Make Me by Lee Child (2015)

We can’t fight thirty people. To which Reacher’s natural response was: Why the hell not? It was in his DNA. Like breathing. He was an instinctive brawler. His greatest strength, and his greatest weakness. (p.136)

Make Me is the 20th novel in the series featuring tough ex-U.S. Army Military Policeman-turned-investigator, Jack Reacher.

The series is immensely popular, with every one of the novels having been optioned for movies, and two – One Shot and Never Go Back – made into ‘major motion pictures’ starring Tom Cruise. Which is odd since Cruise is famously on the short side (5 feet 6 inches) whereas the whole point of Jack Reacher is that he is a hulking bear of a man (six foot five).

Lee Child

The single most interesting thing about the Jack Reacher novels and their star, the tall, street wise, intelligent and bullet-proof American tough guy, is that their author is English.

Lee Child was born in Coventry and grew up in Birmingham. You can hardly get less glamorous and more provincially English than that. What turned him into an international publishing phenomenon? Eighteen years working with Granada TV, writing trailers, introductions, commercials and news stories. This honed his skills for getting to the point. (In fact Lee Child is a nom de plume: his real names is James Grant.)

Praise

The cover of the book is festooned with praise from his peers in the thriller-writing business, such luminaries as James Patterson, Michael Connelly, Ken Follett, Stephen King and Frederick Forsyth. It is noticeable that all the women writers describe Reacher in terms of physique and sexual attractiveness.

Patricia Cornwell says she picks up Reacher ‘when I’m in the mood for someone big to solve my problems.’

Karin Slaughter says Reacher is ‘one of the sexiest characters in fiction.’

Joanne Harris says reading Reacher is ‘one of my essential guilty pleasures.’

The most revealing comment is from British journalist Lucy Mangan:

I am very much in love with Jack Reacher – as a man and a role model. If I can’t shag him, then I want to be him.

(The bold is in the originals.) Reacher is tall, blonde and handsome, He is strong and silent. He protects women and the vulnerable. He doesn’t start trouble but if there is trouble he can more than handle himself in a fight. ‘What do women want?’ Freud is said to have asked. Jack Reacher, apparently.

Slow buildup

I was surprised and then amazed at how slow-moving this novel is, very slow, very slow-moving indeed. It has 492 pages divided into fifty-nine short punchy chapters (8.3 pages per chapter, though each one manages to feel much briefer because of the snappy writing).

By half way through, the following has happened: Reacher has stepped off a train at a remote and minuscule settlement in the American mid-West, intrigued by its incongruous name, Mother’s Rest. A woman steps out of the shadows as he strolls towards the central strip of town, clearly expecting him to be somebody she knows, then realises he isn’t.

They get chatting and it emerges that she is Michelle Chang (a name as tokenistically ethnic, but really as bland and commonplace as his own). Chang is ex-FBI, now a freelance investigator, having set up a detective agency with a few other investigators in the same situation. One of them was named Keever. He called in to tell the others that he was investigating something here in Mother’s Rest, then disappeared. She’s come to find out why.

We, the readers, know why – because Child opened a novel with a description of ‘them’ – an unnamed group of men – burying Keever. He’s dead. They killed him. This much we know. But why?

Very slowly Reacher gets drawn into Chang’s problem, not least because he is irked by the unfriendliness of the guys in town. (All men are referred to as ‘guys’ throughout.) The one-eyed owner of the only motel in town is twitchy and nervous, refuses to answer questions about Keever, keeps an obvious eye on Reacher and Chang.

As Reacher moseys round the small town he realises he is being followed by a kid and that various store owners lift the phone as he walks by – phoning in his progress to a central figure, who goes unnamed – we only know that he wears pressed jeans and has blow-dried hair. Ooh. Creepy! They are all nervous about the way Reacher is snooping around. They all talk about ‘us’, and how ‘we’ will have to take some action…

Reacher and Chang decide to drive to Keever’s apartment in Oklahoma City to find out more. Some guys from Mother’s Rest follow them as they drive. Reacher stops the car, gets out, confronts them and, as they go for their guns, kicks one in the nuts and smashes the other’s cheekbone with his elbow. He’s so tough. He’s so strong. Men want to be him. Women want to shag him. The appeal really does seem to be as primitive as that.

Reacher’s ‘technique’ is thoroughness

Sherlock Holmes’s deductions are clever and unexpected. Reacher’s feel far more obvious. He and Chang find a scrunched-up note in Keever’s room with a phone number and a name on it. They ring the number. It’s a science journalist in LA named Westwood. He agrees to meet them. They fly to LA. The science journalist explains that he gets calls from cranks all the time. Reacher guesses that whoever had hired Keever might be one of these cranks. They check Westwood’s database of calls. They systematically ring them all and eliminate all the obvious fruitcakes or unanswered calls. This narrows it down. One particular caller made lots of calls from Chicago, from a number they identify as the public library. They fly to Chicago. They take a taxi to a hotel. They check in.

By this stage Reacher and Chang have got beyond edgy camaraderie, progressed to sharing theories and hunches, and have had dinner together. He is tall, blonde and handsome with eyes of Arctic blue. She is lean and fit with curves in all the right places. Go on. Guess what happens.

Yep. They go to bed. What do women want? To be wined and dined, to be respected and courted. And then to be shagged senseless by a tall, super-capable man. Repeatedly. In hotel rooms across America.

They visit the public library in Chicago where the calls came from. They interview the librarian who knew the old, sad man who they now think was the caller, Keever’s client, the instigator of Keever’s investigation, name of McCann.

As I mentioned, Sherlock Holmes’s deductions are deliberately made outlandish and improbable. By contrast, at every step of the way Reacher is shown working through the possibly scenarios with very clear logic and application. If Reacher has a method, it is extreme thoroughness. At every stage, almost on every page, there are options and alternatives. He considers them rationally and logically. He works through them. He chooses the best one. It generally proves to be correct.

There is more than a touch of Mr Spock about Reacher.

Lucky man

But one of the things that makes this an example of genre fiction is the easiness, the fluency and the luck. Reacher is lucky, continually lucky.

He speculates that it was Keever’s client who called the LA journalist – and is proved right.

He speculates that the caller will have called in a specific time window 3 to 4 months earlier – and is proved right.

He guesses that the caller, having been blocked by the journalist as a nuisance, will change his name and continue calling, but call from the same number or area code. He does, and that’s what helps them recognise the fake name he uses second time round, which in turn leads them to his real name – McCann.

(It helps that Chang has a contact in the US telephone system who does her favours and helps them identify the various numbers.)

All this evidence narrows the search down to Chicago so they fly there, check into a hotel, have sex, then visit the library. All of which proves to be the correct deduction.

Similarly, the polite lady librarian at the Chicago public library won’t give them the address of the man they have now identified as McCann, out of a sense of confidentiality – but Reacher asks a series of tangenital questions about whether he drove or took public transport to work (walked) and his health (poor) from which they deduce that McCann’s home must be among the surrounding three blocks. Which is correct.

A block away from the library is a dusty old pharmacy which sells the kind of temporary cell phones (known as ‘burners’) which they speculate that McCann used. So Reacher guesses that the old boy walked past it on his walk to the library – so his house must be in that general direction. Which turns out to be correct.

The librarian had said that McCann gave the impression that he was ashamed of where he lived. So Reacher guesses it’s not a nice house but an apartment, probably in a rundown block. And so it is that after half an hour of working along the street, looking at nameplates to every flat on every apartment block, Michelle finds one with ‘Peter McCann’ on it.

They pretend to be making a delivery in order to get buzzed into the block, walk up to the apartment in question, to find the door is open.

And so on.

At every juncture Reacher makes reasonable enough guesses based on the odds, working things through steadily and methodically. But he is always lucky. The cards always fall his way. The time period of calls to the journalist turns out to be dead right. Chicago turns out to be the right hunch as location for the mysterious client. Guessing the pharmacy is the one where McCann bought his disposable phones turns out to be right. His apartment has a nice legible name label (unlike most I’ve ever visited) – and it gives McCann’s real name. The door to the apartment is unlocked.

Same with women. Reacher’s guesstimates about how to pace things in his relationship with Chang turn out to be picture perfect – when to hold off, when to be polite and professional, when to be slightly more personal, when to take her to dinner, when to wait for her signal, when to make a first move (a kiss) and when to take her to bed – all turn out to be right. He is right all the time. About everything.

Tall, tough and handsome, and always right.

Fighting

This supernatural skillfulness comes into its own in the many scenes of violence, fighting and shooting.

When he gets out of the car he and Chang are driving to Oklahoma City to confront the two toughs who have been tailing them – the reader partakes in his expert assessment of the situation, his estimate of where best to stand in order to a) kick one in the nuts and still have time to b) smash the other in the face.

When an assassin confronts them outside Keever’s apartment, we once again share Reacher’s immensely detailed calculation of the best way to handle the situation, and a literal blow-by-blow account of the fight.

Later in the book, Reacher and Chang go to visit McCann’s sister to find out more about his motives for hiring Keever. She’s married to a rich doctor and they’re supervising wedding celebrations for their grown-up daughter when three assassins hired by the Mother’s Rest people burst in. Three assassins with guns. Once again Child gives us an extremely detailed account of how Reacher thinks through the problem, works the angles, creates a diversion, and ends up killing all three and saving himself, Chang and McCann’s sister’s family unscathed.

We see his careful planning and calculations, so it’s not dumb luck. He thinks the problem through, calculates the angles, waits for the right moment, and so on.

Still pretty lucky, though.

When they figure out that the assassins were sent by ‘the fat man’, who is the head of the organisation of hitmen and which has been sub-contracted by the Mother’s Rest mob to rub them out – Chang and Reacher:

a) easily identify the nightclub which is a front for the gang
b) find the gate to the fenced compound around the club conveniently open
c) find the fat man sitting inside the compound, so that
d) Reacher can walk up to him, shoot him in the head, turn and walk away.

No bodyguards protecting him, no-one comes bursting out of the club firing at him. Lucky, huh?

Reacher is always right, about everything.

No wonder men want to be him. No wonder women want to shag him.

Characteristics of a Jack Reacher novel

Simple Child’s prose style is pared right back in the standard thriller style.

1. Partly because all modern American prose is pared back – generations of American creative writing teachers have told all their students to go over and over their manuscripts to remove unnecessary adjectives or adverbs, to keep it simple. So now American prose is simple. Doesn’t mean it can’t be thoughtful, though. Imaginative. Evocative.

Three Rugers [a type of gun], three guys. Black clothes, scalped hair, pale skin. Big enough and heavy enough, but also somehow bony. Tight cheekbones. Hard times in their DNA, from not too long ago. From Europe, maybe. Far in the marshy east. Every man against his neighbour, for the last thousand years. (p.330)

2. Partly because over the past hundred years the masculine world of crime fiction with its strong silent types has been associated with tough, no-nonsense prose for tough, no-nonsense guys. Hard boiled. Nothing soft or wishy-washy. True since the 1920s at least. Dashiell Hammett. Keep it simple.

Simple sentences. Short sentences. Sometimes three words. Or two. One. Limited vocabulary. Repetition.

Reacher listened hard, and heard nothing.
He stepped around the desk to the private side.
He glanced at the ledgers. And the files. And the notebooks. Routine motel stuff. Accounts, orders, to-do lists, percentages.
He listened again. Heard nothing.
He opened a drawer. Where the guy kept the room keys. He put 113 in, and took 215 out.
He closed the drawer.
He stepped back to the public side.
He breathed out. (p.73)

It gives a bleached-out, empty effect. Obviously designed to be tense and taut. Minimum perceptions. Human as robot, as terminator, stripped of all uncertainty and hesitation. Human as pure knowing, calculating machine.

A gated community. Rich people. Taxpayers. Political donors. The Maricopa County sheriffs on speed dial.
They waited at the kerb, a hundred yards short.
It was three in the afternoon. Five, in Chicago.
There was one guard behind the glass.
Reacher said, ‘We should have figured.’
Chang said, ‘If she’s heard about her brother, we’ll never get in.’ (p.291)

Said When characters talk they never question, answer, reply, respond, smirk. They never do anything with any colour or inflection. They just ‘say’. She said. He said. The guy said. They said.

Chang said, ‘He could be a brother or a cousin…’
‘He looks like the boss,’ Reacher said…
Chang said, ‘We have to be certain…’
Reacher said, ‘Did your contact mention family members?’..
Chang said, ‘We don’t know of any family members.’
‘He looks like the boss,’ Reacher said… (p.352)

The deliberate reduction of the complex and multi-faceted human activity of speaking, questioning, answering, discussing and joking down to one monotonously reiterated word – ‘said’-  typifies the general strategy of simplification.

All men are ‘guys’. All roads are blacktop. Taxis are taxis. They took a taxi to the hotel. It was part of a chain. The Mothers Rest hard goods store is like hundreds of others. The pharmacy in Chicago is the type you see everywhere.

Hardly anything is really described, certainly not given any detailed vibe or atmosphere. That would require invoking an element of subjectivity on the part of the narrator, that would involve soft, wishy-washy feelings and perceptions and these – in this genre – are banned.

Instead, atmosphere is almost entirely implied by Reacher’s reactions to a situation, sizing up the guy, weighing the odds, calculating the angles.

Paused a beat Hence another characteristic: characters often pause in speaking — pause a beat or, in another common phrase, pause until the silence becomes uncomfortable.

He paused a beat… She was quiet for a long moment, five or six seconds, right to the edge of discomfort. (p.492)

During these pauses the characters – mostly Reacher – are calculating the odds, thinking the problem through.

Which Another mannerism is, after anyone has made a decision or acted a certain way, to have a short sentence starting with ‘which’ and approving it.

Which made sense. (p.349)

Which was a good question. (p.468)

Which was good. (p.457)

If you say it out loud, in a slow tough guy drawl, you can see how it conveys laconic, wise approval. One pro nodding approval of another pro. Good choice. Wise move.

The bloody climax

In the end, you won’t be surprised to learn that the sleepy little ville of Mother’s Rest does indeed contain a gruesome and disgusting secret, a secret so sordid and violent that the townspeople are all jumpy whenever a stranger arrives, and have outsourced ‘protection’ to a Ukrainian mobster, Merchenko, and his hitmen.

(These are the hitmen Reacher deals with in the scene where they invade McCann’s sister’s house in Phoenix – referred to above – which prompts him to track down and coolly execute Merchenko.)

In fact, there turn out to be two secrets, a secret within a secret, which is very effective, in narrative and thriller terms.

As the plot moves along, Westwood introduces Chang and Reacher to a geek who can access the so-called Dark Web, the vast cyberspace with hidden websites and transactions, mainly used for pornography and crime. He is referred to simply as ‘the guy from Palo Alto’ (p.378).

This guy uses the evidence our team have assembled to tell the following story – a middle-aged man named Peter McCann had a 30-year-old son, Michael, with mental health issues who he was concerned about and who had gone missing on a bus journey through Mother’s Rest. McCann made repeat calls to Westwood asking for his help tracking his son down. Why? Because McCann had written an article way back, one he’d more or less forgotten about, on the subject of the Dark Web, and McCann wanted Westwood’s help in delving into it to find out what happened to his son. McCann had discovered that his son was a frequent visitor to dark websites concerned with suicide.

The guy from Palo Alto confirms all this and goes on to discover that it looks like Michael made a pact with someone he met on the Dark Web to go to Mother’s Rest and be euthanised.

In other words, the dark secret behind the sleepy little town, is that a dozen or so of its inhabitants have set up a euthanasia centre on a remote farm a dozen miles outside of town. Here customers can commit suicide in a number of ways. The guy from Palo Alto tracks down a hidden brochure which lists the methods: injection of poison, carbon monoxide piped into a peaceful room to nice music etc.

Having discovered all this Reacher and Chang return to Mother’s Rest along with Westwood, pretty sure there will be a welcoming committee and there is. The ten or so men in the euthanasia syndicate have posted lookouts around the town and are waiting with guns.

There is a very bloody shootout. Reacher and Chang lure out of the stronghold, cosh and tie up five of the baddies, before the situation degenerates into a prolonged shoutout with the other five.

Despite being trapped in a large shed-like building with the baddies firing rifle bullets through the thin walls, our heroes survive unscathed, while despatching all five of the armed baddies. Lucky, eh?

It is only during the shootout that they discover there is an even darker side, to the euthanasia setup than they had originally thought. I won’t give it away, partly because it’s so disgusting, partly because… you should read it yourself!

Reacher is a calculating machine

By page 492 – in among the violence, the pared-back prose style, the inevitable championship sex between Chang and Reacher and the incredible fluency and mobility of American life (on one level the book is a blizzard of planes and trains and coaches and taxis and hotels and gold cards) –  I kept being struck by the surprisingly Darwinian nature of its worldview.

The longer it goes on the more you realise that Reacher is a calculating machine – not doing sums, but calculating the odds of everything. What is really going on in Mother’s Rest, why does a shopkeeper glimpsed through a window move his arm (phoning someone?), what are his chances with Chang, how will the assassin in the doorway move next, how accurate will the shooters with their M16 rifles be – and so on. He never stops. He is permanently calculating the odds and possibilities of everything.

Some of this is unconscious. On a number of occasions Child tells us that Reacher is calculating something with the frontal, conscious part of his mind – but meanwhile, the unconscious back part is making its own split-second decisions – what he refers to several times as ‘the lizard brain’.

A forty per cent chance, the back of Reacher’s brain told him, immediately and automatically… (p.332)

Then the guy in the yard opened the slider and stepped inside, and the back of Reacher’s brain showed him the whole chess game right there, laid out, obvious, in flashing neon arrows, in immense and grotesque detail… (p.327)

Meanwhile the guy [Reacher has just shot] was going down vertically, as if he had stepped into an elevator shaft, and Reacher was turning fractionally left, from the waist, shoulders braced, looking for the third-base guy, the furthest away, because some back-of-the-brain calculation was telling him the guy had a better line of fire… (p.337)

It’s like being inside the brain of a cheetah or a leopard, stalking its prey on the savannah, permanently calculating, continually alert to its next move.

At one point Reacher is described as a predator poised above the waterhole. This is exactly what he feels like all the way through. When not being pressed he is gentlemanly and courteous, to old ladies or women like Chang. But when at all pressed, he turns into super-predator, an unrivalled calculator of the odds for fighting and surviving and beating all the opposition in sight.

He’s not just tall and strong and trained to kill in twenty ways. He is a super-predator, a quintessence of the hunter-killer instinct which the biologists tell us is inside all of us.

Which, according to the blurbs, men want to be, and women want to shag – in order to have babies by him, in order to be protected by him.

The heartlessness of American life

Where does Reacher get his money from? There seems to be no end to the train tickets, hire cars, airplane flights, hotel rooms and taxis, taxis everywhere. Credit cards, cell phones, the internet, shiny hire cars, the rich doctor in his gated community, the party by the pool, power breakfasts, brunch in diners, dinners in restaurants – to me there is a sickening surfeit of wealth.

In their films and fictions, Americans seem to take it for granted that they can go anywhere, do anything, eat anything, shoot anyone. By and large Americans don’t realise how rich and privileged they are.

Which makes the contrast with the sickening sadism, violence and general heartlessness of almost the characters so upsetting and disturbing. The novel opens with a murder, there’s a lull while Chang and Reacher slowly uncover the powder trail leading to the gruesome truth – and then a steady increase in tempo of the opponents Reacher has to blow apart, behead, execute and generally eviscerate.

For me there’s an umbilical connection between the two: The casual way they accept the train tickets, plane flights, hire cars, identikit hotel rooms, everything is described in solely functional terms, as expressions of wish and desire. I wanna go there. I’ll getta plane. I’ll hire a car. I’ll getta taxi. I want, I get.

The characters apply the same instrumental mindset to each other. You’re in my way. I gotta kill you. Sorry it ain’t personal, it’s business. I’m being paid to execute you, sorry but a job’s a job.

In the scene where the assassins burst in on Chang and Reacher talking to McCann’s sister and her family, the assassins – once they’ve lined the good guys all up on the sofa – proceed to share the fact that they’re upset: they were paid to kill three people (Chang, Reacher and McCann’s sister) and now they’re confronted with five people. Well, that’s just not fair, is it? If they gotta kill five they want more money. I mean you would too, right? Am I right?

Presumably this scene is meant to be funny. In fact it’s the delay while the assassins try to figure out which of the five people in front of them are the three they’ve been sent to assassinate – Chang, Reacher and McCann’s sister (well, Chang being Chinese is easy enough, but they’re uncertain about the other two) that allows Reacher, with his lizard brain, to contrive a strategy which evens up the odds enough for him to tackle all three assassins and – lucky as usual – to go from sitting on a sofa completely unarmed, to getting the better of three armed assassins. What a guy.

It’s possible to enjoy books like this for the thrill of the narrative, for its tongue-in-cheek hard man prose, for its ridiculous love scenes – but still be appalled by the insight they give into a society which has been hollowed out and lost all its humanity.

Every possible facility of advanced twenty-first century life is laid on for these Americans. And yet, with a kind of tragic inevitability, books like this show how having everything has somehow withered Americans’ humanity and turned them into killing machines. Not every American is a soulless killer, obviously. But our time does seem to be witnessing a plague of mass shootings by Americans with plenty of guns and no soul whatsoever.


Related links

Reviews of other Jack Reacher novels

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