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Coming into a series late can be a disadvantage when it comes to reviewing -- inevitably the characters have baggage that might not have been lugged this far forward. And don't you just hate it when well-meaning friends tell you that the book you're happily reviewing isn't the best by so-and-so. Both of these things happened to me with THE NARROWS. I'd very sensibly made sure I read THE POET first -- and had stayed away from the cover blurb on the latter, which gives away almost every last dratted detail of the former. But as I was reading, I kept thinking I was lacking vital back story. Don't get me wrong, I enjoyed THE NARROWS loads, and was engrossed in it until the end. But not having read any of the Harry Bosch or Terry McCaleb books was clearly a handicap. Connelly is a polished enough writer for the book to work as a standalone, but I couldn't help feeling I'd gatecrashed someone else's party where I didn't recognise most of the faces. THE POET, for me, was a compelling piece of writing, and I'm not sure I wanted a sequel to it -- I know I had my own theories as to whether Robert Backus survived that encounter with fellow FBI agent Rachel Walling. Walling, too, is back in THE NARROWS. She's been exiled into the sticks for her part in the fiasco surrounding The Poet. In fact, about the only person who isn't present and correct here is journalist Jack McEvoy. Rachel is called back to the big time when it becomes apparent that Backus is back. And her path crosses with Bosch's as he investigates the death of old friend Terry McCaleb -- a death that might not have been from natural causes and which links in with The Poet enquiry. As befits a writer of Connelly's stature, the book is never less than readable, and there's a tense river and canal finale in The Narrows of Los Angeles. But you may be left feeling, as I was, that you'd reached the party a bit too late.
Reviewed by Sharon Wheeler, June 2004
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Contact: Yvonne Klein (ymk@reviewingtheevidence.com)
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