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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Two years have passed since that night and Otis still seeks explanations. Thelma’s attackers were never caught, and Otis doubts they ever will be. Psychiatrists and therapists and the minister from Otis’s church have done little good in Thelma’s recovery, if “recovery” is the word. He wakes in the middle of the night and sits by himself in the den, determined that his wife will not discover the level of torment in his soul.

More important, perhaps, he refuses to be embittered or to join ranks with his neighbors who comprised part of the forty percent of the electorate that voted for the former Klansman and Nazi David Duke in a gubernatorial runoff.

He makes a cheese, lettuce, and mayonnaise sandwich, places it on a tray with a can of soda and a long-stemmed rose, and carries the tray up to Thelma’s room. She is bent over her desk, dressed in a black T-shirt and black jeans with big brass brads on them, earphones clamped on her head. He has no idea what she is listening to. Sometimes she is enthralled by recordings of birdsong or waterfalls; other times she listens to heavy-metal bands that make Otis wish he had been born deaf.

“I thought you might want a snack,” he says.

Her mouth is painted with purple lipstick, her hair dark and freshly shampooed and clipped in bangs so that it looks like a helmet. Her face wears a perpetual pie-plate expression that makes others feel the problem in communicating with her is theirs, not hers. She vacillates between bouts of anorexia, binge eating, and bulimia. By normal standards, she would not be considered a likable person. But why should she be? Otis asks himself. How many young girls were psychologically prepared to deal with the damage these men had inflicted upon her?

She begins eating the sandwich without removing the earphones or speaking to him. He reaches down and lifts the foam-rubber pads from her head.

“Can’t you say hello to your old man?” he asks.

“Hi, Daddy,” she says.

“Want to help me latch the shutters when you’re finished?”

She looks up at him. An intense thought, like a dark bird with a hooked beak, seems to hide behind her eyes. “A civil defense guy said it’s going to be awful.”

“It could be. But we’re tough guys.”

He tries to read her expression. It’s not one of fear or apprehension. In fact, he wonders if it isn’t one of fulfilled expectation. She’s a reader of Nostradamus and is drawn to prophecies of destruction and death, as though she wishes to see the unhappiness in her own life transferred into the lives of others.

“The insurance companies are going to screw the city, aren’t they? Does your company write exceptions for water damage?” she says.

“That’s silly.”

“Not if you’re one of the people about to get screwed.”

He leaves the room and closes the door behind him, repressing the anger that blooms in his chest.

Downstairs his wife is dropping thirty-pound bags of crushed ice into the Deepfreeze. Her name is Melanie and she insists that he not call her “Mel,” even though that was the affectionate nickname he gave her when they first courted.

“Why are you doing that?” he asks.

“So we’ll have a way to preserve our food if we have a total outage,” she replies, a cloud of escaped cold air rising into her face.

He starts to explain that he’s already covered that possibility with his installation of gasoline-operated generators, that in effect she’s displacing the room in the freezer that should be used for all the perishables they can pack into it.

But he doesn’t argue. He was a widower when he met her five years ago on a beach in the Bahamas. She was a divorcée, deeply tanned and gold-haired and beautiful, much younger than he, a strong woman physically, bold in her look, her brown eyes wide-set and unblinking, her laughter suggesting disregard for convention and perhaps a degree of sexual adventurism. She was the kind of woman who could be a friend as well as a lover.

Otis was fifty-three at the time, prematurely bald but proud of the power in his hands and shoulders and not ashamed of his libido or the profuse way he sweated when he worked or the scent of testosterone his clothes sometimes carried. He was what he was and didn’t pretend otherwise. Obviously Melanie, or “Mel,” did not find him an unattractive man.

They were opposites in many ways, but each seemed to possess a set of qualities that compensated for a deficiency in the other, she with her urban sophistication and degree in finance from the University of Chicago, he with his work ethic and his common sense in dealing with people.

They said good-bye in the Bahamas without consummating their brief courtship but continued to talk long-distance to each other and exchange presents and e-mails. Two months passed, and on a summer night when the light was high in the sky and he could no longer stand his loneliness, Otis asked Melanie to meet him at the Ritz-Carlton in Atlanta. He was surprised at her aggressiveness in bed and the fact she came three times their first night together, something no other woman had ever done for him. He proposed one week later.

His friends thought he was impetuous and that perhaps he was being taken advantage of by a woman twenty years his junior. But what did he have to lose? he told them. His daughter needed a mother; Otis needed a wife; and let’s face it, he said, women with Melanie’s looks didn’t come his way every day.

After the first year he began to realize he had married a complex if not mercurial woman. Her attitudes were often inflexible, although the issue involved was usually insignificant. She canceled the cable service because the technician tracked mud into the foyer. She accused Otis of overtipping waiters and allowing the gardeners to get by with sloppy work. She seemed to carry a reservoir of anger with her as she would a social bludgeon, and selectively utilized it to cause embarrassment in public places and ultimately get her way.

An acquaintance in Chicago has told him that Melanie’s former husband was an alcoholic. The friend’s offer of information about Melanie’s past has only made Otis more confused. Melanie is rigidly abstemious, and Otis does not understand how her former husband’s behavior could account for her unpredictable mood swings today.

But the transformation in Melanie that was most difficult for Otis to accept took place after the attack upon Thelma. Each evening she began to show fatigue and complained of nausea and insisted on talking about nonexistent problems with their finances. He could feel her back constrict when he touched her in bed. On Saturday and Sunday mornings she awoke an hour earlier than he and went downstairs and into her day’s schedule, effectively neutralizing any romantic overture on his part.

On one occasion, unbeknown to her, he glimpsed her picking his clothes off the back of a chair, smelling them, then flinging them with disgust into a dirty clothes hamper.

Now, as the worst storm in Louisiana ’s history approaches the city, he wonders if she blames him for the assault upon his daughter. Is that the reason behind her irritability and her implicit criticism of whatever he does? Does she no longer think of him as protector of his family?

“I’m going to the club for a workout. Want to come?” he says.

“Now? Are you serious?”

“My daddy used to always say, ‘Respect Mother Nature, but nail down the shutters and don’t let her scare you.’”

She can hardly hide her ennui at his mention of his sawmill-employee father who went to the ninth grade. “Take Thelma with you,” she says.

“She doesn’t like the club.”

Melanie makes no reply and begins pulling dishes from the dishwasher and putting them away loudly in the cabinets.

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