From 'Split Images' to 'Get Shorty', a run encompassing about ten books, Elmore Leonard could do no wrong -- every one of these titles is compelling. 'Killshot' ranks as the best (perhaps tying with 'Split Images') book of this period. The plotting is clever in that it is put at the service of the characters -- action unfolds from character, rather than being imposed on it. And the prose, especially the dialogue, is pitch-perfect. (Compare Leonard's dialogue with that of James Ellroy, and see why Leonard is still regarded as the master.) What makes Leonard's books so enjoyable, however, is the amount of arcane information he's able to put into his story without ever making it feel crammed. He's written about graphology, Mississippi rivermen, high-steel construction, and Elvis Presley conspiracies (all 'Killshot'); leprosy and embalming ('Bandits'); St Francis of Assisi ('Touch' and 'Bandits'); the overthrow of Trujillo in the Dominican Republic ('Split Images', 'Cat Chaser'); photography and the Secret Service ('LaBrava'); casino operations ('Glitz'); hippie politics ('Freaky Deaky'); and countless other subjects. His facility for making these things interesting almost defies belief. Surrender yourself to 'Killshot', especially the redoubtable Carmen Colson, and find your plams getting sweaty, your mouth dry, and your heart racing. You'll laugh a lot, too.