best from America, The

Spectator, The, Mar 8, 1997 by Michael Carlson

TRUNK MUSIC by Michael Connolly Orion, 16.99, pp. 375

The Los Angeles inhabited by LAPD detective Hieronymous 'Harry' Bosch resembles the paintings of his Flemish namesake. Horrors lie beneath the surface of a garden of earthly delights. The classical gives way to the modern; Trunk Music, Michael Connolly's fifth Bosch novel, is also the first post-O.J. police novel; the ghosts of Judge Ito and Johnnie Cochrane are never far from the thoughts of cops like Bosch, nor from Bosch's real Nemeses: lawyers, politicians and police administrators.

When the body of soft-core video-maker Tony Aliso is found in the trunk of his car with two .22 shells in his skull, on a hill overlooking a concert in the Hollywood Bowl, it appears to be a classic mob hit (`trunk music'). The trail leads Bosch quickly to Las Vegas, and to an apparent solution. It also leads him back to a woman who betrayed him in the very first Bosch novel, The Black Echo. The situation may seem old hat but Connolly makes it work by constantly confounding your expectations as he finds new angles to pursue. His stories have more twists and turns than Mullholland Drive, but they never divert you from where they should be going. The murder is only part of the story, the rest is Harry Bosch, his character and his inevitable conflicts with authority, the forces of control whose toes he inevitably steps on. `Who polices the police who police the police?' is a favourite Bosch line.

Character is action, said Fitzgerald, and the way Connolly gets to the core of the situation through Bosch suggests the genre's best writers. If Bosch resembles Hammett's Continental Op, a lone wolf who's honest in a corrupt world, the woman who betrayed him is his Brigit O'Shaugnessy. Trunk Music also recalls Chandler's relishing of the sleazy Hollywood milieu and the use of Las Vegas as a contemporary Bay City, where good people go to be bad, and bad people go to help them. The hothouse corruption of Aliso's wife and the deserted settings in the Hollywood hills smack of Chandler at his best.

There is no new ground broken in Connolly's prose style, but he writes with sensitivity to nuance, the kind of undercurrent often missed in conversation. He is particularly good on the interplay of verbal and psychological warfare. This was shown best in The Last Coyote (1995), where Bosch fences with the police psychologist who decides if he is fit to return to duty after he has assaulted his chief, the wonderfully named Harvey '98' Pounds (as in the American equivalent of seven-stone weakling).

Bosch uses his suspension to investigate the murder of his mother, a prostitute, who gave him his name because she had no father's name to use. There is more than a hint of James Ellroy in the pursuit of this case, which leads to revelations of Chinatown-like corruption. Although he lacks the innovative prose fire of Ellroy, Connolly again uses familiar materials to create a new story with its own power.

After The Last Coyote, Connolly changed gear with The Poet, a serial killer novel which is interesting but hampered by the use of a reporter as its protagonist. The journalist lacks the psychic empathy with the killer that the cop may have, the kind of feeling for criminals that Bosch has. The Poet, of course, became a bestseller in America. Trunk Music marks Bosch's return, and manages to live up to the high standard of The Last Coyote. This is the strongest crime series being written in America now, and Trunk Music gets an unqualified recommendation.