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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Bertrand shined the light into the top of the closet. “Look what we got here, man,” he said.

Eddy paused in his work and stared upward at the panel his brother was prying loose from the closet wall. Both brothers were thick-bodied men, the muscles in their shoulders swollen and hard as iron from shrug-lifting sixty-pound dumbbells in each hand. Both were stripped to the waist and sweating profusely in the superheated interior of the house, Bertrand with a red bandana knotted tightly around his head.

Bertrand reached inside the wall and lifted out a short-barreled blue-black revolver with checkered walnut grips and a Ziploc bag fat with white granular crystals. “Oh mama, Whitey’s private stash and a thirty-eight snub. This is gonna be one pissed-off dude,” he said. “Wait a minute. That ain’t all.”

Bertrand stuck the bag of cocaine down the front of his trousers and handed the revolver to his brother. He reached back inside the wall and lifted out five bundles of one-hundred-dollar bills, each of them wrapped with a wide rubber band. He whistled. “Do you believe this shit? This motherfucker’s in the life.”

“Maybe this ain’t the place to take down,” Eddy said.

“Hey, man, ain’t nobody know we here. This is our night. We ain’t blowing it.”

“You’re right, man. The dagos ain’t running things no more, nohow. What you doing?”

Bertrand stuck the bundled bills in the bag, his eyes dancing in the glow of the flashlight. “Don’t worry about it.”

A third man entered the room. He had pulled off a gold-and-purple T-shirt and wadded it up and was using it to mop the sweat off his chest and out of his armpits. He wore paint-splattered slacks and tennis shoes without socks. Whiskers grew on his chin like strands of black wire. “Kevin thinks he saw a guy out in the street,” he said.

“That kid’s been wetting his pants all night. I told you not to bring him,” Bertrand said.

“He’s just saying what he saw, man,” the third man said. His eyes dropped to Bertrand’s waistline and the Ziploc bag that protruded from his trousers. “Where’d you get the blow?”

“Same place we got the thirty-eight. Now go take care of Kevin. We gonna be right there. I don’t want to be hearing about nobody out in the street, either. It’s Michael Jackson and Thriller out there. This city is a graveyard and we own the shovels and the headstones. Motherfucker come in here, he gonna eat one of these thirty-eights. You hear me, Andre? Get your ass downstairs and bring up the boat. And don’t be cranking it till we there.”

“What y’all got in the laundry bag?” the third man said.

“Andre, what it take for you to understand?” Bertrand said.

“I’m just axing,” the third man replied. “We in this together, ain’t we?”

“That’s right. So go do what he say,” Eddy said.

Andre huffed air out his nostrils and disappeared down the stairway. Bertrand tapped one fist on top of the other, his gaze roving around the room. “There’s more. I can feel it. I can smell money in the walls,” he said.

“What you smell is them flowers all over the place. What kind of people put flower vases in every room in the house right before a hurricane?” Eddy said.

The question was a legitimate one. Who could afford to place fresh bowls of roses and orchids and carnations in a dozen rooms every three or four days? Who would want to? Bertrand stared at the water stains in the wallpaper and pushed against the softness of the lathwork underneath, his stomach on fire, rivulets of sweat running out of his bandana. “These walls is busting wit’ it, Eddy. It’s a drop or something,” he said.

“Give it up, man,” Eddy said. “It’s burning up in here. It must be a hundred and twenty degrees.”

Bertrand looked hard at his brother and grimaced as his ulcers flared again. This could be the perfect score. Why did his insides have to betray him now, why was his head always full of broken glass? Why wasn’t anything easy?

“All right,” he said, drawing a quiet breath.

“That’s better,” Eddy said. “You’re always grieving, man, firing yourself up over things you cain’t change. We ain’t made the world. Time to enjoy life, not worry so much all the time.”

Both of them went downstairs, the flashlight’s beam bouncing in front of them. Then Bertrand clicked off the light and the two of them climbed into the boat with Andre and his nephew. The sky was orange from a fire on the next block and inside the smoke and mist and humidity the air smelled like garbage burning on a cold day at the City dump.

Bertrand looked back over his shoulder at the house. For some reason that he couldn’t understand, he felt his entry into this deserted, antebellum structure had just changed his life in a fashion that was irreversible. But for good or bad? Why were knives always whirling inside him?

Suddenly, like a camera shutter opening in his mind, he saw a young girl fighting against the polyethylene rope that bound her arms and ankles, thrashing her feet against the floor of a panel truck, her stuffed bear lying beside her. He shook the image out of his head and pointed his face into the wind as their aluminum boat sped down the flooded alleyway, trash cans bobbing in the engine’s wake, helicopters flying overhead to airlift the most desperate of the desperate from the hospital in which Bertrand Melancon had been born.

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It was close to midnight before Otis dressed for bed. He removed the cartridge from the chamber of the Springfield, pressed it back down in the magazine, and locked down the bolt. He propped the rifle by a dormer window that gave an encompassing view of the front yard, checked all the doors again, and kissed Thelma good night. Then he made an old-fashioned for both himself and Melanie and took them up to the bedroom on a silver tray with three pieces of chocolate on it.

“What’s all this for?” she asked.

“We owe ourselves a treat. Tomorrow will be a fine day. I genuinely believe it will.”

She wore a pink nightgown and had been reading on top of the sheets. The gasoline-powered generators could not adequately support the air-conditioning system, but the attic fan was on and her bare shoulders looked cool and lovely in the breeze through the window. She placed her book on the floor and bit into a square of French chocolate, pushing little pieces of it back into her mouth with her fingertips. She smiled at him. “Turn out the light,” she said.

Later, when Otis fell asleep, his thoughts were peaceful, his body drained of all the rage and turmoil that had beset his life since his daughter was attacked. His home had survived Katrina. His wife was his wife again. And he had gone after his daughter’s attackers with both firmness of purpose and a measure of mercy. More important, he had made his house a safe harbor in a time of societal collapse, the front yard and driveway pooled with an apron of light that held back the darkness and the men who prowled it. A man could have done worse.

INSIDE THE BACK of the looted Rite Aid drugstore, Bertrand Melancon felt like fire ants were eating the lining of his stomach. Andre and his nephew still didn’t know about the bundled cash in the laundry bag, but it was only a matter of time before they either saw it or figured out why Eddy was acting hinky. Maybe it was better to split the loot fair and square and be done with it, he thought. The Rite Aid had been ripped apart and was in complete darkness, but it was a good place to cool out, do a few lines of the high-grade flake from the house full of flowers, and work things out. Yeah, that was it. Don’t stiff nobody and you don’t got to be watching your back all the time. But dividing up cold cash that he found, that he ripped out of the wall, wasn’t going to be easy. On several levels, personal and otherwise.

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