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“But true is true, whether you want it to be or not.�� (2.5 stars)

If you, like me, fell in love with Richard Russo's North Bath Trilogy—starting with NOBODY’S FOOL and continuing with EVERYBODY’S FOOL—you enjoyed the rich tapestry of salt-of-the-earth characters. These were real, complex people you came to love, navigating the gritty realities of small-town life. However, I suggest you skip what I hope is the final installment of this series, SOMEBODY’S FOOL. It pains me to say this, but Russo has seemingly lost his touch with North Bath.

To begin with the positives, there are a few moments in SOMEBODY’S FOOL that reminded me why I loved this series. The character of Rub Squeers returns, and Russo handles Rub’s grief over Sully’s death with poignant care. It’s deeply moving, raw, and authentic—one of the few elements of the book that stayed with me.
Additionally, there’s a lovely chapter titled “Too Late,�� in which a mother and daughter, who have struggled throughout the series to connect, share a moment of profound understanding. This chapter stands out as Russo at his best: simple, human, and deeply resonant.

Unfortunately, these highlights are overshadowed by the book’s numerous shortcomings. The hallmark wit and dry humor that defined the first two novels are noticeably absent. This loss of humor leaves the story feeling flat and lifeless by comparison. Moreover, the novel leans heavily into contemporary cultural tropes and stereotypes, which feel forced and out of place in the world Russo has built. For instance, there are obligatory mentions of a closeted homosexual character and the latest cultural fad, a man who decides he is a woman. These moments are not explored with the depth or nuance one would expect from Russo; instead, they feel perfunctory, as if included solely to tick cultural boxes. Each of these topics is given less than half a page, making them feel like superficial nods rather than meaningful elements of the story.
Another issue is the inconsistency in the text’s treatment of race. The word “Black�� is capitalized when referring to ethnicity, while “white�� is not. It struck me as distracting, inconsistent, and ridiculous.

On a literary level, the novel suffers from excessive internal monologues and navel-gazing. While Russo’s earlier works allowed readers to inhabit the minds of his characters, these internal explorations were balanced with action and dialogue that brought the characters to life. In SOMEBODY’S FOOL, however, the narrative spends so much time inside the characters�� heads that it feels stifling. The story lacks the spark of dynamic characterization and the engaging momentum of its predecessors.

Quotes:
�� “If potholes and second-rate schools kept taxes low and degenerates, atheists and Starbucks out, then let’s hear it for potholes.��
�� “Did lust count as a feeling? he wondered. It should.��
�� “Aren’t we all trapped in our heads?��
�� “Maybe she figured a few chips and cracks were worth it, proof she’d lived and loved.��
�� “His myriad, strident opinions on a wide range of subjects he viewed as proof of enviable intellectual acuity, whereas in reality, they rendered him tiresome in the extreme…��
�� “…I’ve learned to put hurt in a different room from the one I’m in.��
�� “People who love you are the easiest to lie to.��
�� “After all, how long could you stay pissed off at somebody for trying to be happy?��

Ultimately, this text feels disconnected from the heart and soul of the series. The characters and storylines that once felt organic now feel contrived, as if Russo were writing not from a place of inspiration but out of obligation. It’s disappointing to see such a series conclude on a note that feels so inauthentic and lackluster.

If you’re a fan of the first two books, my advice is to cherish them and let the series end there in your mind. I doubt I’ll pick up another installment if Russo chooses to continue. SOMEBODY’S FOOL left me with a lingering sense of regret, wishing I had stopped after book two and preserved my admiration for this once-brilliant series.