Harry Bosch in Hong Kong...

9 Dragons opens with the murder of John Li, the Chinese owner of a liquor store in south L.A. Connelly's long-running protagonist, Detective Harry Bosch, is assigned the investigation and quickly concludes that the murder is more complicated than it might initially appear on the surface.

Displaying his excellent skills and dogged determination, Bosch discovers that Li had been paying protection money to one of the ancient Chinese triads that now operates in the United States as well as in China. Harry identifies a suspect and begins the process of arresting and charging him with the crime. As he does, Harry receives an anonymous phone call warning him off the case. If he persists, the caller warns, there will be consequences. Harry naturally ignores the warning and proceeds to make the case against his suspect, and then Harry's world is completely upended.

As readers of the series know, Harry has a daughter with Eleanor Wish, a former F.B.I. agent. Madeline, the daughter, is now thirteen and living in Hong Kong with her mother. Harry visits her regularly and otherwise maintains close ties with Madeline through phone calls and emails. As Harry continues to put together his case, ignoring the warning, he receives a video on his phone. Madeline has been kidnapped and is being held somewhere in Hong Kong, apparently in an effort to force Harry to back off.

Harry flies to Hong Kong in a desperate effort to locate and rescue Maddie and now must operate in what is, almost literally, a different world. The Hong Kong scenes are expertly written and it's virtually impossible to put this book down once Harry arrives there.

In 9 Dragons, Bosch's professional and personal lives intersect as never before; he is at once both the desperate father that one would expect to find under these circumstances and the consummate professional detective that he must be if he is to have any hope of rescuing his daughter.

As the book opens, Harry is clearly frustrated with his new partner, Ignacio Ferris. Bosch, who is almost fanatically devoted to his mission as a homicide detective, believes that Ignacio lacks the fire in the gut that the job demands. In particular, Harry believes that Ignacio spends too much time attending to the demands of his family. And then, in a twist of fate, Harry's family becomes absolutely the only thing that matters in his life. Once that happens, he will travel, if not to the ends of the earth, at least to Hong Kong, and he will bend, if not break, virtually every rule in the book to ensure his daughter's safe return.

While not the equal of some of the earlier books in the series, 9 Dragons is still a great read, and it's going to be very fascinating to see where Connelly takes Harry Bosch in its wake.

Richard North Patterson's "Eclipse"

Recently divorced, California lawyer Damon Pierce receives an urgent message from Marissa Brand, a woman he once loved (and perhaps still does), asking him to come to the West African country of Luandia. Marissa's husband, an activist named Bobby Okari has been accused of murder by the corrupt, brutal regime that runs the country.

Luandia sits on an oil of ocean and lots of outsiders, Americans included, are anxious to get their hands on it. None of them are much concerned about the way in which Luandia's government exploits and abuses its own people. Nor do they care about the catastrophic environmental consequences of the oil production.

Pierce is determined to save Bobby and so becomes his lawyer at great personal risk. Patterson weaves a complicated web of intrigue that is at once scary and terribly disheartening, and by the time you finish the book, you want to swear off ever using a drop of oil again.

I have always been a huge fan of Patterson's work, especially his political thrillers, and I really wanted to like this book as well. There is a terrible earnestness about it; in addition to telling a riveting story, Patterson is obviously determined to open our eyes to the consequences of our addiction to oil.

And therein lies the problem, such as there is one. A lot of the book is spent in an effort to educate the reader to the situation in Luandia, which is a stand-in for Nigeria, and to the larger implications of our dependency on the resources of countries like it. In consequence, the book seems almost preachy at times, and it takes a fair amount for time for the book to really gather steam. Once it does, though, you can't put it down.

I'm giving this book three stars, which to me means that it's really very good, but not excellent. I respect the book's good intentions and it's an appropriate reminder of the fact that our continued addiction to oil--and to low oil prices--has a cost that goes well beyond that which we pay at the pump. And, once it does get rolling, it's very compelling. But I don't think it's as riveting as a lot of Patterson's other work.

A Review of John Sandford's "The Eyes of Prey"

This is the third book in John Sandford's long-running series featuring Lucas Davenport, and it features probably the most vile and complex villain of the entire series. Actually, there are two major bad guys. One is much more intelligent and much scarier than the other and, not surprisingly, he is the one pulling the strings in a series of murders inspired by the old Alfred Hitchcock film, "Strangers on a Train."

The mastermind's plan goes awry right from the start and the bad guys are left scrambling to clean up the mess and stay one step ahead of the cops. That will not be easy, because Lucas Davenport is hard on their trail and he's getting really pissed.

This is probably the most gruesome book in the series, and Davenport is at his darkest and most violent here. He's working out of a major depression that has virtually paralyzed him and acting out as a rogue cop ala Dirty Harry, without even a twinge of conscience.

As always, Sandford puts the reader right in the middle of the action. The writing is crisp; the plot is fast-paced, and the action is non-stop. And, even in a book this grim, there is a fair amount of the humor that characterizes the series.

It's hard to imagine that there could possibly be a fan of crime fiction who has not sampled this series yet, but if that person should exist, he or she should probably not begin with this book because, while it is a very good read, it's not really representative of the series as a whole. Some readers who might otherwise enjoy the series might be put off by the violence that permeates this particular book. As always, but especially in this case, the best place to begin would be at the beginning with the first book, Rules Of Prey. You won't be disappointed.

While in Hong Kong, photojournalist Jordan Glass wanders into an exhibit of paintings called "The Sleeping Women," and is unable to imagine why her presence is causing such a stir among the patrons and staff of the museum. The paintings alone are unsettling, because it appears to her trained eye that the women are not merely sleeping but are, in fact, dead. And then Jordan gets the shock of her life when she sees her own mirror image staring lifelessly back at her from one of the paintings.

More than a year ago, Jordan's twin sister, Jane, was kidnapped near her home in New Orleans, one of a string of women to be abducted in the city. None of the women, Jane included, has ever been seen again and now the victims have surfaced in this series of paintings, which are selling for upwards of a million dollars apiece. But who is the artist, and what has become of the women he has abducted and used as his models?

Jordan's discovery is the first major break in the case, and the FBI suggests that they might use Jordan to bait the killer into revealing himself. Haunted by the memory of her lost sister, Jordan readily agrees and soon finds herself at the center of a complex and absorbing investigation.

This is, really, a first-rate, complex, psychological thriller that grabs you from the opening chapter and keeps you enthralled through the final sentence. The characters are well-imagined and expertly fleshed out. The plot is taut and gripping and the action is well staged. It's hard to imagine that any fan of crime fiction would not be immediately seduced by this book.

Another Winner from George Pelecanos

"The Big Blowdown" is one of George Pelecanos's earlier books (1996), which explores the lives of a number of boys, descendants of Greek and Italian immigrants, who are friends during the depression years of the 1930s and who then grow into adulthood. Most of the book takes place in the post-war years as these men, now young adults, search for their places in the world.

Some of them, of course, make better choices than others. Two of the principal characters, Pete Karras and Joe Recevo come home from World War II and turn to organized crime. But Pete doesn't have the heart to be a shakedown artist picking on poor immigrants and he is brutally separated from the mob and from his friend Joe. Several years later, Pete and Joe cross paths again when the mob attempts to move in on the restaurant where Pete is working and the results will be explosive.

Along the way, Pete also befriends a young kid who has come to the city searching for his sister who has turned to prostitution to support a heroin habit, and this gives some meaning and purpose to a life that Pete feels he has largely wasted. Finally, running through much of the book is a series of prostitute killings that bedevils another of Pete's boyhood friends, policeman Jimmy Boyle. All of these threads are woven together to produce a stunning climax.

Like virtually all of Pelecanos's books, this one is set in Washington D.C. and provides a vivid portrayal of the city at a certain point in time. Like all of Pelecanos's books, this one is also infused with sex, violence and with the music of the era. The book begins a bit slowly as Pelecanos introduces the characters, but once it gets rolling, it's hard to put it down. All of the characters are expertly drawn and they are placed in perfectly believable settings. This is another winner from a very gifted writer.

Fools Rush In

Ed Gorman's long-running series featuring Sam McCain, a somewhat naive, small town Iowa attorney and sometime private detective, has now advanced to 1963. In the South, the civil rights crusade is gathering momentum and in Black River Falls, Iowa, a black student named David Leeds has created a furor by dating the daughter of a white Republican Senator.

When Leeds is found murdered along with a white photographer, there is no shortage of suspects. Any number of Iowans, including the Senator who is running for re-election, were furious with Leeds. The bumbling police chief hasn't a clue and so McCain enters the fray. Sam is forced to mix it up with smarmy politicians, outlaw bikers, and the unsavory brothers of the blackmailing photographer. On the bright side though, the new female district attorney is bright, beautiful, and attracted to McCain.

Despite the violence, this is a gentle, nostalgic series that attempts to recapture the mood of an earlier, less complicated era. Even though we are now in the increasingly turbulent sixties, McCain is still the same innocent likable guy he was in The Day the Music Died, the series debut from 1999. McCain's caught up in the music and the culture of the age, and his love life reflects the standards of a different era. It's fun to watch him investigate the crime, even though it's hard to take his "investigation" all that seriously. But the real pleasure in reading these books comes from the era that they evoke.

Should Someone Finish and Publish Stieg Larsson's Fourth Book?

Millions of people world-wide have now read Stieg Larsson's Millenium trilogy consisting of The Girl with the Dragon Tattoo, The Girl Who Played with Fire, and The Girl Who Kicked the Hornets' Nest. Tragically, of course, Larsson died shortly after delivering the manuscripts of the three books without being able to savor and almost certainly never anticipating the huge success the books would enjoy.

Unhappily Larsson also died without leaving a will, which has generated a nasty dispute pitting Eva Gabrielsson, the woman with whom he lived for over thirty years, against his brother and father. At issue is the division of the royalties from the books and from the recent film based on the books. Gabrielsson's principal bargaining chip in this battle lies in the fact that she is in possession of Larsson's computer, which apparently contains three-quarters of a fourth novel and outlines for several more.

Leaving aside the argument over royalties, the question arises as to whether some other writer should now step in and finish the fourth book and perhaps write others from the outlines that Larsson left behind. Given the potential profits involved, I am not naive enough to think that this might not happen, but I'd really prefer that it didn't.

Like millions of others who have devoured these books, I am hugely disappointed by the fact that Larsson did not live long enough to write others. But I've always felt very uneasy about the idea of one writer appropriating the characters and continuing the series of another who has died, whether prematurely or not. And I'm doubly disturbed when this involves a writer completing and publishing another writer's unfinished work.

For a writer to do so seems astonishingly selfish, arrogant, and inappropriate to me. No matter how detailed an outline the deceased writer might have left behind, there is simply no way of knowing what the original writer might have decided to do with the work.

Perhaps he (or she) would have thought that the work he had done thus far on the book was not remotely ready to be published. Perhaps, in spite of any outline, the writer still might have changed his mind about the shape the book would ultimately take. Perhaps in the end, the writer might have finished the book and then concluded that it wasn't up to his usual standards and that he didn't want it to ever see the light of day. And absent specific instructions about these matters (which would seem to be the case in Larsson's situation), it seems to me that for one writer to appropriate and presume to "finish" the work of another, is an inexcusable violation of the first author's rights and of his memory.

I understand, of course, that all too often in such cases, the heirs are only too anxious to exploit the situation and wring every last dime out of the deceased writer's memory that they possibly can, no matter the effect that this might have on the writer's enduring reputation. And while I wouldn't read the resulting book or books myself, I have no problem with a case in which the deceased writer has left specific instructions authorizing his heirs to loot the remains of his literary estate for whatever they can get. But in a case where the writer has left no instructions at all, I believe that a decent respect to his memory requires that his unfinished works remain unfinished.

As I suggested above, I am under no illusion that this will happen in the case of Stieg Larsson. But as much as I would love to read additional books featuring Lisbeth Salander and Mikael Blomkvist, I won't be doing so, given that Larsson is no longer around to write them himself. I'd be interested to know what you think...