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bookph1le's review against another edition
1.0
There's gonna be a rant a-comin' out of me later about this book. If I'd bought a physical copy of it instead of a Kindle copy, I'd send it to the back of beyond...
Full review:
Yep, that spoiler tag is there for a reason. Click only if you don't care if major plot points are revealed to you.
So as I gain wisdom and perspective in my advanced age, I question more and more whether there really is such a thing as "good" literature or "bad" literature. This is a big advancement for me, as I was once one of those people who firmly believed literature could be separated into "good" and "bad" categories. I've been an active Goodreads member for many a year now, and the more books I read and the more I look at other readers' reviews, the more I realize that "good" and "bad" are very subjective and relative terms. There are plenty of books I've vehemently, viscerally disliked that others readers have loved, and vice versa. I mean, sure, I think most of us can agree that books should, at a minimum, have as few typos as humanly possible, and that basic grammar and punctuation are important. However, because I've become increasingly convinced it's far too simplistic to try to divide books into "good" and "bad" because taste is so subjective, I try to keep this in mind when I review. I'll tell people why I liked or disliked something, but that I think others might have a different opinion.
However, some things are so clearly bad to me in books that I make no qualifications, and this book is one that contained multiple things that push my buttons, including sexism and fat shaming. Click past that tag at your own risk to read more details.
I dunno. She used her brain, maybe?
Conversely, women who aren't attractive in this book are objects of ridicule. The best example of this is the woman traveling with her CEO husband (you see how big of an impression this book made on me, since I can't even remember characters' names). I'm looking at you, scene where she's doing yoga and everyone assumes she's doing it because she wants sexual attention, yet the book is plain about how she deserves derision because she's past her sell-by date. For a really good takedown of this particular aspect of sexism, google the skit "Last Fuckable Day". I mean, how dare any woman past the age of 29 think of herself as a sexual being, right?
And because the sexism isn't just bad for women, let us consider the derisive ways in which male characters who have actual feelings and spend time considering them are treated. They are murdered (the CEO), too wimpy to go in guns blazing like a "real" man (Walt), or think they're man enough but fall off horses and break their tailbones, highlighting how they're deserving of the book's ridicule (Sullivan).
Now, I'm not trying to say I liked all these male characters. The CEO in particular struck me as a pompous windbag. But the book is *very* plain in its disdain for "weak" male characters. This might have worked okay, had the clear contrast not been between them and "strong" male characters like our man the protagonist, Cody Hoyt.
Imagine every single stereotype about literary cops you can dream up and you've got yourself a Cody Hoyt. He's a raging alcoholic who doesn't abide by rules, smokes like a chimney, is a distant father, has a hot ex-wife who just got tired of his shenanigans and who he's never gotten over, likes to shoot first and ask questions later, and who just cannot be contained because he has demons, people, demons.
Whew.
And here's another example of the book's sexism for you: Cody blows the kneecap off one of the bad guys and does so without batting an eye, because dude's a cop on edge who needs to get to his son. However, when faced with another murderer, this one of the female persuasion, and who actually has his son with her, using him as a human shield, our Cody hesitates because of course he does. Why, shooting a woman would be downright unchivalrous of him, wouldn't it?
In my opinion, it's more than a tiny bit problematic when male on male violence isn't only considered natural but something to admire, if not root for. Of course Cody has no compunction about roughing up a male suspect. Also, he doesn't stop there. Any time someone gets in his way or does something he doesn't like, he has to refrain from murdering them. This happens repeatedly throughout the book, yet somehow this is supposed to be okay. Yet when he's faced with a woman who's literally armed and dangerous, he notices how attractive she is as he takes aim at her (I'm not making that up, folks), and he hesitates to shoot her.
Violence is violence. I'm 100% against men being violent toward women, but I am also against men being violent toward men.
But, then, Cody is basically a walking stereotype of hyper masculinity. And even though he's estranged from his son, said son is a-okay with that because his dad comes riding to his rescue. I guess that somehow forgives all the other terrible stuff Cody does.
What other terrible stuff? Oh, how about putting his partner, Larry's, job on the line. (RIP, Larry. To me, you were the only character worth reading about. I wish the book had been about you. The author did you a disservice, bud.) Or what about calling up his ex-wife in the middle of the night while he's on a bender so he can scream at her (And *of course* it looks like she's getting back together with him at the end, *of course*.)? How about robbing a couple of guys at gunpoint for a six-pack? How about being a raging alcoholic while on the job? How about driving while intoxicated? How about stealing stuff from the evidence room and using it for your own purposes, such as gifts for your estranged son?
Yeah, this guy is our "hero".
Look, the anti-hero thing can work. I don't need all my book characters to be shining beacons of morality, but this book sends such mixed messages. Am I supposed to like Cody? Am I supposed to hate him? I don't know! I'm so confused!
(I'm not. I couldn't stand him.)
Somehow, despite all this, Cody manages to achieve exactly what he sets out to achieve. I guess being a drunken, careless, violent white man makes all things possible? I mean, come on, let's be real. Cody incompetently blunders his way through Yellowstone (losing horses twice--TWICE), repeatedly being saved by convenient plot devices, yet somehow still manages to catch the bad guy AND keep his job? Talk about suspension of disbelief.
Also, the plot of this book is convoluted and ludicrous. It makes zero sense, zero, for Jed or Rachel to go out on a pack trip with a bunch of tourists while attempting to recover lost drug money. Zero.
You know what, Larry? At least you don't have to waste your time and talents on Cody anymore, so there is that. See you in the next life, friend.
This is my first and last C.J. Box book.
Full review:
Yep, that spoiler tag is there for a reason. Click only if you don't care if major plot points are revealed to you.
So as I gain wisdom and perspective in my advanced age, I question more and more whether there really is such a thing as "good" literature or "bad" literature. This is a big advancement for me, as I was once one of those people who firmly believed literature could be separated into "good" and "bad" categories. I've been an active Goodreads member for many a year now, and the more books I read and the more I look at other readers' reviews, the more I realize that "good" and "bad" are very subjective and relative terms. There are plenty of books I've vehemently, viscerally disliked that others readers have loved, and vice versa. I mean, sure, I think most of us can agree that books should, at a minimum, have as few typos as humanly possible, and that basic grammar and punctuation are important. However, because I've become increasingly convinced it's far too simplistic to try to divide books into "good" and "bad" because taste is so subjective, I try to keep this in mind when I review. I'll tell people why I liked or disliked something, but that I think others might have a different opinion.
However, some things are so clearly bad to me in books that I make no qualifications, and this book is one that contained multiple things that push my buttons, including sexism and fat shaming. Click past that tag at your own risk to read more details.
Spoiler
Throughout the book, I noticed a recurring theme: female characters' physical attributes are very much highlighted, and when the author deems certain female characters attractive, this is very much remarked upon. I think the my favorite example, because it is the most ridiculous and egregious, is with Rachel. After her true nature is revealed and Cody is giving the undersheriff the rundown, the other man remarks on how Rachel is attractive but not a knockout. Why he's even remarking on her level of hotness at this point, I don't know. Here is how I understood this weird interlude, "I know she's a ruthless murderer, but she's not a bombshell! I mean, how did she manage to manipulate people without possessing extraordinary female assets?"I dunno. She used her brain, maybe?
Conversely, women who aren't attractive in this book are objects of ridicule. The best example of this is the woman traveling with her CEO husband (you see how big of an impression this book made on me, since I can't even remember characters' names). I'm looking at you, scene where she's doing yoga and everyone assumes she's doing it because she wants sexual attention, yet the book is plain about how she deserves derision because she's past her sell-by date. For a really good takedown of this particular aspect of sexism, google the skit "Last Fuckable Day". I mean, how dare any woman past the age of 29 think of herself as a sexual being, right?
And because the sexism isn't just bad for women, let us consider the derisive ways in which male characters who have actual feelings and spend time considering them are treated. They are murdered (the CEO), too wimpy to go in guns blazing like a "real" man (Walt), or think they're man enough but fall off horses and break their tailbones, highlighting how they're deserving of the book's ridicule (Sullivan).
Now, I'm not trying to say I liked all these male characters. The CEO in particular struck me as a pompous windbag. But the book is *very* plain in its disdain for "weak" male characters. This might have worked okay, had the clear contrast not been between them and "strong" male characters like our man the protagonist, Cody Hoyt.
Imagine every single stereotype about literary cops you can dream up and you've got yourself a Cody Hoyt. He's a raging alcoholic who doesn't abide by rules, smokes like a chimney, is a distant father, has a hot ex-wife who just got tired of his shenanigans and who he's never gotten over, likes to shoot first and ask questions later, and who just cannot be contained because he has demons, people, demons.
Whew.
And here's another example of the book's sexism for you: Cody blows the kneecap off one of the bad guys and does so without batting an eye, because dude's a cop on edge who needs to get to his son. However, when faced with another murderer, this one of the female persuasion, and who actually has his son with her, using him as a human shield, our Cody hesitates because of course he does. Why, shooting a woman would be downright unchivalrous of him, wouldn't it?
In my opinion, it's more than a tiny bit problematic when male on male violence isn't only considered natural but something to admire, if not root for. Of course Cody has no compunction about roughing up a male suspect. Also, he doesn't stop there. Any time someone gets in his way or does something he doesn't like, he has to refrain from murdering them. This happens repeatedly throughout the book, yet somehow this is supposed to be okay. Yet when he's faced with a woman who's literally armed and dangerous, he notices how attractive she is as he takes aim at her (I'm not making that up, folks), and he hesitates to shoot her.
Violence is violence. I'm 100% against men being violent toward women, but I am also against men being violent toward men.
But, then, Cody is basically a walking stereotype of hyper masculinity. And even though he's estranged from his son, said son is a-okay with that because his dad comes riding to his rescue. I guess that somehow forgives all the other terrible stuff Cody does.
What other terrible stuff? Oh, how about putting his partner, Larry's, job on the line. (RIP, Larry. To me, you were the only character worth reading about. I wish the book had been about you. The author did you a disservice, bud.) Or what about calling up his ex-wife in the middle of the night while he's on a bender so he can scream at her (And *of course* it looks like she's getting back together with him at the end, *of course*.)? How about robbing a couple of guys at gunpoint for a six-pack? How about being a raging alcoholic while on the job? How about driving while intoxicated? How about stealing stuff from the evidence room and using it for your own purposes, such as gifts for your estranged son?
Yeah, this guy is our "hero".
Look, the anti-hero thing can work. I don't need all my book characters to be shining beacons of morality, but this book sends such mixed messages. Am I supposed to like Cody? Am I supposed to hate him? I don't know! I'm so confused!
(I'm not. I couldn't stand him.)
Somehow, despite all this, Cody manages to achieve exactly what he sets out to achieve. I guess being a drunken, careless, violent white man makes all things possible? I mean, come on, let's be real. Cody incompetently blunders his way through Yellowstone (losing horses twice--TWICE), repeatedly being saved by convenient plot devices, yet somehow still manages to catch the bad guy AND keep his job? Talk about suspension of disbelief.
Also, the plot of this book is convoluted and ludicrous. It makes zero sense, zero, for Jed or Rachel to go out on a pack trip with a bunch of tourists while attempting to recover lost drug money. Zero.
You know what, Larry? At least you don't have to waste your time and talents on Cody anymore, so there is that. See you in the next life, friend.
This is my first and last C.J. Box book.
book_concierge's review against another edition
4.0
Book on CD narrated by Holter Graham
3.5*** (rounded up)
This is the first book in a new series by C J Box, who is perhaps best known for his mystery series starring Joe Pickett.
Cody Hoyt is an alcoholic and a former big-city cop who is barely hanging on to his job as an investigator with the Lewis and Clark County Sheriff’s Department. He’s two months into his latest effort at sobriety when he and his partner come across the remains of Hank Winters, burned in his remote cabin. It seems like a clear case of an accidental fire, exacerbated by the deceased’s drinking. But Cody isn’t buying it. He knows Hank and he knows Hank has been sober for years; then he discovers that a key item familiar only to other alcoholics is missing from Hank’s cabin. Before long he is convinced there is a serial killer at work, but the question is why? One clue points him in the direction of Yellowstone Park and a week-long “back of beyond” adventure outfitter. And Cody about loses it when he realizes that his son is on this same camping trip with his soon-to-be-stepdad. Can he get there in time?
This is a fast-paced thriller with some twists and turns I didn’t see coming. Box moves back and forth from the perspective of Cody and his partner, Larry, to the perspective of the people on the “back of beyond” tour. I particularly liked the way Box wrote Gracie Sullivan; she’s a smart girl, a keen observer, and quick-thinking.
Cody is a seriously flawed person. He likes to operate outside the rules and his drinking is not at all controlled. He is self-destructive with a capital S. But he’s a determined investigator and I like the way he puzzles things out and arrives at his conclusions. He’s got every reason to distrust those around him, as they are bound to distrust him. But in a tight spot, I think I’d want Cody Hoyt in my corner.
Holter Graham does a fine job of narrating the audiobook. He sets a good pace and gives the many characters sufficiently unique voices to allow the listener to discern who is speaking.
3.5*** (rounded up)
This is the first book in a new series by C J Box, who is perhaps best known for his mystery series starring Joe Pickett.
Cody Hoyt is an alcoholic and a former big-city cop who is barely hanging on to his job as an investigator with the Lewis and Clark County Sheriff’s Department. He’s two months into his latest effort at sobriety when he and his partner come across the remains of Hank Winters, burned in his remote cabin. It seems like a clear case of an accidental fire, exacerbated by the deceased’s drinking. But Cody isn’t buying it. He knows Hank and he knows Hank has been sober for years; then he discovers that a key item familiar only to other alcoholics is missing from Hank’s cabin. Before long he is convinced there is a serial killer at work, but the question is why? One clue points him in the direction of Yellowstone Park and a week-long “back of beyond” adventure outfitter. And Cody about loses it when he realizes that his son is on this same camping trip with his soon-to-be-stepdad. Can he get there in time?
This is a fast-paced thriller with some twists and turns I didn’t see coming. Box moves back and forth from the perspective of Cody and his partner, Larry, to the perspective of the people on the “back of beyond” tour. I particularly liked the way Box wrote Gracie Sullivan; she’s a smart girl, a keen observer, and quick-thinking.
Cody is a seriously flawed person. He likes to operate outside the rules and his drinking is not at all controlled. He is self-destructive with a capital S. But he’s a determined investigator and I like the way he puzzles things out and arrives at his conclusions. He’s got every reason to distrust those around him, as they are bound to distrust him. But in a tight spot, I think I’d want Cody Hoyt in my corner.
Holter Graham does a fine job of narrating the audiobook. He sets a good pace and gives the many characters sufficiently unique voices to allow the listener to discern who is speaking.
flintsloveofbooks's review against another edition
4.0
Went back and read this one hoping for more background on Jenny. Alas, not so much. The rest of it was pretty good.
(Minor spoiler)
Although I am glad that the series continues forward with Cassie rather than Cody.
(Minor spoiler)
Although I am glad that the series continues forward with Cassie rather than Cody.
jaynine's review
relaxing
slow-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? N/A
3.25
amberreadsromance's review against another edition
adventurous
dark
mysterious
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? N/A
- Flaws of characters a main focus? Yes
3.5
I have mixed feelings about this book. The pace was great. The mystery and thriller aspects were on point. I didn't even mind all the different perspectives. They were perfectly woven into the puzzle. The wilderness guide adventure theme and Yellowstone setting were especially intriguing. It's so hard to find books that convey teenage girls as skillfully as this one did. I especially enjoyed the character of Gracie and the role she played throughout. However, I was disappointed by the character of Cody. It takes a strong writer like CJ Box to make a character who is as flawed as Cody likeable. The reluctant hero worked for me until the "interrogation" scene toward the end where Cody uses excessive force. I understand that Cody's withdraws for alcohol and nicotine and his worry over his son's fate pushed him to a certain point but I wish it hadn't gone that far.
libwinnie's review against another edition
4.0
As always, the great outdoors features prominently in this book and Box's characters are deeply flawed yet readers can sympathize with their struggles. Cody Hoyt sets off into Yellowstone National Park in pursuit of the murderer of his AA sponsor and also to save his son who coincidentally is on the same backcountry trip. The ending seemed rather dropped in out of nowhere, but otherwise a solid plot.