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Most of these novels began life as disposable American paperbacks and many were never published in a more permanent format — i.e. hardcover editions. In the UK, though, a publisher called Robert Hale reissued a lot of MacDonald's work between hard covers.
I pick up these Hale editions whenever I can. I like their durability, even though sometimes the cover art leaves something to be desired — as in the case of You Live Once, which I just got hold of this week. (It features this silly and quite irrelevant photo of a glamour model with a fishing rod and a gun.)
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And 24 hours later I've finished it and I'm writing this.
It's the story of Clint Sewell, who has been dating a troubled rich girl called Mary Olan. As the book begins he wakes up with a very strange, intense headache and discovers that Mary has spent the night at his place — dead in his closet.
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But MacDonald is a very different sort of writer. (And, it has to be said, a superior one.) So, instead, Clint correctly infers that someone wanted Mary dead and is trying to frame him for the crime.
Therefore he decides to get rid of the body...
What could possibly go wrong?
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This plot neatly combines a classic murder mystery — who really killed Mary? — with a powerful suspense element: will Clint end up going to the electric chair as the fall guy, after all?
And indeed, at times, the suspense is almost unbearable.
But what really distinguishes MacDonald, as I've said before, is the quality of his writing. He can even make the description of a parked car memorable — "My black Merc sat dozing in the sun."
Or here he is talking about "the cruel slant of the bishops" on a chess board. (He also reflects on the intellectual purity of the game "... a special, clean geometric world... Perhaps it was a good world to hide in.")
And here he describes a man receiving bad news: "staring at his large clenched fist as though he held something small there, captive."
MacDonald shows that, even at this relatively early stage in his career, he was capable of great psychological acuteness. After dumping Mary's body in the woods, Clint reflects, "If no one found her, I knew I would live with nightmares for a long, long time."
(As it turns out, he doesn't have to worry about that.)
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But the absorbing murder mystery is skilfully constructed. You're highly unlikely to guess who the culprit is, but when all is revealed, the answer is entirely satisfying.
Which is the highest accolade for plotting in this genre.
Well done again, Mr MacDonald.
(I have also previously written posts on these other John D. MacDonald novels: The Brass Cupcake, The Last One Left, The Crossroads, All These Condemned, Border Town Girl — actually two novellas, but let's not split hairs — The Drowner, Murder in the Wind and One Monday We Killed Them All.)
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