Trunk Music

The more I move forward with this series, the more I’m glad that I started reading it propelled by my enjoyment of the TV show it inspired: not only it offers a welcome digression from a steady “diet” of science fiction and fantasy, therefore helping me avoid reader fatigue, it also showcases an engaging character whose personal journey is still ongoing as he deals with interesting murder cases, the complex social microcosm of a big city like Los Angeles and the even more convoluted political ramifications between law enforcement agencies.

Returning to work after the compulsory leave of absence described in the previous book, Harry Bosch is eager to go back to solving homicides, and the first one he’s called to investigate looks show more like a mob hit: a body is found in the trunk of an abandoned Rolls Royce, and once the victim’s identity is revealed (a small-time producer of porn movies with a side occupation as a money launderer) everything seems to point toward organized crime. Some details, however, don’t add up and the investigation leads Bosch and colleagues along several paths, both in L.A. and in Las Vegas, where the victim was a frequent visitor: it’s here that the detective makes an unexpected encounter with someone from his past, a chance meeting that is fraught with uncomfortable memories and unrepressed emotions. As the hunt for the killer becomes more complicated Bosch faces a web of misdirections and red herrings - as does the reader - but nothing, not even a false accusation of having planted evidence, will distract him from following his leads with the usual dogged determination, until he solves the case.

In my review of the previous book in the series I spoke of a turning point for the main character, and here the differences in personality and approach to situations are indeed remarkable: Harry Bosch is still relentless in his pursuit of the truth, and he’s still prone to ignoring the rules when they clash with his methods, but while in the past he might have looked possessed by an inner darkness, now he’s more at peace with himself and this attitude reflects on the way he deals with people. It’s possible that having finally solved his mother’s murder he gave himself the permission to be more human, to be happy and to reach out to other people: this new approach is evident in his relationship with his old-time partner Edgar and with the new one assigned to the team, Kiz Rider, who is a brilliant, on-the-rise detective. Rider, and Lieutenant Grace Billets, Bosch’s new chief, are welcome additions to a story that was begging for a few female figures of substance: in particular I was happy for the arrival of Billets because I enjoyed her TV character very much, and because she marks a huge difference from the previous commander, since she is stern and tough but also knows how to give some slack to her detectives when it’s necessary to get things done.

While this “new” Bosch still indulges in his lone-wolf attitude at times, here in Trunk Music we see how he’s able to work with a team - of which he has been given command with a show of faith in his skills as a coordinator - and to ask for the cooperation of other people instead of getting it literally at gunpoint as he used to do in the past: it’s as if he’s been trying to rebuild himself, just as he’s now rebuilding the house that was wrecked by the earthquake in the previous book, and the parallel about new beginnings extends also to his private life, where the chance encounter I mentioned before leads to a momentous change that sees him involved in a stable relationship. One of the reasons I’m enjoying this series so far is Connelly’s ability of showing his character’s evolution through the experiences he deals with: in this book he faces his own feelings for a woman from his past and comes to admit his vulnerability where she is concerned, but at the same time he’s able to avoid being distracted by those same feelings in his search for the truth. What comes out is a more rounded - and more human - character than the one presented at the beginning of the series, and makes him more relatable and sympathetic.

Of course the investigative parts of the story are no less intriguing than the characters peopling it: the old-fashioned detective activity is still present, of course, with witness questioning, search for connections and so forth, but some details of the forensic angle start to come into play more than they did before - which never fails to intrigue me because I’m totally fascinated by the scientific side of police work. And in this particular case there are several clues that seem marginal at first, only to be later revealed as pivotal in the solution of the case: nothing is left to chance here, there are no hanging threads that end up nowhere, there is instead a fascinating organization at the roots of these stories that leads the reader, alongside the detectives, toward the final revelation and the surprises awaiting there, because there are no foregone conclusions here and the sustained, never slacking pace of the story carries you from step to step while keeping you totally immersed in its progress.

An important consideration, that became more noticeable in Trunk Music, is how the books and the TV series they inspired are similar but never the same: since I encountered these stories in their televised form first, I thought that the “excitement factor” might be diminished by my foreknowledge of the way they went, but this fifth book confirmed how the TV scripts changed many of the pieces on the playing field, allowing me to enjoy the books because of the marked differences between the two mediums. Which leads me to believe that I have still many surprises awaiting me down the road… show less

»“Still the same old Bosch. Your way or the highway.”«

In this instalment, Bosch is back from his involuntary leave and investigates a case of the eponymous “trunk music” - a murdered man in the trunk of his own car. Bosch himself is pretty much as he always was but around him, things changed: His lieutenant, Pounds, is on another kind of involuntary and permanent “leave” and was replaced by Grace Billets.

Bosch: »I’d heard that you didn’t have any actual time on a homicide table while you were coming up,” he said to her.
Billets: “That’s true. My only job as an actual detective was working sexual crimes in Valley Bureau.”
Bosch: “Well, for what it’s worth, I would have assigned things just the way you just show more did.”
Billets: “But did it annoy you that I did it instead of you?”
Bosch thought a moment.
Bosch: “I’ll get over it.”«

I liked this exchange - which is indicative of their entire relationship in this book - because, yes, he’s still “same old Bosch”: Direct, confrontational, but honest, and willing to move beyond his prejudice.

Billets recognises the old-fashioned cop and is equally direct, sparing him no challenges. She also stands up for him repeatedly. I very quickly took to Billets and greatly enjoyed her character.

»“It’s Bosch.”
“Well, the Michelangelo of murder, the Rodin of homicide.”«

Alas, not everything is as good as usual: There’s a major twist after more than two thirds of the novel that the reader long sees coming. I was impatient with Bosch and colleagues to realise it and that somewhat marred my enjoyment.

Nevertheless, the writing is still very good and there are some very suspenseful parts of the narration. I also enjoyed the reappearance of Eleanor Wish and “that one stop” in Vegas…

3.5 stars out of five, rounded up to 4 stars.

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Ceterum censeo Putin esse delendam show less

[Cross-posted to Knite Writes]

There’s really not all that much I can say about a Bosch book that I haven’t said before. The plots are always well-crafted and complex, with excellent twists and turns that you never see coming. No threads are left hanging, no plot points unresolved. The world-building is excellent and always reflects the changing social climates, technology, and the like, as the series moves through the 90s toward the new millennium.

All in all, this book was just another great installment of the series. It had a great mystery, some good action scenes, and a fairly satisfying conclusion. I can’t really come up with any complaints.

In fact, I actually like this book a tad bit more than I did some of the other novels, show more due largely to the inclusion of a new and improved cast. Kizmin Rider and Grace Billets added some good diversity to the mix of characters, which has, due to the (admittedly realistic) social climate of the LA police in the 90s, been a bit too white and a bit too male in the past. It was good to see the books reflect the sorts of social changes that actually occurred during this time period and bring in some fresh faces.

It was also a great relief to see these faces well-characterized and not left flat on the sidelines.

I think my only “issue” with the book was the final chapter, which involved a coincidence so absurd that it made me roll my eyes. Personally, I don’t think it was necessary, and it took away from an otherwise strong ending. It wasn’t a deal breaker or anything, but I did fit it pretty annoying.

Other than that, though, (and it is a pretty minor thing, to be honest), Trunk Music was another fantastic Bosch book, and I can’t wait to get my hands on the next few in the series! show less

Might be the best of the Bosch series.
LAPD homicide detective Harry Bosch is lead on a case that's more than he bargained for. It starts with the body of a Hollywood producer in the trunk of a Rolls-Royce, shot twice in the head at close range - what looks like "trunk music," a Mafia hit. But the LAPD's organized crime unit is curiously uninterested, and when Harry follows a trail of gambling debts to Las Vegas, the case suddenly becomes more complex - and much more personal. A rekindled romance with an old girlfriend opens new perspectives on the murder and the corruption and collusion behind it. Yanked off the case, Harry himself is soon the one being investigated.

Harry has returned to the job after an involuntary leave of absence. His first case back is a little more than he bargained for. B-grade L.A. movie producer Tony Aliso is found shot twice in the head and stuffed into the trunk of his Rolls Royce – what looks like “trunk music,” a Mafia hit. Harry is not so sure and follows the money to Vegas. Tony had enemies, and the investigations quickly gives Harry his own share of them also, everyone from Vegas thugs to his own department's Internal Affairs, to Tony’s killers. Harry is not all hung up on his own issues, he’s instead concentrates on getting the job done. Even the involvement of a former love, Eleanor Wish, is only a sidelight. He’s not as sad or angry as he has been at show more times, which was a good change. I have always liked Harry, but sometimes he just needed to stop thinking so hard and get back to solving the case. Actually, the plot in this one was better than the characters. The ending is, as usual, exciting and of course unexpected. That's a Michael Connolly specialty. The clues were there, and how it all fell in place was simply well-done. show less

Bosch goes to Vegas running into Eleanor Wish. Bosch chases down the bad guys who are both the LVPD and the mob. Not a lot of action. The book was familiar because a lot of it was used for one of the TV seasons plot elements. Running into the girl who got away on his Honeymoon in Hawaii was a bit much and there really wasn't much action but still a good, dense read.

[[Michael Connelly]] is back to his best with this Harry Bosch story. Bosch catches a murder with a guy shot, execution style, and left in the trunk of his own car. The victim is involved in money laundering for some seedy Las Vegas fellas - so, mob hit, right. Nope, and it takes him some work to get back to the truth on this one. Eleanor Wish is back, from the first book; she and Bosch dance a bit before getting back to where they were when Bosch sent her up. The last installment was good, with Bosch in mandated therapy, but this one is great.

Highly Recommended!!!!!
5 bones!!!!!