As a devoted Stephen King reader for over two decades, considering myself a lifelong fan since childhood, it pains me to write this review. Having devoured nearly every book he has penned, I approached “Mr. Mercedes Book” with high expectations. However, what I encountered was far from the King I admire. This book, frankly, felt like a complete misstep. It was such a struggle to finish that, for the first time in my extensive reading history of King’s work, I had to force myself through the pages. Even his less compelling novels usually possess that signature King magic, compelling you to turn page after page, eager to discover what unfolds next. But with “Mr. Mercedes Book,” that captivating element was utterly absent. My only motivation to continue was a sense of obligation, a desire to complete my King library collection. The book itself offered no intrinsic pull, and it seemed to actively resist being read. My disappointment is profound. So many aspects of this book frustrated and annoyed me that I’m uncertain if this review can fully capture the extent of my grievances. Nevertheless, I will attempt to articulate my issues. Stephen King remains one of my favorite authors, but that doesn’t preclude me from calling out a subpar work for what it is. If something is bad, it deserves to be labeled as such.
Character Catastrophe in Mr Mercedes Book
Let’s begin with what I consider the most crucial element of any novel: the characters. In “Mr. Mercedes Book,” they are, without exaggeration, incredibly disappointing. One of Stephen King’s defining strengths has always been his exceptional ability to breathe life into characters, forging an almost instant connection with the reader. I’ve often praised his talent for crafting convincing and relatable characters with just a few lines, a feat many authors struggle to achieve even across entire novels.
This is the cover art for Mr. Mercedes book, displaying the title prominently.
However, in “Mr. Mercedes Book,” this vital aspect of King’s writing is shockingly absent. It felt as if King raided a Blockbuster Video store during its closing sale and stocked up on cardboard cutouts, because that’s precisely what the characters resembled. Not a single character in this novel reached the level of depth and believability I’ve come to expect from him. They were flat, stereotypical figures, mere chess pieces moved strategically to advance the plot from point A to B to C. They served no deeper purpose, and in many instances, felt even less substantial than that.
From the very opening lines, the dialogue felt unnatural, stiff, and forced. Consider the first two characters we encounter: Augie and Janice. They meet while camping out overnight for a job fair, implying both are unemployed and seeking work. Yet, Augie feels the need to explain the term “downsized” to Janice, defining it as “the twenty-first-century way of saying I got canned.” It’s highly improbable that Janice, even if young, would be unfamiliar with such a common term, especially given the context. This exemplifies a recurring problem throughout “Mr. Mercedes Book”: excessive and unnecessary explanations of even the most obvious concepts. The book lacks subtlety, opting instead for a blunt, “Bond Villain Explains It All” approach, where every conversation is devoid of nuance or ambiguity.
Janice, the other character, is presented as someone we should pity – young, naive, unemployed, with a baby and limited prospects. However, her pronouncements about single motherhood and apologizing to the world come across as ridiculous attempts to garner sympathy. It’s as if she’s designed to be a purely sympathetic victim, setting the stage for the sadistic killer to emerge and provoke our outrage.
These initial characters, like all others in “Mr. Mercedes Book”, felt like disposable pawns, strategically placed to manipulate our emotions and incite a desire for vengeance against the antagonist. Every character seemed to echo the same voice, indistinguishable from one another save for superficial labels. Janey is the blonde one, Jerome is the black intellectual, Bill is the overweight ex-cop in a fedora, Mr. Mercedes is the angry smiley villain, and Holly is the anxious pill-taker. These are not characters; they are caricatures wearing name tags, lest we forget who they are. Their dialogue bubbles could be interchanged without altering the overall impression.
The characters in “Mr. Mercedes Book” suffer from an incessant need to overshare. A simple yes/no question elicits lengthy, unsolicited narratives. Asking about a safe deposit box leads to a detailed banking history. Inquiring about a mother’s well-being results in an exhaustive account of restaurant choices, DVD selections, and familial relations. Even a question about car ownership spirals into a rambling monologue encompassing car models, colors, movie outings, and local businesses, culminating in bizarre non-sequiturs about cheese and kumquats.
This constant barrage of irrelevant details permeates “Mr. Mercedes Book,” inducing brain fog and raising serious doubts about Stephen King’s authorship. It’s conceivable that “Mr. Mercedes Book” was ghostwritten by someone with a very different style and sensibility. The sheer volume of pointless exposition is mind-numbing.
Irritating Tropes and Pop Culture Clichés in Mr Mercedes Book
The cardboard characters in “Mr. Mercedes Book,” devoid of filters and prone to incessant chatter, become intensely irritating. Adding to this annoyance is the pervasive fat-shaming. The protagonist, Hodges, is described as being thirty pounds overweight, a fact that both he and the narrative treat as a grotesque and shameful condition. Hodges acts as if this minor weight gain is a debilitating burden, questioning why any woman would find him attractive. While King has touched upon weight issues before, notably in “Thinner,” the relentless focus on Hodges’s weight in “Mr. Mercedes Book” feels excessive and judgmental. The constant negative remarks about his size are fat-shaming, plain and simple, and detract significantly from the reading experience.
This fat-shaming segues into another problematic aspect: the awkward and unsettling sex scene with Janey. She refuses to allow Hodges to be on top during sex due to his weight (fearing he might crush her!), but more disturbingly, she essentially excludes him from any active participation. No touching, minimal talking (except for her own pronouncements), and no movement allowed. It’s a bizarre and off-putting scene that some might try to frame as female empowerment, but it comes across as controlling and almost predatory. Hodges, seemingly desperate for any intimacy, accepts this bizarre arrangement without complaint, which further diminishes his character.
Janey’s supposed “strength” and “independence” are also questionable. Despite her claims, she constantly relies on Hodges for support, even in situations involving her own family. She displays little genuine independence, often compromising or abandoning her stated principles. The morning-after dialogue, particularly her intrusive question about Hodges’s cholesterol, is incredibly inappropriate and rude. Her judgmental attitude and condescending remarks, such as mocking Hodges’s use of “yeah,” make her an unlikeable and unsympathetic character.
Jerome, another character, resorts to stereotypical and jarringly racist speech patterns, seemingly to constantly remind the reader of his race. These moments are deeply uncomfortable and offensive. Holly, initially bland, eventually morphs into the same generic personality as everyone else, further homogenizing the cast. Her defining trait becomes her Lexapro use, and her repetitive speech patterns (“Call him! Call him! Call him!”) are grating and unrealistic.
Brady, the antagonist, is a stereotypical spoiled teenager, a predictable blend of “daddy issues” and rebellious angst. He lacks depth and originality, failing to be genuinely menacing beyond his capacity for violence.
The pop culture references in “Mr. Mercedes Book” are another major misstep. While King has always incorporated pop culture, usually enhancing his stories, in “Mr. Mercedes Book,” they feel forced and out of place. The references often seem geared towards an older audience, yet are awkwardly interspersed with attempts to appeal to younger readers, resulting in a jarring and condescending tone.
Stephen King’s “Mr. Mercedes Book” cover image, emphasizing the author’s name.
Examples include Hodges’s dated reference to “tramp-stamps” while watching a Jerry Springer-esque show. His condescending remark about women and car dashboard lights, implying female ignorance about cars, is both sexist and absurd coming from a 62-year-old ex-cop. Calling Holly’s medication “little white happy-caps” is dismissive and trivializes her mental health struggles. These pop culture insertions feel contrived and serve only to further alienate the reader.
Conclusion: A Disappointing Read – Skip Mr Mercedes Book
In conclusion, “Mr. Mercedes Book” is a significant letdown. Hodges, the supposed hero, is undeserving of the accolades he receives in the story. He relies heavily on Holly and Jerome to solve the case, acting more on hunches and intuition than actual detective work. His reckless actions, such as provoking the killer, are presented as heroic but are ultimately irresponsible. The plot relies on convenient coincidences, such as Hodges’s partner always being conveniently busy whenever he calls.
“Mr. Mercedes Book” is riddled with eye-rolling moments and lacks the compelling storytelling and character development that define Stephen King’s best work. It’s a disappointing and frustrating read that I cannot recommend. Instead of delving into “Mr. Mercedes Book,” I would strongly suggest revisiting King’s classics or exploring his more recent, and significantly better, novels. Save yourself the frustration and skip this one.
