Gripping chilling unexpectedly compassionate
I've followed the Charlie Parker novels carefully since I first picked up Every Dead Thing back in 2001. Connolly is a gifted writer, with the capacity to create completely believable characters who live in a world where horrifying things happen on an all too regular basis, and where the lines between good and bad, right and wrong are badly blurred, to say the least. Connolly hit on a winning formula with his Parker books, but has, on several occasions, bravely ventured into the unknown, most noteably with his pseudo fairy-tale, The Book of Lost Things, and his collection of short horror fiction, Nocturnes. He has gone only slightly off-centre here, by setting the action for The Reapers very much in the world of Parker, yet shifting the focus from that grieving, emotionally scarred detective to his two associates 'side-kicks seems too disrespectful a term for these two pleasingly well-drawn characters', Louis and Angel. What Connolly very cleverly manages to do is give his shadowy landscape even more depth and breadth by adjusting his line of vision. Now, we are given greater insight into Louis and Angel's daily existence. We learn about Willy Brew and his co-worker at the auto-shop that has previously been the point of contact for Louis, Arno. We are granted snapshots of Louis's past, as he is tutored in the arts of assassination by the sinister, yet somehow also grandfatherly, Gabriel. Most importantly, we get to see and feel how others perceive the series anti-hero, Parker, referred to more often than not in this volume simply as The Detective - and this is a rare treat indeed. Remember, the preceeding texts have been told from Parker's point-of-view, in the first person, so we tend to get those events filtered through Bird's perception. The comments from the other characters may confirm or completely overturn your own opinion about this dark, dangerous man - but maybe that's part of the fun. What always amazes me about Connolly's writing is his capacity to invest even the most brutal of men and sometimes horrendosuly violent of scenarious with a kind of poetic beauty. There is a scene in a previous book where a pretty awful individual is beaten to death, but I was almost in tears by the end of it - not because of the disturbing prose, but because of a vision of his daughter the victim sees as he lies dying. It is these little touches that elevate Connolly's work above that of most other writers in the crime/mystery genre. And this book is no different. Whoever would have imagined Louis, the terrifying bringer of death, leaning over his fallen master as he lies in a hospital bed, unconscious after an assassination attempt, and planting a tender kiss on his cheek? And no one, in their wildest dreams, would have dreamed up the cantankerous, dog-loving, elderly downstairs tenant of Angel and Louis, nor the bizarre sense of protectiveness the ill-matched duo feel for her. And it is this sense of empathy and emotional resonance that sets John Conolly firmly in the company of some of the greats in the noir-field, probably Ross MacDonald in particular. Violence and mayhem may be visited upon innocents in Parker's realm, but their plight is noticed, and something is always done to try and redress their pain. Louis, Angel, Bird, even the lumbering, slow-witted Fulcis operate by a code of ethics, as twisted as that code might at first seem. It is this sense of fair play that invests the books with a deep humanity. All the other elements of a great thriller are here, though, with the unmistakeable stamp of Connolly's colourful, energetic writing style. There is action, hairpin plot twists, as glorious and foul a villain as this reader has ever encountered in the gorgeously monikered Bliss, and a finale that leaves you exhausted but begging for more. I've heard that there is another Parker book in the works - but it will be very hard to top this one. The Reapers i
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