Literary rating: ★½
Kick-butt quotient: ☆☆½
Matti Baker has always been… unusual. She was adopted as a child, and subsequently discovered her mother was an FBI special agent who died while giving birth to Matti on a mission. She breezed through high school, and after graduation, began training to become a contractor for a private agency, carrying out “special” tasks, under the (rather vague, and entirely deniable) auspices of the US government. On successful completion of the four-year course, Matti begins missions, such as neutralizing terrorists. She also meets Tom, who becomes her husband and they have three kids – triplets born on September 11, 2001. But, in 2015, the tables are turned, and Matti becomes the target for some highly-motivated and thoroughly unpleasant enemies, who are seeking vials in her possession, and won’t take “No” for an answer.
This is definitely a slog. The vials, for example, are mentioned early on, as having been passed down to Matti by her mother. Yet they are then entirely forgotten for a good twenty-five years. Then, two-thirds of the way into the book, she’s captured and immediately interrogated about their whereabouts. I had, literally, completely forgotten about them by that point, since they were barely mentioned. “We can get to the vials in a sec,” it says on page six. Doesn’t happen. We never do discover what they’re supposed to contain, what their importance is, or why an FBI special agent thought it would be a good idea to bequeath them to her ten-year-old daughter. Given their position at the heart of much of the plot, this seems unforgivable.
The style is equally clunky. It relies heavily on a long series of pop-culture references to music, movies and TV shows. In the course of less than half a page, we get all of the following:
- I swear I felt like he was thinking about that Nine Inch Nails Closer song as he stared at me.
- I felt like Olivia Pope in Scandal.
- Just like in The Italian Job, we had orchestrated every little detail.
These get shoehorned in there, because… Actually, I’m not sure why: we’re not talking obscurist entities that will prove the author’s street-cred. I speak here, as someone who likes Nine Inch Nails. Other sections obsess over interior decor in a way that feels more like house porn. Then again, everything in Matti’s life, for her husband and children through to her pair of impeccably-trained attack dogs, are utterly perfect in every aspect. Why should her living quarters be any different?
The characterizations here, in particular the heroine, all really come over as little more than wish-fulfillment, with a leading lady who appears to possess no weaknesses, flaws or faults – in other words, anything which might make her interesting. The term “Mary Sue” gets bandied about quite a lot with regard to action heroines; probably a little too frequently. However, this may be one of the cases where it deserves to be applied.
Author: Michele Packard
Publisher: Independently published, available through Amazon, both as a paperback and an e-book
1 of 3 in the Aesop series.