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de Walter Mosley
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From Publishers Weekly
Mosley's Easy Rawlins books were always about acquiring property, which was the American dream in post–WWII Los Angeles. But lately Rawlins's expanding family has taken center stage and death has darkened the landscape. We born dyin.' If it wasn't for death, we'd never draw a breath, says Michael Boatman as an old man who knew Rawlins's grandfather back in Texas. That theme is echoed by several other characters, especially Etta, the wife of Raymond Mouse Alexander, Easy's childhood friend and a born killer who has disappeared. Boatman, a veteran narrator of numerous Mosley novels, has a quiet and natural style that perfectly catches the voices of Etta, Rawlins's lover Bonnie and especially Rawlins himself. Boatman's beautifully controlled performance compliments all the rich shadings Mosley gives his private eye, now 18 years older than the optimistic young soldier introduced in Devil in a Blue Dress, who's feeling depressed and adrift in the riot-filled L.A. of 1967. An extremely frightening ending supports Mosley's claim that Easy's 10th mystery may be his last.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --Ce texte provient de la Audio CD édition.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --Ce texte provient de la Audio CD édition.
From Booklist
Mosley, a smart and daring writer, has tried his hand at everything from political essays to erotica, but his most anticipated books are those featuring the sleuth that made him famous: Easy Rawlins. In the tenth series installment, it's 1967 and Easy is emotionally on edge after learning that his true love, Bonnie Shay, plans to marry an African prince. A search for Christmas Black, a "village-killing" soldier and the adoptive father of an eight-year-old Vietnamese girl, and for the dangerous Raymond "Mouse" Alexander, Easy's oldest friend, provides distraction (and some relief, in the form of willing women), but Easy's need to reconcile his role in his relationship's end seems to trump even mayhem and murder. One of the remarkable traits of this series has been its portrayal of the sleuth not as a loner but as a man intricately connected with family and community. For Easy, who ages and changes with each book, the past is always present. For once, however, this web of connection tangles the storytelling. Amidst the frequent historical vignettes and righteous asides, we want Easy to scramble free and act. When he finally does, the conflagration feels almost pro forma. And, as with Cinnamon Kiss (2005), there's less connection to the historical moment. Here it's Vietnam, as Easy penetrates an army drug-smuggling ring unaccompanied by Mosley's usual penetrating insights. But if this extraordinary series is beginning to drift, there are indications that suggest Mosely may be thinking about wrapping it up. Graff, Keir
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