Hieronymus (Harry) Bosch, Michael Connelly’s iconic character, is in the twilight of his career as an L. A. homicide detective. In “The Burning Room,” Harry is partnered with twenty-eight year old Mexican-American Lucia Soto. Harry becomes Lucy’s mentor, sharing his wide-ranging knowledge of procedure (some of it not exactly by-the-book) with his eager protégé. Harry’s latest case in the Open-Unsolved Unit involves Orlando Merced, who was shot ten years earlier by an unidentified shooter. Merced survived for a decade in a wheelchair, with a bullet lodged in his spine. Merced recently died and Harry wants the bullet; it may help them find the perpetrator.
Harry and Lucy make a solid team. They are both committed to getting the job done, even if it means pulling all-nighters, being less than candid with their superiors, and upsetting high-profile individuals. What they learn is explosive. As they follow the leads that emerge, Harry and Lucy suspect that what appeared to be a random act might have been deliberate. Making matters more complex is the possible connection between the assault on Merced, an arson fire, and two robberies. If these felonies turn out to be related, what is the link?
Connelly keeps his foot on the pedal throughout this fast-moving and engrossing police procedural. The interplay between Bosch and Soto is amusing and instructive. Harry is all business and Soto matches his dedication. She comes to work early, leaves late, and both doggedly pursue every piece of evidence, no matter how flimsy it may seem. The beautifully constructed plot involves political corruption, greed, lust, and vengeance.
I’ve read most of the series, and with these latter ones, they almost feel like a draft. This one started with an interesting premise, but, perhaps to lengthen the book, adds a second case unrelated to the first, which feels like 2/3 of a short story has been added to the book.
I think Connelly has also run out of ideas about how to develop the Bosch character — a possible romance gets mentioned in passing; Harry even mentions the casualty count amongst his former partners (to tell us every form of harm has happened to them?); and it feels like we’ve now had every "flavor" of partner for Harry, with this one now being the young, enthusiastic pup.
Other things that to me make the book feel hastily written:
The same fact is sometimes mentioned twice, a few pages after the first time (usually the justification of a police procedure or Harry decision).
The word "momentum" — if I had the kindle version, I’d search for it — it must have appeared 50 times in the first 5 chapters. Harry just has to have "momentum" continuing in cold cases.
Harry and his partner repeatedly drive to people’s homes, and lo! almost every time, the person just happens to be there! A miracle!
And I don’t know if this is a sign of a rapid draft or no: Am I the only person tired of detailed descriptions of LA routes and the accompanying traffic? I don’t really care if Harry takes the 110 or…. And I even lived in LA for a while. I’m also tired of how many detectives have a passion for jazz….
The major characters: his daughter, his partner, his perhaps romance, his ex-romance, everyone is just "nice." There is just one designated "bad guy" in the police hierarchy (and of course the crooks).