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Portland detective Archie Sheridan, the former head of the Beauty Killer Task Force, hunted Gretchen Lowell for years before she kidnapped him, tortured him, and then let him go. Now that she is behind bars, Archie is finally piecing his life back together. He's returned home to his ex-wife and their two children. But no matter how hard Archie tries, he just can't stop thinking about Gretchen…
When the body of a young woman is discovered in Forest Park, Archie is reminded of the first corpse he discovered there a decade ago: it turned out to be the Beauty Killer's first victim, and Archie's first case. Then, the unthinkable happens: Gretchen escapes from prison, and once the news breaks, all of Portland goes on high alert…but secretly, Archie is relieved. He knows he's the only one who can capture Gretchen―and now he has a plan to get out from under her thumb once and for all. Even if it means becoming her last victim…
- Sales Rank: #855741 in Books
- Published on: 2009-09-01
- Released on: 2009-09-01
- Original language: English
- Number of items: 1
- Dimensions: 6.79" h x 1.00" w x 4.22" l,
- Binding: Mass Market Paperback
- 352 pages
From Publishers Weekly
Cain's latest thriller returns to familiar territory as she revisits her Heartsick characters, Portland, Ore., detective Archie Sheridan and menacing serial killer Gretchen Lowell. This time Lowell escapes prison and is up to her old murderous tricks, and the only one who can catch her is, of course, Sheridan. As stereotypical as the story sounds, narrator Carolyn McCormick gives the tale heft with her first-rate performance and holds listeners rapt attention throughout. She delves into each and every character, offering realistic interpretations and strong readings that display her commanding stage presence. As strong as McCormick's female characters are, it is her role as Sheridan that sets her apart from many of today's female narrators. A St. Martin's Press hardcover (Reviews, July 17).(Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
*Starred Review* It was apparent at the end of Cain’s masterful Heartsick (2007) that we hadn’t heard the last from either Gretchen Lowell, the most mesmerizing serial killer since a fellow named Hannibal, or Archie Sheridan, the Portland cop whom Gretchen tortured and then freed, locking the two of them into a creepy symbiotic relationship somewhere between Romeo and Juliet and Holmes and Moriarity. Cain picks up the story with Sheridan trying to overcome his addictions to pain pills and Gretchen, respectively, and not doing very well with either. A new case—bodies found in a Portland park, near where Gretchen’s first victim was discovered—provides distraction as well as bringing punky, turquoise-haired reporter Susan Ward back into his life, but neither is enough to get Gretchen out of his mind. Then she escapes from prison, determined to draw Archie away from his family, away from his job, and into her arms for a deadly pas de deux. There is a little less gut-wrenching tension this time than there was in Heartsick—and less gut-wrenching gore, too—but there is considerably more psychological complexity, as the knot binding Archie to Gretchen tightens further. The psychosexual interplay between the two is endlessly fascinating and, amazingly, thoroughly believable. In addition, Cain gives more space to her supporting cast—especially reporter Ward, who seems ready for a starring role herself. It’s hard to say how long Cain can play out this lovers’ duel between Archie and Gretchen before they tumble into their own Reichenbach Falls, but it’s a sure thing we won’t be leaving our seats before the final curtain. --Bill Ott
Review
“Superb...With its brisk pacing, carefully metered violence and tortured hero, Cain's sophomore effort will leave readers desperate for more.” ―Publishers Weekly (starred review)
“Cain's debut Heartsick had even the most jaded thriller fans sleeping with the lights on. She tells an equally frightening story in Sweetheart.” ―USA Today
“Profoundly creepy and disturbing.” ―The Boston Globe
“A sharp psychological inquiry into evil and obsession, as well as a deeply unhealthy love story.” ―The Seattle Times
Most helpful customer reviews
18 of 21 people found the following review helpful.
A Heart Day's Night
By enubrius
"Sweetheart" is the sequel to last year's "Heartsick" both featuring hapless (and spleenless... don't ask)detective Archie Sheridan and America's sexiest serial killer Gretchen Lowell. Taken together they form a rather complex tale of masochism, sadism, disgusting behavior, horrific, even nauseating, perversion, and grue and gore. Needless to say, I loved every sick moment of it! To note, as the publisher does, that Gretchen is a sort of female Hannibal Lecter, is to oversimplify to the point of ridiculousness. She is her own stunning creation and more than a match for Thomas Harris' cannibal. Add to that the fact that "Sweetheart" is in and of itself, a pretty darn good whodunnit, and you've got a winner. One thing though: while some series/sequels are stand-alone enough to be read on their own, "Sweetheart" loses FAR too much if you don't read "Heartsick" first. Not to worry, though, you'll love it!
27 of 34 people found the following review helpful.
High hopes and rave reviews...but...
By Angry Rooster
Following hot on the heels of the bestselling HEARTSICK, Chelsea Cain continues the story of Gretchen Lowell and Archie Sheridan in SWEETHEART. The second installment is really a continuation of the first as opposed to a full-blown sequel. The narrative picks up about two months after the conclusion of the first book. Sheridan is now back at home with his wife. He is no longer visiting Lowell in prison, though he obsesses about her and half-heartedly battles his downward spiral of prescription drug cocktails and dark fantasies.
Another body and unresolved cases brings many of the characters from HEARTSICK back. The rapid-fire pace of narrative that attracted me to the first novel isn't apparent in the follow-up. Perhaps its because Ms Cain has had time walk around in her characters' skins a little more or perhaps the reduction in pressure of "having to get it right", now that she has a bestseller, has allowed her to relax. Marginal players from HEARTSICK are fleshed out including Sheridan's long-suffering and guilt-ridden partner and his wife.
Lowell is too devious in SWEETHEART. She moves from the very clever to the unfathomably brilliant, able to predict the actions of police agencies and individuals alike as she contrives to end up in the prison hospital (where she will only tell Sheridan who attacked her), followed up a transfer across state, where she is conveniently under-guarded and manages to escape.
What follows is, unfortunately, a long litany of cliches and "just-in-time" arrivals. Sheridan and family, as well as Sue Ward, the reporter from the first story are all placed into protective custody but Lowell manages to track Sheridan down and he is more than willing to give himself to her, quite literally. There is a breathless stacking up of twists and turns and surprises that are heaped upon each other until we're exhausted.
As with HEARTSICK, there are multiple threads at work in SWEETHEART. Ward is still working on the Molly Palmer case. Gone is the gritty "in your face" attitude, though she still has colored hair (turquoise this time). Ward now becomes "super-sleuth", part reporter, part detective and able to access cases and people at a level that is beyond belief. There is a hint of the attraction to Sheridan which I'm sure will be acted on if there are future volumes in this series.
There is the inevitable hookup between Lowell and Sheridan. It's not a torture-fest, now it's a love story. The transition from torturer/victim to more-or-less equals is never properly explained. In HEARTSICK there was some sympathy for Sheridan. By the end of SWEETHEART its gone. No one, no matter how high or screwed up, could be as obsessively dull and undeservedly loved. I actually wanted him to die and he does...a couple of times. He seems impossible to kill.
There are a number of "phew that was lucky" moments; actually too many. A car crash with no one hurt. A half-marathon trek through a smoke-filled forest fire that seems to take just minutes and only results in some inconvenient dirt. An attempt on Ward's life that is thwarted by her mother...just in time...and so it goes.
There's swearing and there's sex. There's blood and gore but it's not shocking. It worked well before but it's old now. The characters are a little more fleshed out but there's little new and little more to care about. At least Ms Cain has tied up most of the loose ends. She's left the possibility of more "Lowell" sequels or, heaven forbid, prequels.
I was really looking forward to reading SWEETHEART. I wanted to know more and I came away feeling a little let-down. Perhaps it's the nature of sequels. I finished this one out of sense of duty.
If SWEETHEART becomes a bestseller it will have to be one that rides the coattails of HEARTSICK. It doesn't have (or shouldn't have) the strength to do it on its own. I've read some of the quotes from publications such as the New York Times and Entertainment Weekly and I cannot make the connection that they have and do not see it as "outdoing" herself. It's not a worthy follow-up.
I hope Ms Cain leaves Lowell and company where it is now and moves on. We know enough about this cast and anything else is overkill. Ms Cain is a talented writer. Let's see what else she can come up with.
72 of 95 people found the following review helpful.
Meh.
By Seven Kitties
Second novels in a series are notoriously hard to write: the honeymoon period of just getting to know the characters is over, and look for more depth and roundness, while still demanding more of the 'good stuff' from the first novel.
If you loved _Heartsick_, you'll probably like this one. Like, not love, though. She's toned down the gruesome and replaced it with monumentally needless graphic sex and a metric ton of f-bombs. Even the exposition uses the naughty word. It makes her seem to be trying just a bit too hard to be gritty, rather like her character Susan who thinks she's edgy but is constantly out-edgied by her mother. And once again, you'll be treated to unnecessary descriptions of what EVERYONE is wearing. Seriously--why do I need to know that a morgue tech who doesn't even get a name or a line of dialogue is wearing corduroys? Or my personal favorite: "'There's a press conference at six,' Ian said. He was wearing jeans and a t-shirt he'd bought at the MOMA gift store. 'You want it?'" 'Scuse me, but I'm not sure why I need to know Ian's sartorial choices at this particular juncture? Relevant to plot? No. Relevant to mood? No. Relevant to character building? Nope, we already know Ian pretty well. His clothes haven't changed from his carefully overdescribed wardrobe in _Heartsick_.
Because, oh yes, everyone's back. Remember that Molly Palmer story Susan was trying to promote in novel one? It's back, and apparently a key to a really rather trite and played out conspiracy-of-dunces scandal. And once again, the fresh dead bodies seem to take second stage to the older dead bodies, victims of Gretchen. Susan's less annoying this time, but Archie goes from a sympathetic character to a whingeing sad-sack. Take that as a double-entendre if you wish.
Gretchen is unrealistically prescient--maybe she's secretly psychic. I won't blow the plot, but please do google naloxone and vicodin before you read the climax, and you'll figure out that All is Not Right in Sciencetown. Moreover, what an *odd* thing to pack in a handbag. I'll have to remember that for my next romantic getaway.
What no one seems to remark about this series is how bloody sexist it is. Gretchen, great spooky serial killeress, dangerous yet apparently stunning at, ahem, *pleasing* men. She makes men murder for her. How? Why? By the power of her hot bod. She reminds me of what is called, in fan-fiction (shudder) "Mary Sue." Gretchen is Ilsa, She Wolf of the SS with a bit more (but not much more) medical training. Either that or she's straight out of Freudian Thanatos imagery. All she needs is some teeth down 'thar'.
Some of the physics need to be reworked as well. I suspect that it's unlikely for a woman of Gretchen's delicate build to be able, one-armedly, to haul a man's body backwards across carpet. Does the author even try these things at home? Even these basic ones? (I don't hold the botched splenectomy from book one against her, nor do I expect her to drink Drano in pursuit of literary veritas, but surely she could get a male friend to lie on the carpet and be dead weight?)
The gross is gone, the sadism is gone, the spooky only shows up at the school scene (which is quite good), and I'm sad to say but a good bit of the mysterious tarnish has worn off Gretchen. Like any woman, she just wants to be (sniff sniff) loved. And laid. Archie is trapped, but only because she can't wash that man right outa her blond flowing tresses.
Cain promises us 'more Gretchen to come.' I'm not on the edge of my seat. This book did not grip me, and I like the thriller genre. I came to this book with visions of Jeff Lindsay's Dexter series in mind, or at least Tess Gerritsen. This was okay, but honestly, there's better stuff out there, whatever you want--creepier killers, scary medical stuff, murder conspiracies. My recommendation? Wait for paperback.
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