Dennis Lehane is the author of thirteen novels--including the New York Times bestsellers Live by Night; Moonlight Mile; Gone, Baby, Gone; Mystic River; Shutter Island; and The Given Day--as well as Coronado, a collection of short stories and a play. He grew up in Boston, MA and now lives in California with his family.
It's been 11 years since we've seen Boston private detectives Patrick Kenzie and Angie Gennaro and, although they're now married with a four-year-old daughter, the years have not been kind. The couple is plagued by money troubles, depression, and regret over a decision Patrick made 12 years ago in the course of the novel Gone, Baby, Gone. Having found the kidnapped Amanda McCready, he elected to return her to her drug-addicted mother rather than leave her in the care of the considerably more benign kidnappers, a loving elderly couple. Now Amanda has gone missing again, and, to Angela's dismay, Patrick postpones a well-paying job to search for the girl. Jonathan Davis captures Angie's bitterness; the youthful, yet coldly efficient delivery of the brilliant teenage Amanda; the growl of the friendly sociopath Bubba and assorted others, including a genial, self-amused Russian mobster. But his finest achievement is his voice for Patrick, the narrator. It's world-weary, very definitely Bostonian, and conveys a strength of character that suggests the task he's set for himself may not be as impossible as it appears. Fans of the series should be more than pleased. A Morrow hardcover. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved.
In 1998's Gone, Baby, Gone, Boston PI Patrick Kenzie rescued a four-year-old kidnapping victim and returned the child to her neglectful mother over partner and lover Angela Gennaro's objections. That decision ended the couple's professional and romantic relationship, although they briefly reunited in Prayers for Rain. In the 12 succeeding years, Lehane wrote several acclaimed stand-alone titles (e.g., Shutter Island; Mystic River) and his first historical novel, The Given Day. Yet the haunting conclusion of Gone, Baby, Gone obviously resonated with the author, as the result is this satisfying sequel. Now a freelance investigator for a white-shoe law firm, Patrick knows he was legally right but morally wrong in his actions years ago, but he and Angie, now married and raising a young daughter, don't discuss the Amanda McCready case. That is, until Amanda's aunt asks for Patrick's help in finding her missing (again) niece, who has grown into a brilliant but aloof 16-year-old. This time, he and Angie are determined to do the right thing by Amanda. Verdict Longtime readers will appreciate how Lehane's protagonists have believably aged. Fatherhood has mellowed Patrick, but he's not above inflicting a little pain with the help of sidekick Bubba. Temporarily a stay-at-home mom, Angie misses the hard-edged excitement of her old life. A few false notes involve some cartoonish Russian villains, but the resolution, while sad to series fans, makes perfect sense. [See Prepub Alert, LJ 6/15/10.]-Wilda Williams, Library Journal (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
"For fans of the Boston-based detective couple--a blue-collar Nick
and Nora Charles, putting their relationship to the test in the
face of thugs and bums, ethical dilemmas, and a balance-challenged
checking account--the return is more than welcome. . . . The plot
of Moonlight Mile--a title taken from the Jagger/Richards
song--is mapped out with Hammett-like precision, but as with
Hammett (and Raymond Chandler and Ross Macdonald and Charles
Willeford), when Lehane's on his game, it isn't the plot that
matters. It's the characters, and the smart, hard-boiled
"In many ways, the novel is an homage to happy family life. It's a deft delivery system for a story that mixes guts, betrayal and the importance of good values. It's also a sublime love story about what really matters in the grand scheme of things."--USA Today
"Nobody pokes his nose into the crummy apartments and seedy bars and trash-packed alleys and emotional messes of lower-class life with more observational rigor than Lehane. . . . Moonlight Mile flies at you fast and sinks its hooks into you for keeps. . . . Lehane's writing, as always, is tight, vivid and brilliantly assured."--Chicago Tribune
"Throughout, Lehane's writing mixes the streetwise and the lyrical. . . . Elsewhere, an extended metaphor aches with confusion and loss - not just the core characters' but that of a larger community, perhaps America itself. . . . Lehane has made quantum leaps as a craftsman. . . . Lehane is a writer bringing new confidence and an easy prowess to a new chapter in an epic story--the Kenzie-Gennaro saga"--Washington Post
"Unlike the usual sequel writer who simply puts old creations through new paces, Mr. Lehane registers a deep affection for the Kenzie-Gennaro team and a passionate involvement in their problems. And he treats each book in this series as an occasion for wondering what kind of world can produce the depravity that each new plotline describes. . . . So Patrick and Angie follow the bread-crumb trail of clues and suspects, giving Mr. Lehane many occasions to write acid-etched dialogue and show off his fine powers of description."--New York Times