The first time I ever emailed an author, it was to enquire of Harlan Coben why he’d opted in Tell No One (2001) to switch between first- and third-person narrative in the telling of a story that, to my callow, untutored eye, could have told throughout in third person. I phrased it more politely than that, but you get the gist.
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Never let it be said that I’m a stubborn man. Well, okay, no, not that so much, but only a short while ago I was owning up to the shame that I’d probably never read this book and yet here I am — following reassurances from no less authorities than Nick Fuller and TomCat — reviewing, and so presumably having read, it. Here’s the heart-in-my-hands moment: Crispin wrote 4½ great books, then a terrible one, then this one, then another terrible one, and this was the only one I’d not read. But it’s bracketed by two books so awful that I’d wipe them out of existence, so my fears were, I feel, well-founded. And you want to know what I thought, right? Were my reservations borne out? Who was right? Ohmygod the tension…well, let’s get into it.
The Invisible Event 