Rating: 
Summary: Housecleaning
Review: Connelly kills off one character, probably to preclude Eastwood making a bad movie from one of his books. The return of other characters leads to a housecleaning of sorts. Bosch finds reemployment and perhaps rejuvenation for the next outing. This one felt like a half-hearted movie sequel.
Rating:
Summary: Not Sure I Agree
Review: I read at least two books a week, time well spent as I rarely watch television. One news program I did see had a reviewer who compared Michael Connelly to Raymond Chandler. I'm sorry, but I don't share that opinion: Raymond Chandler's use of language and his ability to paint extraordinary human portraits does not appear part of Mr. Connelly's repertoire. I find Harry Bosch very bland, his love life could not be more pedestrian, and some of his plot devices -- an F.B.I. agent turned serial killer -- just fabrications. The two best mystery-thriller writers I have found in the last 10 years are both San Francisco writers: Oakley Hall, in his extraordinary series of Ambrose Bierce mysteries set in old San Francisco, and James Dalessandro, author of Bohemian Heart and the just-released 1906, a crime/corruption thriller set against the great San Francisco earthquake that is just mesmerizing. I have just starting posting these reviews, at the urging of a friend, and feel that in addition to telling people what I think about the book I just read, I should speak up about the truly wonderful writers I discover. James Dalessandro and Oakley Hall are the best.
Rating: 
Summary: Spectacular!!!
Review: Harry Bosch is asked by a friend's widow to investigate her husband's death. She suspects that it was murder, not a heart attack.Concurrently, tarnished FBI agent Rachel Walling (on a "hardship posting" in South Dakota) receives a late night phone call from Quantico indicating that a demonic serial killer, assumed dead, is back in business. The simultaneous plots converge at the Zzyzx Road exit on Highway 15 between Las Vegas and LA. Harry's quest and Rachel's investigation eventually lead to a partnership that adds tension to the story. The characters are well drawn and believable; their strengths and weaknesses probed. Mr. Connelly is a master at quietly producing continuous action that explodes exponentially into a white-knuckle ride. His ability to hide clues in plain sight is extraordinary Taut suspense, intricate plotting and the captivating premise propel Harry and Rachel in their pursuit of the diabolical villain. It is "cat and mouse" at the highest level. The overriding struggles and characters are potent and persuasive, the plot labyrinthine, the twists logical yet unforeseen. Michael Connelly is the magical virtuoso of present day crime fiction. He defines and refines the genre---never playing it safe. "The Narrows" is the most peerless example of contemporary noir writing imaginable. I am certain one can enjoy "The Narrows" without having read "The Poet"---but if one does, it will spoil one's reading of "The Poet."
Rating:
Summary: Connelly DELIVERS AGAIN
Review: Some of the editorial comments you see put Connelly at the top of the list as a writer. I ignore most of that to some degree as we must each determine what we like - and some of those who tout a writer do not necessarily read the book.
But, after this effort, I would have to agree. Connelly has not failed yet. Each book is really a darn good read.
The Narrows brings the dreaded Poet back and you will be on the edge of your chair from cover to cover.
Pick this one up
Rating:
Summary: No nonsense crime thriller...
Review: Michael Connelly's novels are habit forming. When picking up his latest, my intention was to savour the experience, only read a little at a time, maybe a few chapters before bed, so that that the pleasure would extend, lasting a long time. This did not happen. In fact, this text was completed in one sitting. After turning the last page, the story left me satisfied, though, wondering when Connelly would release his next one. This type of behaviour may sound a little on the neurotic side, but Connelly's stories are simply that good. I've come to have high expectations about his work, and thus far, have not been disappointed. The Narrows is an excellent piece of crime writing. Those of you familiar with Harry Bosch from Lost Light, Connelly's last novel, and many others, will find the character hasn't changed. Harry remains that sombre, fatalistic and determined individual. He's a cold realist without the cynicism. This character has a strong sense of his purpose in life, which he calls his mission, and the ability to stare evil directly in the eye without flinching. Bosch is a no nonsense type of guy, who manages to see that shred of goodness in the world, where others only see darkness. Harry is a good man. In a world filled with superheroes, fictional characters that are way over the top, here we have a hero in a rumpled suit, a man who knows himself, with a strong sense of his function in the world. He will get the job done no matter what happens, and without actually coming out and saying it, he would gladly lay down his life if it meant saving yours. The Narrows is a sequel to Connelly's fifth novel, The Poet. The killer is ex FBI, a sadistic murderer that was dubbed The Poet because he would leave clues that could be traced back to the poems and writings of the master of the macabre, Edgar Allen Poe. Special Agent Rachel Walling, in the first novel, shot the killer through a window, and all hoped he was dead. But now he's resurfaced with a new agenda. Through investigating the suspicious death of an old friend, Terry McCaleb, (the famous protagonist from the novel and film, Blood Work) Bosch uncovers a connection to the poet; the investigation takes him to the deserts of Nevada, where the bodies of several men have been uncovered. As usual, Bosch is ahead of everyone else in the investigation, teaming up with Rachel Walling, they discover this intelligent killer is playing with them, leading the duo towards his dramatic finale. Fans of Harry Bosch novels will not be disappointed with this new instalment. It's an absolute winner. Though new readers of Connelly's work will not have to read the previous novels, particularly The Poet, in order to appreciate this one.
Rating:
Summary: A Light Bosch
Review: This another enjoyable entry in the Harry Bosch series. Aficionados of this series will enjoy it but come away wanting more. The basic plot is excellent with the return of the Poet (the former FBI agent turned serial killer). He has created a cemetery in the desert of ten of his victims and has challenged the FBI to find him. Bosch will end up teaming with FBI agent Rachel Walling in tracking down the Poet. The chemistry between these two is pretty good. Unfortunately Connelly has a sex scene between the two that is just short of ludicrous. Almost like he was writing the scene for its value to a movie script than its need in the narrative story. Virtually all other characters are cardboard cutouts, particularly the the FBI agents. There must be a school all mystery writers have to attend where they learn only one way to portray the FBI. There is some very good detective work as Harry and Rachel work their way toward the Poet. The introduction of his daughter in the last book is cause for a lot of angst for Bosch, but was totally unnecessary. It does nothing for the storyline or our understanding of Bosch. Eleanor Wish is back in a couple small scenes. She is a wonderful character, but Connelly doesn't seem to have any real use for her anymore. Probably the biggest failing of the book is lack of development of the Backus character. He's simply the serial killer with no real fleshing out of his character and what really drives him. Why does he kill men rather than women (the overwhelming choice of all other male serial killers)? Who knows. The ending is okay, if forced. The plot twist at the end is absurd and doesn't fit the prior 400 pages of the book. Though it is part of the storyline it is very reminiscent of Maddie's introduction in the last book. You end of asking, "where the hell did this come from?". All in all Bosch fans will be pleased with this book. It is an enjoyable, if light, read.
Rating: 
Summary: Too much of everything--too little of everything.
Review: Michael Connelly has written several outstanding crime novels and several more good ones. His earlier Harry Bosch novels have depth and are very well written. The Last Coyote is particularly good--certainly should have one the Edgar for that year. Void Moon is his best novel (not a Harry Bosch work), predictably underappreciated. The Poet, to which The Narrows is a kind of sequel, is also extremely well done--plot, suspense, characterization, details etc. Chasing the Dime is also excellent because Connelly takes some risks by mixing disparate elements of life so effectively--the novel doesn't completely work, but is still better than 99% of crime fiction being written today. BEFORE reading The Narrows the reader really must read Blood Work, The Poet, and couple of early Harry Bosch novels
The Narrows simply tries to do too many things without developing the differing strands with enough thought, imagination or depth. The portions of the book on the poet himself simply lack the necessary character and plot development necessary to develop suspense. Just touches here and there are not enough. The way that the poet finds his victims just isn't plausible the way it is presented. Certainly, someone would have traced at least one of the men to Clear--even a layman detective wife. I also found Walling to be unattractive, which is fine (my liking a character isn't a prerequesite to a good novel), but Walling is underdeveloped and just plain yucky. By the way, why do the other FBI agents stop following her when she hooks up with Bosch---no reason except whole episode in poet's killing field would have been botched up (a grievous plot flaw from a writer given so many accolades as Connelly). M.C. references to Eastwood and Pelecanos are cloying. The plot intertwining with McCaleb works fairly well--the parts of the book touching on McCaleb's life, death, wife, friend are by far the best, because they are actually developed with some care. The sex scene was ludicrous ("B" movie junk) The shots at the FBI were repeats from Lost Light. I'm glad Connelly has a daughter, but is creating a daughter for Bosch so he can write about his own daughter is self-indulgent mush. The "suspenseful" ending is good at the bookstore, but forced and factitious when Walling and Bosch get back to the Valley and the L.A. River.
My feeling is that Connelly knows he can write books that will sell and he also know that readers like me realize he's the best we've got in the U.S., no matter what he turns out. What saddens me is that his novels have steadily declined (Chasing the Dime excepted)since Void Moon. Unlike Brits, Reginald Hill and Ruth Rendell (my favorite "mystery" novelists, along with S. Kaminsky) Connelly has actually sold out--the big paycheck no matter what he writes. Seriously, should he happen upon this review, I suggest he read Rendell's Going Wrong, The Crocodile Bird and The Bridesmaid to see how a writer refuses to rest on her proverbial laurels. Same with R. Hill; read a few of his earlier series novels and then read On Beulah Heights, or, especially Dialogues of the Dead (Dialogues, along with Thomas Cook's Breakheart Hill, is the finest suspense novel of all time: the test, you can read these two books more than once with deepening pleasure and imaginative elan.) The Narrows reads fast because it's basically a "beach" or "airplane" book, ala Grafton, Kellerman, Cornwall ad nauseam. Actually, Connelly only need reread a couple of his earlier books, The Concrete Blonde or Void Moon. and compare them to what he is churning out now. A major disappointment that he doesn't take his writing seriously now that he is a success. And the Narrows is a soup with too many ingredients splashed into a pot and left to boil without even a casual glance at what is happening to this terribly, underdeveloped, over-hyped, novelistic mush. Sad.
Rating:
Summary: (4.5) Harry Bosch Meets Rachel Walling on the Road to Zzyzx
Review: In THE NARROWS Michael Connelly ties together the themes and characters from several of his previous novels while returning to the loose end of the unresolved fate of Robert Backus at the conclusion of THE POET. Those readers familiar with the world of Hieronymous (Harry) Bosch know that it is the centered in LA - "a sunny place for shady people"- and that Harry's character and Connelly's style have both evolved in reaction to the events which they have experienced. This book continues Connelly's recent adoption of the first person narrative by Harry Bosch interspersed with third person narrative for the other main characters in the book, primarily FBI profiler Rachel Walling and Backus, the former FBI agent who had for years used his knowledge of police procedures to escape detection as a serial killer. As is always the case in the author's work, this book is as much about the development of the characters and providing the reader with great depth of insight concerning the impact upon them of the events described as it about bringing the case to a conclusion. Rachel Walling is recalled from her exile FBI posting in Rapid City, S.D. by a mysterious message sent to the FBI that unambiguously indicates that the serial killer identified as THE POET has reemerged. The nature of the communication also clearly indicates his desire that his former pupil and associate Rachel should be a member of the investigatory team despite her marginalization with the Bureau as a result the outcome of their previous encounters. Simultaneously, Harry Bosch is hired by Graciela McCaleb to investigate evidence she has inadvertently uncovered that the cause of the death of her husband Terry was not simply the failure of his transplanted heart that occurred during a charter aboard his fishing boat. (As a result of the book BLOODWORK being made into a movie both directed by and also starring Clint Eastwood, Terry McCaleb may be Connelly's most widely recognized character. In a wonderful twist, as the story proceeds we learn that Clint Eastwood attended Terry's funeral.) The threads of the two cases become intertwined in a complex story of evil that involves several very intriguing elements. As might be expected, these include the tension betwen the FBI investigators with their agenda of controlling the impact upon the Bureau of any potentially devasting political blowback often coming into conflict with Rachel's and Harry's views of the best procedural steps to follow. Thus, unsurprisingly, an uneasy alliance is gradually forged between Rachel and Harry which concludes in their investigation nearly resulting in disastrous consequences. There are several other elements woven into the plot, including Harry's old LAPD associate Kiz Rider convincing Harry to consider rejoining the Cold Case Unit of the Department under a policy actually adopted by Chief Bratton to encourage the return of recent retirees. Finally, while I won't reveal the role that it plays in the plot, for those readers unaware of the location of the road to Zzyzx, it is on US 15 halfway betwen LA and Las Vegas. (In a wonderful line that both captures the macabre poetry of Connelly's work and is reminiscent of a recent book, it is "a CITY OF BONES at the end of the alphabet.") As readers of LOST LIGHT have undoubtedly surmised, the necessity for Harry to travel to Las Vegas in pursuit of the truth regarding Terry's death means that he can visit Maddie (his five year old daughter who only recently entered his life) and will undoubtedly continue to joust with his former wife (and former FBI agent) Eleanor Wish about the propriety of Maddie growing up in Las Vegas while her mother earns her living during the late night hours of a professional poker player. Providing further meaningful details of this story would almost certainly involve spoilers which would only detract from the reader's enjoyment of the book. They are also unnecessary, since any fan of Connelly undoubtedly knows that no summary can do justice to the richness of the picture which he draws. (He has stated that his goal in his writing is "to paint to all four corners of the canvas {of his story} and fill in the holes.) Like most detective stories, this one is largely about unraveling the past and understanding its impact on the present. But at the same time is does also present a glimpse of fleeting hope for the future despite the evil which Harry has to confront. The reason why I subtracted a half point from my rating was my less than total satisfaction with two aspects of the conclusion. It was action packed and very clever, and certainly tied in completely with Harry's introductory comments that set the tone of the story. But it semed to me somewhat contrived and overly dramatic; more in keeping with the visual impact of a movie than the understated and nuanced nature of Harry's world. But this is still a wonderful story, both for long time Harry Bosch fans and first time readers who want a good psychological detective tale in the tradition of Philip Marlowe. NOTE: If you also obtain a copy of the complimentary DVD - BLUE NEON LIGHT - subtitled MICHAEL CONNELLY'S LOS ANGELES, with commentary by Connelly and excerpts from his work narrated by William Petersen (CSI), be sure to take the time to view it. It is wonderfully produced and provides great background and insights about Connelly's development as a writer and the themes that tie together his novels. Tucker Andersen
Rating:
Summary: This may well be Connelly's best work to date!
Review: There has been a great deal of prepublication hype concerning THE NARROWS, Michael Connelly's new Harry Bosch novel. Most of it centers on the fact that it is a sequel to THE POET, Connelly's tale from some years ago about Robert Backus, an FBI profiler who himself turns into a serial killer. While sequels usually disappoint in direct proportion to the degree of their public anticipation, THE NARROWS is a welcome exception. It may well be Connelly's best work to date. What has not been noted about THE NARROWS is that it is also a sequel of sorts to BLOOD WORK. BLOOD WORK is perhaps Connelly's best-known novel due in large part to its film adaptation by Clint Eastwood. The movie, interestingly enough, is mentioned in THE NARROWS. Connelly in fact breaks on through to the other side at several points during THE NARROWS, bringing an immediacy and reality to the tale that is quite refreshing. Always a masterful storyteller, Connelly continues to improve as a writer. He switches quite effortlessly in perspective back and forth between Bosch and FBI Agent Rachel Walling, whose career took a disastrous reverse due to the events chronicled in THE POET. A lesser craftsman would have ultimately made a mess of things, but Connelly keeps things moving smartly and coherently with nary a misstep. THE NARROWS begins with Harry Bosch investigating the death of his old friend, Terry McCaleb, at the request of McCaleb's widow. McCaleb, who was the subject of BLOOD WORK, has succumbed to an apparent heart attack. His widow, however, has found that someone had in fact tampered with McCaleb's heart medication, leading to his death. During the course of the investigation Bosch learns that McCaleb, while freelancing as a consulting investigator, may have stumbled across The Poet, who appears to be responsible for McCaleb's death. McCaleb's file notes also indicate that he has a theory regarding the fates of six men who mysteriously disappeared while visiting Las Vegas. Bosch begins to follow the trail created by McCaleb's theory, a trail that leads to an FBI investigation of a series of burials in the Nevada desert --- an investigation that commenced with a mysterious message from The Poet, directed to Rachel Walling. Walling is begrudgingly brought into the FBI investigation as an observer, and when Bosch interjects himself into the proceedings the two of them become an unlikely and unofficial, but highly effective, team. While they are tracking Backus, he is also tracking them, along a trail of his own devise and choosing. Backus has unfinished business from the past that he fully intends to complete, and he wants to do it right under the noses of his pursuers. All business and trails end at THE NARROWS. While THE NARROWS is a dark and grim book in many ways, Connelly occasionally gives a wink and a nod to savvy readers as an indication that he is not taking himself too seriously. In addition to the references to the Blood Work film, Connelly name checks several mystery writers --- there is a George Pelecanos reference that is subtly hilarious --- and uses Bosch's new knowledge of his fatherhood to pay tribute to a popular television cartoon character whose demeanor is totally at odds with the grim goings-on in THE NARROWS. Alert readers will also catch fleeting allusions to some of Connelly's past books besides BLOOD WORK and THE POET. Ultimately, THE NARROWS is a novel that on many different levels lives up to its hype and surpasses it. --- Reviewed by Joe Hartlaub
Rating:
Summary: The Return of the Poet
Review: Some years ago, I read a pair of novels by Michael Connelly, back when pretty much no one knew who he was. The Black Ice and Black Echo were pretty good detective novels, but they were also pretty formulaic. The character was the typical slob loner, obsessed with catching bad guys and unable to form a meaningful relationship with a woman unless she was in the department and the relationship itself was work-related. I've followed Connelly's career from there, and worked my way through his books as they've come out (with the exception of Lost Light, which I have but haven't read yet). He's grown tremendously as a writer, adding layers to his characters, his prose style, and his plots. Several of those plots (notably Blood Work, the Poet, Angel's Flight, and the Concrete Blonde) are standouts in detective fiction, so cleverly written that the mystery's just wonderful, and adds layers to the story. Here, the plot is more straightforward. Terry McCaleb, the protagonist of Blood Work, has been killed. Though he and Harry Bosch (Connelly's main character in most of his books) didn't really get along well in life, McCaleb's widow, Graciela, is concerned that his killing wasn't the heart attack it seems, and asks Harry to look into it. Meanwhile, Rachel Walling, the heroine of The Poet, is called out of exile from South Dakota. The FBI HQ in Quantico has recieved a strange package, addressed to her, which leads them to a stretch of desert on the road between LA and Las Vegas, where they discover ten bodies buried in the ground, and strange indications that it might be the same Poet. Their stories merge partway through the book. This is one of the most satisfying books I've read in recent years. I will admit that Connelly's choice to jump between first person narration (with Bosch doing the talking) and third person (mostly following Rachel) was a bit jarring at first, but I got used to it. There are most of the Connelly touches: an enigmatic character who just fades in and out in one scene, but will be recognizable to Connelly fans as Cassie Black, the thief heroine of Void Moon, and of course Connelly's almost encyclopedic knowledge of Southern California. He even gets things like the place to hold a large retirement party right. I like Michael Connelly, and I especially liked this book. I would highly recommend it, though people who haven't read other of his books might want to look into a few others, first.
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