This was one of the last books I got from the library before beginning my huge (and as of yet, incomplete) task of trying to read the Ron Chernow biography of Alexander Hamilton. And for every disappointment the Yarmouth Library gives me, I get at least one-fifth surprise: they actually had the next book in a series I wanted to read.
(Does the Yarmouth library even participate in inter-library loan? Because seriously, their lack of shit is getting quite ridiculous.)
(Also getting quite ridiculous? The amount of time that spans between my reviews. But we’re not going to talk about that.)
The Apprentice is the second book in the Jane Rizzoli series by Maine resident, Tess Gerritsen. Of note, The Apprentice marks the first appearance of Dr. Maura Isles, so if y’all want to start reading this series because you love the TNT classic Rizzoli and Isles … I still suggest you read The Surgeon first, because The Apprentice takes a lot of its plot from the first book.
To be honest, I didn’t realize it had been so long since I’d read The Surgeon. As I got into The Apprentice, I found I needed to go back to my original review of the first book to hopefully fill in some gaps.
And Reader? Did I ever. But I’ll get into that in a bit.
In The Surgeon, Rizzoli goes after a serial killer that bonds their female victim to their bed, performs a hysterectomy on them while they’re still conscious, and then slits their throat. At the end of that novel, Rizzoli is able to save Dr. Cordell from The Surgeon and have him arrested, but not before Rizzoli is terrorized by him a bit. The Apprentice begins with The Surgeon, William Hoyt, in jail, but there’s another individual running around Boston, and he’s graduated to couples and necrophilia.
The FBI is called in to the investigation, which gets Jane’s back up. She feels that she’s more than capable of handling the investigation; as the case wears on, she finds that her fears aren’t unfounded, as the FBI agent, Gabriel Dean, consistently shows up to crime scenes either before her or just behind her; in addition, he withholds information from her to suit his purposes.
But it’s not just Dean affecting her and throwing her off her groove: the once-cocky, overconfident detective was shaken to her core after The Surgeon. She returns to her apartment after a long day’s work at the crime scene, and before she locks herself in behind three different, extra-strength deadbolts and locks, she canvasses her rooms, gun drawn.
She dropped her head in her hands, feeling as though it would explode with so much information. She had wanted to be lead detective, had even demanded it, and now the weight of this investigation was crushing her. She was too tired to think and too wound up to sleep. She wondered if this was what a breakdown felt like and ruthlessly suppressed the thought. Jane Rizzoli would never allow herself to be so spineless as to suffer a nervous breakdown. In the course of her career she had chased a perp across a rooftop, had kicked down doors, had confronted her own death in a dark cellar.
She had killed a man.
But until this moment, she had never felt so close to crumbling. [p. 94]
See, Carol K. Carr? THAT’S how you create a strong female character! Instead of scoffing away the weakness she feels, Rizzoli gets mad at herself for showing weakness. That’s different! This adds layers!
So in the end, it turns out that the new killer is an apprentice of The Surgeon (see? see?), and Rizzoli and Isles gets their man, and The Surgeon escapes and kidnaps Rizzoli in revenge but she turns him into a quadroplegic so everyone wins! Except the Surgeon, but if you count “being alive” as “winning,” even he gets a participation trophy.
Some funny / weird / important things I want to just quickly throw up here before I get into my rant:
Here’s a scene with Dr. Isles’ mentor, whose name I did not write down:
He picked up a disarticulated rib, arched it toward the breastbone, and studied the angle made by the two bones.
“Pectus excavatum,” he said. [p. 124]
Sadly, no one mentioned what his Patronus was.
“Hey, Rizzoli,” [some detective] said.
“Hey, Mick. Thanks for coming out.” [p. 26]
THAT IS SO BOSTON I CAN BARELY EVEN. I MEAN, that phrase was immortalized in one of the best movies of my generation, The Boondock Saints:
Finally, because reasons (this is from the diary of Dr. Hoyt, the Surgeon):
I tell them about my visit to San Gimignano, a town perched in the rolling hills of Tuscany. Strolling among the souvenir shops and the outdoor cafes, I came across a museum devoted entirely to the subject of torture. [p. 295-296]
Okay, so – when I went back and re-read my review of The Surgeon, I was appalled. Not by my lack of review – even I’ve gotten used to this. No, it was something I said:
What rubbed me the wrong way in a couple of places was what I felt to be over-the-top feminism. Now, before I go too far, let me explain my personal stance on feminism: yes, it sucks that women make sixty cents for every dollar that men earn in the same position (blanket statement). Yes, it sucks that women are always being portrayed in the media as sluts, whores, and sexual objects. Yes, it sucks that women are rarely recognized for their intelligence and reasoning skills. Do I find myself fighting the status quo and the media machine due to those portrayals? … eh. Not really. Because I am aware of those portrayals, and they are portrayals I’ve seen all my life, and because I know that the media machine is now a near-unstoppable male empire of testosterone and jackassery, I’m going to spend my time fighting for things where I know I can make a bigger difference. Like, attending the Rally to Restore Sanity, or writing that comedy pilot that finally portrays people like ordinary people and not stereotypes. (Me, October 2011)
I was appalled at myself. I could not believe that I was once that naive and … and so fucking blasé about feminism and portrayal of women in media and … UGH!! Alaina!! How could you?!
Because look, I don’t know when (or if) my stance on feminism changed, but goddammit, I am a proud feminist. I demand equal pay for equal work! I demand that media begin to recognize that in our beloved media — well, fuck, no one’s said it better than Stella Gibson from The Fall:
The media loves to divide women into virgins or vamps, angels or whores. Let’s not encourage them. [The Fall, series 1, episode 3]
So I read my review of The Surgeon, and I am so sorry, Five-Years-Ago-Me. I’m sorry that your innocence was taken away, I guess. In the time since I’ve written that review, I’ve expanded my media presence, and a direct result of that has been seeing how many different ways women are portrayed (or not portrayed) in media.
From the past two weeks’ worth of sportscasters consistently touting the men who helped support the women winning the gold over the women themselves (see: the Chicago Tribune, who, while admittedly they were most likely attempting to call out the wife of a Chicago Bear, could have at least included her name in the headline), to all the shit that was poured out over Paul Feig DARING to reboot Ghostbusters with – gasp! – women in the roles?!, to – god, to JUST ABOUT EVERYTHING. How about Marco Rubio not thinking women should be allowed to choose to have an abortion when her fetus tests positive for Zika, a virus that causes severe birth defects and, in some cases, has been fatal for those infants? WHEN DID MARCO RUBIO GET A UTERUS AND THEREFORE ENTITLE HIMSELF TO HAVE AN OPINION AS TO HOW A WOMAN SHOULD MANAGE HER OWN BODY
(Please note, I’m not saying all women who are pregnant that, sadly, get infected with Zika should abort; I’m saying it’s their choice to do what they want with their body, not Marco Rubio’s – OR ANY MAN’S, FOR THAT MATTER.)
(Hi, somehow my tiny little book blog became a political hotbed. I AM SORRY. I’LL GET BACK TO HANNIBAL JOKES SHORTLY. DON’T @ ME.)
Feminism is the advocacy of women’s rights on the grounds of political, social, and economic equality to men. I don’t want women to have more rights than men; I just want us to be allowed to have the same rights as men. The right to vote for who I want without having to explain myself, or to justify my choice. The right to have autonomy over my own body, the same as a man has autonomy over his body. The right to be called by my name and not my title, unless my title is how I choose to be acknowledged. The right to have the media portray my story, and not portray me as the Sidekick, or the Side Piece, or the Victim, or the Vamp. I am complicated. I am more than a trope. I want to see media portrayals that show all facets of women, and don’t just boil her down to a Strong Female Character.
I want to have media recognize that yes, she is the first Simone Biles, and not the next Michael Phelps or Usain Bolt. Fuck off, media.
Anyway. I apologize most of all to you, Feminist Character From The Surgeon Whose Name I Wrote Down As “Women’s Crisis Center Lady [Sarah].” You keep fighting the good fight, from inside your paper home, and I’ll keep fighting mine, out here in the Internet trenches.
As for The Apprentice? Eh — C+.
Grade for The Apprentice: 3 stars