Who’s the King of California Noir? Michael Connelly. Some might say Raymond Chandler (his protagonist was Philip Marlowe) or Dashiell Hammett (Sam Spade). Others might make a case for Alfred Hitchcock. You don’t have to be a writer to be the King. However, in my eyes, Connelly is the reigning King of California Noir. His output surpasses that of Chandler or Hammett, but that’s not all. Harry (short for Hieronymus) Bosch, Connelly’s protagonist, is a more realistic and enduring lead than either Marlowe or Spade.
This post introduces Connelly’s Bosch series (it doesn’t review a particular novel). The Detective Harry Bosch novels are set in Los Angeles. Bosch is an LAPD detective. He’s a Vietnam vet, a former “tunnel rat” who operated in the vast underground mazes used by the Vietcong. He has no pretensions, and no patience for those who do. He’s tough and diligent, but he’s not a wooden macho man, not overly taciturn or snarky. Unlike Sam Spade, for example, Bosch is not hard-boiled to the core, which makes him an easier man to know. Hammett shows very little of Spade’s emotions and only the manly side. After all, Spade was a hard-edged dick. I’m not denigrating Hammett’s fictional MO. He wrote in the 1920s and 30s; hard-boiled was the schtick.
Connelly’s Bosch novels deliver plenty of explanatory details, making it easy to follow the story. Admittedly, that can slow the pace. He’s partial to what I call Hollywood plotting, such as extended car chases, but, hey, the books are set in LA. He’s more mainstream than Ian Rankin, for example. In some places, Connelly’s info-dumps are too long. Ditto for his police procedural details. At times, the prose is workman-like, which is not surprising given his prodigious output, almost a book a year. However, I’m OK with all of that. I get sharply plotted whodunits. I get a tough yet sympatico protagonist. I get LA. (I used to live there – shout-out to Irv and his family – and get a kick out of Bosch’s LA. Nostalgia Noir, eh.)
A few quotes from the Bosch opus ….
“Bosch knew every trick there was when it came to planting obfuscation and misdirection in a murder book. He could write a how-to manual on the art of turning the [pre-trial] discovery into a nightmare for a defense lawyer. It had been his routine practice back in the day to redact words in reports without rhyme or reason, to intermittently remove the toner cartridge from the squad room photocopier so that pages and pages he was turning over were printed so lightly they were impossible or at least headache-inducing to read.”
“Bosch never got used to viewing crime scenes. He had been to hundreds of them and seen the result of human inhumanity too many times to count. He always thought that if he got used to it, then he had lost something inside that was needed to do the job right. You had to have an emotional response. It was that response that lit the match that started the fire.”
Postscript: Standby for reviews of individual Bosch novels.