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City of Bones

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Overview

When the bones of a 12-year-old boy are found scattered in the Hollywood Hills, Harry Bosch is drawn into a case that brings up the darkest memories from his own haunted past. The bones have been buried for years, but the cold case doesnt deter Bosch. Unearthing hidden stories, he finds the childs identity and reconstructs his fractured life, determined that he not be forgotten. At the same time, a new love affair with a female cop begins to blossom for Boschuntil a stunningly blown mission leaves him in more trouble than ever before in his turbulent career. The investigation races to a shocking conclusion and leaves Bosch on the brink of an unimaginable decisionone that will leave readers hungrily awaiting Michael Connellys next masterpiece.

Editorial Reviews

Harry Bosch is at the top of his form which is great news for Connelly fans who might have been wondering how much life the dour, haunted LAPD veteran had left in him. His latest adventure is as dark and angst-ridden as any of Bosch's past outings, but it also crackles with energy especially in the details of police procedure and internal politics that animate virtually every page. What other crime writer could make such dramatic use of the fact that the front door of a house trailer swings out rather than in, creating problems for a two-man team of detectives? Who else would create to such credible narrative effect an egotistic celebrity coroner who jeopardizes an investigation because she lets a TV camera crew from Court TV follow her around, or an overage female rookie cop so in love with danger that she commits an unthinkable act? When the bones of an abused 12-year-old boy who disappeared in 1980 turn up in the woods above Hollywood (near a street named Wonderland, where former governor Jerry Brown used to live), the case stirs up Bosch's memories of his own troubled childhood. Also, as his captain so aptly points out, Harry is the LAPD's prime "shit magnet," an investigator who attracts muck and trouble wherever he goes. So it's no great surprise when the investigation takes a couple of nasty turns, right up through the last chapter. Connelly is such a careful, quiet writer that he can slow down the story to sketch in some relatively minor characters a retired doctor, a couple who lived through their foster children without missing a beat. (One-day laydown Apr. 16)Forecast: Connelly doesn't need much help in hitting the charts, but Little, Brown is going all out anyway, with a massive television, radio and print ad campaign, transit ads in New York and a 10-city author tour. Expect blockbuster sales and blockbuster satisfaction.
Copyright 2002 Cahners Business Information, Inc.
-- PUBLISHERS WEEKLY.

Author Information

Bio of Michael Connelly

MICHAEL CONNELLY decided to become a writer after discovering the books of Raymond Chandler while attending the University of Florida. Once he decided on this direction he chose a major in journalism and a minor in creative writing--a curriculum in which one of his teachers was novelist Harry Crews. After graduating in 1980, Connelly worked at newspapers in Daytona Beach and Fort Lauderdale, Florida, primarily specializing in the crime beat. In Fort Lauderdale he wrote about police and crime during the height of the murder and violence wave that rolled over South Florida during the so-called cocaine wars. In 1986, he and two other reporters spent several months interviewing survivors of a major airline crash. They wrote a magazine story on the crash and the survivors which was later short-listed for the Pulitzer Prize for feature writing. You can read this story at the Sun-Sentinel web site. The magazine story also moved Connelly into the upper echelons of journalism, landing him a job as a crime reporter for the Los Angeles Times, one of the largest papers in the country, and landing him in the city about which Chandler, his literary hero, had written. After three years on the crime beat, Connelly began writing his first novel to feature LAPD Detective Hieronymus Bosch. The novel, The Black Echo, based in part on a true crime that had occurred in Los Angeles, was published in 1992, and later won the Edgar Award for best first novel by the Mystery Writers of America. Connelly followed up with three more Bosch books, The Black Ice, The Concrete Blonde, and The Last Coyote, before publishing The Poet, a thriller with a newspaper reporter as a protagonist, in 1996. In 1997, he went back to Bosch with Trunk Music, and in 1998 another non-series thriller, Blood Work, was published. Blood Work was inspired in part by a friend's receiving of a heart transplant and the attendant "survivor's guilt" the friend experienced, knowing that someone died in order that he have the chance to live. Connelly has been interested and fascinated by those same feelings as expressed by the survivors of the plane crash he wrote about years before. Blood Work is soon to be released as a major motion picture in early fall 2002 starring Clint Eastwood, Anjelica Houston, and Jeff Daniels. Angels Flight was released in 1999 and was another entry in the Harry Bosch series. Void Moon, was released in 2000, and introduced a new character, Cassie Black, a high-stakes Las Vegas thief. His 2001 release, A Darkness More Than Night, united Harry Bosch with Terry McCaleb from Blood Work, and was named one of the Best Books Of 2001 by the Los Angeles Times. Michael Connelly was also one of the creators, writers, and consulting producers of Level 9, a TV show about a task force fighting cyber crime that ran on UPN in the fall of 2000.. Connelly's books have won the Edgar, Anthony, Macavity, Nero, Maltese Falcon (Japan), .38 Caliber (France), and Grand Prix (France) awards. He lives with his wife and daughter. - Bio courtesy of www.michaelconnelly.com

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Additional Info

Imprint

Hachette Book Group USA

Filesize

598.81 KB

Number of Pages

416

eBook ISBN

0316007897

Excerpt from: City of Bones by Michael Connelly

The old lady had changed her mind about dying but by then it was too late. She had dug her fingers into the paint and plaster of the nearby wall until most of her fingernails had broken off. Then she had gone for the neck, scrabbling to push the bloodied fingertips up and under the cord. She broke four toes kicking at the walls. She had tried so hard, shown such a desperate will to live, that it made Harry Bosch wonder what had happened before. Where was that determination and will and why had it deserted her until after she had put the extension cord noose around her neck and kicked over the chair? Why had it hidden from her?
These were not official questions that would be raised in his death report. But they were the things Bosch couldn't avoid thinking about as he sat in his car outside the Splendid Age Retirement Home on Sunset Boulevard east of the Hollywood Freeway. It was 4:20 p.m. on the first day of the year. Bosch had drawn holiday call-out duty.
The day more than half over and that duty consisted of two suicide runs --one a gunshot, the other the hanging. Both victims were women. In both cases there was evidence of depression and desperation. Isolation. New Year's Day was always a big day for suicides. While most people greeted the day with a sense of hope and renewal, there were those who saw it as a good day to die, some --like the old lady --not realizing their mistake until it was too late.
Bosch looked up through the windshield and watched as the latest victim's body, on a wheeled stretcher and covered in a green blanket, was loaded into the coroner's blue van. He saw there was one other occupied stretcher in the van and knew it was from the first suicide --a thirty-four-year-old actress who had shot herself while parked at a Hollywood overlook on Mulholland Drive. Bosch and the body crew had followed one case to the other.
Bosch's cell phone chirped and he welcomed the intrusion into his thoughts on small deaths. It was Mankiewicz, the watch sergeant at the Hollywood Division of the Los Angeles Police Department.
"You finished with that yet?"
"I'm about to clear."
"Anything?"
"A changed-my-mind suicide. You got something else?"
"Yeah. And I didn't think I should go out on the radio with it. Must be a slow day for the media --getting more what's-happening calls from reporters than I am getting service calls from citizens. They all want to do something on the first one, the actress on Mulholland. You know, a death-of-a-Hollywood-dream story. And they'd probably jump all over this latest call, too."
"Yeah, what is it?"
"A citizen up in Laurel Canyon. On Wonderland. He just called up and said his dog came back from a run in the woods with a bone in its mouth. The guy says it's human --an arm bone from a kid."
Bosch almost groaned. There were four or five call outs like this a year. Hysteria always followed by simple explanation: animal bones. Through the windshield he saluted the two body movers from the coroner's office as they headed to the front doors of the van.
"I know what you're thinking, Harry. Not another bone run. You've done it a hundred times and it's always the same thing. Coyote, deer, whatever. But listen, this guy with the dog, he's an MD. And he says there's no doubt. It's a humerus. That's the upper arm bone. He says it's a child, Harry. And then, get this. He said . . ."
There was silence while Mankiewicz apparently looked for his notes. Bosch watched the coroner's blue van pull off into traffic. When Mankiewicz came back he was obviously reading.
"The bone's got a fracture clearly visible just above the medial epicondyle, whatever that is."
Bosch's jaw tightened. He felt a slight tickle of electric current go down the back of his neck.
"That's off my notes, I don't know if I am saying it right. The point is, this doctor says it was just a kid, Harry. So could you humor us and go check out this humerus?"