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A Tan and Sandy Silence: A Travis McGee Novel, by John D. MacDonald
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From a beloved master of crime fiction, A Tan and Sandy Silence is one of many classic novels featuring Travis McGee, the hard-boiled detective who lives on a houseboat.
Travis McGee is unnerved when he receives an unexpected guest—real estate developer Harry Broll, who is convinced that McGee is hiding his missing wife. Angry and jealous, Harry gets off a shot before McGee can wrestle his gun away. The thing is, McGee hasn’t seen or heard from Mary Broll in three years, and it isn’t like her to keep troubles to herself—if she’s alive to tell them.
“As a young writer, all I ever wanted was to touch readers as powerfully as John D. MacDonald touched me.”—Dean Koontz
McGee is a heartbeat away from crisis. He’s getting older, Lady Jillian Brent-Archer is trying to make him settle down, and he’s just been shot without fair warning. Nervous that he’s losing his touch, McGee decides to get Harry off his case and prove he’s still in top form all in one fell swoop.
McGee’s search for Mary takes him to Grenada, where he’s soon tangling with con artists and terrifying French killers, not to mention a slew of mixed motives. No longer wallowing in self-pity, McGee has more pressing concerns—like saving his own skin.
Features a new Introduction by Lee Child
- Sales Rank: #157158 in Books
- Brand: Brand: Random House Trade Paperbacks
- Published on: 2013-07-16
- Released on: 2013-07-16
- Original language: English
- Number of items: 1
- Dimensions: 7.90" h x .68" w x 5.10" l, .55 pounds
- Binding: Paperback
- 336 pages
- Used Book in Good Condition
From Booklist
*Starred Review* MacDonald’s Travis McGee (“a refugee from a plastic-structured culture, uninsured, unadjusted, and unconvinced”) remains, long after the 21-volume series ended in 1985, one of the crime genre’s most appealing nonconformists. He lives the life every individualist craves: independent, adventurous, and unpredictable. Sequestered on his houseboat sanctuary, The Busted Flush (won in a poker game), moored in slip F-18, Bahia Mar Marina, Fort Lauderdale, he ventures out into the wider world whenever someone he cares about loses something—a loved one, money, or even self-respect—getting back whatever has been lost and keeping 50 percent of the profits. This novel, the thirteenth in the series and quite possibly the best, represents an important turning point for McGee. On the surface, it looks like a typical McGee adventure: our hero discovers that one of his “wounded ducklings” (emotionally scarred women he has nursed back to psychic and sexual health) has disappeared, leaving a distraught husband. McGee smells foul play and is soon locked in mortal combat with a Ted Bundy–like psycho who enjoys torturing his victims. Although McGee eventually dispatches his antagonist, it is not before much damage has been done, both to the people he was trying to protect and to his own sense of self. For the first time in the series, McGee is truly vulnerable: “In all my approximately seventy-six inches of torn and mended flesh and hide, in all my approximately fifteen-stone weight of meat, bone, and dismay, I sat on that damned bed and felt degraded.” McGee’s “wounding” forces MacDonald to deal with an inevitable problem for series authors: how to let the heroes grow and change without sacrificing their mythic stature. By immersing Travis a little further into the everyday world of slowed reflexes and failing nerves, MacDonald heightens the tension between myth and reality, and we receive a stronger jolt of mythic energy when that tension is released. “I know what counts,” Travis tells us, “is the feeling I get when I make my own luck.” After A Tan and Sandy Silence, that feeling is harder to come by, but it’s all the more satisfying when it finally arrives. --Bill Ott
Review
Praise for John D. MacDonald and the Travis McGee novels
“The great entertainer of our age, and a mesmerizing storyteller.”—Stephen King
“My favorite novelist of all time . . . All I ever wanted was to touch readers as powerfully as John D. MacDonald touched me. No price could be placed on the enormous pleasure that his books have given me. He captured the mood and the spirit of his times more accurately, more hauntingly, than any ‘literature’ writer—yet managed always to tell a thunderingly good, intensely suspenseful tale.”—Dean Koontz
“To diggers a thousand years from now, the works of John D. MacDonald would be a treasure on the order of the tomb of Tutankhamen.”—Kurt Vonnegut
“A master storyteller, a masterful suspense writer . . . John D. MacDonald is a shining example for all of us in the field. Talk about the best.”—Mary Higgins Clark
“A dominant influence on writers crafting the continuing series character . . . I envy the generation of readers just discovering Travis McGee, and count myself among the many readers savoring his adventures again.”—Sue Grafton
“One of the great sagas in American fiction.”—Robert B. Parker
“Most readers loved MacDonald’s work because he told a rip-roaring yarn. I loved it because he was the first modern writer to nail Florida dead-center, to capture all its languid sleaze, racy sense of promise, and breath-grabbing beauty.”—Carl Hiaasen
“The consummate pro, a master storyteller and witty observer . . . John D. MacDonald created a staggering quantity of wonderful books, each rich with characterization, suspense, and an almost intoxicating sense of place. The Travis McGee novels are among the finest works of fiction ever penned by an American author and they retain a remarkable sense of freshness.”—Jonathan Kellerman
“What a joy that these timeless and treasured novels are available again.”—Ed McBain
“Travis McGee is the last of the great knights-errant: honorable, sensual, skillful, and tough. I can’t think of anyone who has replaced him. I can’t think of anyone who would dare.”—Donald Westlake
“There’s only one thing as good as reading a John D. MacDonald novel: reading it again. A writer way ahead of his time, his Travis McGee books are as entertaining, insightful, and suspenseful today as the moment I first read them. He is the all-time master of the American mystery novel.”—John Saul
About the Author
John D. MacDonald was an American novelist and short-story writer. His works include the Travis McGee series and the novel The Executioners, which was adapted into the film Cape Fear. In 1962 MacDonald was named a Grand Master of the Mystery Writers of America; in 1980, he won a National Book Award. In print he delighted in smashing the bad guys, deflating the pompous, and exposing the venal. In life, he was a truly empathetic man; his friends, family, and colleagues found him to be loyal, generous, and practical. In business, he was fastidiously ethical. About being a writer, he once expressed with gleeful astonishment, “They pay me to do this! They don’t realize, I would pay them.” He spent the later part of his life in Florida with his wife and son. He died in 1986.
Most helpful customer reviews
11 of 13 people found the following review helpful.
Not quite up to snuff
By Amazon Customer
This was my fourth or fifth Travis McGee novel, and I have to say I was a little disappointed. Don't get me wrong, MacDonald is still MacDonald and the book is well written and engaging, but I thought overall "Tan and Sandy Silence" was lacking somehow. Maybe it's that this is obviously one of his later books and he was getting bored or tired, or maybe it's just something I didn't notice in his other books, but he seemed to take the easy way out a few times. For instance, when McGee interviews people the conversations don't seem realistic--the people volunteer too much information: If you just met someone and they asked what you knew about your next-door neighbor would you say, "Well, not a lot other than she just opened an account at the Blah-Blah Bank and her loan officer is John Blah"? (How convenient!) Also, there was an element of predictability that may have come from reading his other books; I knew certain characters were going to die, and even is one or two instances HOW they would die. Some of McGee's encounters seemed too coincidental and lucky, with old friends showing up at just the right time and place to save his skin. Finally, the ending appeared rushed and illogical and didn't tie up all the loose ends.
But even with all that, there was enough fun and suspense and McGee-ism to make this a worthwhile read. You could certainly do far worse.
8 of 10 people found the following review helpful.
Fun in the sun
By Bookman
Over the years I've read hundreds of novels in a variety of genres, but for pure fun and enjoyment it's hard to beat Travis McGee. Some of the books are better than others, but they're nearly all worth a couple of lazy summer days. They are the ultimate summer time, quick-read beach books. At their core, they're good mysteries. But Travis McGee is such a great character, with such a wry outlook on life, that often the mystery seems secondary to McGee's views on whatever topic author John D. McDonald has selected for his soap box. Most of them take place in Florida, (a Florida no one will ever see again given they were written mostly in the 60s and 70s) and all have a color in the title. Don't take them too seriously, just have fun in the sun.
2 of 2 people found the following review helpful.
Character Study Disguised As Mystery
By Bill Slocum
It's 1971 and a little more than halfway through the Travis McGee series when we meet our hero here, brooding about the passage of time and a growing sense of his own mortality. Time for him to stop risking his neck in the "salvage consulting" business, perhaps?
"I think you've been doing it for too long, darling," he is warned early on by a wealthy woman who wants him to settle down as her catamaran companion. "One day some dim little chap will come upon you suddenly and take out a gun and shoot you quite dead."
One of the worst things you can do with a Travis McGee novel is read that little bit of text on the back cover before you read anything else. You know, those two or three sentences that give you some idea what this mystery is about. Especially with "A Tan And Sandy Silence." Here, a big part of the pleasure is discovering as Travis does just what is up, as the story takes its time setting itself up and unfolds rather magnificently.
The first chapter gets us off with a bang, or rather six of them, all fired at Travis by an enraged husband who demands to know where his wife is. Travis for once is innocent, but the episode leaves him shaken. Could he nearly have gotten his ticket punched by an out-of-shape palooka like Harry Broll? And where is his wife, anyway? Since she is one of Travis's old flames, he wonders if he should find out. And keeps wondering for a few chapters. Meanwhile, we wonder what this novel we are a fifth of the way through is going to be about. Unless we read the back-cover blurb, anyway.
For me, the pleasure of MacDonald's story construction was more than a little compromised by a weakish mystery, full of improbable standoffs and left-field coincidences. The positive is that McGee is interesting company throughout, nowhere more so than when he must face some unhappy truths about his situation in the company of one of those nasty female characters MacDonald drew so uncomfortably well. When we meet her, well into the story on the Caribbean island nation of Grenada, it's easy to fall into the trap of wanting Travis to give her the business. He sort of does, but pauses long enough to discover the potential of a better person under her hard shell. Then everything changes all at once, and the story gets harsher and colder.
The action of the story gets more implausible as it goes on, but the core of it remains interesting, especially to McGee fans: Our hero is beginning to doubt his own abilities. Worse, after years of bedding women, he is beginning to lose his taste for employing his masculinity so casually. MacDonald puts us on notice here that McGee is a man of flesh and blood, able to feel not only pain but fear. It sharpens the narrative substantially.
Which is a good thing when the story gets a bit slack here and there. The weakest part is a ship full of happy prostitutes who remind us what an unabashed male fantasist MacDonald could be, even when it hurt his story. The best part is a deepening of McGee's tie with his financially minded companion, the wry Meyer, who makes for a worthy sounding board for the book's longer philosophical stretches. There is a lot of philosophizing here.
"The real guilt is being a human being," MacDonald has McGee observe. "That is the horrible reality which bugs us all. Wolves, as a class, are cleaner, more industrious, far less savage, and kinder to each other and their young."
Better McGee novels tie down such thoughts to firmer narratives, but "A Tan And Sandy Silence" is a gripping read even when it's not holding together that well as a story. As a visit with an old friend who is facing the prospect of getting older with less than his usual suavity, "Tan" has a good deal going for it. If you are following the McGee series, and don't mind a few loose ends, you may feel your interest for Travis deepening after reading this book.
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