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Harry Bosch has returned to Los Angels after a two-week visit to his daughter in Las Vegas. After quitting the police department in LOST LIGHT, Bosch has become a private investigator. His newest client is Terry McCaleb's widow. Terry McCaleb died when his new heart failed while out on his boat. The police have ruled it as a natural death but Garciella does not see it that way. She has found evidence that the pills her husband had been taking for his condition were tampered with. She wants Bosch to find out who murdered her husband. Bosch finds himself involved with the FBI as one of his clues leads him to Zzyzx Road. Agent Rachel Walling, who once worked with Terry McCaleb, is on the scene. This location holds ten bodies that might be the work of the Poet. Walling thought this killer died in THE POET; however, he has resurfaced and is using her to make some sort of statement. Bosch and Walling must work together to determine where these two separate cases intersect. Was McCaleb on the trail of the Poet and then killed or was there no true connection? This question becomes moot as the Poet leads them down a path of his own devising. THE NARROWS once again combines Michael Connelly's two main characters: Terry McCaleb and Harry Bosch. Even though both of these two characters were in DARKNESS MORE THAN LIFE, this book completes the circle. In DARKNESS MORE THAN LIFE, Bosch was investigated and in THE NARROWS, McCaleb is investigated. In addition, this book includes one of Connelly's most interesting villains - the Poet. By including all of these elements, THE NARROWS highlights Michael Connelly's entire writing career. THE NARROWS is written in a combination of first and third person. This writing style takes some getting used to. The sections involving Harry Bosch are written in first person as he is the focus of the narrative, while the third person is included to explain the events involving Walling and other characters that do not have interactions with Bosch. In some ways, Connelly has the best of both worlds. He can use first person to give the story a feeling of freshness and familiarity and use third person to include all of the elements vital to the story to which Bosch is not privy. Although Connelly is successful with this attempt, one can only wonder if the book would have been more cohesive if the entire book was told from either first person or third person perspective not both. THE NARROWS is Michael Connelly's 14th book. This is the ninth book to feature Harry Bosch.
Reviewed by Sarah Dudley, April 2004
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