Swan Peak A Dave Robicheaux novel

James Lee Burke, 1936-

Book - 2008

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MYSTERY/Burke, James Lee
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Subjects
Published
New York : Simon & Schuster c2008.
Language
English
Main Author
James Lee Burke, 1936- (-)
Physical Description
402 p.
ISBN
9781416548522
Contents unavailable.
Review by New York Times Review

It doesn't take a terrorist, a serial killer or some paranormal force to rattle the insular Norwegian communities Karin Fossum writes about in her quietly unnerving thrillers. In BLACK SECONDS (Harcourt, $24), all it takes is the disappearance of a child. Granted, this is no ordinary kiddie - 9-year-old Ida Joner is so "sweet and enchanting" she's "like a child in a fairy tale." Everyone in the village of Glassverket loves Ida, but none more than her mother, who idolizes her golden girl. A sad, fatalistic woman, Helga Joner has always felt that Ida was "just too good to be true. ... Too good to last," and when Ida vanishes after setting off on her new yellow bicycle to buy a magazine, the distraught Helga goes to pieces. But she isn't the only distressed mother Inspector Konrad Sejer encounters when he arrives in Glassverket to investigate Ida's disappearance. Ruth Rix, Helga's sunnier sister, is disturbed by the antisocial behavior of her truculent teenage son, Tomme, who is running around with a 22-year-old delinquent named Willy. And although Willy is the kind of fellow mothers consider a bad influence, his own mother feels differently - and becomes alarmed when he fails to return from an excursion to Copenhagen. The most unforgettable mother in the story, however, is Elsa Marie Mork, a bitter old woman who fanatically cleans house as a way of staving off the fears she harbors about her mentally retarded adult son, Emil. Elsa has a rough tongue that's forever lashing this hulking fellow, who lives alone, rides around on a three-wheeled bicycle and has spoken only one word - "No" - in 50 years. "Her heart was encased in a hard shell, but it still beat with compassion on the inside," Fossum writes, observing this brittle woman with detached, heartbreaking tenderness. These are the women the detective finds waiting anxiously for answers, and perhaps for some solace. But if Sejer is ever to assume that burden of compassion, he must find a way to get past the secrets and lies people have thrown up like battlement walls. And none are more impenetrable than the silence that both protects and isolates Emil. Eventually, that barrier also falls - not to violent attack but to Sejer's kindness and the strength of the social bonds of village life. "Ida's disappearance was like a net and it drew them all in," Fossum explains. "They were united in something," and that unity is not to be taken lightly. More than providing neighbors a common topic of gossip, the loss of a perfect child implies something awful about the future of their own imperfect children and, indeed, about the entire village. Dave Robicheaux, the Louisiana lawman in James Lee Burke's existential crime novels, is your prototypical running man. Honorable beyond question but scarred by experiences that have left him prone to "bloodlust," Dave keeps trying to outrun the ghosts of his past while chasing a hopeless dream - to restore some lost innocence in a corrupt world. SWAN PEAK (Simon & Schuster, $25.95) finds Dave and his sidekick, Clete Purcel, in western Montana, hoping to exorcise the nightmare of Hurricane Katrina with a little trout fishing and clean mountain air. But for all Burke's ecstatic invocations to the majesty of the Bitterroot Mountains ("the last good place"), this is no Garden of Eden. The millionaire rancher next door is drilling for oil and natural gas, thugs are hassling Clete about his role in the demise of a local mobster, and two college students have been tortured and murdered - one of the bodies dumped on the ranch of Dave's friend and host. "The West isn't the same place or culture I grew up in," the sheriff says, echoing Dave's own laments. Too true. But the rugged setting makes a grand stage for these battered characters, living "on the ragged edges of America" and slugging their way through this big, brawling novel. Setting a whodunit in an amateur writers' workshop is hardly an original notion. But it does offer the chance to inject some literary humor into the classic locked-room mystery even as it encourages close analysis of writers and the craft of writing, which is Jincy Willett's strategy in THE WRITING CLASS (Thomas Dunne/St. Martin's, $24.95). Not that Willett doesn't get her comic digs in. A suicide note in the form of a poem, along with its cruel parody from a phantom "sniper" imbedded in the group, constitute first-rate satire. But the weekly sessions at a California extension university taught by a washed-up novelist named Amy Gallup offer more practical instruction than scorn. And while the would-be writers do get their knuckles rapped (and two unfortunates are murdered), not even the mean-spirited sniper can find anything evil to say about the endearing Amy, whose quirky Web site (called "Go Away") is a gold mine of literary nuggets. Since most mysteries set in Victorian England tend to follow romantic traditions, the picturesquely gritty novels of Will Thomas serve as a bracing alternative. The manly adventures of Cyrus Barker and his youthful apprentice, Thomas Llewelyn, are set in the seediest precincts of London and delve into the most unsavory of historical material from inflammatory anti-Semitism in "Some Danger Involved" to bomb-throwing Irish anarchists in "To Kingdom Come." THE BLACK HAND (Touchstone, paper, $14) may be Thomas's liveliest entertainment yet, opening as it does with the grisly murders of two Sicilian assassins and wrapping up with a boisterous dock war that brings a throng of lowlifes up from the sewers to play. In Karin Fossum's new thriller, the loss of a child implies something awful about the future of an entire village.

Copyright (c) The New York Times Company [October 27, 2009]
Review by Booklist Review

There are no vacations for Dave Robicheaux, whether he's at home in New Iberia, Louisiana, or fishing in Montana, where he ventures in the latest installment of Burke's long-running and justly celebrated series. Ever searching for some semblance of his pastoral youth in Cajun country, Robicheaux embarks for Montana as a way of temporarily escaping Katrina- and crime-ravaged south Louisiana, but the evils of modernity and the tempests raging within his own violence-prone psyche follow him even to the trout streams and mountain splendors of the Rockies. Of course, it doesn't help when your longtime and even-more-violence-prone running mate, Clete Purcell, is along for the ride and stirring up long-simmering resentments relating to his and Dave's last trip to Montana (Black Cherry Blues, 1989). Naturally, there are some very bent, very bad rich guys lurking around the bend, and inevitably, a confluence of events brings the Bobbsey Twins (as Robicheaux and Purcell were known in their days as New Orleans cops) into the line of fire. This time, though, the focus is more on Purcell and on a rich subplot involving a country musician and a prison guard than it is on Dave himself. Longtime Burke readers will find much that is familiar even sometimes overly familiar here, but Burke (who lives part-time in Montana) settles in comfortably to his setting, using his signature style to evoke a new landscape and doing considerably more with his supporting cast than is typical of the series. No fan of hard-boiled crime fiction can help but feel the pulse quicken when a new Robicheaux appears.--Ott, Bill Copyright 2008 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

Dave Robicheaux and his former partner, Clete Purcel, find trouble in western Montana in bestseller Burke's fine 17th novel to feature the New Iberia, La., sheriff's deputy (after Tin Roof Blowdown). When two security men for Texas oil millionaire Ridley Wellstone deliberately drive over Clete's fishing gear after Clete inadvertently fishes on Wellstone's private land, Clete recognizes one of them as a former associate of a mob boss who died in a plane crash years before. Soon afterward, a University of Montana coed and her boyfriend are murdered near the home where Dave and Clete are staying. Then an escaped convict from Texas turns up, pursued by a vengeful prison guard determined to return him to prison. Lyrical passages describing the Montana landscape contrast with the subtle but intense way Burke depicts the violence and perversity lurking in his characters' hearts. But despite all the nastiness, love and redemption retain the power to heal some very wounded souls in a surprising denouement. (July) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

Dave Robicheaux is back-but not in Louisiana. He's gone north to Montana, where Burke has a second home. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHAPTER 1 Clete Purcel had heard of people who sleep without dreaming, but either because of the era and neighborhood in which he had grown up, or the later experiences that had come to define his life, he could not think of sleep as anything other than an uncontrolled descent into a basement where the gargoyles turned somersaults like circus midgets. Sometimes he dreamed of his father, the milkman who rose at three-fifteen a.m. and rumbled off to work in a truck that clinked with bottles and trailed a line of melting ice out the back doors. When his father reentered the house off magazine at midday, he occasionally carried a sack of Popsicles for clete and his two sisters. on other days, his face was already oily and distorted with early-morning booze, his victimhood and childlike cruelty searching for release on the most vulnerable members of his home. Sometimes in his dreams clete saw a straw hooch with a mamasan in the doorway suddenly engulfed in an arc of liquid flame sprayed from a Zippo-track. He saw a seventeen-year-old door gunner go apeshit on a wedding party in a free-fire zone, the brass cartridges jacking from an m60 suspended from a bungee cord. He saw a navy corpsman with rubber spiders on his steel pot try to stuff the entrails of a marine back inside his abdomen with his bare hand. He saw himself inside a battalion aid station, his neck beaded with dirt rings, his body dehydrated from blood expander, his flak jacket glued to the wound in his chest. He saw the city of New Orleans sink beneath the waves, just as Atlantis had. Except in the dream, New Orleans and the China Sea and perhaps a place in the Mideast, where he had never been, melded together and created images that were nonsensical. Blood washed backward off a sandy cusp of beach into a turquoise ocean. Soldiers who looked like people Clete had once known struggled silently uphill into machine guns that made no sound. When he woke, he felt that his own life had been spent in the service of enterprises that today contained no learning value for anyone and would be replicated over and over again, regardless of the cost. A psychiatrist once told him he suffered from agitated depression and psychoneurotic anxiety. Clete asked the psychiatrist where he had been for the last fifty years. His dreams clung to his skin like cobweb and followed him into the day. If he drank, his dreams went to a place where dreams go and waited two or three nights before they bloomed again, like specters beckoning from the edge of a dark wood. But on this particular morning Clete was determined to leave his past in the past and live in the sunlight from dawn until nightfall and then sleep the sleep of the dead. It was cold when he unzipped his sleeping bag and crawled out of his polyethylene tent by a creek in western Montana. His restored maroon Caddy convertible with the starched-white top was parked in the trees, speckled with frost. In the distance the sun was just striking the fresh snow that had fallen on the mountain peaks during the night. The spring runoff had ended, and the stream by which he had made his camp was wide and dark and devoid of whitewater and running smoothly over gray boulders that had begun to form shadows on the pebble bed. He could hear the easy sweep of wind in the pine and fir trees, the muted clattering of rocks in the stream's current. For a moment he thought he heard a motorized vehicle grinding down the dirt road, but he paid no attention to it. He made a ring of rocks and placed twigs and pinecones inside it and started a fire that flared and twisted in the wind like a yellow handkerchief and blew sparks and smoke across a long riffle undulating down the middle of the streambed. The place where he was cooking his breakfast in an iron skillet set on top of hot rocks was the perfect site for a camp and the perfect place to begin wading upstream through canyon country, false-casting a dry fly over his head, watching it float delicately toward him on the riffle. He had not chosen this place but had found it by accident, turning onto the dirt road after he had found a snow gate locked across the asphalt two-lane. The countryside was grand, the cliffs sheer, the tops of the buttes covered with ponderosa pine, the slopes already blooming with wildflowers. Along the edges of the stream, there were no prints in the soft gravel except those of deer and elk. The air smelled of the woods and wet fern and cold stone and humus that stayed in shade twenty-four hours and the iridescent spray drifting off the boulders in the stream. The air smelled as though it had never been stained by the chemical agencies of the industrial era. It smelled as the earth probably had on the first day of creation, Clete thought. He pulled his hip waders out of the Caddy and put them on by the side of the stream, snapping the rubber straps tight on his belt, looping a net and a canvas creel around his neck. He waded deep into the water, down a ledge, his feet slipping on moss-covered surfaces, until the drop-off sent the water over the edge of his waders. He whipped a dry fly over his head twice, then three times, the line forming a figure eight, whistling with a dull wet sound past his ear. With the fourth cast, he stiffened his wrist and let the fly float gently down on the riffle. That was when he heard the sound of the truck again, mounting the grade just beyond a cut between two pine-covered hills. But he kept his eyes on the fly floating down the riffle toward him. He saw an elongated shape break from behind a boulder, rising quickly into the light, the dark green dorsal hump roiling the surface. There was a flick of water, like a tiny splash of quicksilver, then the rainbow took the fly and went straight down into the shadows with it. Out of the corner of his eye, Clete saw a bright red pickup with an extended cab and a diesel-powered engine crunch down the slope onto a bed of white rocks. Once stopped, the driver did not cut his engine, nor did he get out of the vehicle. Inside the canyon walls, the engine clattered like a vibrating junkyard. Clete tried to strip line when the rainbow began to run. But his foot slipped on the moss, the tip of his Fenwick bowed to the water, and his two-pound monofilament tippet snapped in half. Suddenly his Fenwick was as light and useless as air in his palm. He looked up on the bank. The truck was parked in shadow, its headlights sparkling, and Clete could not see through the dark reflection that had pooled in the windshield. He waded up through the shallows until he was on solid ground, then he slipped off his fly vest and laid it on a rock. He set down his fly rod and net and creel and removed his porkpie hat and reset it at a slant on his forehead. He looked at his convertible, where his Smith & Wesson .38 rested inside the glove box. Clete walked to his fire ring and squatted beside it, ignoring the truck and the hammering of the diesel engine. He lifted his coffeepot off a warm stone and poured his coffee into a tin cup, then added condensed milk to it from a can he had punctured with his Swiss army knife. Then he got to his feet again, wiping his hands on his clothes, his eyes shifting back onto the front windows of the truck. He stared for a long time at the truck, drinking his coffee, not moving, his expression benign, his green eyes clear and unblinking. He wore a charcoal corduroy shirt and faded jeans that were buttoned under his navel. On first glance his massive arms and shoulders and the breadth of his chest gave him a simian appearance, but his top-heavy proportions were redeemed by his height and his erect posture. A pink scar that had the texture and color of a bicycle patch ran through one eyebrow. The scar and his over-the-hill good looks and his little-boy haircut and the physical power that seemed to emanate from his body created a study in contrasts that attracted women to him and gave his adversaries serious pause. Both front doors of the truck opened, and two men stepped out on the rocks. They were smiling, glancing up at the hilltops, as though they were sharing in Clete's appreciation of the morning. "Get a little lost?" the driver said. "Somebody locked the snow gate on the state road, so I turned in here for the night," Clete said. "That road is not state-owned. It's private. But you probably didn't know that," the driver said. The accent was slightly adenoidal, perhaps Appalachian or simply Upper South. "My map shows it as a state road," Clete said. "Would you mind cutting your engine? I'm starting to get a headache, here." The driver's physique was nondescript, his face lean, his brown hair dry and uncombed, ruffling in the breeze, his smile stitched in place. A half-circle of tiny puncture scars was looped under his right eye, as though a cookie cutter had been pressed into his skin, recessing the eye and dulling the light inside it. His shirt hung outside his trousers. "Have you caught any fish?" he asked. "Not yet," Clete replied. He looked at the passenger. "What are you doing?" The passenger was a hard-bodied, unshaved man. His hair was black and shiny, his dark eyes lustrous, his flannel shirt buttoned at the wrists and throat. He wore canvas trousers with big brads on them and a wide leather belt hitched tightly into his hips. The combination of his unwashed look and the fastidious attention he gave his utilitarian clothes gave him a bucolic aura of authority, like that of a man who wears the smell of his sweat and testosterone as a challenge to others. "I'm writing down your license number, if you don't have an objection," he said. "Yeah, I do object," Clete said. "Who are you guys?" The unshaved man with black hair nodded and continued to write on his notepad. "You from Lou'sana? I'm from down south myself. Miss'sippi. You been to Miss'sippi, haven't you?" he said. When Clete didn't reply, the passenger said, "New Orleans flat-ass got ripped off the map, didn't it?" "Yeah, the F-word in Louisiana these days is FEMA," Clete said. "You got a lot less Afro-Americans to worry about, though," the passenger said. He rolled the racial designation on his tongue. "What is this?" Clete said. "You're on posted land, is what this is," the driver said. "I didn't see any sign to that effect," Clete said. The passenger went to the truck and lifted a microphone off the dash and began speaking into it. "You guys are running my tag?" Clete said. "You don't remember me?" the driver said. "No." "It'll come to you. Think back about seventeen years or so." "Tell you what, I'll pack up my gear and clear out, and we'll call it even," Clete said. "We'll see," the driver said. "We'll see ?" Clete said. The driver shrugged, still grinning. The passenger finished his call on the radio. "His name is Clete Purcel. He's a PI out of New Orleans," he said. "There's a pair of binoculars on the seat of his convertible." "You been spying on us, Mr. Purcel?" the driver said. "I've got no idea who you are." "You're not working for the bunny huggers?" the driver said. "We're done here, bub." "We need to look inside your vehicle, Mr. Purcel," the driver said. "Are you serious?" Clete said. "You're on the Wellstone Ranch," the driver said. "We can have you arrested for trespassing, or you can let us do our job and look in your car. You didn't have situations like this when you worked security at Tahoe?" Clete blinked, then pointed his finger. "You were a driver for Sally Dio." "I was a driver for the car service he used. Too bad he got splattered in that plane accident." "Yeah, a great national tragedy. I heard they flew the flag at half-mast for two minutes in Palermo," Clete said. He glanced at the black-haired man, who had just retrieved a tool from the truck and was walking back toward Clete's Caddy with it. "Tell your man there if he sticks that Slim Jim in my door, I'm going to jam it up his cheeks." "Whoa, Quince," the driver said. "We're going to accept Mr. Purcel's word. He'll clean up his camp and be gone -- " He paused and looked thoughtfully at Clete. "What, five or ten minutes, Mr. Purcel?" Clete cleared an obstruction in his windpipe. He poured his coffee on his fire. "Yeah, I can do that," he said. "So, see you around," the driver said. "I didn't get your name." "I didn't give it. But it's Lyle Hobbs. That ring any bells for you?" Clete kept his expression flat, his eyes empty. "My memory isn't what it used to be." The man who had introduced himself as Lyle Hobbs stepped closer to Clete, his head tilting sideways. "You trying to pull on my crank?" Clete set his tin coffee cup on the rock next to his Fenwick and slipped his hands into the back pockets of his jeans, as a third-base coach might. Don't say anything , he told himself. "You don't hide your thoughts too good," the driver said. "You got one of those psychodrama faces. People can read everything that's in it. You ought to be an actor." "You were up on a molestation charge. You did a county stint on it," Clete said. "The girl was thirteen. She recanted her statement eventually, and you went back to driving for Sally Dee." "You got a good memory. It was a bum beef from the jump. I got in the sack with the wrong lady blackjack dealer. Hell hath no fury, know what I mean? But I didn't drive for Sally Dee. I drove for the service he contracted." "Yeah, you bet," Clete replied, his eyes focused on neutral space. "Have a good day," Lyle Hobbs said. His head was still tilted sideways, his grin still in place. His impaired eye seemed to have the opaqueness and density of a lead rifle ball. "Same to you," Clete said. He began to take down his tent and fold it into a neat square while the two visitors to his camp backed their truck around. The back of his neck was hot, his mouth dry, his blood pounding in his ears and wrists. Walk away, walk away, walk away, a voice in his head said. He heard the oversize truck tires crunch on the rocks, then the steel bumper scrape across stone. He turned around in time to see one wheel roll over his Fenwick rod and grind the graphite shanks and the lightweight perforated reel and the aluminum guides and the double-tapered floating line into a pack rat's nest. "You did that deliberately," Clete said, rising to his feet. "Didn't see it, Scout's honor," the driver said. "I saw them comb Sally Dee and his crew out of the trees. The whole bunch looked like pulled pork somebody had dropped into a fire. You're a swinging dick, big man. Public campground is five miles south. Catch a fat one."Copyright (c) 2008 by James Lee Burke Excerpted from Swan Peak by James Lee Burke All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.