers is throwing games. Spenser's investigation leads him to look deep into the personal history of the pitcher's wife, which reveals quite a few skeletons.

I really enjoy reading Parker's prose. The writing in MORTAL STAKES is lean, funny, and always entertaining. His early Spenser books are the best, because the character is still young, fresh and unsure of himself. In the later books, he becomes a bit too much of a self-satisfied superhero for my tastes. My advice is to read the first ten Spenser novels first -- they are some of the best private eye fiction you will ever read.

In short, MORTAL STAKES is a classic novel by one of the most important American crime writers working today. If you've never read Parker, this novel is certainly worth your time, although you might want to read GOD SAVE THE CHILD first to get a bit more background on who Spenser is.

In the 3rd Spenser outing, he is hired to investigate the Boston Red Sox to see if one of the team is being paid to throw some of the games. His investigations take him to some strange places and he digs up some dirt he wasn't expecting - as well as some serious trouble for himself.

Oddly enough, this book left me a bit cold - I can't quite place my finger on why I didn't find this book as enjoyable as the first two. Perhaps it is due to the many places where Spenser waxes philosophical for no particular reason. Perhaps it is the way that clues seem to just fall into his lap. Maybe it is just because I'm reading it at work and work leaves me in a foul mood. Whatever the reason, don't let me cause you to pass up this book; Spenser fans will want to read it so they don't miss out on a minute of this series.

Loved the reality/fiction twist of Spenser going undercover as a writer to get into baseball back rooms and detect from inside the game. The poem introducing this heavenly concept of work overlapping play was a perfect preface. Of course the meaning in those lines from Robert Frost descend into deadly seriousness, beyond a person's job taking him into his most passionate pastime.

It appears that, for Robert B. Parker, the heart of Boston's commerce and culture is baseball at Fenway Park. That is where this author appears to live. And where Spenser opens gateways for Parker's dreams... and nightmares.

To me, Parker seemed happy to be writing this book within this setting with mirrors reflecting mirrors of "plays" within plays that Spenser's opening interviews didn't feature suspects/clients offering delicatessen varieties of The Limburger Reek. The beauty of the baseball scene was captured perfectly, from the spectators in the stands, to the clean locker room banter, to the management organizational structure and press picture, to the sharks feeding among the sacred roots of the game. Even though I'm not into baseball, by page 4 Parker had me hooked into his ambiance. I felt the realism in the levels of the game, felt Spenser's joy (at the outset) to be doing this case.

It seemed to me as if, by this third Spenser novel, copyright 1975, Parker was feeling his oats as an author, had established his commercial appeal, and was really stepping out to write what and how he'd always wanted: Baseball, within the classic framework of detective fiction.

Loved the joked-up titles for his fictional book, off-colored ditties which lead to an appropriate one. I was curious what Spenser would come up with, contrasted to his hokey (as he meant them to be) jokes, and he dropped the head-liner at the precise time and place for effect.

It was nice, as a change of pace, to see Spenser as slightly less of a wise guy and more of a vulnerably happy man eating up the perks of his profession (though his artfully acerbic wit, which I relish, certainly wasn't lacking).

I'm happy to report that this third novel was written in the meaty narrative style of the prior two novels, rather than in the pared down dialogue dance of his later works, though I do not mean to disparage the honed beauty of his later work. Just wanted to enjoy his early, classic P.I. style (with its sensual gourmet touches), wanted to stretch out for a while prior to the sophisticated-dialogue-rap condensing narrative complexity into Parker's signature syntax dance.

I wonder how many novels Parker wrote with the setting and location detail riding equal to or above the dialogue and interview process. I'm going to enjoy the heck out of finding out where/how his style evolved. Would like to also unearth the whys, but I'd have to interview the man to get to that groundwork.

Though writing fictional works is my favorite outlet for my talent (making work into play), when I've despaired of being published right in that venue, I've sometimes toyed with the idea of writing a novel based on facts featuring the development and expression of a talent like Parker's, a full, meaty story showing how his talent was guided and manipulated by whatever factors. Sidney Sheldon's memoirs, THE OTHER SIDE OF ME (See my review posted 1/14/06), does a great job of exposing how his expression was hammered by those jealous of ability expressed well, developed by ungodly hard work with good luck mixed into the bad, endured torture to arrive at a success few could fully comprehend, though his memoirs explain a lot.

Another amazing example of how life's events mold talent is Stephen King's ON WRITING (my review dated 10/13/06). Apparently King is frightening enough that many people seem to pause at least twice before tarnishing his talent in public venues which King might read.

But King and Sheldon's books (those mentioned above) are nonfiction. If I wanted to (or even could) take time away from writing pure fiction (I'm ambivalent about alternate routes for expression, because I'm better with fiction than with fact), I'd like to write factual information into novel form, with a focus on what manipulated an auspicious author's talent into the types of books published under his name, an author like Robert B. Parker.

And, I've wondered if the stalking incidents in HUSH MONEY and WALKING SHADOW (my reviews dated 4/11 & 13/06) were based on actual incidents in Parker's life. I've also wondered if his wife, Joan, is as feisty as Susan was in HUSH MONEY. In the real world, Joan probably wouldn't (for understandable reasons) act out the drama quite as Susan did. But, I'll bet RB and Joan enjoyed the heck out of Susan's scenes taking care of the "lady" stalker. Readers aren't the only ones who live vicariously in novels.

What's fiction for if not to write or read about what we'd love (and sometimes fear) to be able to do in life but, for various reasons of cowardliness, courage, or consequences, cannot.

Returning to the issues and joys of MORTAL STAKES, the above tangent subtly explains why I enjoyed so much reading about Parker (via Spenser) wallowing in his passion of Fenway Park baseball. The above tangent also backs up my reasons for appreciating Parker's inclusion of detail of Spenser's personal and professional daily routines. When an author writes when, how, and what his main character eats his daily bread, that author not only draws that character from its essence, the author draws the reader in from the seat of where we all live at base reality.

Spenser's daily routine actions spread like gourmet-peanut-butter and homemade jam over Parker's pages, following Spenser's exit from the ball park, through the following day. Those scenes were a premium use of narrative space lush with syntax ambiance, all of which effected a perfect set up for the riveting scene of mob-type intrusion into Parker's office by Frank Doerr and back up guy. This type of narrative contrast makes high art, the contrast between a heavy risk scene holding "mortal stakes," coming on after the reader has gotten comfortable wallowing in a character's simple, daily human machinations, a character running through "at home" routines, meandering through "at play" situations involving his greatest passions (especially when the pleasurable addictions overlap his livelihood necessities).

After that stirring of contrasting scenes, the comfy/schmoozing Vs. the risky/riveting elements had welded into a novel I wasn't wanting to end. And, in essence, it wouldn't end until I rolled through over 20 more Spenser novels after this one. Yeah!

(I wonder, how Parker felt chained to this venue for a lifetime. He did successfully manipulate it to express various angles of his literary creativity and ethics development process. Maybe he loved every day of his work as an author. Or did he sometimes want to pull his hair out, scream primal howls, to get out of the detective novel constraints? He did develop other series characters and accomplished those Spenser sidelines well.)

Who would have thought a reader like me, who has absolutely zilch natural interest in spectator sports, would have become cozily enchanted, actually entranced by a novel worked around and within baseball. To be able to accomplish this, heavy-duty talent is required to be firing on all cylinders.

V-rrrrooooooooommmmmmmm.

This is what happens when work is play for an author. Yet reading the Frost poetry more closely, it says, "when work is play for mortal stakes." This play is serious. The work of an author, no matter how glamorous or how fun it may seem, is serious. Should editors open the gateway, then get out of the way? (Until the creation is complete, then offer assistance if/as requested?) I don't know. I'm just a fool full of brain sparks. And, with second thoughts having fizzled, I realize Parker, like Sheldon and King, should write his own memoirs. I couldn't EVEN do justice to a biography on Parker's authorship evolution. I live so far into the ozone of fiction, I too often get my facts wrong.

But, a few questions remain.

How would Brenda and Susan contrast, in fitting into baseball and the P.I.'s life, into the life which is played with mortal stakes? The sparing scenes with each of these female sidekicks were beautifully, sensitively, and thougtfully drawn.

And what of the economic/cultural contrasts dramatized so crushingly clearly here, of lives varying from the clean health of Spenser's personal ablutions and ruminations, to the varieties of physical deterioration and downtrodden, deathly drudgery; from urban renewal edging against City Pimp-ery, to a Heartland Hero protecting the sad sanctuary of "his people" lost to an exhausting poverty of mud and swill?

Of course Parker dealt with those situations with his usual finesse, largesse, and an abundance of duress. Earthy wisdom was also applied with Biblical eyes and teeth, gusto and grace.

Before leaving this book, I felt a need to study the sophisticated symbolism of the "setup" location and situation.

What does contemplation of the scene's description bring to mind?

As did the caring, relishing (reader drool inducing) way Spenser took time to cook for himself, the "setup" setting symbolized what Spenser was defending in a battle no less than a full out war, which involved defending the continued existence of everything he held dear, including his life and the sacred people and parts in a way of life hard won in the US. The setting Spenser chose for his showdown scene also symbolized what was sea creature, at the center of that life, ripping its flesh and eating the people and parts.

In MORTAL STAKES, Parker stepped into the storms of life as we're growing it. He stuck his thick neck out and really said something. Go beyond thought spaces between sentences. This work is such a cohesive whole the undercurrents might be best seen after the last page has been turned. Slowly.

Linda G. Shelnutt

Mortal Stakes, the third in the Spenser series, is wonderful on many levels. It is more than just about baseball and blackmail and a lone wolf PI taking on underworld thugs. It is also about relationships: between couples, between business partners, between a sports idol and his fans and also his teammates. Parker handles all of these relationships well, with the plot twisting down to a somewhat surprising end: the hero is not who you think! Excellent read - I highly recommend.