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Onyx reviews: The Black Box by Michael
Connelly
Symbolically, a "black box" is the kind of clue
that can blow a cold case wide open. The analogy is, presumably, to the data
recorders sought after plane crashes that can often explain what went wrong. The
term also refers to a literal box: the one that contains police officers'
handwritten notes pertaining to a crime, often stemming from interviews and
witness statements. In
1992, during the riots in Los Angeles that followed the exoneration of police
officers accused of brutality in the arrest of Rodney King, many people were
killed. Often these deaths were related to the citywide violence: looters killed by
shopkeepers, shopkeepers killed by thieves, etc. However, some people took
advantage of the chaos to get away with murder. Because
police resources were stretched to the limits, these homicides did not get the
full attention they would have received in calmer times. Crime scenes were too
dangerous for investigators to linger long. Canvassing for witnesses was
curtailed. Bodies were
transported in National Guard trucks instead of by a medical examiner, and
forensics teams took hours to
arrive, if at all. Most of the killings remained unsolved. On the twentieth anniversary
of the riots, during a city-wide effort to close some of those cold cases, a match is made to the bullet that killed a Danish
photojournalist. No one knows why the journalist was in
that part of L.A., which would have been dangerous for her even without the
lawlessness that engulfed the city.
Harry Bosch was the responding officer. The woman, who Harry's partner dubs
"Snow White," was supposedly in the country on
vacation, and no one knows where she was went before traveling from San
Francisco to L.A. to cover the riots. Her camera and her notes were never found,
and her room was broken into and searched, so it seemed clear at the time that
her murder was more than a side effect of the chaos. However, the trail quickly
went cold and the single casing Harry discovered at the scene is the only clue. Harry
Bosch is a big believer in momentum. He thinks that cases will die if he doesn't
pursue every lead immediately, which makes him relentless. It's also a way for
Connelly to apply pressure to the story. Since this homicide happened so long
ago, there's no real urgency to get it solved. In fact, his superiors try to
discourage Harry from the case. Most of the people killed in the riots were black, so how will
it look if one of the few that end up solved had a white victim? That's the sort
of issue that caused the riots in the first place. Harry is also at odds with
his new boss, O'Toole, whom they refer to variously as "o'Fool" and "The
Tool." The new lieutenant is focused on statistics, so he often exerts
pressure to drop cases that don't look like they'll end up in the win column
quickly. Harry is working at will, part of the DROP program that allowed him to
return from retirement for a few more years. That gives him a certain freedom,
but it also provides him with less protection from the department if he gets
into a conflict with his boss, which he is bound to do given his history. The
gun that fired the bullet was used in a number of subsequent homicides, none
apparently linked to Snow White's murder. A man is in prison for one of the
killings, but he claims he was given the weapon by another gang member who is
now dead. Harry goes back over the old case files and finds other things
that were missed in those tumultuous days and, before long, he finds his black
box: the clue that sends him in a new and unexpected direction. He is frustrated
by the time it takes to get information from the journalist's relatives and
former co-workers in Denmark, and he reaches out to his former lover, Rachel
Walling, and others to expedite facets of his investigation. The case and
casework are interesting, and the way Bosch peels away at the layers of the onion to get to
the core of the mystery is laid out well. Harry also has time to spend with his
daughter and his new social worker girlfriend, but everything—including
important discussions about the next step in his relationship with Hannah—is
sacrificed in the name of this "hot" cold case. At times, Harry's single-mindedness
seems overwrought. When the leads point to culprits who live hundreds of
miles from Los Angeles, Harry knows his boss will never approve the time and
expense required to follow up, so he "goes on vacation," turning into
a lone wolf. He identifies the weak link in the case and gnaws at it until
something breaks free. However, when he gets into trouble, he has no backup. Except—he
does. Out of nowhere, someone appears to help him in his darkest hour. It's the
kind of dramatic trickery that doesn't serve Connelly well. The character's
arrival on the scene is completely unmotivated—so much so that even that
character can't (or won't) explain it. Perhaps this is a card that Connelly is
holding back to play in a future novel. If not, it's weak storytelling that
taints an otherwise solid entry in a long-running series.
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