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Beat the Reaper A Novel Josh Bazell Books

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Beat the Reaper A Novel Josh Bazell Books

THE SETUP
The novel consists of two major plot-lines. In the "main" or "Brown" story (told in first-person present-tense) medical resident Peter Brown finds himself in a difficult situation, the result of his past as Pietro Brnwa (the second story) as a Mafia hit-man which Brown relates in past tense. In summary, Brown is recognized by a gangster, who has arranged to "out" Brown if he dies in an a very risky operation.

Although the Pietro Brnwa "flashback" story is told in third person past-tense, the scene in which Brnwa visits Auschwitz is in second-person present-tense ("you see the..."), which is disconcerting, because the reader's reactions would not necessarily be those described. And in fact, Peter Brown (as opposed to Pietro Brnwa) would not have remembered the experience in the same way. Which raises the question of who the "narrator" is. Actually, the use of second-person present-tense was probably a very clever technical device used to side-step this problem. (Explaining the need for such a device in greater detail would amount to a major league spoiler---ruining perhaps the best twist in the novel, for those who have not read it yet).

CAVEATS
Bazell uses the term "cracker" for anyone living outside New York City. "Cracker" is a very derogatory term meaning "White trash". That is: unwashed, uncouth, uneducated, ignorant, lazy, and slovenly.

It is one thing for Southern Blacks to use the term "cracker" "within the family" so-to-speak. In the South, "cracker" means any "non-Black person" optionally with derogatory overtones, depending how how and when it is used. For a Black man to address a White man as "Cracker" is a challenge, meaning approximately, "I am as good a man as you---you got a problem with that?" or perhaps "Are you a White racist SOB--or are you willing to respect me as a man?" Many friendships actually start this way.

But that is not at all the sense in which Bazell uses the nasty epithet. I have no doubt that that in Bazell's mind "popular minorities", such as Blacks, homosexuals, illegal immigrants, Native Americans, etc. are excluded. Even so, Bazell uses "cracker" as an egregious insult with the meaning that he considers all white Americans living outside New York City to be "white trash".

But, you argue "artistic freedom", "authenticity". Really? Bazell does not dare use the "n"-word, nor corresponding derogatory terms for homosexuals, Italians, Jews, Hispanics etc. which are "common street language" in New York City. Why doesn't he use such words? Those words are not tolerated in print nor in polite society. "Cracker", as Bazell uses it, should not be tolerated either.

THE VERDICT
"Beat the Reaper" is an is over-the-top action-packed, thriller, which can also accurately be described as hilarious, offensive, exciting, vulgar, outrageous, and gory. Although it was a hoot, the most fun I've had with a book in a very long time, the very abrupt ending left me unsatisfied, needing resolution. I also felt as though I needed to scrape something nasty off the bottom of my shoe.


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Beat the Reaper A Novel Josh Bazell Books Reviews

This is a novel that is easy to read on a plane or in other distracting environments because it is so well plotted and paced. It also helps that it is very humorous. And viola, you have the necessary trinity for reading material when there are many other things to make you stray from the page.
"Beat the Reaper" is a fast-paced, decently written, character driven, darkly humorous thriller. The worst thing I can say about it is that it will undoubtedly be made into a very average film, and that will be a disservice. However, in spite of the cinematic elements of the text, this novel does not read like a script treatment, but is rather a full fledged story, with a very interesting and nicely developed main character. The major strength of this text in fact is the first person voice of the book's protagonist, Dr. Peter Brown. The whole novel is told from his first person point of view and goes from the present to the past with ease, and Josh Bazell does a nice job of creating gaps for the reader that pique their interest and then slowly are filled in as more of Dr. Brown's story is revealed.
As the main character is a doctor, and a former hit man, he has extensive arcane knowledge; which is shared with the reader via footnotes that appear throughout the text. I liked this stylistic device, as it works for the protagonists' medical profession, and because often times the footnotes were clever and interesting. Other readers have complained that there are many unrealistic elements to the story, and there indeed are. But the strength of Bazell's writing is that these ridiculous elements seem to work in the world he has created for "Beat the Reaper".
This novel is the first in a planned trilogy, and I intend to continue the journey.
Approach "Beat the Reaper" for what it is, and you will have a good time.
Whenever I discover a new style of writing I'm generally very polar. I either love it or hate it, and discover that within a few pages. I love this author's unique style but suspect it will be this divisive with everyone. It's brash, harsh, vulgar and sarcastic. As dark of humor as you could imagine, with an insight into a very conflicted personality. Bazell delivers it perfectly and by the end you feel you know this tortured character very well.

It has the anti-hero theme so common these days and you'll have a tough time deciding whether to love or hate this character, but either way you'll be interested in him. It has some unrealistic scenes for sure but it doesn't distract from the overall story much. You'll learn a few things here and there as well, delivered in a very unique fashion.

Overall I have a hard time finding an author to compare this work to, which I suppose is a compliment in itself. If you like dark gritty humor and have a strong stomach give it a shot.
This was an extremely well written novel with an ingenious character. A former mob hit-man who turned on his cohorts and went into witness protection where he studied to become a doctor. When he is recognized by an old associate his past life comes crashing in to destroy the new one...but the doctor has not forgotten his old skills. There are a couple of moments that are a bit over the top, stretching plausibility almost to the breaking point, but the author carries it off well enough that it doesn't detract from the overall feel of a noir novel update. I highly recommend this one.
THE SETUP
The novel consists of two major plot-lines. In the "main" or "Brown" story (told in first-person present-tense) medical resident Peter Brown finds himself in a difficult situation, the result of his past as Pietro Brnwa (the second story) as a Mafia hit-man which Brown relates in past tense. In summary, Brown is recognized by a gangster, who has arranged to "out" Brown if he dies in an a very risky operation.

Although the Pietro Brnwa "flashback" story is told in third person past-tense, the scene in which Brnwa visits Auschwitz is in second-person present-tense ("you see the..."), which is disconcerting, because the reader's reactions would not necessarily be those described. And in fact, Peter Brown (as opposed to Pietro Brnwa) would not have remembered the experience in the same way. Which raises the question of who the "narrator" is. Actually, the use of second-person present-tense was probably a very clever technical device used to side-step this problem. (Explaining the need for such a device in greater detail would amount to a major league spoiler---ruining perhaps the best twist in the novel, for those who have not read it yet).

CAVEATS
Bazell uses the term "cracker" for anyone living outside New York City. "Cracker" is a very derogatory term meaning "White trash". That is unwashed, uncouth, uneducated, ignorant, lazy, and slovenly.

It is one thing for Southern Blacks to use the term "cracker" "within the family" so-to-speak. In the South, "cracker" means any "non-Black person" optionally with derogatory overtones, depending how how and when it is used. For a Black man to address a White man as "Cracker" is a challenge, meaning approximately, "I am as good a man as you---you got a problem with that?" or perhaps "Are you a White racist SOB--or are you willing to respect me as a man?" Many friendships actually start this way.

But that is not at all the sense in which Bazell uses the nasty epithet. I have no doubt that that in Bazell's mind "popular minorities", such as Blacks, homosexuals, illegal immigrants, Native Americans, etc. are excluded. Even so, Bazell uses "cracker" as an egregious insult with the meaning that he considers all white Americans living outside New York City to be "white trash".

But, you argue "artistic freedom", "authenticity". Really? Bazell does not dare use the "n"-word, nor corresponding derogatory terms for homosexuals, Italians, Jews, Hispanics etc. which are "common street language" in New York City. Why doesn't he use such words? Those words are not tolerated in print nor in polite society. "Cracker", as Bazell uses it, should not be tolerated either.

THE VERDICT
"Beat the Reaper" is an is over-the-top action-packed, thriller, which can also accurately be described as hilarious, offensive, exciting, vulgar, outrageous, and gory. Although it was a hoot, the most fun I've had with a book in a very long time, the very abrupt ending left me unsatisfied, needing resolution. I also felt as though I needed to scrape something nasty off the bottom of my shoe.