For example, he reads the chapters focused on Morris with a sort of grim determination laced with anger. Though the novel unfolds in third-person narration, King slants each chapter toward its featured player, and Patton adds an appropriate attitude. Both stories converge when Morris is released from prison and arrives in town expecting to find his cache. The other sections, set in the Midwest in 2010, focus on Pete Stauber, who finds the cash and notes where Morris hid them before his lengthy incarceration for another crime. The earlier sections follow Morris Bellamy, a young sociopath so obsessed by the work of long-silent reclusive novelist John Rothstein that he kills him and steals the author's money, along with notebooks containing at least one unpublished novel. Here, the actor's deceptively mellow, vaguely Southern delivery helps spin a thrilling yarn that shuffles two tales separated by 35 years. Mercedes, should reemploy the talents of that thriller's reader, Patton. It seems only logical that King's new crime novel, which is linked to the Edgar Award%E2%80%93winning success of 2014's Mr.
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