protection legal professional Mickey Haller returns with a haunting case in the gripping new thriller from #1 new york times bestselling author Michael Connelly.
Mickey Haller gets the text, “call me ASAP – 187,” and the California penal code for homicide immediately will get his consideration. murder instances have the best stakes and the most important paydays, and they all the time imply Haller must be on the top of his sport.
When Mickey learns that the sufferer used to be his own former consumer, a prostitute he notion he had rescued and placed on the straight and slim direction, he is aware of he is on the hook for this one. He soon finds out that she used to be back in LA and back in the lifestyles. some distance from saving her, Mickey could have been the one who put her in danger.
Haunted by using the ghosts of his prior, Mickey should work tirelessly and convey all his talent to endure on a case that could mean his final redemption or proof of his final guilt. The Gods of Guilt shows as soon as again why “Michael Connelly excels, simply surpassing John Grisham within the building of court docket suspense” (la times).An Amazon perfect ebook of the Month, December 2013: What distinguishes Connelly’s Lincoln lawyer books from the average prison thriller (in the identical means his Harry Bosch series transcends “cop story”) is the sophisticated likeability of his fallacious hero, Mickey Haller, a legal protection lawyer who works principally from the backseat of a chauffeured Lincoln city car. In The Gods of Guilt, Haller is of the same opinion to protect a former client’s pimp on a murder cost, and his messy past comes again to taunt him–an ideal introduction to Haller for beginners, and catnip for fanatics. As a former newspaper court reporter, I’ve all the time favored Connelly’s consideration to the messy particulars of the legal system, and his means to carry actual courtroom drama, the humanity and inanity of bringing criminals to justice–or not. (The title refers to the imperfect judgment of a jury.) Like his friends, Laura Lippman and George Pelecanos, Connelly writes crime fiction verging subversively on literature, and Haller is becoming an increasingly complex literary determine, cruising LA’s darkest corners in a method that looks like a modern twist on Chinatown. (assume Clint Eastwood-soiled Harry-San Francisco, but in LA, and with out the large weapons and the unresolved anger.) incredibly, Connelly simply retains getting better. –Neal Thompson