For a long time, my general rule of thumb on Michael Connelly was that his series were great, but anytime he did a crossover novel – A Darkness More than Night‘s meeting between Bosch and Terry McCaleb, for instance, or The Narrows, which found Bosch investigating the killer from The Poet – the results were invariably among his weakest work. And yet, somehow that rule has been broken once Connelly starting combining Harry Bosch, the dedicated cop, and Mickey Haller, the effective (if grandstanding) attorney. Part of that, I think, is that these characters contrast nicely with each other, giving them wildly different perspectives on the world, and different approaches to the same problems. But part of that also comes from how each character has developed over time, to the point where we know not only how complicated they are internally, but how they project a different side of themselves that isn’t always accurate.
The last collaboration between the two came from Haller’s perspective, so it seems only fair to switch to Bosch’s for The Crossing, which finds Bosch finally leaving behind the police life once and for all by crossing the line into helping a defense attorney. That the man is his half-brother doesn’t matter; that this is genuinely a case of justice gone wrong, even less. No, for Bosch – and for many of his former brothers in blue – the taking of this case is the final move away from being a homicide detective and from how Bosch defines himself, and that’s no small thing. Thankfully, Connelly treats it as such, making Bosch’s self-questioning as much of the book’s content as the case he’s investigating (as well as allowing Bosch to constantly weigh his sense of justice against Haller’s trial-based approach to the world).
Of course, it doesn’t hurt that Connelly’s gift for plotting has only gotten better over time, this time creating an intricate web of murder and blackmail that only gradually reveals itself as, once again, tying into the zeitgeist as Connelly so often does. From casual references to Ferguson to community police relations, Connelly makes the book contemporary while never beating the reader over the head. As for the murder case itself, the motivations and plotting are great and fascinating; admittedly, some of the mechanics and logistics of what happens are a little over the top, but I’ll let it slide in favor of a good story.
But best of all, The Crossing once again shows Connelly’s ability to keep the Bosch series fresh and evolving, even after 20 years. From an active police beat to cold cases, the Bosch series has changed with its hero, letting his job shift as his career and personality dictate. And The Crossing finds Bosch trying to figure out who he’s going to be if he’s not a policeman anymore. And while he may not stay a defense attorney’s investigator for more than one book, it’s a sign of what kind of character that Bosch is that I’m willing to follow him for no matter what comes next in his life.