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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“No, I didn’t. Step outside with me.”

“It was Air Force One. After three days the Shrubster did a fly-over. Gee, I feel better now.”

“Did you hear me?”

He leaned over the counter, filled his mug from the tap, and poured a jigger of Beam into it. He upended the mug, drinking it to the bottom, his eyes fastened on mine. He smiled, his face suffused with warmth. “This is our country, big mon. We fought for it,” he said. “I say screw all these cocksuckers. Nobody jacks the Big Sleazy when the Bobbsey Twins from Homicide are on the job.”

I had no idea what he was talking about. But in AA you do not try to reason with drunks. In Clete Purcel’s case, you did not invade the private cathedral where he sometimes lived.

“I’ll tell Helen you’ll catch us later,” I said.

He laid the full weight of his big arm across my shoulders and walked with me to the door. The cloud of testosterone and beer sweat that rose from his armpit was suffocating.

“Give me an hour. I just need to clean up and fix some supper for me and Dominique,” he said.

“Supper?”

“What’s wrong with that?”

“That woman isn’t from France. She used to work in a massage parlor in Lafayette. She was one of Stevie Giacano’s whores.”

“Who’s perfect? You’ve got something negative to say about every woman I meet.”

“That’s a comment on your judgment, not mine.”

I saw the hurt flicker in his face before I could take back my words. He took his arm from my shoulders and stepped out on the sidewalk. The street was strewn with plaster, broken glass, chimney bricks, beer cans and red plastic beer cups, roofing shingles, and thousands of water beetles that had been forced up through the sewer grates and that snapped under your feet when you stepped on them. But in the waning of the afternoon, in the pool of shadow made by the building at our back, in the popping of a Mardi Gras flag someone had hung on a staff from a balcony, I felt for just a moment that an older and fonder vision of New Orleans might still be available to us.

“I’m sorry for what I said, Clete.”

His eyes crinkled, threading with white lines at the corners. He pulled a slip of paper out of his shirt pocket with two fingers and offered it to me. “Aside from her painting career, Dominique coincidentally knows every working girl in the Quarter. You still want to find that junkie priest who’s hooked up with the sister of the MS-13 dude?” he said.

You didn’t put the slide or the glide on Clete Purcel.

Chapter 7

ON OUR WAY back to rendezvous with Helen, we stopped at the second-story apartment where Jude LeBlanc lived with the Hispanic woman by the name of Natalia Ramos. But the apartment door was locked and the shutters latched. A neighbor, a Cajun woman who had ridden out the storm, said Jude had left the apartment for the Ninth Ward on Friday afternoon and Natalia had decided to join him. “I heard there’s bad t’ings happening down there. Maybe they ain’t coming back, no,” the neighbor said.

“Do you know where they went in the Ninth?” I asked.

“There’s a church down there that don’t ax no questions about him. Natalia said it’s made of stucco and got a bell tower,” she replied.

“Thank you,” I said, and started to go.

“Hey, you?” the neighbor said.

“Yes?”

“Maybe he ain’t doing right, a priest living wit’ a woman and all, but that’s a good man, yeah.”

That night was one of surreal images that I suspect have their origins more in the unconscious than in the conscious mind. People looked and behaved as they do in our sleep-not quite real, their bodies iridescent with sweat, their clothes in rags, like creatures living out their destinies on moonscape.

I saw a man rowing a boat, vigorously pulling on the oars, his back turned toward two bodies that were piled in the bow, his face set with stoic determination, as though his efforts could undo fate’s worst cut.

I saw a black baby hung in the branches of a tree, its tiny hands trailing in the current, its plastic diaper immaculate in the moonlight. I saw people eating from plastic packages of mustard and ketchup they had looted from a café, dividing what they had among themselves. Ten feet from them a dead cow matted with flies lay in the back of a wrecked pickup, a lead rope twisted around its neck.

A gelatinous fat man wearing boxer trunks and mirrored sunglasses floated past us on a bed of inner tubes, a twelve-pack of beer balanced on his stomach, one hand held high in a toast to a passing airboat.

“You want a ride up to high ground?” I said.

“And miss the show? Are you kidding?” he replied, ripping open another beer.

I saw kids running from an antebellum home they had just torched, silhouetted against the flames, like pranksters trick-or-treating on Halloween. When the gas lines exploded, sparks showered down on the entire neighborhood. Two blocks away vigilantes with shotguns and deer rifles prowled the flooded streets in a bass boat powered by an electric motor. One of them wore a headlamp, another a safari hat with a leopard-skin band. They were all sharing drinks from a silver flask and happy as hogs rolling in shit. I don’t know if they found their prey or not. In fact, at the time I was too tired to care.

We heard rumors that teams of elite troops, Special Forces or Rangers or Navy SEALs, were taking out snipers under a black flag. We heard that an alligator ate a deer on the second story of a flooded house by the Industrial Canal. Some NOPD cops said the personnel at Orleans Parish Prison had blown town and left the inmates to drown. Others said a downtown Mob rushed a command center, thinking food and water were being distributed. A deputy panicked and began firing an automatic weapon into the night sky, quickly adding to the widespread conviction that cops were arbitrarily killing innocent people.

The number of looters and arsonists and dangerous felons in custody was growing by the hour, with no place to put them. We kicked looters loose, only to see them recycled back into a temporary holding area two hours later. Some of those in custody were probably murderers-drug dealers or sociopaths who had taken advantage of the storm to eliminate the competition or settle old grudges. When a chain-link jail was created at the airport, we started packing the worst of the bunch into school buses for the trip up I-10 into Jefferson Parish.

That’s when I heard a woman on a wrist chain screaming at an Iberia deputy who was trying to push her up onto the steps of a waiting bus. She sat down heavily on the curb, pulling others down with her.

“What’s going on, Top?” I asked the deputy.

“She spit on a fireman and scratched his face. She started yelling about a priest on a church roof,” the deputy said. “I think she’s nuts. She was also holding a few pharmaceuticals.”

The woman looked Hispanic and wore a filthy purple sundress with bone-colored flowers printed on it. Her hair and skin were greasy with oil, her bare feet bloody.

“Who’s the priest?” I asked her.

She looked up at me. “Father LeBlanc,” she answered.

“Jude LeBlanc?” I asked.

“You know him?” she said.

“I knew a priest by that name in New Iberia. Where is he?”

“In the Lower Nine, at St. Mary Magdalene. He filled in there sometimes because they ain’t got no regular priest.”

“Can you kick her loose?” I asked the deputy.

“Gladly,” the deputy said, leaning down to the chain with his cuff key.

She was off balance when she stood up. I steadied her with one hand and walked her toward a first-aid station. “What happened to your feet?” I said.

“I lost my shoes two days ago. We were on a roof that didn’t have no shingles. The nails were sticking out of the boards.”

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