James Burke - The Tin Roof Blowdown

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Tight plotting, Solid Finish
Because he’s a damn good writer James Lee Burke knows how to keep a plot going from start to finish with no loose ends or out-of-the-blue surprises that amateurishly attempt to explain and finish off a narrative. He easily weaves several ancillary situations into the story line of The Tin Roof Blowdown. These are of interest on their own, but more importantly they serve to expand and add often curious layers to the main show that centers around the eye of mayhem left behind by a pair of hurricanes.
I bring this up since I just finished reading a book by Jeffrey Deaver titled The Cold Moon. The bad guy, a most interesting sociopath called The Watchmaker who is a brilliant killer with machinations of Machiavellian stature, is the author of a poem about a cold moon, so one would suppose that he would figure prominently in the denouement of the novel. He doesn’t. Not at all. He escapes from the cops and vanishes from the book with nearly one-hundred pages left, obviously setting a not-so-subtle stage for a return in another Deaver effort. This strikes me as venal artifice by a writer who certainly has reached a point of financial and critical security where such shenanigans are unnecessary and beneath him.
None of this fakery for Burke. From the first book I read by him years ago, The Neon Rain to others that included Black Cherry Blues, The Lost Get-Back Boogie, Jolie Blon’s Bounce, and now this one, Burke has played it straight telling his stories and making sure loose ends are tied up when the last page is read. And like I said he can write.
I said he smiled. That’s not quite right. Jude shined the world on and slipped its worst punches and in a fight knew how to swallow his blood and never let people know he was hurt. He had his Jewish mother’s narrow eyes and chestnut hair, and he combed it straight back in a hum, like a character in a 1930s movie. Somehow he reassured others that the earth was a good place, that the day was a fine one, and that good things were about to happen to all of us.
Tight, succinct descriptions like the one above or similarly structured vignettes connect and in doing so glide the reader from scene to scene. None of this is as easy as Burke makes it look. That’s called skill. He’s got it in spades.
But this is to be expected of a man who’s written more than twenty-five novels, a man who divides his time between seemingly disparate locations – Missoula, Montana and New Iberia, Louisiana. Living in these two places seems to give him an expanded and sympathetic view of the world and those of us who bump and grind our way through it making his characters and their short comings easily assimilated, allowing the reader to experience sympathy and often empathy.
The setting of The Tin Roof Blowdown is largely post-apocalypse Louisiana following the devastation wrought by first Hurricane Katrina then Rita. The landscape has been reduced to a naturally nuked wasteland where murder, rape and theft are the order of the day perpetrated by both punks run amok and many cops. Iberia Parish Sheriff’s Detective Dave Robicheaux is deployed to New Orleans, the once grand city now reduced to a feudal state without electrical power, clean water, food or any sense of societal order. Bloated bodies – humans, cats, dogs – float in flooded streets or lie tangled in downed, shattered trees. In this chaos Robicheaux must locate two serial rapists, a morphine-addicted priest, and a vigilante who quite possibly is more dangerous than the thugs looting the city and shooting at rescue helicopters overhead. Based on past books, just another day at the office for Robicheaux. Burke’s got so much going on here that it would be easy for him to inadvertently confuse the reader, if not himself, beyond salvation allowing the book to devolve into a miasma of none-related tales – a rag-tag collection of short stories pretending to be a novel.
Again his skill and also confidence as a writer never allows this to happen. Not even close. Each section and chapter advances the drama logically and without undo cliff hangings. A good example is when a killer stalking the detective’s daughter is spotted outside a cabin.
Out among the willows, I saw the solitary fisherman lean down in his boat and pick up something from the bottom. He knocked his hat off his head to give himself better vision and raised the rifle to his shoulder. I could not make out the features of his face, but the moon had started to rise and I saw the light gleam on his bald head inside the shadows.
I was already out the screen door and running down the slope when he let off the first round.
So many mystery writers would then wander off for a chapter or several on another tangent leaving a person wondering what’s going on back at the bayou. Not Burke. He again displays his confidence by moving directly forward with the above scene in the next chapter. He knows that each element in his books can stand on its own and doesn’t need the tired device of leaving the reader up in the air for pages on end to maintain interest in the overall narrative arc.
And Burke slips in sharp, humorous observations on the human condition throughout the book like this one following an argument between Robicheaux and his wife, a former nun.
I just went outside and started the truck, my face hot, my ears ringing with the harshness of our exchange. The yard had fallen into shadow and cicadas were droning in the trees, like a bad headache that won’t go away. Just as I was backing into the street, regretting my words, trying to accept Molly’s anger and hurt feelings, she came out on the gallery and waved good-bye.
That’s what happens when you marry nuns.
For those who’ve not yet read Burke, The Tin Roof Blowdown is a great place to start. For those who are already fans of his, this mystery is merely one more top-notch effort by a most talented author.

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They drowned in attics and on the second floors of their houses. They drowned along the edges of Highway 23 when they tried to drive out of Plaquemines Parish. They drowned in retirement homes and in trees and on car tops while they waved frantically at helicopters flying by overhead. They died in hospitals and nursing homes of dehydration and heat exhaustion, and they died because an attending nurse could not continue to operate a hand ventilator for hours upon hours without rest.

If by chance you hear a tape of the 911 cell phone calls from those attics, walk away from it as quickly as possible, unless you are willing to live with voices that will come aborning in your sleep for the rest of your life.

The United States Coast Guard flew nonstop, coming in low with the sun at their backs, taking sniper fire, swinging from cables, the downdraft of their choppers cutting a trough across the water. They took the children, the elderly, and the sick first and tried to come back for the others later. They chopped holes in roofs and strapped hoists on terrified people who had never flown in an airplane. They held infants against their breasts and fat women who weighed three hundred pounds, and carried them above the water to higher ground with a grace we associate with angels. They rescued more than thirty-three thousand souls, and no matter what else happens in our history, no group will ever exceed the level of courage and devotion they demonstrated following Katrina’s landfall.

After sunset on the first day, August 29, the sky was an ink wash, streaked with smoke from fires vandals had set in the Garden District. There were also electrical moments, flashes of light in the sky, heat lightning or perhaps sometimes the igneous trajectory of tracer rounds fired from automatic weapons. The rule books were going over the gunwales.

Looters were hitting pharmacies and liquor and jewelry stores first, then working their way down the buffet table. A rogue group of NOPD cops had actually set up a thieves headquarters on the tenth floor of a downtown hotel, storing their loot in the rooms, terrorizing the management, and threatening to shoot a reporter who tried to question them. New Orleans cops also drove off with automobiles from the Cadillac agency. Gangbangers had converged on the Garden District and were having a Visigoth holiday, burning homes built before the Civil War, carrying away whatever wasn’t bolted down.

Evacuees in the Superdome and Convention Center tried to walk across the bridge into Jefferson Parish. Most of these people were black, some carrying children in their arms, all of them exhausted, hungry, and dehydrated. They were met by armed police officers from Jefferson Parish who fired shotguns over their heads and allowed none of them to leave Orleans Parish.

An NOPD cop shot a black man with a twelve-gauge through the glass window of his cruiser in front of the Convention Center while hundreds of people watched. The cop sped away before the crowd attacked his vehicle. Some witnesses said he ran over the victim’s body. The cop claimed the dead man had tried to attack him with a pair of scissors.

A half block from a state medical clinic I counted the bodies of nine black people, all of them floating facedown in a circle, like free-falling parachutists suspended on a cushion of air high above the earth.

We heard stories of gunfire from rooftops and windows. Emergency personnel in rescue boats became afraid of the very people they were supposed to save. Some people airlifted out by the Coast Guard in the Lower Nine said the gunfire was a desperate attempt to signal the boat crews searching in the darkness for survivors. Who was telling the truth? What cop or fireman or volunteer kneeling on the bow of a rescue boat, preparing to throw a rope on a rooftop, wanted to find out? Who wanted to eat a round from an AK-47?

Charity and Baptist Memorial hospitals had become necropolises. The bottom floors were flooded, and gangbangers turned over rescue boats that were trying to evacuate the patients. Without electricity or ice or unspoiled food or running water, hospital personnel were left to care for the most helpless of their wards-trauma victims with fresh gunshot wounds, those whose bodily functions depended entirely upon machines, patients who had just had organs surgically removed, and the most vulnerable group, the aged and the terrified, all of it inside a building that was cooking in its own stink.

But a lot of NOPD cops were loyal to their badge and their oath and worked tirelessly alongside the rest of us for the next seventy-two hours. Among their number were many of Clete’s longtime detractors and enemies, but even the most vehement of them had to concede that Clete Purcel was a beautiful man to have on our side-the kind who covers your back, tightens your slack, and humps your pack. He knew every street and rat hole in New Orleans, and he had also fished every bayou and bay and canal from Barataria to Lake Borgne. He was on a first-name basis with hookers, Murphy artists, petty boosters, whiskey priests, junkies, skin bar operators, transvestites, disgraced cops, strippers, second-story creeps, street mutts, bondsmen, journalists, and old-time Mobsters who tended their flower gardens in the suburbs. His bravery was a given. His indifference to physical pain or verbal insult was vinegar and gall to his enemies, his loyalty to his friends of such an abiding nature that with conscious forethought he would willingly lay down his life for them.

But even Katrina did not change Clete’s penchant for the visceral and the sybaritic. On August 31 he said he was going to check his apartment and office on St. Ann in the Quarter. Two hours passed and no Clete. It was afternoon and Helen and I were in a boat out in Gentilly, surrounded by water and houses that were beginning to smell from the bodies inside. The combination of heat and humidity and lack of wind was almost unbearable, the sun like a wobbling yellow balloon trapped under the water’s surface. Helen cut the engine and let us drift on our wake until we were in the shade of an elevated stretch of Interstate 10. Her face and arms were badly sunburned, her shirt stiff with dried salt.

“Go find him,” she said.

“Clete can take care of himself,” I said.

“We need every swinging dick on the line. Tell him to get his ass back here.”

“That’s what Nate Baxter used to say.”

“Remind me to scrub out my mouth with Ajax,” she replied.

I caught a ride on another boat to high ground, then walked the rest of the way into the Quarter. The Quarter had taken a pounding from the wind and the rain, and ventilated shutters had been shattered off their hinges and the planked floors of whole balconies stripped clean from the buildings and sent flying like undulating rows of piano keys down the street. But the Quarter had not flooded and some of the bars, using gasoline-powered generators, had stayed on the full-tilt boogie for three days-their patrons zoned and marinated to the point they looked like waxworks figures that had been left under a heat lamp.

I found Clete in a corner dump two blocks from his office, his tropical shirt and cream-colored slacks black with oil, his skin peeling with sun blisters, his face glowing from the huge mug of draft beer he was drinking and the whiskey jigger rolling around inside it. A brunette woman in a halter and cutoff blue-jean shorts and spiked heels was drinking next to him, her thigh touching his. The tops of her breasts were tattooed with chains of roses, her neck strung with purple and green glass beads, her mascara running like a clown’s.

“Time to dee-dee, Cletus,” I said.

“Lighten up, big mon. Have a soda and lime. The guy’s got cold shrimp on dry ice,” he said.

“You’re shit-faced.”

“So what? This is Dominique. She’s an artist from Paris. We’re going over to my place for a while. Did you see that big plane that flew over?”

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