Read Blood Grove (Easy Rawlins Book 15) By Walter Mosley
Read Blood Grove (Easy Rawlins Book 15) By Walter Mosley
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Ebook About "Master of craft and narrative" Walter Mosley returns with this crowning achievement in the Easy Rawlins saga, in which the iconic detective's loyalties are tested on the sun-soaked streets of Southern California (National Book Foundation) It is 1969, and flames can be seen on the horizon, protest wafts like smoke though the thick air, and Easy Rawlins, the Black private detective whose small agency finally has its own office, gets a visit from a white Vietnam veteran. The young man comes to Easy with a story that makes little sense. He and his lover, a beautiful young woman, were attacked in a citrus grove at the city’s outskirts. He may have killed a man, and the woman and his dog are now missing. Inclined to turn down what sounds like nothing but trouble, Easy takes the case when he realizes how damaged the young vet is from his war experiences—the bond between veterans superseding all other considerations. The veteran is not Easy’s only unlooked-for trouble. Easy’s adopted daughter Feather’s white uncle shows up uninvited, raising questions and unsettling the life Easy has long forged for the now young woman. Where Feather sees a family reunion, Easy suspects something else, something that will break his heart. Blood Grove is a crackling, moody, and thrilling race through a California of hippies and tycoons, radicals and sociopaths, cops and grifters, both men and women. Easy will need the help of his friends—from the genius Jackson Blue to the dangerous Mouse Alexander, Fearless Jones, and Christmas Black—to make sense of a case that reveals the darkest impulses humans harbor. Blood Grove is a novel of vast scope and intimate insight, and a soulful call for justice by any means necessary.Book Blood Grove (Easy Rawlins Book 15) Review :
I usually like Mosley's writing, and he was fine in this novel as in others of his I have read, about depicting, within the framework of a detective novel, how the reality of racism weighs on Black lives. But I found I couldn't finish this novel because he had so much wrong about about the historical backgrounds of his characters--mistake after mistake about Vietnam war (including non-existent Vietnamese names, inaccurate military terminology, and faulty geography--at one point moving the Ben Hai River which separated North from South Vietnam to an area 20 miles north of Saigon) that it kept jarring me out of the narrative. OK, maybe that stuff will only matter to Vietnam veterans, or anyone with any knowledge about Vietnam, the war and the country, or to Vietnamese, who are quite used to Americans disregarding their history and culture in order to advance their (the Americans') own agendas. But it would have been so easy for the author to do a little research, rather than include what just seems hear-say "facts" about Vietnam in the narrative. And it was not only the Vietnam stuff he got wrong. For me, the final blow came when I read how WWII veteran Easy Rawlins had been among the troops that liberated Auschwitz, which would have meant he was a soldier in the Soviet army. At that point, I stopped reading. It's OK to fictionalize, but there is such a thing as verisimilitude, at least enough to allow the reader to suspend disbelief and live for a while in the created world of the novel. It would have been pretty easy to fact check this stuff, and Mosley either needs to do better research or have editors who fact check him--this wasn't Easy; it was just Lazy. This is a strong Easy Rawlins novel, with interesting characters, a fully-realized setting, complex plot and engaging themes. The book is set in 1969 but told in retrospect, with such comments as 'back in those days . . . .' We know that it's not in present time unless WM thinks of sharp-witted and worldly-wise Easy as a man of 101. This is not an incidental matter, because race relations are a major theme in the book. As Easy reflects on how some things have changed and some haven't it would be nice to know the perspective point (a key element in any autobiography) from which he is speaking, since it would bear directly on both the authenticity/fairness of his observations as well as the nature of his very unique perspective.The plot is somewhat odd. A man comes to Easy, believing that he might have killed someone, but the scene of the possible crime/actual event has been cleared of any evidence. Easy's instinctual response (whether you did anything or not, there's no evidence, so forget it, save your money and move on) succumbs to his curiosity and feelings of duty and sympathy. The investigation takes him across SoCal, from the west end of Sunset to the orange groves of Orange County. We meet a host of thugs, Mafiosi, hookers, veterans and assorted victims and predators, all with colorful names and colorful speech. Easy works his multiple networks and utilizes WM's full ensemble—Charcoal Joe, Fearless Jones, Raymond 'Mouse' Alexander and Christmas Black. His relationship with his adopted daughter Feather serves as an important, personal subplot.The plot appears to be convoluted and improbable but all of the loose ends are tied up by the story's conclusion and what was murky becomes lucid. The fact that Easy does not telegraph his every move, but learns as we learn, contributes to the book's complexity and authenticity. Bottom line: a top-of-the-line ER story.Now—the elephant in the room. Some reviewers have been troubled by the use of race as not just a theme but a concern bordering on obsession. This was not a problem for me. Why? For one thing, WM has been at this for thirty years, before race/class/gender became a bona fide obsession in our English departments, publishing houses, politics and national culture. The Easy Rawlins series is in a very real sense WM's black take on Los Angeles. Ellroy's The Black Dahlia—the first volume in the first L.A. Quartet—appeared in late 1987. JE's white Los Angeles intersects with WM's black Los Angeles, but they are ultimately separate and parallel studies/histories/narratives. Moreover, WM's genre is closer to JE's 'tragic realism' than to other forms of crime fiction and that realism would not be possible without a significant amount of attention given to questions of race. Easy is also a very complex character. Initially in the series he depends heavily on his survivor skills. While they are still in evidence in Blood Grove, the older Easy has changed but the streets of L.A. have often remained what Chandler called 'mean'. Hence, the reflections on race remain essential parts of Easy's voice and the series' vision. The reflections are not gratuitous, cheap or knee-jerk. There are bad black people here, good white people, and vice-versa, with shades of gray aplenty. All are grist for Easy's learning process and apt subjects for his investigations.Five stars. 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