Set in the bayou country of Louisiana, 'Burning Angel' by James Lee Burke blends gritty crime fiction with an understated supernatural element that is both suspenseful and entertaining. Homicide detective Dave 'Streak' Robineaux investigates a double murder that involves Sonny Marsallus, a local gambler, money-launderer, and soldier of fortune. Robineaux isn't the only one interested in Marsallus; a shadowy cadre of assassins wants Sonny dead. During his investigation, Robineaux gets sidetracked into a land dispute between the poor, black Fontenots and an upper-class attorney, Molleen Bertrand.

Burke displays a dazzling command of language and descriptive power, and his vision of the South is elegantly drawn, where ghosts of the past seem close at hand. The main characters, particularly Robineaux, Marsallus, and Bertrand are finely honed, as are the pimps, thugs, and crime lords of New Iberia.

The book only falters in the depiction of the Fontenots. Burke is keenly sensitive to the plight of this family, cast as helpless victims to malevolent external forces (in this case an amoral white overclass). Although we empathize with the Fontenots, characters stripped of free will (and thus unable to influence events) are never interesting.

Nevertheless, 'Burning Angel' is wonderfully paced and well written, and Burke's soaring prose elevates it to dizzying heights. Lost loves and family secrets haunt these characters, and as Robineaux visits the Bertrand plantation one last time, Burke closes with an epilogue that is a tour-de-force of sheer craft:

"And like some pagan of old, weighing down spirits in the ground with tablets of stone, I cut a bucket full of chrysanthemums and drove out to the Bertrand plantation...all our stories begin here--mine, Molleen's, the Fontenot family's, even Sonny's."

The story of the South begins and ends on the plantation. On this ground Burke seeks the interconnectedness of things; life begins in a lover's tryst, and ends in a graveyard, as Lee's phantom army marches through the trees. It is a remarkable gesture, a sweeping vision of life and death that lifts this book beyond its genre into something else, something that rings true in the human heart, something that we call art.

I've now read nine of his books. I first read Purple Cane Road. It led me to read his stories in order. I'm so glad I did. The quality of Mr. Burke's story line, narrative, and insight flow through his books. I've read hundreds of mystery, crime, thriller books. Burke's about the best! Burning Angel was a delight. I was there with Dave and Bootsie, and Clete. Makes me fear he'll stop writing; makes me want more. I want to pass him on, recommend James Lee Burke to those who have yet to discover his stories as well as his insightful references to healing, help through the friends of Bill W.

BURNING ANGEL by James Lee Burke is another Dave Robicheaux adventure among the mobsters and assassins of New Iberia, Louisiana. In the midst of turmoil caused by racial and class prejudice, Sonny Boy Marsallus, a smalltime hood, asks for Dave's help because several local mobsters are after him. Sonny Boy--a sometime soft-hearted good-guy--convinced many prostitutes under the mob's tutelage that leaving town would be in their best interests. Also, fear of eminent reprisals prompt Sonny Boy to give Dave a mysterious little black journal to hold for him. In addition, Dave attempts to help Bertie Fontenot, a poor black sharecropper, whose lands bequeathed to her by the wealthy owner, Moleen Berrand's grandfather, are being invaded by an enigmatic disposal company. Moleen's situation is less than favorable, too, because of money problems, a failing marriage and a renewed interracial relationship with Bertie's niece, Ruthie Jean. The plot is so complicated the reader can get lost as easily as moving blindly through a Louisiana, crocodile-infested bayou. However, the lush prose makes the trip a real treat.

James Lee Burke has been called "the Faulkner of crime fiction." The phrasing, descriptions, and word usage are so beautiful that the reader wants the cadences to go on and on. Burke was successful early in his writing career. But after his third book was published in the l960s, it was fifteen years before another book made it into print. One book, THE LOST-GET BACK BOOGIE, was rejected one hundred times. It was finally nominated for a Pulitzer Prize.

Burke's prose is breathtaking. His poetic descriptions put the reader right in the scene where all five senses are pulsating and alive. When Dave has a continuous nightmare about his alcoholism, he thinks "the rush is just like the whiskey that cauterizes memory and transforms electrified tigers into figures trapped harmlessly inside oil and canvas."

The plot, however, is all over the place like the lush growth along the banks of Louisiana's bayous. Some subplot ends are left untied. We never find out, for instance, why the Blue Sky Electric Company wants Berti's land and is willing to destroy a hundred-year old cemetery to get it. However, the story is rich with villains like Johnny Carp and Sweet Pea Chaisson and gutsy characters Helen Soileau, Dave's side-kick, Clete and Alafair, Dave's daughter. Appearances of the burning angel add a fantasy element that is believable and scary.

BURNING ANGEL will appeal to readers who want an intelligent story exquisitely told. Some of Burke's other novels are BLACK CHERRY BLUES, DIXIE CITY JAM, and CIMARRON ROSE.

I've heard such good things about Burke, so I was pretty enthusiastic about reading Cadillac Jukebox. But for all my enthusiasm, this book just didn't do it for me.

Burke's natural writing talent is obvious, and he grabbed my attention right away. The characters are all very human and real, it's a great setting, and things click along at a brisk pace. I found myself zipping my way through this book eagerly awaiting the next surprise.

And then, about halfway through the book I just got lost. A thousand different things had happened to Dave Robicheaux, his cohorts, and his enemies, and though each scene was written well, it just wasn't coming together as a whole. I realized that I either didn't know enough because I hadn't read any of the previous books, or Burke was just all over the place.

Over all a disappointment, but since this is my first Burke book, I plan to give him another chance by reading the first of the Dave Robicheaux series.

Yes, James Lee Burke is a terrific wordsmith who can bring the Cajun backwoods and bayous alive for readers, but this particular work is quite simply, a sprawling, literary hodge-podge. The story is loosely woven to the point of being chaotic--Dave Robicheaux skitters here, there, and everywhere, including TWO almost gratuitous mini-jaunts to Mexico. The characters are "colorful," but in some cases, such as that of Aaron Crown, the eccentricity deteriorates into cartoon-like caricature. There are various smalltime gangsters who are hard to keep straight, there is a politician's wife who turns up periodically to strip off her clothes, taunt Robicheaux sexually, and then disappear in a cloud of vituperative hissing. And there are more than a few digressions and sidebars to the story that don't ever seem quite justified--it's all a bit much, methinks, and overall it makes for a story that never really hangs together adequately.

Still, Burke is a good enough writer that it's a hard book to put down once started. I think he has done better in others of his mysteries, however.

I have read just about everything James Lee Burke has written, but my favorite character by far is Dave Robicheaux. This was actually the first of the Burke books I "read" (this one I actually listened to in audio as it was a gift to me -- and that alone was wonderful as the narrator had a fabulous Louisiana accent that brought the words alive). JLB's style is poetic, and the scenes he sets for you bring you right there to the Bayou with his words. He is a master at setting the scene and making you see the characters and hear their voice. His ability to spin a crime story with twists and turns, while getting you into Dave's head, his history and his love of his family are unsurpassed. Best advice regarding the Dave series: try to read them in the order written -- it helps to get a sense of time in Dave's personal life -- there are changes that occur and I was blind sided by a couple of them because I read out of order.

If the axiom ‘Write what you know’ is at all true, then James Lee Burke must have some truly frightening skeletons in his closet. It isn’t so much the subject matter, as it is the passion and intensity with which he pours the narrative onto the page. Burke’s characters live and breathe corruption, and ignorance, and violence, in a manner most of us would scarcely think possible. But he draws us in, into a world so vividly sketched that part of our being yearns to visit it again and again.

A SHINING WHITE RADIANCE is vintage Burke, another steamy and scintillating exploration of crime and corruption in New Orleans. His familiar hero, world-weary police detective Dave Robicheaux, is unwillingly enveloped in the twisted lives of the Sonniers, a local family with a history so unnerving that it’s a wonder any of them got out alive. Following the brutal slaying of a police officer in Weldon Sonnier’s home, Robicheaux is swiftly sped along a road of clues and red herrings, stopping at various points to involve late-night tele-evangelists, local crime bosses, past loves, Air America, drugs, and the AB (Aryan Brotherhood).

Burke has so far (as far as my readings of the Robicheaux novels are concerned) avoided the pitfalls that can trap the author of an ongoing series. The temptation must be great to simply graft a plot around the characters, and let it all just slide by. Burke takes the effort needed to not insult his readership, never content to let the characters simply act as they have in the past. Burke comes up with new ways to reintroduce us to the characters, allowing for new developments that expand what we thought we new about his universe. Robicheaux’s past experiences in Vietnam are brought in as integral elements of the story, not simply ‘character filler’. His deep self-loathing for past mistakes, his never-ceasing battle with personal demons (both internal and external), and his ceaselessly evolving relationship with his wife Bootsie, adopted child Alafair, close friend Batist, and even closer friend Clete Purcel, keep the tale rooted in reality.

Burke can also compose one fine episode of menace after another. Just watch Robicheaux’s prison-cell conversation with Joey Gouza. Burke teases the reader, never showing his hand too early, and climaxes the scene with a harrowing interlude of incipient violence. The vignette is all the more striking for its lack of outward activity. The suspense is completely internalized, and mesmerizing. Only afterwards to you realize that you’ve been holding your breath.

Burke can also pen descriptive and atmospheric language with the best of them. His characters all speak with the accent of local patois, adding to the laid-back (but not lazy) environment of Burke’s New Orleans. His finesse with the undercurrent of racism permeates every moment, and his depictions of the backwoods swamps and seedy taverns are vivid. Maybe this New Orleans doesn’t exist in real life, but it feels like it does.

Does it all wrap up satisfyingly? No. After all the set-up, the promising situations, and the pacing that is both leisurely and break-neck, the ultimate denouement is somewhat lacking. But in context, perhaps it’s the only ending that would fit. As Robicheaux himself comes to understand, not everything in life is fair, and not everyone gets what they deserve. Evil will continue, but so will good. How we react to it, deal with it, is what defines us. If we’re still standing at the end of the day, then we’ve won.

Burke's descriptions are so vivid and well written. And some excerpts really are like poetry. His characters are real. You care about them. This is the fourth I've read in the Dave Robicheaux series. I think they are all very good. This one is great.

This is the fifth Robicheaux book I have read. I think this one was the best so far. It had lots of action, a good mystery going on. Dave is great as usual. I really like Cletus and his loyalty to Dave. I like the language that Burke weaves into the book. Batist is also a very good character. Burke lets you feel the pain and hurt Robicheaux has for himself and his love for Bootsie and Alafair. You can nearly feel the heat lighting and the dust from the roads. Many good characters, much suspense, a good ending. If you like Burke you will like this book, if you have not read him before I think you he will become one of you favoite authors.

Possibly the best story in the spy genre that i have ever read.

One of Burke's earlier novels, is stark and unrelenting in it's honest depiction of the plight of a young Kentucky miner. I did not feel the story quite as fully realized as the later Dave Robicheaux detective novels, but it was haunting and evocative all the same.

The young miner, age 17, has been reared in the Cumberland Gap area of Kentucky. Raised in stark beauty and crushing poverty, he yearns for something more. I won't ruin the story by giving away too much, but there is alot of heartache then ultimate triumph.

Nothing candy-coated with Burke. We are made to feel the loss of loved ones, the terrible violence of the mines, the hard-scrabble existance and the brief, happy moments in an otherwise dark tale. Not light reading, this slim volume will make you pause and reflect.

The creator of David Robiceaux and Billy Bob Holland returns to historical fiction in a work set in Civil War-era Louisiana.

James Lee Burke has reached that stage where his name has become synonymous with his most successful literary creation --- David Robiceaux. Burke's Robiceaux novels have now spawned imitators and fans eagerly await the next installment in the series. In some instances, these fans become bitterly disappointed when a work bearing Burke's name on the spine does not contain a Robiceaux story therein. The series is so engrossing and well done that it is easy to forget that Burke's earliest writing dealt with other, occasionally historical, plots. In WHITE DOVES AT MORNING, he returns to that genre.

WHITE DOVES AT MORNING is a stand-alone novel, thus giving Burke freedom with his characters that he does not entirely have with the Robiceaux books or the Billy Bob Holland novels. One reads WHITE DOVES AT MORNING with no expectations other than that there will be a well-told, engrossing story. Burke has taken this freedom and run with it and, in the process, has created what might well be his finest work to date.

WHITE DOVES AT MORNING is set primarily in rural Louisiana during the Civil War and early Reconstruction. The primary characters are, as we are told, on the inside front cover, ancestors of Burke, though it is not immediately clear how much of the tale told within is family lore and how much is torn from the whole cloth of Burke's imagination. There is in all probability a healthy mix of both. Despite the change in subject matter, Burke continues the theme that runs through the Robiceaux novels --- that the rich are evil and can only transcend their circumstance with a healthy dose of guilt. This worldview, alas, is wearing rapidly thin --- there is no inherent evil in wealth, any more than there is a particular inherent nobility in poverty --- and Burke's incessant dwelling on the premise almost distracts from the beauty of his writing. Similarly, his presentation of the cause of the Civil War --- that it was fought over the issue of slavery --- is worse than simplistic; it is simply incorrect. The magnitude and beauty of Burke's writing, however, is such that one can easily suspend disbelief when encountering these issues and appreciate the beauty of this work.

The beauty and contrast within WHITE DOVES AT MORNING lie primarily in its characters. Robert Perry and Willie Burke, despite their disparities of background and opinion, join the Confederate Army while not sacrificing their principles, as well as their commitment to Abigail Dowling, a Massachusetts abolitionist who had come to Louisiana several years previously to aid in the battle against yellow fever. Burke also forms a friendship, unlikely for that time and place, with Flower Jamison, a beautiful young slave who is owned by Ira Jamison, owner of Angola Plantation and, though he refuses to admit it, Flower's father. Burke secretly teaches Flower how to read and write, an act that places both of them in danger. Flower becomes the catalyst from which much of WHITE DOVES AT MORNING proceeds. She finds herself the object of desire of Rufus Adkins, the overseer of her father's plantation and a source of unspeakable evil. Adkins and Burke, cast together in combat during the Civil War, are uneasy comrades. They wear the same uniform, but are by no means on the same side.

It is this conflict, woven throughout WHITE DOVES AT MORNING, that is the ultimate manifestation of Burke's ability to present through implication the complexity of relationships against a backdrop of social and moral difficulty. There are also passages here which bring to mind some of the best work of Cormac McCarthy, particularly when the author describes the horror of battle and its physical and emotional aftermath. The end of the war, however, does not herald the end of the terror. Burke, Flower, and Dowling find themselves caught between the conquering army of the North and the dreaded night riders --- the Ku Klux Klan and the Knights of the White Camellia of which Adkins, ever the lowest common denominator opportunist, is a member.

WHITE DOVES AT MORNING ultimately demonstrates the rippling effect that an act of bravery and simple kindness --- in this instance, Burke's instruction to Flower in reading and writing --- can have upon people over time. Fans of Robiceaux who eschew this work simply because their favorite Cajun detective is not its prominent feature will only cheat themselves. At the same time, those who are unfamiliar with Burke's work will find WHITE DOVES AT MORNING far more than an introduction to a new author. This work, in time, will perhaps become the most highly regarded of all of Burke's efforts.

--- Reviewed by Joe Hartlaub

James Lee Burke's "White Doves at Morning" is richly written, peopled with well-drawn characters and beautifully atmospheric.

It is an historical novel set in the Louisiana bayou country during the Civil War and Reconstruction. Fictional characters mingle with true-life figures---abolitionists, slaves, overseers, white trash, secessionists, madams and war profiteers. And. we see the origin of Angola Prison.

The dialogue is magnificent, the moods created extraordinary and the pace is rhythmic.

I found it compelling reading that engaged me from start to finish.

The white trash villains are particularly despicable. The central protagonists, while flawed, are easy to cheer for.

JLB maintains his high standards.

The arrival on bookshelves of anything written by James Lee Burke is a reason for celebration in my household-- as well it should be, for the man is arguably the finest living craftsman of eloquent prose in America today. At my own book signings, my oft-repeated line is that I'd read a phone book written by James Lee Burke.

But I have to confess, I hesitated before taking home a copy of WHITE DOVES IN THE MORNING, Burke's most recent release. After all, it features neither Dave Robicheaux nor Billy Bob Holland; it is not a reprinting of what I consider Burke's Golden Age of fiction, the stuff he wrote in the 1960s (which still staggers, with its literary mastery) before disappearing for almost two decades.

WHITE DOVES is, rather, a Civil War novel-- not surprising, in a way, to any reader of Burke's other fiction. His fascination with both combat in general and the Civil War in particular is evident in much of his writing. Nonetheless, for the reader eagerly awaiting the next return of Streak or Billy Bob, the thought of instead plunging into a... historical novel? ...might given even the most ardent James Lee Burke fan pause.

It shouldn't. Within a half-dozen pages, it is evident that the master is in rare form here. Burke's lyrical, evocative prose quickly sweeps the reader into a story that is impossible to put down.

It helps that much of the setting is familiar ground: Burke's beloved Louisiana bayou country, specifically the New Iberia of 1861 - 65. The smells and sounds of what will, in a century of so, be Dave Robicheaux country, will be immediately recognized by any Burke aficionado, serving as a timeless land of live oaks, hanging air vines and mosquitoes buzzing in the marshland shadows.

It also helps that many of the character names we've become accustomed to in the Robicheaux chronicles are also present-- this time, as living characters who flesh out the fables and anecdotes and events that later will be passed down to Dave Robicheaux and from him, to we readers. We meet the Negro freeman and slave owner Jubal Labiche, whose skin color will make no difference to the soon-to-be-invading Yankees. We meet brothel owner Carrie LaRose and her brother, the brawling, pirate-minded Jean-Jacques LaRose, both shrewd Cajun entrepreneurs who deal in contraband and live by their own rough code of ethics. We meet Ira Jamison, whose sprawling Angola Plantation will later become Angola State Penitentiary.

And while we do, we realize that we already know their descendants, themselves familiar from the Burke/Robicheaux series: the twin Labiche daughters of another generation, one of whom will be executed for the murder of her molester; the LaRose descendant, elected Louisiana governor only to die in a last effort to save his doomed wife in a pyre that was the LaRose mansion; even the Angola Prison which is so often a key dark role in Burke's Robicheaux tales.

It is a masterful device, this intermingling of our recollections from other novels and other storylines, that in less capable hands could have failed miserably. But Burke handles it with ease, even to the point of centering the story on his own ancestor, one Willie Burke.

If there is any flaw in WHITE DOVES IN THE MORNING, it is the distinctly too-abrupt conclusion with which Burke has provided as an epilogue. Here, in a departure from the seductive rhythms, eloquence and rich characterization which Burke uses elsewhere so well, the author merely ticks off, one by one, a digest of the ultimate fates of the characters. It is a decidedly less-than-satisfactory conclusion for the reader; worse, it does a disservice to the characters in this novel. Burke's skill has turned them into living people about whom we now care.

And it is in this sole failing that WHITE DOVES IN THE MORNING gives every James Lee Burke fan a reason for optimism.

We want more than Burke's closing has left us-- far more than the brief, tantalizing, much too incomplete information on the balance of these characters, these lives. We want the author to take us back: back to antebellum New Iberia, back to these characters, back to this compelling chronicle of a time and a place that he has drawn so well.

I don't know if WHITE DOVES IN THE MORNING was intended as the first in a new, ongoing series; given the amazing talent that is James Lee Burke, I can only hope so.

Earl Merkel

I was disappointed in Burke's writing style. I was hoping it would be much more breezy, direct, and to-the-point. Perhaps I expected too much, having been introduced to Burke and CONNECTIONS via the television series.

The proposal that people, ideas, inventions, and events are connected across the history of time and man is intriquing. The facts Burke presents are interesting, yet mired at times in too much detail. The casual, non-scientifically knowledgable types (like me) face some slow, rough reading at points.

By the end, though, where Burke ties-in and connects his major ideas, you'll have enjoyed the trip you took through history.... just be prepared to take your time getting there.

I have to say that I like the premise behind the book: seemingly random events leading up to a coherent pattern of invention and innovation. I also appreciate all the implications this has for long-term conscious planning by governments and individuals. However, I think that Burke understates the role of great geniuses in scientific and technological history. Not everything we have is primarily due to remote connections. I think that "The Day the Universe Changed" is a better written and more interesting book. This one, however, is also worth reading.

The first part of the book about interconnectedness and mutual dependence for survival in the modern industrial society should be required reading for all types of back-to-nature, anti-technology, sustainable-development eco feminists. It shows that we are not at liberty to simply adopt a Rousseau-esque, crab-like movement back into "natural," pre-industrial world. So for this reason alone, the book is worth the price you pay for it.

This book suffers from comparisons to Burke's PBS series by the same name probably because this is more of a sampler of his perspectives than a comprehensive treatment. Still, it is an absolutely fascinating look at the history of technology and how a break in the smallest link in the chain of technological development might preclude an invention from ever coming forth.

I enjoyed Burke's presentation style, written a bit like a mystery novel, giving us the pieces of the puzzle one at a time leading to the ultimate technology as we know it today. It leaves the reader guessing at each step as to what indispensable modern technology will result.

Burke postulates that major technological advancements are not the result of geniuses slaving away in laboratories, but instead the amalgamation of numerous small inventions, mostly created by average folks trying to adapt to everyday problems. While I accept that premise prior to the 19th century and perhaps in certain cases through to the 20th century, I believe that with few exceptions (like Gates invention of DOS for example), most major technological breakthroughs now result from concerted and organized R&D efforts that result from government grants and the corporate profit motive. The only difference today is that the geniuses are working in their den on a PC, and not in a lab. However, with the sophistication and innovativeness necessary to reach the next level in today's complex scientific fields, such breakthroughs are no longer the within the capabilities of the average person. Though one might point to the proliferation of dot com companies as support of Burke's position, I would argue that these are not average people, but rather the geniuses next door.

This is a book that makes one ponder the fabric of life and the importance of each individual strand. It is light reading with a heavy point and in that regard it is extraordinarily elegant. I rated it a 9/10. I highly recommend it to anyone with a curious mind.

Burke's companion volume to the Connections-2 TV series mimics the failings of that series, while failing to live up to his standard set in his two previous ones.

The great insight that Burke supposedly brings to this book is that technological, scientific, and cultural development are all intertwined, and that individual achievements are only made possible by many previous advances brought together unexpectedly.

But readers of "Connections" and "The Day the Universe Changed" already know this. So Burke adds hypertext to the book with indices in the margins. It's a cute idea, and well-executed, but actually following these links would destroy any cohesion in the stories Burke is trying to tell.

If there were cohesion, that is. "Connections" told stories often stretching over centuries, and if you couldn't guess how you were getting there (part of the fun, of course), you at least knew where you were going. "Day" used essentially the same insight, but each chapter had a unifying theme: a particular revolutionary insight that changed our world view.

"Pinball" has neither. Perhaps because Burke only had 30 minutes rather than an hour as in the previous shows, he rushed through the same amount of material twice as fast, barely pausing for breath. He doesn't stop to review where we've been, and in the first chapter, each leap takes us backwards, rather than forwards. The chop-chop style might work for MTV, but left me feeling that "Pinball" was not "Connections", but even less of the same.

Although, I'm not even finished yet, I know I'll be re-reading this at some time to take advantage of the inspired gateways scattered throughout the text. I remember watching the original 'Connections' series on PBS years ago, and his work fascinated me even then. This work is easily readable, and makes itself readily available to young and old, the scientifically minded and those just looking for a good read. 'Pinball' is a fun excursion through science, technology, and history! If you don't realize just how connected life is, this book will certainly open your eyes to the web of a world in which we live.

This latest edition of Mr. Burke's unique perspective of history is aptly named. Unlike his previous, best known works, "Connections" and "The Day the Universe Changed", James Burke does not examine the events bearing on a specific topic indepth. This volume, of 20 chapters, contains a plethora of persons and events in each. It has an exhaustive index of 18 pages and 447 points of reference in the margins. Taking a different literary approach from his previous works, Burke makes his point of the connections between seemingly disjointed and unforeseen events in history remarkably well. Aptly titled "The Pinball Effect" James Burke coherently outlines events leading from one point of reference to a completely unforseen outcome. He does not examine the advent of a specific discovery or human insight exhaustively. In prose style, it is a true outline, giving very brief summaries of the interactions of events and persons. This gives a whirl wind, fast paced tone to the work. Additionally, adding to the the pinball pace of the book, Burke has added to the margins of each page "gateways", cites to other pages in the book, where the event is mentioned. Based on the premise that history can be recorded as timelines, and these timelines invariably cross innumerably, these "gateways," as Burke terms them, show how preceived unrelated events are indeed related. The major premise of this work is that these relationships are impossible to determine contemporaneously and it is only with the benefit of hindsight can the implications be devined. Since knowlege expands exponentially, each new insight building upon the former, and chaotically, with each individual mind developing it's own thought patterns, the possbilities are exhausting. These inexhaustive combinations and the tangentery implications that may be drawn therefrom is the "Pinball Effect." Thus, this departure from Burke's previous approach is well suited to his premise. This work is not a companion book to the television series "Connections 2", although many chapters cover topics of these episodes. In an interview to the Boston Phoenix newspaper, on debute of the "Connections 2" series in 1994, Burke stated that the indepth examination given in the hour long episodes of "Connections" and "The Day the Universe Changed" were not accessible to today's television audience, accustom to soundbite TV. Therefore, "Connections 2" consisted of facer pased, half hour shows. Whether or not this premise is true, "The Pinball Effect" is not a dumbing down of knowleged for the masses by it's outline technique. It is fascinating, fast paced reading as such, but is is also an excellant reference book. Every bookshelf should contain a copy for this reason alone. Almost the whole of Western scientific history and it's impact on society is in this book. The excellant index and bibliography enables one to look up characters and events divergent as: Josiah Wedgwood, Luigi Galvani, Immanual Kant; immigration quota laws, phosphates, and block and tackle systems and thereby guage their time, place and implications. This is not a book to gain indepth knowledge of any particular subject by. It is an excellant overview of the complexity of modern Western history, from the view of a scientific historian, for both the neophyte and the proficient. True to it's name, "The Pinball Effect" takes the reader on a fast and furious ride through the major events of our history, events which are all too often taken for granted. It is highly recommended. Reviewer's note: I've tried to include indentation and line spacing between paragraphs, but they do not seem to show on the screen. If these do not appear, please excuse the inconvenience.

I see no reason why James Lee Burke cannot duplicate the success he garnered when Cimarron Rose won the Edgar Award for Best Novel in 1997. In Bitterroot, Billy Bob Holland is again brought to life in this modern day Western, set in rugged Montana where Burke paints beautiful and tragic portraits of both the land and the characters. In his typical creative style, Burke sets up conflict, allowing the reader inside the heads of Billy Bob and his friend Tobin "Doc" Voss. There we learn about victim pain, rage and vengeance. The pain comes not only from the past but from the actions of a collection of vile villains resurrected from the annals of the Old West. We learn however, that Billy Bob has a mean streak of his own, matching anything prison parolee Wyatt Dixon or the other "sawed-off little pissants" can dish out.

In scene after scene, written in colorful, descriptive prose, Burke creates dangerous situations that make the reader want to call out in warning to the potential victim. He was even able to skillfully include his own vision of the Battle of the Little Big Horn. With the deftness of a seasoned psychoanalyst, Burke re-created the arrogance of Custer and the horror of battle and its aftermath and used them to describe the haunting memories of Sue Lynn Big Medicine, a key character in the multi-layered plot. Billy Bob has his own haunting memories brought to consciousness with his visions of L.Q. Navarro, the Texas Ranger friend he accidently shot and killed.

There are so many examples of James Lee Burke's literary gifts found in Bitterroot that it becomes an exercise in futility to try and describe them all. My hope is to whet the appetite of readers searching for excellence. To borrow from John Steinbeck when he described Montana as a "love affair", reading James Lee Burke has become a love affair as well.

Billy Bob Holland has his own troubles. He's torn up over accidentally killing his Texas Ranger partner and talks to his partner's ghost. When his friend Doc Voss asks him to come to Montana to help out, though, Billy Bob can't say no.

Voss has taken unpopular stands against mining the mountains and has earned himself some enemies--enemies dangerous enough to rape his young daughter. When Voss is accused of murdering the lead suspect in the rape case, Billy Bob (a lawyer) takes on the case. Yet he knows that Voss could have killed--he, like Billy Bob, is definitely morally complex.

Not morally complex at all are the band of sociopathic suspects that Billy Bob faces. These include white supremicists, bikers, and old-fashioned Mafia types as well as an emotionally disturbed woman Billy Bob finds himself attracted to.

In BITTERROOT, the battle is not between good and evil so much as between black and gray. Only those who adopt something of the evil they face can beat it, yet who do they become in the battle.

Author James Lee Burke grabs you and drags you through the mud in this powerful novel. I didn't like everything I read, but I couldn't put it down. At the end, I felt like I'd been taken through a beating myself.

BooksForABuck

I made a promise to myself after reading HEARTWOOD last year that I'd buy the next "Billy Bob Holland" novel in hardback when it came out, rather than waiting for the paperback edition. It's a promise I'm glad I kept. In James Lee Burke's newest novel, BITTERROOT, ex-Texas Ranger Billy Bob Holland is back in true form, ready to protect his family and friends, and to put down anyone who gets in his face. When Billy Bob goes to Bitterroot, Montana to visit his old friend, Tobin "Doc" Voss, he expects to have a nice, relaxing vacation with maybe a little "fly" fishing thrown in. It turns out, however, to be anything but relaxing. It seems that a local mining company is polluting the rivers around Bitterroot with cyanide and Doc Voss is trying to put a stop to it. The mining company decides to fight back by hiring some hard-nose bikers and members of a certain white supremacist group (led by Carl Hinkel) to try and intimidate Doc. Since Doc is a former SEAL and did his fair share of killing in Vietnam, he's not the kind of guy who generally backs down. When Doc's sixteen-year-old daughter, Maisey, is brutally raped by three bikers, everything takes a turn for the worse. The men suspected of the crime are released from jail due to a lack of evidence and then are murdered, one by one, by an unknown assailant. Because of evidence found at the crime scenes, Doc is the number one suspect for the murders, and he has to ask Billy Bob to represent him as his lawyer. As if Billy Bob doesn't have enough to deal with, an ex-con by the name of Wyatt Dixon shows up in Bitterroot, seeking revenge against the former Texas Ranger for the death of his sister (a woman who killed all of her children). Then, there's a mobster by the name of Nicki Molinari, who's trying to retrieve some stolen money from a woman Billy Bob happens to be sexually involved with. All of this is just the tip of the iceberg. Before the novel is over, the body count is going to be sky high, and Billy Bob is going to have to answer some tough questions about love, family, friendship, and his violent nature. Not even the ghost of his late friend and partner, L.Q. Navarro, will be able to help him with this. In BITTERROOT, James Lee Burke shines at his brightest as he juggles a dozen or more subplots, spinning and weaving them into a gripping tale of violence, suspense and redemption. The character of Billy Bob Holland will have to delve deeply into his heart and examine his feelings for his close friend, Carol Temple, while at the same time, acknowledging that his son, Lucas, is now a man and must be allowed to make his own decisions, right or wrong. Billy Bob must also find a way to deal with his violent tendencies, understanding that he only feels alive when putting down men who deserve to be killed. This is especially true for the character of Wyatt Dixon, a man who's as deadly as a rattlesnake and is determine to teach Billy Bob a thing or two about revenge by going after the people he loves the most. Though the book is filled dozens of main and secondary characters, Mr. Burke manages to breathe life into each and everyone one of them through the use of individual quirks and nuances. Few authors have the skill to do this. The writing, of course, is sheer poetry to read. Mr. Burke has a finely tuned ear for dialogue and a vivid eye for description, bringing words together that reach into the reader's heart and soul, making him or her at one with the story. I have to say that, after three novels, the character of Billy Bob Holland is beginning to remind me more and more of Dave Robicheaux. Both men are filled with guilt at the lost of a close friend or wife. Each one also has a strong loyalty to friends and family, not to mention a strict code of honor that enables them to do whatever is necessary in order to protect the weak and innocent. There's even a rumor floating around that Mr. Burke will eventually bring both characters together in one book. That is definitely something all of Mr. Burke's fans would happily die for. Read BITTERROOT and find out why James Lee Burke is now considered to be one of America's best writers, then check out the "Dave Robicheaux" novel, PURPLE CANE ROAD, and discover why millions of people are addicted to this great author.