It’s an impressive feat even if it takes away from the flow of the book and its implied narrative conceit.Īllie herself is an interesting character, whose flaws make her likeable even if she isn’t the best narrator. Allie does leap, sometimes foolishly, after ever lead she finds, but she does it while juggling babysitters and groceries and an increasingly frustrated wife. Under the pretense of writing for various fictional news sources, Allie manages to worm her way into all the situations she needs to unravel what turns out to be a thoroughly sordid series of events.Īlthough the plot does drag at times, all lose ends are dutifully accounted for and it does stay true to what Allred seems to be trying to do: give motherhood its due. The story follows Allie as she investigates two separate cases – the murder of a former policeman and an apparent serial killer dumping the bodies of his victims on the highway.
In her limited spare time she investigates leads from her friend writing for the local crime beat, using her cop sister as a sounding board and neighbor as willing partner. The opposite is true for Allie Lindell, Alexandra Allred’s doggedly determined protagonist of “Roadkill.” She has a full-time job in being a mother to two small children and all the responsibilities that come with running a household. Either because of the job or because of their need for the job, Sherlock Holmes, Hercule Poirot and Sam Spade don’t really have a lot else going on.
The general conceit about most established fictional detectives is their lack of home life.
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