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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“I’ll keep it close by. I promise.”

She let out her breath and rested her cheek against his shoulder. In ten seconds’ time the embittered woman he had been living with had disappeared and been replaced by the lovely, intelligent woman he had met on a Bahamian beach, under the stars, years ago.

Otis waited until Melanie and Thelma were setting the dining room table, then removed a pair of binoculars from his desk in the den and focused them on the men who were breaking into homes on the other side of the neutral ground. Tom Claggart tapped on the side window. Otis unlocked the French doors and pulled them open.

“What is it?” he asked.

“The Snoop Dogg fan club is looting the goddamn neighborhood is what,” Tom said.

“What do you want me to do about it?”

Tom Claggart’s shaved head was pinpointed with sweat in the humidity, his muscle shirt streaked with dirt. “We need to take back our fucking neighborhood. You want in or not?”

“What I want is for you not to use that kind of language around my home.”

“Those guys out there file their teeth, Otis. Considering what happened to Thelma, you of all people should know that.”

“If they try to come in my home, I’ll kill them. So far they haven’t tried to do that. Now go back to your family, Tom.”

“My family left.” Tom’s face was flat when he said it, his buckshot eyes round and dead, as though he were announcing a fact he himself had not yet assimilated.

“I’m sorry. I can’t help you,” Otis said.

Otis closed the French doors and locked them. As he looked at Tom’s expression through the glass, he felt a deep sense of sorrow for him, the same way he had once felt toward his uneducated, work-exhausted father whose sense of self-worth was so low he had to put on a Klansman’s robes to know who he was.

“Who was that?” Thelma asked.

“A fellow who will never own anything of value,” Otis said.

“What’s that mean?” Thelma asked.

“It means let’s eat,” Otis said, patting her fondly on the back.

But a few minutes later Otis Baylor realized he had arrived at one of those intersections in life when a seemingly inconsequential decision or event changes one’s direction forever. He had forgotten to return the binoculars to the desk drawer and in the fading twilight Thelma had picked them up and begun scanning the street with them.

She froze and a muted sound rose from her throat, as though she had stepped on a sharp stone.

“What’s wrong, kiddo?” he asked.

“Those guys in the boat,” she replied.

“They’ll take what they want and they’ll go away. They won’t come here.”

“No, it’s them, Daddy.”

He took the binoculars from her and fixed them on the four black males who had now worked their way farther down the street, still on the opposite side of the neutral ground. “Those are the men who attacked you?” he said.

“The one in the front of the boat is for sure. He kept lighting cigarettes and laughing while they did it to me,” she said. “The guy behind him, the one with the hammer in his hand, he looks just like the guy who-”

“What?”

Her face was beginning to crumple now. “Who made me put it in my mouth,” she said.

Otis cleared his throat slightly, as though a tiny piece of bone were caught in it. He could feel his chest laboring for his next breath, his palms opening and closing at his sides, his mouth drier than he could remember. “You’re absolutely certain?”

“You don’t believe me? You think I would just pick out some black guys I never saw before and lie about them? Is that what you think of me?”

The pathos in her face was such he could hardly look at it.

He walked out on his front porch and stared down the street at the four men. Their boat was a big aluminum one, painted green, the black men and the green boat almost lost in the shadows of the building. He climbed the stairs to the second floor and in the hallway pulled down the lanyard on the collapsible steps that folded into the attic. His Springfield was propped against a cardboard box packed with his dead mother’s clothes, which he could not bring himself to give away. The rifle had been a present from his father on Otis’s sixteenth birthday and was the best gift Otis had ever received, primarily because his father had owned very little, not even the clapboard house in which they lived, and the most dear of his possessions had been his Springfield rifle.

It still had its original military dark-grained stock and leather sling and iron sights, but the oiled smoothness of its action and the accuracy with which it fired a round had no peer.

The attic was musty and dry, strangely comfortable and peaceful in the shadowy light of the single electric bulb that hung from a cord overhead. Otis unlocked the bolt and from a box of army-surplus ammunition began pressing one.30-06 shell after another into the rifle’s magazine. He felt the spring come tight under his thumb and slid the bolt forward, locking it down, a metal-jacketed, needle-nosed round resting snugly in the chamber.

He climbed back down the folding steps and walked through his bedroom to the glass doors that gave onto the balcony. But the sky was dark now, the stars and moon veiled with smoke, the tangle of downed trees on his neighbors’ lawns impossible to see through. He opened the doors onto the balcony and stepped outside, wrapping his left forearm inside the rifle’s sling. The warm current of air rising from his flower beds made him think of spring, of new beginnings, of seasonal predictability. But the autumnal gas on the wind was a more realistic indicator of his situation, he thought. It was a season of death, and for Otis it had begun not with the hurricane but with the rape of his daughter.

He had never tried to describe to others the rage he felt when he saw his daughter in the emergency room at Charity Hospital. Her attackers had even burned her breasts. A black policewoman had tried to console him, promising him that NOPD would do everything in its power to catch the men who had harmed Thelma. She said his daughter needed him. She said he should not have the thoughts he was having. She said he was a bystander now and that he must trust others to hunt down his daughter’s tormentors, that in effect the legalities of her case were not his business.

The look Otis gave the policewoman made her face twitch. From that moment on he resolved he would never allow anyone access to the level of rage that churned inside him, not until he found the three faceless black men who lived quietly on the edges of his consciousness, twenty-four hours a day.

Otis doubted that many people had any understanding of the thought processes, the obsession, a father enters into when he wakes each morning with the knowledge that the degenerates and cowards who ruined his daughter’s life are probably within a few miles of his house, laughing at what they have done. Perhaps the father’s emotions are atavistic in origin, he told himself, just as protection of the cave is. Perhaps those feelings are hardwired into the brain for a reason and are not to be contended with.

After Thelma was arrested for possession of marijuana, Otis attended several Al-Anon meetings in the Garden District. The only other man there as reticent as he was a neatly groomed accountant who worked for a religious foundation. For five meetings the accountant sat politely in a chair and never volunteered a word. One night the group leader asked the accountant if the meetings had helped him or his alcoholic wife. The accountant seemed to consider the question for a moment. “When my daughter was raped by her teacher on a field trip I thought about laundering ten thousand dollars to have him castrated. But I still haven’t decided if that’s the right thing or not. So, yeah, I guess in a way you could say I’ve made some progress.”

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