If you thought you’ve read every conceivable way revenge can be acted out, EMPTY EVERY AFTER — the fifth title in the excellent Moe Prager series by Reed Farrel Coleman — is here to challenge that notion.
A former New York City cop, Moe Prager is paying dearly for the secrets he’s kept over the past 20 years. Back then, Moe located his wife Katy’s missing brother, Patrick Maloney. But Moe chose to keep Patrick’s whereabouts and homosexuality from Katy. Years later, following Patrick’s mysterious death, Katy learns of Moe’s secrets and leaves him.
Dividing his time between the neighborhood wine shops he manages with his older brother, Aaron, and the P.I. business he maintains with his partner, Camillia, Moe is now trying to deal with the divorce.
But as William Faulkner observed, “the past is never dead. It isn’t even past.” And shortly after the book opens, Moe is alerted to the desecration of his dead brother-in-law’s grave, and that of Patrick’s lover. The clues indicate that the perpetrator must be someone with intimate knowledge of Patrick’s life. Then, Patrick’s ghost appears.
His voice on cryptic phone messages; his image on security videotapes; and in the flesh at Katy’s window at home. She collapses from the emotional strain. Moe, however, is convinced that someone has it in for him and is carrying out an eleborate campaign of revenge through his family.
Moe tracks down the survivors of damned near every one of his P.I. cases (recalling practically all of the previous novels), and is reminded that there is no lack of hatred for him in his past. But as the evidence mounts and points to one particular suspect, Coleman adds some additional twists — à la Harlan Coben — and the already straining plot races off in yet a different direction.
What saves the book from its often incredulous plot contrivances is the strength of Coleman’s masterful prose style. As demonstrated throughout the series — especially in 2007′s SOUL PATCH — few writers can match Coleman’s descriptions of the sense of loss, loneliness and especially regret with which Moe lives. You’ll find yourself lingering over such passages, particularly when the revenge tactics become a bit much to swallow.
But wait a minute. Does all this summoning of ghosts and people from the past mean this the final book in the Moe Prager series? Let’s hope not. After fighting to keep the series alive through about five publishers, one hopes instead that Coleman is heralding some well-deserved new beginnings in Moe’s life.
In the meantime, if you’re new to Moe Prager, seek out the earlier titles first (starting with the recently reissued WALKING THE PERFECT SQUARE) and work your way up to this new one. Then you’ll fully enjoy and appreciate how Moe has not only survived, but persevered (Faulkner again). —Alan Cranis
Related posts:
