Good Night, Sweet Prince

(Critical Survey of Contemporary Fiction)

Unable to contemplate a future in corporate America, Bonnie Indermill accepts yet another assignment from Pro-Team Temporary Secretaries. The Gotham Ballet Company needs assistance in untangling its subscription list before the start of a new season. The Gotham Ballet Company is not the most profitable organization in the world of ballet. All the more reason for the group to welcome Nikolai Koslov’s decision to sign with them after his defection from the Soviet Union. Koslov is the reigning prince of ballet, and his appearance will bolster the financial future of the Gotham Ballet. Bonnie Indermill profits from Koslov’s move to New York as well, for Koslov picks her office in which to stage his defection, and thus she becomes identified as his “special” friend. Although Bonnie profits financially, her connection with Koslov means that she also inherits his enemies--and Koslov has a lot of enemies.

So many enemies, in fact, that no one is particularly surprised when Koslov is murdered during a performance. What is a surprise, at least to Bonnie, is that his murder is attributed to the KGB. There are simply too many loose ends for Bonnie to accept the official decision. Still, she is not about to tilt at a new windmill, until she suspects that the murderer is not yet done. Not only that, but she herself may be on the list.

Bonnie Indermill is not a physical heroine in the fashion of Sue Grafton’s Kinsey Millhone, nor does she delve into the seamy and corrupt side of urban life in the manner of Sara Paretsky’s V.I. Warshawski. A veteran of the urban wars, Bonnie retains a sense of humor and more than a few ideals concerning what she will and will not do to survive. She may appear to have settled down at the close of GOOD NIGHT, SWEET PRINCE, but it is to be suspected that new adventures will soon complicate her existence once again.