The Throat is an often brilliant thriller that is concerned with big questions about identity, the past and our memory of it, the demons that shape us and the demons we carry with us. It is intricately structured, densely layered, full of eerie and haunting dreams and flashbacks, and is impressively thoughtful in its take on murder and vengeance. As a third book in a trilogy, it also must extend and wrap up storylines started in the preceding novels Koko and Mystery – and for the most part it delivers. But sadly, the novel is a deeply flawed one. There are many minor irritations that I could look past, but I can’t ignore the flaw at its heart: its terrible mismanagement of a certain key character. The person at the heart of the novel seems to be the character that Straub lost all interest in fairly early on – which leaves the novel with a hollow core rather than one that should have been full of mystery and meaning.Synopsis: Tim Underhill from Koko and Tom Pasmore from Mystery come together to solve a series of killings by a resurfaced – or new? – Blue Rose Killer. The Blue Rose killings and their legacy lived in the corners and shadows of prior novels and so I was full of anticipation in seeing them given their due.It is a strange experience to read a book, admire the technical skill of its writing, and spend hours upon hours living in its world (The Throat is nearly 700 pages long)... and end up feeling utterly disappointed. And yet I don’t feel like I wasted my time. Straub is a masterful writer. This novel reconfirmed to me that he is the yin to Stephen King’s yang, the coolly intellectual brain to King’s bloodily beating heart. King has kinetic characters who jump off the page just as his narratives can spin messily out of control. Straub has dispassionate, contemplative ciphers as characters who live in stories that, despite being both lengthy and dreamily ambiguous, are still narratives that are carefully mapped out. I don’t think one writer is better than the other; they are both masters. I enjoy Straub's intelligence, his concentration, even his quasi-Jungian flourishes. Although it was ultimately a disappointment, it was a fascinating experience and I don’t regret the many hours spent within its pages. “Then the nightly miracle took place once again, and I fell down into the throat of my novel.”SPOILERS FOLLOW. ALSO, a lot of bitching. So if you loved this book, you may just want to skip the rest.Okay, the minor irritations. First: there is a very sloppy bit of meta-nonsense in the beginning where Peter Straub is a character in the novel; this is done to resolve the problem of Mystery’s island setting - which is incompatible with the story started with Koko and ending with The Throat. That sloppiness casts a shadow on the characters of Underhill and Pasmore, who now confusingly seem to have the same childhoods. Or not, who knows – Straub doesn’t clear things up. Second: the setting of Millhaven is schizophrenically portrayed: at times a small town where everyone knows everyone and you can easily walk from one end to the other in the space of a couple hours, at other times a highly dangerous city of industry (365 murders a year! For real?) modeled on Chicago or Milwaukee or Detroit. Third: by the middle of the book I easily figured out the identities of all three killers: Old Killer, New Killer, Surprise Killer. It was obvious to me and I am no Tom Pasmore: the Bad Man, the Good Man, and the Catalyst (for the story itself) are all too-clearly telegraphed as the killers on numerous occasions. Fourth: Lt. Bachelor is compelling but is also a second-rate Colonel Kurtz, living in his Vietnam era heart of darkness. Fifth: the use of race riots as a backdrop in a novel that itself doesn’t engage with race or racial tensions felt disrespectful and cheap.I could actually have looked past all of those things and still given this novel a somewhat qualified thumbs up. But the laziness in dealing with central character John Ransom just drove me up the wall. This is a character who is the catalyst for the entire novel. He is given an intriguing introduction that sets him up to be fascinatingly multidimensional; his flashback appearances in Vietnam are likewise interesting. But that is not the character we spend the most time with – instead we get a John Ransom who is a petty, whiny, greedy dipshit who exists to bitch, moan, roll his eyes, and make a series of foolish mistakes. He becomes a tedious drag to the story whenever he appears. John Ransom needed to be an ambiguous creation, evasive and mysterious yet real enough to come alive on the page – practically every other page, because he’s that much of a lynchpin to The Throat’s narrative. He needed to be resonant; instead he is flat, flat, flat. Fie, Straub, fie! The heart of darkness is not a petulant douchebag.
The Throat is the brilliant culmination of what Peter Straub began in Koko and then continued in Mystery and is the final chapter in the Blue Rose trilogy.The Throat is an extension of Koko and Mystery. It takes certain unfinished and other brielfy introduced plot lines and brings them to a close. To fully appreciate The Throat is essential that you have read Koko and Mystery. That said, it is a long journey, neither of the books clocking in at under 500 pages, but it is worth it.The Blue Rose books are essentially about abuse and what that does to person. Koko and The Throat deals with the effects of child abuse and the horrors that are birthed from it. Straub delves into the darkness that lies not in monsters and ghosts but within ourselves to paint a picture that is at times more horrifying than any creature could ever be.The Throat also saw Straub delving deeper in meta-fiction and the use of unreliable narrators (which was superbly used in Mystery as well) with a literary growth that none of his work before the Blue Rose books quite had.The Blue Rose trilogy is a disturbing journey into the darkness and the Throat is the monumental final chapter to what is in my opinion Straub's masterpiece.P.S. Peter Straub and Michael Easton's graphic novel The Green Woman does continue the Blue Rose story, but for those who have no interest in illustrated story telling, Straub did intend The Throat to be the end all those years back. But for the people who want more The Green Woman is highly recommended along with the short story collection Houses Without Doors which contains the Blue Rose and The Juniper Tree, both stories connected to the Blue Rose canon.
What do You think about The Throat (1994)?
3ème volume de la trilogie Blue Rose.J’adore Peter Straub, plus “littéraire” que Stephen King, plus descriptif aussi.King nous fait entrer directement dans ses histoires, de manière abrupte, pour mieux être pris par son suspens, Straub y va mollo, tout en douceur, il prend son temps, et on est d’autant plus imprégné par les personnages et les situations que les descriptions sont très recherchées.Les descriptions (chez les bons auteurs) ne m’ont jamais gênée (parait qu’il y a des gens qui aiment pas lol)Et là, ça ajoute au suspens, ça met dans le bain peu à peu, profondément, et paradoxalement on est toujours surpris et jamais préparé à ces coups-de-théâtre.Du grand art !(pour moi, 2 maîtres du genre, avec des styles complètement différents ils atteignent le même but.)
—My Inner Shelf
The third book in the Blue Rose trilogy...Holy crap this book affected me. The whole trilogy did actually. It's dark, really dark, so be warned. But it's damned effective.First off, you really should read Koko and Mystery first. Technically the book stands alone and explains what you need to know at the beginning, but I feel this book is far more effective if you've read the first two books. Second warning, this book does a bit of metafiction at the beginning that will make you question the first two novels, and has tones of having an unreliable narrator. I love this sort of thing, but if it's not the sort of thing you enjoy, beware. Still, I don't think it interfers with the narrative as a whole.On the surface the book is about a writer who goes back to the town he grew up in to help a friend find out who killed his wife. What it's really about may be up for debate. I have my theory but don't want to spoil it for anyone who hasn't read the book.One last think I really appreciated. The main character of the book is gay, but it's never really brought up except for one line. It's good to see a character's sexuality not be the focus of his personality.
—Dxmaniac69
Once again Straub sucks the reader in immediately. I could not put the book down for the first 100 or more pages. I told my wife many times, I was on to a great book. But like other Straub novels, the pace slows a little and by the end, it just seems to fade. I have found that I can forgive Straub for his endings because his vocabulary and figurative language are superb for the suspense genre. He is a great story teller, with great ideas, they just don't always end as great as they start.But for information on Milhaven and the blue rose history, this book is a must. After reading this book, when you are into another of his and you meet a character, or enter a location, you know some shit is going to go down! I really enjoy that aspect of Straub.
—Cloudhidden
