When I accepted Obsession in Death by J. D. Robb to review for a blog tour, I had no idea that the author behind the series was actually Nora Roberts. The name J. D. Robb was vaguely familiar to me and I like crime fiction a lot, so I thought I’d give the book a try.
Nora Roberts, in case you are wondering, must be a candidate for the most prolific author of all time. Since she started writing in 1981, she has published well over 200 romance novels and just over 50 novels in the In Death series. Given that her early days were spent writing for Silhouette, it’s true that quite a few of those books are short. But even so, her annual output regularly reaches ten or more novels, which truly boggles the mind. Kind of makes you wonder what you’re doing with your life, doesn’t it? Apparently she writes eight hours a day every day, revises each manuscript three times and likes to write three romances in a row followed by three police procedurals, so as to linger a little in each fictional realm (rather than zip in and out in a fortnight, I presume). And she’s hugely successful – since 1999 every one of her novels has been on the New York Times bestseller list. Whatever you might think of such astounding output, Nora Roberts also wins the award for most philanthropic writer around, channelling a large cut of her earnings into charities for children, the arts and humanitarian aid.
I’m not sure whether it’s surprising or not that I couldn’t finish Obsession in Death. On the one hand, I love Agatha Christie and Lee Child, so I’m no stranger to the prolific author, and the premise for the book sounded intriguing enough. Robb’s police detective is NYPD superwoman, Eve Dallas, and in this outing she is called to the adroit killing of a high-profile criminal defence attorney, a woman with whom Dallas has clashed in court. The job looks neat and tidy enough to be professional, but an inked message on the wall above the body makes it personal. The killer is a self-confessed admirer of Eve Dallas, out to right the wrongs committed against her and clearly seeking her approval. Effectively it’s a serial killer who also happens to be a stalker, leaving dead bodies as love gifts. I thought this had plenty of pulpy potential, a swift easy read with a dash of sensationalism, a spritz of angst and plenty of headlong rushing towards an eleventh hour climax.
On the other hand, I had read a completely ruinous book before picking up Obsession in Death. One of those books that is so outrageously wonderful that everything else pales in comparison. It was Deborah Levy’s novella-length memoir, Things I Don’t Want To Know, written as a response to Orwell’s extended essay, Why I Write. It was devastatingly good. (And yes, I’ll review it soon, once I’ve got over it enough to write something sensible about it.) Undoubtedly that was a factor.
And whilst we’re on the other hand, I should also point out that nothing had warned me in advance that this would be a sci-fi series. Nothing on the blurb or the jacket cover, although the opening lines inform the reader that we’re in 2060. Which is a funny in-the-middle-of-nowhere time to pick, as it’s essentially a recognisable world with slightly different vocab and a few more gadgets. If I’d got further into the story, I would probably have discovered good reasons for the futuristic setting. But I didn’t so I can’t tell you what they were.
Then there’s the romance element. Apparently, Nora Roberts wanted to write in the manner of Mary Stewart, which is why she took on a pseudonym and began a crime series in the first place. It was a way of combining mystery and thriller writing with love stories. Well, by the time of this book, you may imagine that the relationship between Eve Dallas and her now husband, Roarke, is pretty well advanced. Roarke used to be a criminal, but now he simply runs his multi-billion company and helps out with Eve’s cases when she lets him for the fun of experiencing the other side. He is tall, dark and handsome, quite possibly the richest man on the planet, and utterly devoted to Eve. In the opening sections of the story when Eve returns home after a tough day, having forgotten she’s supposed to attend a social function with Roarke, he cancels for both of them and stays home so he can rub Eve’s shoulders and program her dinner into whatever command central produces meals in 2060. He is perfect. It was probably mostly due to Roarke that I gave up about 130 pages in. I just couldn’t stomach him.
It was a perplexing book. The situations were interesting, the characters okay, the dialogue felt natural, there ought to have been all sorts of enticing subplots opening up. But I struggled to get engaged with it at all, felt the crime was approached in a very superficial way and the investigation was flat and forced. I really wanted to like it – how great to enjoy a book in a series and realise you have another 49 to catch up on! But indifference and the press of other books to read meant we parted ways. Fortunately, Nora Roberts does not need my good opinion, nor the royalties from my sales. But if this novel appeals to you, do give it a try; it probably fell into my hands at the wrong moment.