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Meet Radar Hoverlander, a witty, gifted con artist with the mind of David Mamet, the voice of Tom Robbins, and the morals of a sailor on shore leave.
What do the Merlin Game, the Penny Skim, the Doolally Snadoodle, and the Afterparty Snuke have in common? They’re all the work of world-class con artist and master bafflegabber Radar Hoverlander. Radar’s been “on the snuke” since childhood, but he’s still looking for his California Roll, the one big scam that’ll set him up in sushi for life.
Trouble arrives in the stunning, sassy package of Allie Quinn—either the last true innocent or a con artist so slick she makes Radar look like a Quaker. Radar’s hapless sidekick, Vic Mirplo, a lovable loser who couldn’t con a kid out of a candy cane, thinks Radar’s being played. But if love is blind, it’s also deaf, dumb and stupid, and before Radar knows it, he’s sucked into a vortex of double-, triple-, quadruple-crosses that’ll either net him his precious California Roll or put him in a hole in the ground.
As timeless as a perpetual-motion machine, as timely as a Madoff arraignment, The California Roll brings you deep inside the world of con artistry, where every fact is fiction and the second liar never has a chance.
From the Hardcover edition.
Vorhaus’s amusing thriller about the misadventures of a con man in Los Angeles hums along for a while through gags and gaffes and witty dialogue, but never gels as a whole. Radar Hoverlander, a longtime grifter whose tool box of cons is deep and wide, is looking for the California Roll, the holy grail of cons that will set him for life. He thinks he’s found it in the form of the Merlin Game, a complicated pyramid scheme. Then Radar runs into Allie Quinn, a sexy, slick fellow grifter who lures him into a con of her own. Vorhaus, author of The Comic Toolbox: How to Be Funny Even if You’re Not and the Killer Poker series (Killer Poker Online, etc.), has put more effort into generating laughs than developing the plot. Like a lot of comic novels, this one suffers from extended expository passages in which the narrator falls in love with his own voice at the expense of the action. (Mar.)
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