The Mourner / The Score / The Jugger

For my money, there is no better crime character than Richard Stark’s antihero Parker, once more reissued in a set of three novels by The University of Chicago Press with THE MOURNER, THE SCORE and THE JUGGER. It’s so great to have these books come back into print in such a loving way, with new covers and an introduction by John Banville, who briefly summarizes the events of the three previous books, while explaining how the character of Parker would become even more complex as the series progresses.

He even brings up what is now, sadly, the last Parker story: DIRTY MONEY. I’m guessing his piece was written before the passing of Stark — aka Donald E. Westlake — this past December. Still, it’s a great essay that gives new readers an introduction to not only this great character, but the man who was behind this trailblazing series.

From 1963, THE MOURNER is the fourth book. This time, it’s not a huge operation Parker gets involved in — it’s really just trying to get an easy payoff from picking up a statue which happens to be sitting in a Russian embassy. But before all that, news hits that two would-be burglars make a real bad mistake by breaking in to the place where Parker is staying. Why they are pulling such a stupid stunt is priority No. 1 for Parker to find out. leading him to someone only referred to as “the fat man,” until we are properly introduced.

It seems this fat man is new to the country and was dumb enough to ask for help from the Outfit. It becomes apparent to Parker this fat man is nothing to worry about. It’s then that Stark plays the time-jump game of seeing everything from an earlier point in this whole affair, where we learn the job Parker is on is that of being hired by a father and daughter who are after a statue, from which this book takes its title. Parker, being Parker, couldn’t care less that these two know he is not a law-abiding citizen with their threats of police. He just goes about his day as these two try to get him to work for cheap.

Then flash-forward back to the current situation, when Parker discovers that this mysterious fat man is a Russian agent who has his own plans for a cache of money that also is sitting in the embassy. Parker figures this score has just become even better for such a simple job, but of course, things don’t go well during the robbery. One word: double-cross.

This being a Parker novel, you can expect that type of thing to happen along with some brutal violence and cold-bloodedness. This book actually sets up one of Parker’s pal’s future toward the endy. THE MOURNER is as close to an espionage tale that we will ever see Parker involved with — not a straight-on spy story, but with a few spy-like elements that are crucial to the plot.

From 1964, THE SCORE — aka KILLTOWN — can be easily described as “Parker vs. the town of Copper Canyon. Now, of all the Parker books, this is the one that has not aged the best — not for the writing, but more for the technology used in the caper. The telephone has come a long way since the mid-’60s, since the idea of switchboards are a footnote to most people today, so that might throw a few readers who don’t know what things were like before cell phones. But all this can be forgiven since everything else in the book is pure bliss.

It opens with Parker headed to a meeting in Jersey City with a man he has never met before. His doubts are only intensified when someone is trailing him as he gets into town. Once he makes the meeting, he finds the man behind the operation way out of his element, to the point of wanting far too many men for this score. Of course, the score is ripping off a whole mining town in North Dakota called Copper Canyon. They plan on stealing all the payroll and the town bank, but as well-planned as the operation is, there is always a fly in the ointment, be it the man who hatched the caper or a total psycho who goes on a mid-robbery killing spree.

The story moves into a final showdown of sorts with the gang of robbers hanging around in a hideout while the money is hidden elsewhere. Also in this book, Stark introduces the character of Grofield, who actually appears later in the Parker universe, sometimes taking center stage. I actually covered this book once; even for a second time, it never lets up in the balls-out crime action for which Stark is so well-known.

Lastly, 1965’s THE JUGGER marks a bit of a turning point for Parker, since we find him not pulling off a big score, but investigating what happened to a former associate: a safecracker known as Jugger. Parker has received two letters from a retired associate who has set up his life in Nebraska, and it seems someone is putting the screws to Parker’s pal. But as we find Parker at the start of the book, he is reading the obituary of his dead friend.

As he sets off to investigate, another person from Parker’s world named Tiftus makes his presence known, with an idea that Parker is there for a score. Parker makes it clear he has no idea what Tiftus is talking about and that he is only there to find out what happened to his deceased comrade. But wherever Parker investigates, he gets the same answer: that the old safecracker died of a heart attack.

The local police chief is a bit too interested in Parker poking around. Chief Younger knew exactly what the old man used to be and thinks Parker is there to grab the money and run. So the book plays out as Parker slowly finds out the real events that lead to the death of his friend, while another killing happens, with Parker having the perfect alibi.

This novel plays out more like a mystery than the previous ones, with Parker coming off like one of the coldest investigators ever. He takes the law into his own hand, but his actions close a chapter on his life, forcing him to rebuild his persona once more. Westlake — I mean, Stark — again hits on all cylinders here. THE JUGGER is actually a great entry point for newcomers; there is a brief mention of THE SCORE, but nothing that truly spoils the story.

It seems as though Stark ties up all the loose ends with this one, with the ending forcing Parker into finding a new score fast, since he is dire need to make some quick money. One thing I need to point out about these reissues is their brilliant cover design. I’m really loving what looks like a first coat painted on a black background, with the universal gun design on the title and two pictorial elements that only hint at what is inside the covers. Especially with THE JUGGER; there is a safe dial, which has no real impact in the story, but represents part of a character’s background.

The University of Chicago Press is really going strong with its terrific work on these novels. I patiently wait for the next set of books come summer. —Bruce Grossman

Buy them at Amazon.

OTHER BOOKGASM REVIEWS OF THIS AUTHOR:
• ASK THE PARROT by Richard Stark
• THE AX by Donald E. Westlake
• COPS AND ROBBERS by Donald E. Westlake
• THE CUTIE by Donald E. Westlake
• DIRTY MONEY by Richard Stark
• THE HOT ROCK by Donald E. Westlake
• THE HUNTER by Richard Stark
• I KNOW A TRICK WORTH TWO OF THAT by Donald E. Westlake
• KILLING TIME by Donald E. Westlake
• KILLTOWN by Richard Stark
• LEMONS NEVER LIE by Richard Stark
• THE MAN WITH THE GETAWAY FACE by Richard Stark
• THE OUTFIT by Richard Stark
• PITY HIM AFTERWARDS by Donald E. Westlake
• POINT BLANK by Richard Stark
• SOMEBODY OWES ME MONEY by Donald E. Westlake
• THE SOUR LEMON SCORE by Richard Stark
• THE SPY IN THE OINTMENT by Donald E. Westlake
• 361 by Donald E. Westlake
• WHAT’S SO FUNNY? by Donald E. Westlake
• WHAT’S THE WORST THAT COULD HAPPEN? by Donald E. Westlake