β
There is nothing you can do about the past except keep it there.
β
β
Michael Connelly (The Brass Verdict (The Lincoln Lawyer, #2; Harry Bosch Universe, #19))
β
There is no client as scary as an innocent man."
J. Michael Haller, Criminal Defense Attorney, Los Angeles, 1962.
β
β
Michael Connelly (The Lincoln Lawyer (The Lincoln Lawyer, #1; Harry Bosch Universe, #16))
β
You can't patch a wounded soul with a Band-Aid.
β
β
Michael Connelly (The Black Echo (Harry Bosch, #1; Harry Bosch Universe, #1))
β
What is important is not what you hear said, it's what you observe.
β
β
Michael Connelly (Trunk Music (Harry Bosch, #5; Harry Bosch Universe, #6))
β
What is jealousy but a reflection of your own failures?
β
β
Michael Connelly (The Last Coyote (Harry Bosch, #4))
β
There were a billion lights out there on the horizon and I knew that all of them put together weren't enough to light the darkness in the hearts of some men.
β
β
Michael Connelly (The Scarecrow (Jack McEvoy, #2; Harry Bosch Universe, #20))
β
I view people two ways. They're either eye-for-an-eye people or they are turn-the-cheek people.
β
β
Michael Connelly (The Lincoln Lawyer (The Lincoln Lawyer, #1; Harry Bosch Universe, #16))
β
I've learned over the years that sometimes if you ask the same question more than once you get different responses.
β
β
Michael Connelly (The Brass Verdict (The Lincoln Lawyer, #2; Harry Bosch Universe, #19))
β
He [Harry Bosch] defined good company not by the conversation but by the lack of it. When there was no need to talk to feel comfortable, that was the right company
β
β
Michael Connelly (The Black Echo (Harry Bosch, #1; Harry Bosch Universe, #1))
β
Los Angeles was the kind of place where everybody was from somewhere else and nobody really droppped anchor. It was a transient place. People drawn by the dream, people running from the nightmare. Twelve million people and all of them ready to make a break for it if necessary. Figuratively, literally, metaphorically -- any way you want to look at it -- everbody in L.A. keeps a bag packed. Just in case.
β
β
Michael Connelly (The Brass Verdict (The Lincoln Lawyer, #2; Harry Bosch Universe, #19))
β
If the system turns away from the abuses inflicted on the guilty, then who can be next but the innocents?
β
β
Michael Connelly (The Concrete Blonde (Harry Bosch, #3; Harry Bosch Universe, #3))
β
You can fall in love and make love many times but there is only one bullet with your name etched on the side. And if you are lucky enough to be shot with that bullet then the wound never heals.
β
β
Michael Connelly (Lost Light (Harry Bosch, #9; Harry Bosch Universe, #13))
β
The setting sun burned the sky pink and orange in the same bright hues as surfers' bathing suits. It was beautiful deception, Bosch thought, as he drove north on the Hollywood Freeway to home. Sunsets did that here. Made you forget it was the smog that made their colors so brilliant, that behind every pretty picture there could be an ugly story.
β
β
Michael Connelly (The Black Echo (Harry Bosch, #1; Harry Bosch Universe, #1))
β
You know you're going to get burned from time to time. It's just part of the game. So when it happens you have to pick yourself up, dust yourself off and forget about it because they're about to snap the ball again.
β
β
Michael Connelly (The Fifth Witness (The Lincoln Lawyer, #4; Harry Bosch Universe, #23))
β
Itβs lucky no one else knows what our most secret thoughts are. Weβd all be seen for the cunning, self-aggrandizing fools we are.
β
β
Michael Connelly (The Poet (Jack McEvoy, #1; Harry Bosch Universe, #5))
β
Don't go growing a conscience on me," I said. "I've been down that road. It doesn't lead you to anything good.
β
β
Michael Connelly (The Fifth Witness (The Lincoln Lawyer, #4; Harry Bosch Universe, #23))
β
Everybody matters or nobody matters.
β
β
Harry Bosch by Michel Connelly
β
In the long run, all wrongs are righted, every minus is equalized with a plus, the columns are totaled and the totals are found correct. But that's in the long run. We must live in the short run and matters are often unjust there. The compensating for us of the universe makes all the accounts come out even, but they grind down the good as well as the wicked in the process.
β
β
Michael Connelly (The Poet (Jack McEvoy, #1; Harry Bosch Universe, #5))
β
She refused to accept the simple truism that the better you were, the bigger threat you were to those at the top....
β
β
Michael Connelly (The Lincoln Lawyer (The Lincoln Lawyer, #1; Harry Bosch Universe, #16))
β
I'm relaxed, Belk. I call it Zen and the art of not giving a shit.
β
β
Michael Connelly (The Concrete Blonde (Harry Bosch, #3; Harry Bosch Universe, #3))
β
Money. The ultimate motivation. The ultimate way of keeping score.
β
β
Michael Connelly (Chasing the Dime (Harry Bosch Universe, #12))
β
There is nothing like the start of a season, before all the one-run losses, pitching breakdowns and missed opportunities. Before reality sets in.
β
β
Michael Connelly (The Lincoln Lawyer (The Lincoln Lawyer, #1; Harry Bosch Universe, #16))
β
You're a sleazy defense lawyer with two ex-wifes and an eight-year-old daughter and we all love you.
β
β
Michael Connelly (The Lincoln Lawyer (The Lincoln Lawyer, #1; Harry Bosch Universe, #16))
β
The law was not about truth. It was about negotiation, amelioration, manipulation.
β
β
Michael Connelly (The Lincoln Lawyer (The Lincoln Lawyer, #1; Harry Bosch Universe, #16))
β
Well, did he do it?"
She always asked the irrelevant question. It didn't matter in terms of the strategy of the case whether the defendant "did it" or not. What mattered was the evidence against him -- the proof -- and if and how it could be neutralized. My job was to bury the proof, to color the proof a shade of gray. Gray was the color of reasonable doubt.
β
β
Michael Connelly (The Lincoln Lawyer (The Lincoln Lawyer, #1; Harry Bosch Universe, #16))
β
There is no end of things in the heart. ...she understood it to mean that if you took something to heart, really brought it inside those red velvet folds, then it would always be there for you. No matter what happened, it would be there waiting. She said this could mean a person, a place, a dream. A mission. Anything sacred. She told me that it is all connected in those secret folds. Always. It is all part of the same and will always be there, carrying the same beat as your heart.
β
β
Michael Connelly (Lost Light (Harry Bosch, #9; Harry Bosch Universe, #13))
β
If you go into darkness, the darkness goes into you.
β
β
Michael Connelly (The Late Show (RenΓ©e Ballard, #1; Harry Bosch Universe, #30))
β
No matter how much they tried to dress her up with neon and family entertainment she [Las Vegas] was still a whore.
β
β
Michael Connelly (Trunk Music (Harry Bosch, #5; Harry Bosch Universe, #6))
β
Whatever made her happy made me happyβexcept the time she thought divorcing me would make her life happier. That didnβt do much for me.
β
β
Michael Connelly (The Lincoln Lawyer (The Lincoln Lawyer, #1; Harry Bosch Universe, #16))
β
He had lived alone most of his life. He was used to places that were empty. He knew the real shelter of a home was inside yourself.
β
β
Michael Connelly (Angels Flight (Harry Bosch, #6; Harry Bosch Universe, #8))
β
Bosch had never liked Las Vegas, though he came often on cases. It shared a kinship with Los Angeles; both were places desperate people ran to. Often, when they ran from Los Angeles, they came here. It was the only place left.
β
β
Michael Connelly (Trunk Music (Harry Bosch, #5; Harry Bosch Universe, #6))
β
The world was full of people who could not get over things. There was no closure and there was no peace. The truth did not set you free. But you could get through things. Thatβs what Bosch would tell him. You could head toward the light and climb and dig and fight your way out of the hole.
β
β
Michael Connelly (The Closers (Harry Bosch, #11; Harry Bosch Universe, #15))
β
It's only a wonderful world if you can make it that way. There are no street signs pointing to Paradise Road.
β
β
Michael Connelly (Lost Light (Harry Bosch, #9; Harry Bosch Universe, #13))
β
if you canβt stand the ghosts, get out of the haunted house.
β
β
Michael Connelly (Echo Park (Harry Bosch, #12; Harry Bosch Universe, #17))
β
Everybody counts or nobody counts.
β
β
Michael Connelly (The Crossing (Harry Bosch, #18; Harry Bosch Universe, #28))
β
There is a means to every end. A root to any cause. Sometimes the root is more evil than any cause, though it's the cause that is usually most vilified.
β
β
Michael Connelly (The Poet (Jack McEvoy, #1; Harry Bosch Universe, #5))
β
Loneliness had been the trash can fire he huddled around for most of his life.
β
β
Michael Connelly (The Last Coyote (Harry Bosch, #4))
β
Bosch knew the dawn had nothing on the dusk. Dawn always came up ugly, as if the sun was clumsy and in a hurry. The dusk was smoother, the moon more graceful. Maybe it was because the moon was more patient. In life and nature, Bosch thought, darkness always waits.
β
β
Michael Connelly (The Closers (Harry Bosch, #11; Harry Bosch Universe, #15))
β
You know what my father said about innocent clients? ... He said the scariest client a lawyer will ever have is an innocent client. Because if you fuck up and he goes to prison, it'll scar you for life ... He said there is no in-between with an innocent client. No negotiation, no plea bargain, no middle ground. There's only one verdict. You have to put an NG up on the scoreboard. There's no other verdict but not guilty."
Levin nodded thoughtfully.
"The bottom line was my old man was a damn good lawyer and he didn't like having innocent clients," I said. "I'm not sure I do, either.
β
β
Michael Connelly (The Lincoln Lawyer (The Lincoln Lawyer, #1; Harry Bosch Universe, #16))
β
Everybodyβs got a cage that keeps out the sharks. Those who open the door and venture out do so at their own risk.
β
β
Michael Connelly (City Of Bones (Harry Bosch, #8; Harry Bosch Universe, #11))
β
Reasonable Doubt for a Reasonable Fee. Call the Lincoln Lawyer. Bosch
β
β
Michael Connelly (The Crossing (Harry Bosch, #18; Harry Bosch Universe, #28))
β
Everybody has a jury, the voices they carry inside.
β
β
Michael Connelly (The Gods of Guilt (The Lincoln Lawyer, #5; Harry Bosch Universe, #26))
β
Eenie, meenie, minie, moe, catch a killer by the toe. If his lawyerβs Haller, let him go. Eenie, meenie, minie, moe. Hey bro.
β
β
Michael Connelly (The Brass Verdict (The Lincoln Lawyer, #2; Harry Bosch Universe, #19))
β
There are plenty of people out there judging us every day of our lives and for every move we make. The gods of guilt are many.You don't need to add to them
β
β
Michael Connelly (The Gods of Guilt (The Lincoln Lawyer, #5; Harry Bosch Universe, #26))
β
Innocence is not a legal term. No one is ever found innocent in a court of law.
β
β
Michael Connelly (The Law of Innocence (The Lincoln Lawyer, #6; Harry Bosch Universe #35))
β
Artists are supposed to stay hungry.β βThatβs bullshit. Thatβs a myth invented to keep the artist down because art is powerful. You give an artist both money and power and theyβre dangerous.
β
β
Michael Connelly (The Wrong Side of Goodbye (Harry Bosch, #19; Harry Bosch Universe, #29))
β
There was still chicken on the bone but sometimes you just have to push the plate away.
β
β
Michael Connelly (The Fifth Witness (The Lincoln Lawyer, #4; Harry Bosch Universe, #23))
β
They need you until they donβt need you.
β
β
Michael Connelly (The Gods of Guilt (The Lincoln Lawyer, #5; Harry Bosch Universe, #26))
β
The good ones all had that hollow space inside. The empty place where the fire always burns. For something. Call it justice. Call it the need to know. Call it the need to believe that those who are evil will not remain hidden in darkness forever.
β
β
Michael Connelly (The Burning Room (Harry Bosch, #17; Harry Bosch Universe, #27))
β
itβs like the laws of physicsβfor every action, there is an opposite and equal reaction. If you go into darkness, the darkness goes into you. You then have to decide what to do with it. How to keep yourself safe from it. How to keep it from hollowing you out.
β
β
Michael Connelly (The Late Show (RenΓ©e Ballard, #1; Harry Bosch Universe, #30))
β
Politicians could talk about building walls and changing laws to keep people out, but in the end they were just symbols. Neither would stop the tide any more than the rock jetties at the mouth of the port did. Nothing could stop the tide of hope and desire. Bosch
β
β
Michael Connelly (The Wrong Side of Goodbye (Harry Bosch, #19; Harry Bosch Universe, #29))
β
Nobody in this world is who they say they are. Nobody. Not when theyβre in their own room with the door shut and locked. And nobody knows anybody, no matter what they think... The best you can hope for is to know yourself. And sometimes when you do, when you see your true self, you have to turn away.
β
β
Michael Connelly (The Concrete Blonde (Harry Bosch, #3; Harry Bosch Universe, #3))
β
He knew there were two kinds of truth in this world. The truth that was the unalterable bedrock of oneβs life and mission. And the other, malleable truth of politicians, charlatans, corrupt lawyers, and their clients, bent and molded to serve whatever purpose was at hand.
β
β
Michael Connelly (Two Kinds of Truth (Harry Bosch, #20; Harry Bosch Universe, #31))
β
why donβt you just Uber your ass out of here.
β
β
Michael Connelly (The Late Show (RenΓ©e Ballard, #1; Harry Bosch Universe, #30))
β
Out of the blue and into the black is what they called going into a tunnel. Each one was a black echo. Nothing but death in there. But, still, they went.
β
β
Michael Connelly (The Black Echo (Harry Bosch, #1; Harry Bosch Universe, #1))
β
It had been Boschβs experience that when you looked back at a life, you used a magnifying glass. Everything was bigger, amplified.
β
β
Michael Connelly (The Wrong Side of Goodbye (Harry Bosch, #19; Harry Bosch Universe, #29))
β
That's justice," she said, nodding at the statue. "She doesn't hear you. She doesn't see you. She can't feel you and won't speak to you. Justice, Detective Bosch, is just a concrete blonde.
β
β
Michael Connelly (The Concrete Blonde (Harry Bosch, #3; Harry Bosch Universe, #3))
β
Everybody has a jury, the voices they carry inside. Earl Briggs sits on my jury, Gloria Dayton, too. They are there with Katie and Sandy, my mother, my father, and soon Legal Siegel as well. Those I have loved and those I have hurt. Those who bless me and those who haunt me. My gods of guilt. Every day I carry on and I carry them close. Every day I step into the well before them and I argue my case.
β
β
Michael Connelly (The Gods of Guilt (The Lincoln Lawyer, #5; Harry Bosch Universe, #26))
β
For every noble movement or advancement in the human endeavor across time, there were always betrayers who set everything a step back.
β
β
Michael Connelly (Dark Sacred Night (RenΓ©e Ballard, #2; Harry Bosch, #21; Harry Bosch Universe, #32))
β
Swag?β βScientific wild ass guess.
β
β
Michael Connelly (Trunk Music (Harry Bosch, #5; Harry Bosch Universe, #6))
β
I once read a book about a reporter written by a reporter who described the life as always running in front of a thresher. I thought it was the most accurate description Iβd read.
β
β
Michael Connelly (The Poet (Jack McEvoy #1; Harry Bosch Universe #5))
β
you canβt explain crazy.
β
β
Michael Connelly (The Crossing (Harry Bosch, #18; Harry Bosch Universe, #28))
β
If we canβt be honest with ourselves, how can we ever tell the truth to the people out there?
β
β
Michael Connelly (City Of Bones (Harry Bosch, #8; Harry Bosch Universe, #11))
β
If you get into a game of talking to the media, you keep the story alive. Information is oxygen. Without it they die.
β
β
Michael Connelly (The Lincoln Lawyer (The Lincoln Lawyer, #1; Harry Bosch Universe, #16))
β
But too much going with the flow is heading us into the sewer...
β
β
Michael Connelly (The Black Echo (Harry Bosch, #1; Harry Bosch Universe, #1))
β
I put my hand down below the table to check my zipper. You have to stand before a jury only once with your fly open and it will never happen again
β
β
Michael Connelly (The Fifth Witness (The Lincoln Lawyer, #4; Harry Bosch Universe, #23))
β
Working homicide for so many years, Bosch could not be surprised anymore by the horrors people inflicted on each other. But the horrors people saved for themselves were a different story.
β
β
Michael Connelly (Angels Flight (Harry Bosch, #6; Harry Bosch Universe, #8))
β
You build a city in the desert, water it with false hopes and false idols, and eventually this is what happens. The desert reclaims it, turns it arid, leaves it barren. Human tumbleweeds drift across its streets, predators hide in the rocks.
β
β
Michael Connelly (Lost Light (Harry Bosch, #9; Harry Bosch Universe, #13))
β
from the short story, Cielo Azul
βHarry, get an ambulance.β
I stood up and stepped back from the scene. I felt my chest growing tight, a clarity of thought coming over me. In all my years I had spoken for the dead many times. I had avenged the dead. I was at home with the dead. But I had never so clearly had a part in pulling someone away from the outstretched hands of death.
And in that moment I knew we had done just that. And I knew that whatever happened afterward and wherever my life took me, I would always have this moment, that it would be a light that could lead me out of the darkest of tunnels.
β
β
Michael Connelly (Suicide Run (Harry Bosch, #14.5; Harry Bosch Universe, #23.4))
β
Livingstone had said sympathy was no substitute for action. That was an essential brick in Boschβs wall. He had built himself as a man of action and, at the moment when the integrity of his lifeβs work had been called into question by a man on death row, he had chosen to turn his sympathy for Elizabeth Clayton into action.
β
β
Michael Connelly (Two Kinds of Truth (Harry Bosch, #20; Harry Bosch Universe, #31))
β
The civilized people in the world, the ones who hide behind culture and art and politicsβ¦ and even the law, theyβre the ones to watch out for. Theyβve got that perfect disguise goinβ for them, you know? But theyβre the most vicious. Theyβre the most dangerous people on earth.
β
β
Michael Connelly (The Last Coyote (Harry Bosch, #4; Harry Bosch Universe, #4))
β
Trust no one. You may be working with the last honest cop in Mexicali, but why bet your life on it?
β
β
Michael Connelly (The Black Ice (Harry Bosch, #2; Harry Bosch Universe, #2))
β
All his life Bosch had lived and worked in societyβs institutions. But he hope he had escaped institutional thinking, that he made his own decisions.
β
β
Michael Connelly (The Black Ice (Harry Bosch, #2; Harry Bosch Universe, #2))
β
You donβt like what you see out your window, you put up a wall.
β
β
Michael Connelly (The Black Ice (Harry Bosch, #2; Harry Bosch Universe, #2))
β
He defined good company not by the conversation but by the lack of it. When there was no need to talk to feel comfortable, that was the right company.
β
β
Michael Connelly (The Black Echo (Harry Bosch, #1; Harry Bosch Universe, #1))
β
The rich kept you waiting so that you could feel free to admire all that they had.
β
β
Michael Connelly (Angels Flight (Harry Bosch, #6; Harry Bosch Universe, #8))
β
He knew evil could never be vanquished. It just moved from one place to another and waited.
β
β
Michael Connelly (The Narrows (Harry Bosch, #10; Harry Bosch Universe, #14))
β
When you find the one that you think fits, then grab on for dear life.
β
β
Michael Connelly (The Last Coyote (Harry Bosch, #4; Harry Bosch Universe, #4))
β
I felt sympathy for her but not too much. Idealism dies hard with everybody.
β
β
Michael Connelly (The Fifth Witness (The Lincoln Lawyer, #4; Harry Bosch Universe, #23))
β
I'm going to have to go out there. She had a mother and a brother. See who's still around and can look at this thing."
"Harry, you sure you--"
"You think I have a choice?
β
β
Michael Connelly (The Reversal (The Lincoln Lawyer, #3; Harry Bosch Universe, #22))
β
We want the truth, Detective. You are confusing that with what we choose to tell the public.
β
β
Michael Connelly (The Black Echo (Harry Bosch, #1; Harry Bosch Universe, #1))
β
So, what it's like, Terry? Being a father."
...
"It's like having a gun to your head all the time. Because I know if anything happens to her, anything, then my life is over.
β
β
Michael Connelly (A Darkness More Than Night (Harry Bosch, #7; Harry Bosch Universe, #10))
β
I have always had the suspicion that officers assigned to front desk duty were chosen by cunning supervisors because of their skills in obfuscation and disinformation.
β
β
Michael Connelly (The Fifth Witness (The Lincoln Lawyer, #4; Harry Bosch Universe, #23))
β
All his life Harry Bosch believed he had a mission. And to carry out that mission he needed to be bulletproof. He needed to build himself and his life so that he was invulnerable, so that nothing and no one could ever get to him.
All of that changed on the day he was introduced to the daughter he didnβt know he had. In that moment he knew he was both saved and lost. He would be forever connected to the world in the way only a father knew.
- "Nine Dragons" by Michael Connelly
β
β
Michael Connelly (Nine Dragons (Harry Bosch, #14; Harry Bosch Universe, #21))
β
There was polite laughter in the courtroom. Bosch noticed that the attorneys -- prosecution and defense -- dutifully joined in, a couple of them overdoing it. It had been his experience that while in open court a judge could not possibly tell a joke that the lawyers did not laugh at.
β
β
Michael Connelly (A Darkness More Than Night (Harry Bosch, #7; Harry Bosch Universe, #10))
β
Bosch counted twenty-two names and it made him miss the old Los Angeles Times. In 1993 it was big and strong, its editions fat with ads and stories produced by a staff of some of the best and brightest journalists in their field. Now the paper looked like somebody who had been through chemoβthin, unsteady, and knowing the inevitable could only be held off for so long.
β
β
Michael Connelly (The Burning Room (Harry Bosch, #17; Harry Bosch Universe, #27))
β
The alley was like most any other alley in a city where the infrastructure was crumbling, in a state where the infrastructure was crumbling. It was a patchwork of asphalt spot repairs and loose gravel over a crumbling base of decades-old concrete.
β
β
Michael Connelly (The Crossing (Harry Bosch, #18; Harry Bosch Universe, #28))
β
He's dead: Internal bleeding. When they opened him up they found a toothbrush shiv lodged in the anal cavity. It was never determinded whether he'd put it up there for safe keeping himself or somebody else did it for him, but it was a good lesson for the rest of the inmates. They even put up a sign. "Never put sharp objects up your ass.
β
β
Michael Connelly (The Brass Verdict (The Lincoln Lawyer, #2; Harry Bosch Universe, #19))
β
It was a good strategy but this is where I intended to turn her plans upside-down. In the courtroom there are three things for the lawyer to always consider: the knowns, the known unknowns and the unknown unknowns. Whether at the prosecution or defense table, it is the lawyerβs job to master the first two and always be prepared for the third.
β
β
Michael Connelly (The Fifth Witness (The Lincoln Lawyer, #4; Harry Bosch Universe, #23))
β
The bag was a hybrid I had picked up at a store called Suitcase City while I was plotting my comeback. [...] It had a logo on it -- a mountain ridgeline with the words "Suitcase City" printed across it like the Hollywood sign. Above it, skylights swept the horizon, completing the dream image of desire and hope. I think that logo was the real reason I liked the bag. Because I knew Suitcase City wasn't a store. It was a place. It was Los Angeles.
β
β
Michael Connelly (The Brass Verdict (The Lincoln Lawyer, #2; Harry Bosch Universe, #19))
β
one of the crazies moved into the cone of light beneath a streetlight. It was a black man, high-stepping and making jerking movements with his arms. He made a crisp turn and began moving back into the darkness. He was a trombone player in a matching band in a world somewhere else.
β
β
Michael Connelly (The Black Ice (Harry Bosch, #2; Harry Bosch Universe, #2))
β
You can become unhinged and cut loose from the world. You can believe you are a permanent outsider. But the innocence of a child will bring you back and give you the shield of joy with which to protect yourself. I have learned this late in life but not too late. Itβs never too late.
β
β
Michael Connelly (The Narrows (Harry Bosch, #10; Harry Bosch Universe, #14))
β
The art of sports writing always amazed me. Nine out of ten times the reader already knows the outcome of your story before reading it. They know who won, they probably even watched the game. But they read about it anyway and you have to find a way to write with an insight and angle that makes it seem fresh.
β
β
Michael Connelly (The Scarecrow (Jack McEvoy, #2; Harry Bosch Universe, #20))
β
Slowly, his eyes came up and he looked through the kitchen window and out through the Cahuenga Pass. The lights of Hollywood glimmered in the cut, a mirror reflection of the stars of all galaxies everywhere. He thought about all that was bad out there. A city with more things wrong than right. A place where the earth could open up beneath you and suck you into the blackness. A city of lost light. His city. It was all of that and, still, always still, a place to begin again. His city. The city of the second chance.
Bosch nodded and bent down. He closed his eyes, put his hands under the water and brought them up to his face. The water was cold and bracing, as he thought any baptism, the start of any second chance, should be.
β
β
Michael Connelly (A Darkness More Than Night (Harry Bosch, #7; Harry Bosch Universe, #10))
β
He loved the city most at night. The night hid many of the sorrows. It silenced the city yet brought deep undercurrents to the surface. It was in this dark slipstream that he believed he moved most freely. Behind the cover of shadows. Like a rider in a limousine, he looked out but no one looked in.
There was a random feel to the dark, the quirkiness of chance played out in the blue neon light. So many ways to live. And to die.
β
β
Michael Connelly (The Black Ice (Harry Bosch, #2; Harry Bosch Universe, #2))
β
I have waited twenty years for this phone call . . . and all this time I thought it would go away. I knew I would always be sad for my sister. But I thought the other would go away.β
βWhat is the other, Henrik?β Though he knew the answer.
βAnger . . . I am still angry, Detective Bosch.β
Bosch nodded. He looked down at his desk, at the photos of all the victims under the glass top. Cases and faces. His eyes moved from the photo of Anneke Jespersen to some of the others. The ones he had not yet spoken for.
βSo am I, Henrik,β he said. βSo am I.β
- "The Burning Room" by Michael Connelly
β
β
Michael Connelly (The Burning Room (Harry Bosch, #17; Harry Bosch Universe, #27))
β
It had been one of the biggest landgrabs in the cityβs history and Bosch knew the story well, having tried all his life to counter his love of baseball and the Dodgers with the ugly story buried beneath the diamond where, as a boy, he watched Sandy Koufax and Don Drysdale pitch. It seemed to him that every gleaming success in the city had a dark seam to it somewhere, usually just out of view.
β
β
Michael Connelly (The Burning Room (Harry Bosch, #17; Harry Bosch Universe, #27))
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The gravel road widened into a large turnaround where three similar looking and designed brothels sat waiting for customers. They were called Sheila's Front Porch, Tawny's High Five Ranch and Miss Delilah's House of Holies.
"Nice," Rachel said as we surveyed the scene. "why are these places always named after women -- as if women actually own them?"
"You got me. I guess Mister Dave's House of Holies wouldn't go over so well with the guys."
Rachel smiled.
"You're right. I guess it's a shrewd move. Name a place of female degradation and slavery after a female and it doesn't sound so bad, does it? It's packaging.
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Michael Connelly (The Narrows (Harry Bosch, #10; Harry Bosch Universe, #14))
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There was something pitiful about a woman in jail. I had found that almost all of the time, their crimes could be traced back to men. Men who took advantage of them, abused them, deserted them, hurt them. This is not to say they were not responsible for their actions or that some of them did not deserve the punishments they received. There were predators among the female ranks that easily rivaled those among the males. But, even still, the women I saw in jail seemed so different from the men in the other tower. The men still lived by wiles and strength. The women had nothing left by the time they locked the door on them.
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Michael Connelly (The Lincoln Lawyer (The Lincoln Lawyer, #1; Harry Bosch Universe, #16))
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The Strip was still lit by a million neon lights, though the crowds on the sidewalk had greatly decreased by this hour. Still, Bosch was awed by the spectacle of light. In every imaginable color and configuration, it was a megawatt funnel of enticement to greed that burned twenty-four hours a day. Bosch felt the same attraction that all the other grinders felt tug at them. Las Vegas was like one of the hookers on Sunset Boulevard in Hollywood. Even happily married men at least glanced their way, if only for a second, just to get an idea what was out there, maybe give them something to think about. Las Vegas was like that. There was a visceral attraction here. The bold promise of money and sex. But the first was a broken promise, a mirage, and the second was fraught with danger, expense, physical and mental risk. It was where the real gambling took place in this town.
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Michael Connelly (Trunk Music (Harry Bosch, #5; Harry Bosch Universe, #6))