The Narrows

Listen up! This may be the best mystery you hear this summer--or this year, for that matter. But approach Connelly's latest with caution. If you haven't heard THE POET and BLOOD WORK, try them first. That's because this one has almost all the characters from both melded into one sequel. You'll also be able to appreciate Len Cariou's performance having had to follow that of the masterful Dick Hill. Cariou adds a new dimension to Harry Bosch. As the FBI calls back agent Rachel Walling because of the reemergence of The Poet, a serial killer, Bosch is asked to delve into the suspicious death of Terry McCaleb (the hero of BLOOD WORK). Are the two connected? There are so many subplots you can't stop thinking for a moment. Cariou deftly handles the Bosch scenes in the first person and Walling's in the third. This constant switch might have been daunting to a lesser reader. Cariou milks it for all it's worth. A.L.H. Winner of AudioFile Earphones Award (c) AudioFile 2004, Portland, Maine

July 5, 2004
Those who are familiar with the audio adaptations of Connelly's books will be delighted to see that Cariou lends his talents to Connelly's latest mystery, which is a sequel to The Poet
(1996). At the center of this engrossing thriller is world-weary, retired L.A. homicide detective Harry Bosch. While investigating the death of ex-FBI profiler Terry McCalab, Bosch begins to suspect that the notorious serial killer The Poet, presumed dead, may be the culprit. As he digs deeper, Bosch meets and eventually joins forces with FBI agent Rachel Walling, who went up against The Poet the first time around. The novel's point of view cuts from Bosch's first-person commentary to the third-person perspectives of Walling and The Poet. Cariou handles these changes with professional ease. He gives Bosch a rough voice, raspy with experience, and provides Walling with a younger, but no less tough, intonation. Cariou's vocal dexterity becomes truly apparent, however, when he reads Connelly's descriptive passages. Whether he is illuminating a grisly crime scene, a rainstorm pummeling a Los Angeles freeway or a soft moment between Bosch and his young daughter, Cariou perfectly captures the subtleties of Connelly's tightly written prose. Simultaneous release with the Little, Brown hardcover (Forecasts, Apr. 12).

Starred review from April 12, 2004
There's a gravitas to the mystery/thrillers of Michael Connelly, a bedrock commitment to the value of human life and the need for law enforcement pros to defend that value, that sets his work apart and above that of many of his contemporaries. That gravitas is in full force in Connelly's newest, and as nearly always in the work of this talented writer, it supports a dynamite plot, fully flowered characters and a meticulous attention to the details of investigative procedure.
There are also some nifty hooks to this new Connelly: it features his most popular series character, retired L.A. homicide cop Harry Bosch, but it's also a sequel to his first stand-alone, The Poet
(1996), and is only his second novel (along with The Poet
) to be written in both first and third person. The first-person sections are narrated by Bosch, who agrees as a favor to the widow to investigate the death of Bosch's erstwhile colleague and friend Terry McCaleb (of Blood Work
and A Darkness More Than Night
). Bosch's digging brings him into contact with Rachel Walling, the FBI agent heroine of The Poet
, and the third-person narrative concerns mostly her. Though generally presumed dead, the Poet—the serial killer who was a highly placed Fed and Walling's mentor—is alive and killing anew, with, we soon learn, McCaleb among his victims and his sights now set on Walling. The story shuttles between Bosch's California and the Nevada desert, where the Poet has buried his victims to lure Walling.
The suspense is steady throughout but, until a breathtaking climactic chase, arises more from Bosch and Walling's patient and inspired following of clues and dealing with bureaucratic obstacles than from slash-and-dash: an unusually intelligent approach to generating thrills. Connelly is a master and this novel is yet another of his masterpieces. (One-day laydown, May 3)

Forecast:
Connelly should hit #1 with this even without trying, but he and Little, Brown are going all out to support the novel, with plans including a 15-city author tour, a
Today Show appearance and the distribution to media and bookstores of a DVD,
Michael Connelly's Los Angeles, narrated by
CSI star William Petersen. Simultaneous Time Warner Audio and large print edition.

January 1, 2004
Beloved private eye Harry Bosch tangles with the Poet, the Connelly villain everyone loves to hate.

Copyright 2004 Library Journal, LLC Used with permission.

Starred review from May 1, 2004
Too often when crime novelists bring together characters from different series or combine plot strands from earlier novels, the results seem awkward (like inviting two separate groups of friends to the same party). Not so with Connelly, whose latest Harry Bosch novel seamlessly intermingles material from the author's previous work. Readers of Connelly's " The Poet" (1996) have known that Bob Backus, former FBI profiler turned Poe-spouting serial killer, would be back eventually, and here he is, attempting to stage-manage a grand finale. Bosch, now a PI after retiring from the LAPD, becomes involved when the wife of FBI agent Terry McCaleb (" Blood Work "and " A Darkness More Than Night") hires him to determine if her husband's death was suicide or murder. The trail leads quickly to Las Vegas and the resurfaced Backus, who is being tracked by his former FBI colleagues, including his onetime protege Rachel Walling (also from " The Poet"). Expertly juggling the narrative between Bosch's brooding, hard-boiled voice and a broader third-person perspective that takes in the points of view of Walling and the Poet, Connelly builds tension exponentially through superb use of dramatic irony. A stunning finale in the Narrows--the cement-lined Los Angeles River, which transforms itself during a storm from a harmless puddle into a rampaging death trap--works on multiple levels, satisfying both plot-hungry suspense addicts and character-driven Bosch devotees, who will stick with their hero--he of the "seen-it-all-twice eyes"--on his journey into the metaphorical narrows, where evil "would grab at me like an animal and take me down into the black water." This is Connelly at the top of his game." "(Reprinted with permission of Booklist, copyright 2004, American Library Association.)