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Last Car to Elysian Fields (Dave Robicheaux Series #13)

Last Car to Elysian Fields (Dave Robicheaux Series #13)

4.0 25
by James Lee Burke

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Sheriff Dave Robicheaux returns to New Orleans in this intense, atmospheric entry in the New York Times bestselling series by “America’s best novelist” James Lee Burke (The Denver Post)

For Dave Robicheaux, there is no easy passage home. New Orleans, and the memories of his life in the Big Easy, will always haunt him. So to return


Sheriff Dave Robicheaux returns to New Orleans in this intense, atmospheric entry in the New York Times bestselling series by “America’s best novelist” James Lee Burke (The Denver Post)

For Dave Robicheaux, there is no easy passage home. New Orleans, and the memories of his life in the Big Easy, will always haunt him. So to return there—as he does in Last Car to Elysian Fields—means visiting old ghosts, exposing old wounds, opening himself up to new, yet familiar, dangers.

When Robicheaux, now a police officer based in the somewhat quieter Louisiana town of New Iberia, learns that an old friend, Father Jimmie Dolan, a Catholic priest always at the center of controversy, has been the victim of a particularly brutal assault, he knows he has to return to New Orleans to investigate, if only unofficially. What he doesn’t realize is that in doing so he is inviting into his life—and into the lives of those around him—an ancestral evil that could destroy them all.

A masterful exploration of the troubled side of human nature and the darkest corners of the heart, and filled with the kinds of unforgettable characters that are the hallmarks of his novels, Last Car to Elysian Fields is James Lee Burke in top form in the kind of lush, atmospheric thriller that his fans have come to expect from the master of crime fiction.

Editorial Reviews

The Barnes & Noble Review
In Last Car to Elysian Fields, James Lee Burke (Jolie Blon's Bounce, White Doves at Morning) orchestrates the masterful return of volatile New Iberia homicide detective Dave Robicheaux to the lush and grim world of crime in the Big Easy. With vivid, enticing prose, Burke conjures offbeat but wholly believable characters who animate a rich, complex, and enthralling plot.

When Dave and former partner Clete Purcel decide to help out a priest buddy who's been targeted by thugs for defying the Mob, several deadly events and schemes are set in motion. Dave becomes enmeshed with former lover Theodosha LeJeune, whose father was rumored to have been involved in the 50-year-old murder of a black blues singer -- and who now seems to be connected to the DWI deaths of three underage girls. Complicating matters further, a murderer is on the prowl for the people responsible for the girls' deaths.

As in all Burke novels, the strength of Last Car to Elysian Fields lies in its breathtaking, moodily descriptive passages and in scenes that provide a perfect sense of time, place, and character. The evils of the past hold sway over the present in a particularly gut-wrenching way, as Robicheaux finds his life unraveling along with the mysteries around him. Involving, disturbing, and compelling, this novel will pluck at your nerves and refuse to let go. Tom Piccirilli

The New York Times
James Lee Burke is at the top of his game in Last Car to Elysian Fields. — Marilyn Stasio
The Washington Post
Up to his neck in Louisiana's sociopolitical swamps once again is police detective Dave Robicheaux, the twice violently widowed, no longer hard-drinking, war-ravaged soul who can make cop rule-breaking and even vigilantism look morally right and necessary -- even when any informed reader knows that nearly all rogue cops are no-good thugs. — Richard Lipez
Publishers Weekly
Homicide detective Dave Robicheaux is pitted against a handsome, urbane war hero of a bad guy instead of the typical obscenely grotesque villain in this latest installment of Burke's stellar series, set in New Iberia, La. It's a shift in adversaries that forces Robicheaux to take a different tack than his usual uncontrolled tilting at the windmills of elusive justice. As in many of Burke's novels (A Stained White Radiance; In the Electric Mist with Confederate Dead), current felonies are tied to a crime from the past. Here, Dave's friend Father Jimmie Dolan is being stalked by Irish hit man Max Coll; linked to this intrigue is the story of blues singer Junior Crudup, who entered the hell of Angola Penitentiary in the 1950s and was never heard from again. In present-day New Orleans, three teens die in a fiery crash after buying drinks at a drive-by daiquiri stand. Porn star Gunner Ardoin takes a beating from Dave's sidekick, Clete Purcel, who wreaks his usual havoc. Mysterious lady cop Clotile Arceneaux keeps popping in with advice, and a minor thug, Jumpin' Merchie Flannigan, is married to Robicheaux's old girlfriend Theodosha. These are just a scant few of the characters and subplots that thicken the deep and complex gumbo of Burke's story. The writing is beautiful, as always, laced with the author's signature descriptions: "the sepia-tinted light in the trees and on the bayou seemed to emanate from the earth rather than the sky." This is an outstanding entry in an excellent series. (Sept. 23) Forecast: A multi-city book tour should get the word out and help nudge Burke up a notch on bestseller lists. Copyright 2003 Reed Business Information.
Library Journal
Dave Robicheaux has survived several great losses recently: his wife, Bootsie, has died from lupus, and his old home, the one his father built, was destroyed by fire. Now the brutal beating of longtime friend Father Jimmy Dolan takes Robicheaux home to New Orleans, but it isn't the "Big Easy" for him. His good buddy Clete Purcell joins him to hunt the attackers, and our good guys soon find themselves on the wrong side of the law. This book is written with Burke's usual gift for eloquent description and visages of a past that linger in our collective mind's eye. The unabridged version, narrated by Mark Hammer, lacks a little of the lively performance that Will Patton brings to the abridged set. Patton is able to convey the sexy Southern drawl that brings back memories of an older Louisiana. For now, most libraries would be better served with the unabridged program as Burke's many fans won't want to miss a word. Highly recommended for all libraries.-Theresa Connors, Arkansas Tech Univ., Russellville Copyright 2004 Reed Business Information.
Kirkus Reviews
New Iberia homicide detective Dave Robicheaux (Jolie Blon's Bounce, 2002, etc.) battles-what else?-strutting criminals, willing women, long-buried crimes, and his own most violent impulses. Wasting no time on preliminaries, Dave and his old buddy, p.i. Clete Purcel, end the opening scene pummeling one-time porn actor Gunner Ardoin for beating New Orleans priest Jimmie Dolan and are soon facing Gunner's civil suit and his likely innocence. But there are more than enough sleazeballs to go around, from Gunner's mobbed-up boss Fat Sammy Figorelli to waste-management contractor Merchie Flannigan to Merchie's wife, crime-writer Theodosha LeJeune, to Theo's father, spuriously genteel Castille LeJeune, whose 1951 blues recording of imprisoned Junior Crudup is practically the last anybody heard from Junior before he vanished from Angola Prison. Things heat up further with the fatal car crash of Lori Parks, a teenaged veteran of Ecstasy and DWI charges, who bought the daiquiri that pushed her over the line from an obliging boy who worked for Castille LeJeune. Dave, of course, keeps straying outside his jurisdiction to threaten or batter lowlifes, but this time he's bookended by Lori's father, who's determined to avenge her, and by Father Jimmie, dogged by a visiting killer whose moral conflicts bear an uncomfortable resemblance to the priest's own. Give yourself a star if this all sounds awfully familiar, and another if you can remember who killed whom ten minutes after Burke's last glowing page. Author tour

Product Details

Pocket Star
Publication date:
Dave Robicheaux Series , #13
Edition description:
Sales rank:
Product dimensions:
4.18(w) x 6.75(h) x 1.00(d)

Read an Excerpt

Chapter 1

The first week after Labor Day, after a summer of hot wind and drought that left the cane fields dust blown and spiderwebbed with cracks, rain showers once more danced across the wetlands, the temperature dropped twenty degrees, and the sky turned the hard flawless blue of an inverted ceramic bowl. In the evenings I sat on the back steps of a rented shotgun house on Bayou Teche and watched the boats passing in the twilight and listened to the Sunset Limited blowing down the line. Just as the light went out of the sky the moon would rise like an orange planet above the oaks that covered my rented backyard, then I would go inside and fix supper for myself and eat alone at the kitchen table.

But in my heart the autumnal odor of gas on the wind, the gold and dark green of the trees, and the flame-lit edges of the leaves were less a sign of Indian summer than a prelude to winter rains and the short, gray days of December and January, when smoke would plume from stubble fires in the cane fields and the sun would be only a yellow vapor in the west.

Years ago, in both New Orleans and New Iberia, the tannic hint of winter and the amber cast of the shrinking days gave me the raison d'etre I needed to drink in any saloon that would allow me inside its doors. I was not one of those valiant, alcoholic souls who tries to drink with a self-imposed discipline and a modicum of dignity, either. I went at it full-bore, knocking back Beam or Black Jack straight-up in sawdust bars where I didn't have to make comparisons, with a long-necked Jax or Regal on the side that would take away the aftertaste and fill my mouth with golden needles. Each time I tilted the shotglass to my lips I saw in my mind's eye a simian figure feeding a fire inside a primeval cave and I felt no regret that I shared his enterprise.

Now I went to meetings and didn't drink anymore, but I had a way of putting myself inside bars, usually ones that took me back to the Louisiana in which I had grown up. One of my favorites of years past was Goldie Bierbaum's place on Magazine in New Orleans. A green colonnade extended over the sidewalk, and the rusted screen doors still had painted on them the vague images and lettering of Depression-era coffee and bread advertisements. The lighting was bad, the wood floor scrubbed colorless with bleach, the railed bar interspersed with jars of pickles and hard-boiled eggs above and cuspidors down below. And Goldie himself was a jewel out of the past, a seventy-year-old flat-chested ex-prizefighter who had fought Cleveland Williams and Eddie Machen.

It was night and raining hard on the colonnade and tin roof of

the building. I sat at the far end of the bar, away from the door, with

a demitasse of coffee and a saucer and tiny spoon in front of me. Through the front window I could see Clete Purcel parked in his lavender Cadillac convertible, a fedora shadowing his face in the glow of the streetlight. A man came in and removed his raincoat and sat down on the other end of the bar. He was young, built like a weight-lifter whose physique was earned rather than created with steroids. He wore his brown hair shaved on the sides, with curls hanging down the back of his neck. His eyebrows were half-moons, his face impish, cartoonlike, as though it were drawn with a charcoal pencil.

Goldie poured him a shot and a draft chaser, then set the whiskey bottle back on the counter against the wall and pretended to read the newspaper. The man finished his drink and walked the length of the bar to the men's room in back. His eyes looked straight ahead and showed no interest in me as he passed.

"That's the guy," Goldie said, leaning close to me.

"You're sure? No mistake?" I said.

"He comes in three nights a week for a shot and a beer, sometimes a catfish po'boy. I heard him talking about it on the payphone back there. Maybe he's not the guy who hurt your friend, but how many guys in New Orleans are gonna be talking about breaking the spokes on a Catholic priest?"

I heard the men's room door open again and footsteps walk past me to the opposite end of the bar. Goldie's eyes became veiled, impossible to read. The top of his head looked like an alabaster bowling ball with blue lines in it.

"I'm sorry about your wife. It was last year?" he said.

I nodded.

"It was lupus?" he said.

"Yeah, that's right," I replied.

"You doin' all right?"

"Sure," I said, avoiding his eyes.

"Don't get in no trouble, like we used to do in the old days."

"Not a chance," I said.

"Hey, my po'boy ready?" the man at the end of the bar asked.

The man made a call on the payphone, then ate his sandwich and bounced pool balls off the rails on the pool table. The mirror behind the bar was oxidized an oily green and yellow, like the color of lubricant floating in water, and between the liquor bottles lined along the mirror I could see the man looking at the back of my head.

I turned on the bar stool and grinned at him. He waited for me to speak. But I didn't.

"I know you?" he said.

"Maybe. I used to live in New Orleans. I don't anymore," I said.

He spun the cue ball down the rail into the pocket, his eyes lowered. "So you want to shoot some nine ball?" he said.

"I'd be poor competition."

He didn't raise his eyes or look at me again. He finished his beer and sandwich at the bar, then put on his coat and stood at the screen door, looking at the mist blowing under the colonnade and at the cars passing in the neon-streaked wetness in front of Goldie's bar. Clete Purcel fired up his Cadillac and rattled down the street, turning at the end of the block.

The man with the impish face and curls that hung on the back of his neck stepped outside and breathed the air like a man out for a walk, then got into a Honda and drove up Magazine toward the Garden District. A moment later Clete Purcel pulled around the block and picked me up.

"Can you catch him?" I asked.

"I don't have to. That's Gunner Ardoin. He lives in a dump off Tchoupitoulas," he said.

"Gunner? He's a button man?"

"No, he's been in two or three of Fat Sammy Figorelli's porn films. He mules crystal in the projects, too."

"Would he bust up a priest?" I asked.

Clete looked massive behind the steering wheel, his upper arms like big, cured hams inside his tropical shirt. His hair was sandy, cut short like a little boy's. A diagonal scar ran through his left eyebrow.

"Gunner?" he said. "It doesn't sound like him. But a guy who performs oral sex for a hometown audience? Who knows?"

We caught up with the Honda at Napoleon Avenue, then followed it through a dilapidated neighborhood of narrow streets and shot-gun houses to Tchoupitoulas. The driver turned on a side street and parked under a live oak in front of a darkened cottage. He walked up a shell driveway and entered the back door with a key and turned on a light inside.

Clete circled the block, then parked four houses up the street from Gunner Ardoin's place and cut the engine. He studied my face.

"You look a little wired," he said.

"Not me," I said.

The rain on the windshield made rippling shadows on his face and arms. "I made my peace with N.O.P.D.," he said.


"Most of the guys who did us dirt are gone. I let it be known I'm not in the O.K. Corral business anymore. It makes life a lot easier," he said.

Through the overhang of the trees I could see the Mississippi levee at the foot of the street and fog billowing up from the other side. Boat lights were shining inside the fog so that the fog looked like electrified steam rising off the water.

"Are you coming?" I asked.

He pulled an unlit cigarette from his mouth and threw it out the window. "Why not?" he said.

We walked up Gunner Ardoin's driveway, past a garbage can overflowing with shrimp husks. Banana trees grew against the side of the house and the leaves were slick and green and denting in the rainwater that slid off the roof. I jerked the back screen off the latch and went into Gunner Ardoin's kitchen.

"You beat up Catholic priests, do you?" I said.

"What?" he said, turning from the sink with a metal coffeepot in his hand. He wore draw-string, tin-colored workout pants and a ribbed undershirt. His skin was white, clean of jailhouse art, his underarms shaved. A weight set rested on the floor behind him.

"Lose the innocent monkey face, Gunner. You used a steel pipe on a priest name of Jimmie Dolan," Clete said.

Gunner set the coffeepot down on the counter. He studied both of us briefly, then lowered his eyes and folded his arms on his chest, his back resting against the sink. His nipples looked like small brown dimes through the fabric of his undershirt. "Do what you have to do," he said.

"Better rethink that statement," Clete said.

But Gunner only stared at the floor, his elbows cupped in his palms. Clete looked at me and raised his eyebrows.

"My name's Dave Robicheaux. I'm a homicide detective with the Iberia Parish Sheriff's Department," I said, opening my badge holder. "But my visit here is personal."

"I didn't beat up a priest. You think I did, then I'm probably in the shitter. I can't change that." He began picking at the calluses on his palm.

"You get that at a twelve-step session up at Angola?" Clete said.

Gunner Ardoin looked at nothing and suppressed a yawn.

"You raised Catholic?" I said.

He nodded, without lifting his eyes.

"You're not bothered by somebody hospitalizing a priest, breaking his bones, a decent man who never harmed anyone?" I said.

"I don't know him. You say he's a good guy, maybe he is. There's a lot of priests out there are good guys, right?" he said.

Then, like all career recidivists and fulltime smart-asses, he couldn't resist the temptation to show his contempt for the world of normal people. He turned his face away from me, but I saw one eye glimmer with mirth, a grin tug slightly at the corner of his mouth. "Maybe they kept the altar boys away from him," he said.

I stepped closer to him, my right hand balling. But Clete pushed me aside. He picked up the metal coffeepot from the counter and smashed it almost flat against the side of Gunner Ardoin's head, then threw him in a chair. Gunner folded his arms across his chest, a torn grin on his mouth, blood trickling from his scalp.

"Have at it, fellows. I made both y'all back on Napoleon. I dialed 911 soon as I came in. My lawyer loves guys like you," he said.

Through the front window I saw the emergency flasher on an N.O.P.D. cruiser pull to the curb under the live oak tree that grew in Gunner Ardoin's front yard. A lone black female officer slipped her baton into the ring on her belt and walked uncertainly toward the gallery, her radio squawking incoherently in the rain.

I slept that night on Clete's couch in his small apartment above his P.I. office on St. Ann. The sky was clear and pink at sunrise, the streets

in the Quarter puddled with water, the bougainvillea on Clete's balcony as bright as drops of blood. I shaved and dressed while Clete was still asleep and walked past St. Louis Cathedral and through Jackson Square to the Cafe du Monde, where I met Father Jimmie Dolan at a table under the pavilion.

Although we had been friends and had bass fished together for two decades, he remained in many ways a mysterious man, at least to me. Some said he was a closet drunk who had done time in a juvenile reformatory; others said he was gay and well known among the homosexual community in New Orleans, although women were obviously drawn to him. He had crewcut, blond good looks and the wide shoulders and tall, trim physique of the wide-end receiver he had been at a Winchester, Kentucky, high school. He didn't talk politics but he got into trouble regularly with authority on almost all levels, including six months in a federal prison for trespassing on the School of the Americas property at Ft. Benning, Georgia.

It had been three months since he had been waylaid in an alley behind his church rectory and methodically beaten from his neck to the soles of his feet by someone wielding a pipe with an iron bonnet screwed down on the business end.

"Clete Purcel and I rousted a guy named Gunner Ardoin last night. I think maybe he's the guy who attacked you," I said.

Father Jimmie had just bitten into a beignet and his mouth was smeared with powdered sugar. He wore a tiny sapphire in his left earlobe. His eyes were a deep green, thoughtful, his skin tan. He shook his head.

"That's Phil Ardoin. Wrong guy," he said.

"He said he didn't know you."

"I coached his high school basketball team."

"Why would he lie?"

"With Phil it's a way of life."

An N.O.P.D. cruiser pulled to the curb out on Decatur and a black female officer got out and fixed her cap on her head. She looked like she was constructed of twigs, her sky blue shirt too large on her frame, her pursed lips layered with red lipstick. Last night Clete had said she reminded him of a black swizzle stick with a cherry stuck on the end.

She threaded her way through the tables until she was abreast of ours. The brass name tag on her shirt said c. arceneaux.

"I thought I should give you a heads-up," she said.

"How's that?" I asked.

She looked off abstractly at the traffic on the street and at the artists setting up their easels under the trees in Jackson Square. "Take a walk with me," she said.

I followed her down to a shady spot at the foot of the Mississippi levee. "I tried to talk to the other man, what's his name, Purcel, but he seemed more interested in riding his exercise bike," she said.

"He has blood pressure problems," I said.

"Maybe more like a thinking problem," she replied, looking idly down the street.

"Can I help you with something?" I asked.

"Gunner Ardoin is filing an assault charge against you and your friend. I think maybe he's got a civil suit in mind. If I was you, I'd take care of it."

"Take care of it?" I said.

Her eyes squinted into the distance, as though the subject at hand had already slipped out of her frame of reference. Her hair was black and thick and cut short on her neck, her eyes a liquid brown.

"Why are you doing this?" I asked.

"Don't like people who mule crystal into the projects."

"You work both the night and the morning watch?"

"I'm just up from meter maid. Low in standing, know what I mean, but somebody got to do it. Tell the priest to spend more time with his prayers," she said, and started to walk back to her cruiser.

"What's your first name?" I asked.

"Clotile," she said.

Back at the table I watched her drive away into the traffic, the lacquered brim of her cap low on her forehead. Meter maid, my ass, I thought.

"Ever hear of Junior Crudup?" Father Jimmie asked.

"The blues man? Sure," I said.

"What do you know about him?"

"He died in Angola," I said.

"No, he disappeared in Angola. Went in and never came out. No record at all of what happened to him," Father Jimmie said. "I'd like for you to meet his family."

"Got to get back to New Iberia."

"It's Saturday," he said.

"Nope," I said.

"Junior's granddaughter owns a twelve-string guitar she thinks might have belonged to Leadbelly. Maybe you could take a look at it. Unless you just really don't have the time?" he said.

I followed Father Jimmie in my pickup truck into St. James Parish, which lies on a ninety-mile corridor between Baton Rouge and New Orleans that environmentalists have named Toxic Alley. We drove down a state road south of the Mississippi levee through miles of

sugarcane and on through a community of narrow, elongated shacks that had been built in the late nineteenth century. At the crossroads, or what in south Louisiana is called a four-corners, was a ramshackle nightclub, an abandoned company store with a high, tin-roofed gallery, a drive-by daiquiri stand, and a solitary oil storage tank that was streaked with corrosion at the seams, next to which someone had planted a tomato garden.

Most of the people who lived at the four-corners were black. The rain ditches and the weeds along the roadside were layered with bottles of beer and pop cans and trash from fast-food restaurants. The people who sat on the galleries of the shacks were either old or infirm or children. I watched a car filled with teenagers run a stop sign and fling a quart beer bottle on the side of the road, ten feet from where an elderly woman was picking up litter from her lawn and placing it in a vinyl bag.

Then we were out in the countryside again and the sky was as blue as a robin's egg, the sugarcane bending in the wind as far as the eye could see, egrets perched like white sculptures on the backs of cattle in a roadside pasture. But inside the loveliness of the day was another element, discordant and invasive, the metallic reek of natural gas, perhaps from a wellhead or a leaking connection at a pump station. Then the wind shifted and it was gone and the sky was speckled with birds rising from a pecan orchard and from the south I could smell the brassy odor of a storm that was building over the Gulf.

I looked at my watch. No more than one hour with Father Jimmie's friends, I told myself. I wanted to get back to New Iberia and forget about the previous night and the trouble with Gunner Ardoin. Maybe it was time to let Father Jimmie take care of his own problems, I thought. Some people loved adversity, got high on it daily, and secretly despised those who would take it from them. That trait didn't necessarily go away because of a Roman collar.

The state road made a bend and suddenly the endless rows of sugarcane ended. The fields were uncultivated now, empty of livestock, dotted with what looked like settling ponds. The Crudup family lived down a dirt lane in a white frame house with a wraparound veranda hung with baskets of flowers. Three hundred yards behind the house was a woods bordered with trees that were gray with dead leaves and the scales of air vines, as though the treeline had been matted with premature winterkill.

Father Jimmie had set the hook when he had mentioned Leadbelly's name, but I knew as we drove down the road toward the neat white house backdropped by a poisoned woods that this trip was not about the recidivist convict who wrote "Goodnight Irene" and "The Midnight Special" and who today is almost forgotten.

In fact, I wondered if I, like Father Jimmie, could not wait to fill my day with adversity in the way I had once filled it with Jim Beam and a glass of Jax with strings of foam running down the sides.

When I cut my engine in front of the house, I took a Dr Pepper from the cooler on the seat and raked the ice off the can and drank it empty before stepping out onto the yard.

Copyright © 2003 by James Lee Burke

Meet the Author

James Lee Burke, a rare winner of two Edgar Awards, and named Grand Master by the Mystery Writers of America, is the author of more than thirty previous novels and two collections of short stories, including such New York Times bestsellers as Light of the World, Creole Belle, Swan Peak, The Tin Roof Blowdown, and Feast Day of Fools. He lives in Missoula, Montana.

Brief Biography

New Iberia, Louisiana and Missoula, Montana
Date of Birth:
December 5, 1936
Place of Birth:
Houston, Texas
B.A., University of Missouri, 1959; M.A., University of Missouri, 1960

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Last Car to Elysian Fields (Dave Robicheaux Series #13) 4 out of 5 based on 0 ratings. 25 reviews.
Guest More than 1 year ago
I have read all of the books in this series and found all to be very satisfying. There is a sadness to this book in that Dave has lost his wife, his house and maybe his job. His adopted daughter is away at college. Thankfully, some colorful characters from past novels return, and the plot takes a back seat to the finely drawn characters and very real interaction and dialogue. One hopes that an older, less settled Robicheaux will want to return for another installment.
Guest More than 1 year ago
Best savored slowly. A convoluted plot that comes together well, in the end. A good read.
FlagAmerica More than 1 year ago
My first "James Lee Burke" book on my new NOOK. What great way to start. I've read most of Burke's books and enjoyed them all but this rated very high in my opinion. Love Burke's writings. FlagAmerica
Anonymous More than 1 year ago
...explores the true dark side of human nature. I have friends that can't read his books because of the violence. The violence is not what "attracts" me to his books - but his understanding of human nature's darkside, no matter how good the person. Even with the violent nature of the plots and some of the characters, Burke writes with prose. Dave Robicheaux has much on his emotional plate whose past constantly haunts him. While you can't approve of the way he handles things, in his heart, he is remorseful after his actions and cares so much for righting the wrongs of the world...I can't help but like Robicheaux's character, even if he is his own worst enemy at times.
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readaRL More than 1 year ago
Nice to have it on e-books for Nook HD...it was one of the few I had not read of james lee burkes series about SW Louisiana...graphic, but caring, and bourkes use of imagery as well as dialects sets him apaprt as a descriptive writer.
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Buckyf More than 1 year ago
James Lee Burke's Louisiana accuracy, dialect, and references are wonderfully integrated into the excellent crime dramas he weaves.
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Guest More than 1 year ago
The last road to...was especially poignant. I enjoyed the political comments and felt that I had found a friend. I feel a constant sense of outrage too. And I am also a friend of Bill's; as Dave is. (26 years) Thanks, I look forward to the next one which I now have and will start soon. I don't usually write to writers, ah well. Donna
Guest More than 1 year ago
As much as I prefer unabridged audiobooks, I ended up switching to the abridged version. I found Mark Hammer's reading difficult to understand much of the time. He mumbles, which distracts from the story. I much prefer Will Patton's delivery and wish he was the reader for the unabridged books.
Guest More than 1 year ago
I had never read from this author. I felt that there was extra description where it wasn't need, and not enought in other places. The book never really grabbed me. It did get a little better towards the end, but not enough that I considered it worth the time.
Guest More than 1 year ago
This is the first and last James Lee Burke book for me. No plot, no suspense, no point.