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Books : Fiction : Contemporary Fiction: 1970 Onwards : Authors A-Z : L : Lehane, Dennis
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Dennis Lehane won a Shamus Award for A Drink Before the War, his first book about working-class Boston detectives Patrick Kenzie and Angie Gennaro. His second in the series, Darkness, Take My Hand, got the kind of high octane reviews that careers are made of. Now Lehane not only survives the dreaded third-book curse, he beats it to death with a stick. Sacred is a dark and dangerous updating of Raymond Chandler's The Big Sleep, as dying billionaire Trevor Stone hires Kenzie and Gennaro to find his daughter, Desiree. Patrick's mentor, a wonderfully devious detective named Jay Becker, has already disappeared in St Petersburg, Florida, while working the case, so the two head there to pick up a trail. Desiree, of course, is nothing like the sweet and simple beauty described by her father, and even Chandler would have been amazed by the plot twists that Lehane manages to keep coming.
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Shutter Island is something of a departure for Dennis Lehane. It is not like the private eye novels with which he made his name and it is not especially like Mystic River, his distinguished crime novel about murder, loyalty and revenge. Instead, he gives us a classic of psychological suspense--US Marshal Teddy is summoned to a remote hospital for the criminally insane to look for a missing patient and finds his own future and sanity on the line. It is the 1950s and experiments with drugs, conditioning and brain surgery are all the rage both in the psychiatric profession and in the shadow world of government agencies.Teddy rapidly becomes aware that no-one he is talking to is remotely telling him the truth and that he cannot be wholly sure even of his charming new partner. As the island hospital is isolated by a hurricane, we find ourselves unable to trust a single thing that the narrative tells us--Lehane displays a gift for sleight of hand which is showily disorienting. At the same time, this is not just a box of tricks. We find ourselves caring deeply for Teddy and his partner Chuck, whatever is going on and whoever they really are.--Roz Kaveney
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Cheese Olamon, "a six-foot-two, four-hundred-and-thirty- pound yellow-haired Scandinavian who'd somehow arrived at the misconception he was black", is telling old high school friends, Patrick Kenzie and Angie Gennaro, why they have to convince another mutual chum, dealer Bubba Rugowski, that Cheese didn't try to have him killed. "You know I'm clean when it comes to what happened to him. You want me alive. Okay? Without me, that girl will be gone. Gone-gone. You understand? Gone, baby, gone."Of all the chilling, completely credible scenes of sadness, destruction and betrayal in Dennis Lehane's fourth and possibly best book about Kenzie and Gennaro, this moment stands out because it captures in a few pages the essence of Lehane's success.
Private detectives Kenzie and Gennaro, who still live in the same working-class Dorchester neighbourhood of Boston, Massachusetts, where they grew up, have gone to visit drug dealer Cheese in prison because they think he's involved the kidnapping of 4-year-old Amanda McCready. Without sentimentalising the grotesque figure of Cheese, Lehane tells us enough about his past to make us understand why he and the two detectives might share enough trust to save a child's life when all the best efforts of traditional law enforcement have failed. By putting Kenzie and Gennaro just to one side of the law (but not totally outside--they have several cop friends--a very important part of the story), Lehane adds depth and edge to traditional genre relationships. The love affair between Kenzie and Gennaro--interrupted by her marriage to his friend--is another perfectly controlled element that grows and changes as we watch. Surrounded by dead, abused and missing children, Kenzie mourns and rages; Gennaro longs for one of her own. The choices made by both of them in the final pages of this absolutely gripping story have the inevitability of life and the dazzling beauty of art.
Other Kenzie/Gennaro books available in paperback are: Darkness, Take My Hand, A Drink Before the War, Sacred. -- Dick Adler
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Prayers for Rain is Dennis Lehane's fifth instalment in his intricately plotted, beautifully written and much under-acknowledged Boston mystery series. Lehane's books reflect our morally complex times, when the borders between right and wrong are somewhat blurry.Private investigator Patrick Kenzie is in the middle of a personal crisis--he's lost his passion for the profession and is tired of people with their "predictable vices, their predictable needs and wants and dormant desires." Angie Gennaro, his occasional sweetheart, lifelong friend and fellow investigator has quit the business. She's still deeply resentful about Patrick's handling of the Amanda McCready case, the focus of Gone, Baby, Gone. Without Angie, private investigating has lost its fizz.
The suicide of a former client, Karen Nichols, gives Kenzie his investigative itch back. Six months earlier, Kenzie tracked down a stalker who had been harassing Nichols and put an end to his heinous hobby. But Nichols needed more help than this PI could ever have imagined. "She'd been drowning and I'd been busy." The successful, middle-class young woman had been sinking into a sea of drugs, alcohol and prostitution, hitting the bottom when she jumped from the Boston Custom House. Her death consumes Kenzie--he is convinced that someone pulled her into the vortex, although her nearest and dearest simply call her weak.
Kenzie teams up with his explosive, loving, gun-toting friend Bubba Rogowski, and, after a boozy reunion, Angie Gennaro joins them. This fearless threesome must surely be the most original team in contemporary crime fiction. Good at the core--but seriously screwed up by various demons from their pasts--tact and decorum is hardly their style. They work their way across Boston, doing whatever it takes to question Nichols's family and acquaintances. By unveiling the real Nichols, tragic family secrets, betrayals and conspiracies are also unmasked.
If you haven't experienced Dennis Lehane's world before, be prepared for an invigorating new reading experience. --Naomi Gesinger
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Cheese Olamon, "a six-foot-two, four-hundred-and-thirty- pound yellow-haired Scandinavian who'd somehow arrived at the misconception he was black", is telling old high school friends, Patrick Kenzie and Angie Gennaro, why they have to convince another mutual chum, dealer Bubba Rugowski, that Cheese didn't try to have him killed. "You know I'm clean when it comes to what happened to him. You want me alive. Okay? Without me, that girl will be gone. Gone-gone. You understand? Gone, baby, gone."Of all the chilling, completely credible scenes of sadness, destruction and betrayal in Dennis Lehane's fourth and possibly best book about Kenzie and Gennaro, this moment stands out because it captures in a few pages the essence of Lehane's success.
Private detectives Kenzie and Gennaro, who still live in the same working-class Dorchester neighbourhood of Boston, Massachusetts, where they grew up, have gone to visit drug dealer Cheese in prison because they think he's involved the kidnapping of 4-year-old Amanda McCready. Without sentimentalising the grotesque figure of Cheese, Lehane tells us enough about his past to make us understand why he and the two detectives might share enough trust to save a child's life when all the best efforts of traditional law enforcement have failed. By putting Kenzie and Gennaro just to one side of the law (but not totally outside--they have several cop friends--a very important part of the story), Lehane adds depth and edge to traditional genre relationships. The love affair between Kenzie and Gennaro--interrupted by her marriage to his friend--is another perfectly controlled element that grows and changes as we watch. Surrounded by dead, abused and missing children, Kenzie mourns and rages; Gennaro longs for one of her own. The choices made by both of them in the final pages of this absolutely gripping story have the inevitability of life and the dazzling beauty of art.
Other Kenzie/Gennaro books available in paperback are: Darkness, Take My Hand, A Drink Before the War, Sacred. -- Dick Adler
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-
Dennis Lehane won a Shamus Award for A Drink Before the War, his first book about working-class Boston detectives Patrick Kenzie and Angie Gennaro. His second in the series, Darkness, Take My Hand, got the kind of high octane reviews that careers are made of. Now Lehane not only survives the dreaded third-book curse, he beats it to death with a stick. Sacred is a dark and dangerous updating of Raymond Chandler's The Big Sleep, as dying billionaire Trevor Stone hires Kenzie and Gennaro to find his daughter, Desiree. Patrick's mentor, a wonderfully devious detective named Jay Becker, has already disappeared in St Petersburg, Florida, while working the case, so the two head there to pick up a trail. Desiree, of course, is nothing like the sweet and simple beauty described by her father, and even Chandler would have been amazed by the plot twists that Lehane manages to keep coming.
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Shutter Island is something of a departure for Dennis Lehane. It is not like the private eye novels with which he made his name and it is not especially like Mystic River, his distinguished crime novel about murder, loyalty and revenge. Instead, he gives us a classic of psychological suspense--US Marshal Teddy is summoned to a remote hospital for the criminally insane to look for a missing patient and finds his own future and sanity on the line. It is the 1950s and experiments with drugs, conditioning and brain surgery are all the rage both in the psychiatric profession and in the shadow world of government agencies.Teddy rapidly becomes aware that no-one he is talking to is remotely telling him the truth and that he cannot be wholly sure even of his charming new partner. As the island hospital is isolated by a hurricane, we find ourselves unable to trust a single thing that the narrative tells us--Lehane displays a gift for sleight of hand which is showily disorienting. At the same time, this is not just a box of tricks. We find ourselves caring deeply for Teddy and his partner Chuck, whatever is going on and whoever they really are.--Roz Kaveney
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Shutter Island is something of a departure for Dennis Lehane. It is not like the private eye novels with which he made his name and it is not especially like Mystic River, his distinguished crime novel about murder, loyalty and revenge. Instead, he gives us a classic of psychological suspense--US Marshal Teddy is summoned to a remote hospital for the criminally insane to look for a missing patient and finds his own future and sanity on the line. It is the 1950s and experiments with drugs, conditioning and brain surgery are all the rage both in the psychiatric profession and in the shadow world of government agencies.Teddy rapidly becomes aware that no-one he is talking to is remotely telling him the truth and that he cannot be wholly sure even of his charming new partner. As the island hospital is isolated by a hurricane, we find ourselves unable to trust a single thing that the narrative tells us--Lehane displays a gift for sleight of hand which is showily disorienting. At the same time, this is not just a box of tricks. We find ourselves caring deeply for Teddy and his partner Chuck, whatever is going on and whoever they really are.--Roz Kaveney
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Dennis Lehane won a Shamus Award for A Drink Before the War, his first book about working-class Boston detectives Patrick Kenzie and Angie Gennaro. His second in the series, Darkness, Take My Hand, got the kind of high octane reviews that careers are made of. Now Lehane not only survives the dreaded third-book curse, he beats it to death with a stick. Sacred is a dark and dangerous updating of Raymond Chandler's The Big Sleep, as dying billionaire Trevor Stone hires Kenzie and Gennaro to find his daughter, Desiree. Patrick's mentor, a wonderfully devious detective named Jay Becker, has already disappeared in St Petersburg, Florida, while working the case, so the two head there to pick up a trail. Desiree, of course, is nothing like the sweet and simple beauty described by her father, and even Chandler would have been amazed by the plot twists that Lehane manages to keep coming.
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Shutter Island is something of a departure for Dennis Lehane. It is not like the private eye novels with which he made his name and it is not especially like Mystic River, his distinguished crime novel about murder, loyalty and revenge. Instead, he gives us a classic of psychological suspense--US Marshal Teddy is summoned to a remote hospital for the criminally insane to look for a missing patient and finds his own future and sanity on the line. It is the 1950s and experiments with drugs, conditioning and brain surgery are all the rage both in the psychiatric profession and in the shadow world of government agencies.Teddy rapidly becomes aware that no-one he is talking to is remotely telling him the truth and that he cannot be wholly sure even of his charming new partner. As the island hospital is isolated by a hurricane, we find ourselves unable to trust a single thing that the narrative tells us--Lehane displays a gift for sleight of hand which is showily disorienting. At the same time, this is not just a box of tricks. We find ourselves caring deeply for Teddy and his partner Chuck, whatever is going on and whoever they really are.--Roz Kaveney
-
Cheese Olamon, "a six-foot-two, four-hundred-and-thirty- pound yellow-haired Scandinavian who'd somehow arrived at the misconception he was black", is telling old high school friends, Patrick Kenzie and Angie Gennaro, why they have to convince another mutual chum, dealer Bubba Rugowski, that Cheese didn't try to have him killed. "You know I'm clean when it comes to what happened to him. You want me alive. Okay? Without me, that girl will be gone. Gone-gone. You understand? Gone, baby, gone."Of all the chilling, completely credible scenes of sadness, destruction and betrayal in Dennis Lehane's fourth and possibly best book about Kenzie and Gennaro, this moment stands out because it captures in a few pages the essence of Lehane's success.
Private detectives Kenzie and Gennaro, who still live in the same working-class Dorchester neighbourhood of Boston, Massachusetts, where they grew up, have gone to visit drug dealer Cheese in prison because they think he's involved the kidnapping of 4-year-old Amanda McCready. Without sentimentalising the grotesque figure of Cheese, Lehane tells us enough about his past to make us understand why he and the two detectives might share enough trust to save a child's life when all the best efforts of traditional law enforcement have failed. By putting Kenzie and Gennaro just to one side of the law (but not totally outside--they have several cop friends--a very important part of the story), Lehane adds depth and edge to traditional genre relationships. The love affair between Kenzie and Gennaro--interrupted by her marriage to his friend--is another perfectly controlled element that grows and changes as we watch. Surrounded by dead, abused and missing children, Kenzie mourns and rages; Gennaro longs for one of her own. The choices made by both of them in the final pages of this absolutely gripping story have the inevitability of life and the dazzling beauty of art.
Other Kenzie/Gennaro books available in paperback are: Darkness, Take My Hand, A Drink Before the War, Sacred. -- Dick Adler