This review that originally appeared in Critics at Large is reproduced on this site because Burke powerfully explores the evil that men do when they cross a line.
|Author James Lee Burke. (Photo: Facebook)|
"I became a cop in order to deal with a black lesion that had been growing on my brain, if not my soul, since I was a child." – James Lee Burke, Light of the World
It is unwise to pigeonhole a multiple-award-winning crime novelist like James Lee Burke as a genre writer. His detailed rendering of the Cajun culture, its food, music, and dialect, along with his gorgeous descriptions of the bayou in South Western Louisiana, particularly during rainstorms, is a distinguishing feature of the Robicheaux novels. Consider this lyrical passage from his most recent novel, Robicheaux (Simon & Schuster, 2018): "The flying fish broke the bay's surface and sailed above the water like pink gilded winged creatures, in defiance of evolutionary probability." (Burke's descriptive prowess is also present in his twentieth Robicheaux creation, Light of the World [Simon & Schuster, 2013], which is set in the mountainous region near Missoula, Montana.) The Globe and Mailcritic, Margaret Cannon, offers high praise to Burke by comparing him to William Faulkner: his account of the bayous of Louisiana is similar to "what Faulkner did for backwoods Mississippi." Not surprisingly, Burke considers Faulkner, particularly his The Sound and the Fury, to be a major influence.
Burke's influence has extended beyond the crime novel to the larger culture. Like some of the best crime novelists, Burke uses the procedural as a vehicle for an overlay of political and social commentary. The 2005 Hurricane Katrina and its aftermath, which submerged large areas of the poorest parts of New Orleans and exposed scandalous government neglect, even before the tidal surge hit with cuts in federal aid, was the subject of The Tin Roof Blowdown. The novel is comparable to the mammoth Spike Lee documentary When the Levees Broke, and the HBO David Simon series, Treme, for their portrayals of a community after the veneer of civilized society is stripped away and we find out what people are really like. The New York Times reviewer, Marilyn Stasio, declared that Burke's was the "definitive" crime novel about Katrina.