Narrator: Johanna Parker
Published by Recorded Books on 5/1/12
The title of this entry in the Sookie Stackhouse series sums up my feelings. Although I liked it better than the previous book, I get the feeling these books have become a bit deadlocked on moving forward. I keep waiting for an exciting plot, further world development, and/or a character arc explosion and Ms. Harris seems to just be waiting with the pacing. It was a pleasant listen and Johanna Parker’s voice now completely embodies these characters for me but it lacked the excitement and rapidly changing events that hooked me on this series originally.
“With Felipe de Castro, the Vampire King of Louisiana (and Arkansas and Nevada), in town, it’s the worst possible time for a body to show up in Eric Northman’s front yard—especially the body of a woman whose blood he just drank.
Now, it’s up to Sookie and Bill, the official Area Five investigator, to solve the murder. Sookie thinks that, at least this time, the dead girl’s fate has nothing to do with her. But she is wrong. She has an enemy, one far more devious than she would ever suspect, who’s out to make Sookie’s world come crashing down.”
The story begins with a pretty interesting little mystery: who is behind the attempt to set up Eric for murder and are they also trying to break up Eric and Sookie and why? Although that question was answered, it felt like the book started off well, took a detour in the middle to follow Sookie around as she dealt with her friends and relatives and normal life, and then picked up again near the end as the mystery reached a resolution. Sookie’s love for Eric, while still steady, seems to be losing a bit of its shine as she is faced again and again with his practical decision making and the violence that surrounds him. Sookie herself is becoming hardened and throughout this book she just seems tired of all the things going on in her life. That made it hard for me to not feel tired of the slow progression of this story. Her job at Merlotte’s is back to its usual routine although she has a little more decision making power and responsibility because of her loan to Sam.
Sookie’s fairy relatives Claude and Dermot are still living with her and it’s on this front that the second piece of conflict in the story begins. With the closing of the portals to Faery, the otherworldly employees of Hooligans strip club are getting restless and when Claude abandons them to go back into Faery with Niall (fairy prince and Sookie’s great-grandfather) in an effort to investigate who cursed Dermot years ago, their unrest increases. Several are drawn to Sookie’s house and begin hunting in her woods while Dermot tries to manage the business and employees in Claude’s absence.
While that plot bubbles away on the back burner, the Queen of Louisiana pays Sookie a visit to size up the competition for Eric’s hand. A quick encounter and Sookie is back to her everyday routine. There’s some progress in the peripheral characters as babies are born and marriages are announced. I was expecting the visit from Felipe de Castro to turn into a critical event as Eric and Sookie dealt with the repercussions of killing his regent, Victor, but that never materialized and Felipe mostly seemed to fade away. If this all sounds a bit disjointed, it’s just symptomatic of a book that never seemed to really hit its stride with any of the plot threads until the very end, when it was too late to effectively capture my interest. I’ve gradually been losing my interest in this series and was almost ready to give up after the last book so I wasn’t crushed by the recent announcement that the final book will be released next year. I’ll be buying it but just to see how the whole story wraps up for these characters that I’ve followed along with for years.
Johanna Parker brings the expected performance to this installment of the series, which is to say – a very good one. She seems to effortlessly capture the voices and personalities of the large cast of characters and transitions with ease between the varied accents, cadences, inflections, and male/female pitch changes without ever leaving the listener behind or confused. The narration unfailingly provides a moment-by-moment sense of “the here and now” and it’s easy to sink into Sookie’s experiences because of that.