The above illustration, "Blowing Bubbles," has been adapted for use here by generous permission from the artist, Cyril Rolando.

January 10, 2009


SYNOPSIS: Mickey Halloran, the lawyer Connelly introduced in the "The Lincoln Lawyer," returns to practicing law after a year spent fighting drug addiction. Instead of having to struggle to rebuild his practice, Mickey gets an easy gift of 31 clients when the lawyer who handled those cases is murdered. One of the clients is the high-profile type, Walter Elliot, head of a major film studio, and Elliot is going on trial for the murders of his wife and her lover. So there are two murder mysteries going on here, and as in any of today's standard thrillers, you know that somewhere along the line those two murders are going to get linked up.

REVIEW: This was to be my last Michael Connelly book. I've not been entirely satisfied with any of his books since the magnificent 'Angels Flight,' and with each successive book it's become less about satisfaction and more about irritation. The culmination of my disenchantment came with 'The Lincoln Lawyer,' a book I consider to be highly overrated (but I've felt that way about the last several Harry Bosch titles as well). That's the last Connelly book I paid for; 'The Brass Verdict' I retrieved from the library, and my expectations could not have been lower.

Maybe that was all I needed to do, was to lower my expectations because while I don't think 'The Brass Verdict' ought to win any awards, it's a pretty good thriller. Yes, Connelly still has those twists and turns that have patently obvious explanations (did any reader really not know what his intentions were regarding Eli Wyms and the GSR tests? Did any reader really not know who was behind the 'killer' who came after Mickey in the garage?); yes, he eschews character development other than the protagonist's; yes, I still wonder why he's considered a great writer when any debut author would be excoriated for producing sentences such as: "Bosch smiled glibly and shook his head." Smiled glibly? Can you say 'yanked from my suspension of disbelief?' I am more charitable about the reason for the constant misuse of 'preemptory' when Connelly means 'peremptory.' Presumably that will be corrected in later editions. Nevertheless, it's distracting and it's difficult to place the author in the company of truly great writers when I encounter these things in his work. On the plus side, not once did I trip over any of the purple prose that disgusted me in 'The Closers.'

Missing from this book is the ambience, the atmosphere of a dark LA that Connelly internalized so wonderfully in the early Harry Bosch character. But it's hard to create ambience when the action is the interior of a Lincoln, eh? Unless you're writing porn anyway. What Connelly nails to perfection is the way Halloran handles his cases, his legal reasonings, his cold pragmatism when it comes to throwing indigent clients into the 'dog pile.' And the pacing? Stellar, with only one small breakdown in the latter portion of the book and from which Connelly quickly recovered.

Some readers expressed unhappiness for how small a part Harry Bosch played in this book, but that's one area in which I disagree. This is not a detective story, it's a legal thriller, and Bosch did play a pivotal role. However, it could just as easily have been a new character rather than Bosch, because other than the gimmick of Bosch and Halloran being half-brothers, there was no need for the cop role to be filled specifically by Bosch. It was that gimmick that got me to read the book in the first place, because I was pretty much done with Connelly. Now, I'll probably read the next one but I'm not ready to start sinking my hard-won dollars into his titles again. Not yet. Why not? Because Connelly cheated the reader, just a little, but it was still a cheat, when he let Mickey use information in the denouement, information that had not been made available to the reader. That I had guessed early on who was behind the jury tampering is beside the point. I've come to know Connelly's tricks too well. And tricks, rather than plot devices, are what they seem like to me.

Overall, this is one of those books that many people would characterize (or damn) as a good beach read. It's a fairly good thriller that comes close to earning that prized descriptor, 'page turning.' Has it won me back into the ranks of the Michael Connelly fan club? Does it put him back at or near the top of my list of favorite crime fiction writers? No, but it does give me hope that one day he will find his way back to the quality of his earlier books.


  1. Nice review, Corey--as always. Your references to Connelly's dark L.A. atmosphere in the early Bosch books are spot on. Trunk Music and Angels Flight are up next for me in the series, and I'm looking forward to them. I'm not a strong fan of MC--I pick up Harry when I'm waiting for the next Crais to come out--but so far, these early works do pull me in, eventually. I agree with you that MC is not as strong writer as others in the genre--but he sure does sell well. Anyway, a wonderful first review in 2009. Keep them coming, C.

  2. I ran across your blog while looking for other's views of this "famous" writer. 'Picked up Trunk Music on vacation a few months ago and thought it passable, then read the less memorable The Overlook, and couldn't figure out why Connelly is hyped so much when he writes sentences "he wondered what she meant?" followed by the Bosch asking, "What do you mean?" Lousy editing, obvious twists, and aside from telegraphing plot revelations, almost all of them came through dialog. I tried reading The Narrows, which was more character oriented, but ultimately it bored me that this smart detective couldn't see he was being led by the criminal. Corey, I thought your review was succinct and perhaps even kind. My impression is that Connelly checked out long ago. I look forward to reading your other reviews in hopes of a good recommendation.

  3. Anon, I don't know that I was kind, because although I felt ripped off by 'The Closers,' 'The Narrows,' and definitely by 'The Lincoln Lawyer,' Connelly's early Bosch novels built up a lot of credit with me. I think 'Angel's Flight' is far and away his best book, after which he seemed to go into a kind of writers' freefall. So Connelly's not on my A list anymore but I keep hoping. I know what he's capable of.