Harbor Lights by James Lee Burke

Published by Atlantic Monthly Press on January 23, 2024

The stories in Harbor Lights feature people who have been in prison and people who might end up in prison. Some are drifters, others are professionals. Some live in solitude, others share their life with a child. Most have experienced a significant loss. Some have given up on life, others are still trying to figure it out. They are all from the deep South although some have migrated to the West. Nearly all the protagonists try (not always successfully) to cling to their moral center. Collateral characters are often racists and white trash who never had a moral center. A few characters are ghosts.

Three stories feature Burke’s recurring character and alter-ego, Aaron Holland Broussard. “Deportees” tells a story of Aaron’s grandfather as he stands up to southern hatred of Mexicans and Japanese-Americans during World War II.

The title story is told from Aaron’s perspective as the son of a man who defied the FBI by telling the press about his sighting of a German submarine while fishing off the coast of Louisiana. In retaliation, the FBI arrested the woman with whom Aaron’s father was having an affair, accusing her of being a communist spy. The story is about the ugly truth a boy learns about his father and the far uglier truth he learns about the country in which he lives.

The melancholy that pervades the novella “Strange Cargo” is almost overpowering. Aaron may have symptoms of cancer that he refuses to let his doctor diagnose because (in the doctor’s view) Aaron believes he deserves to die. All the things he loves are in the past. Following Holland family tradition, Aaron stands up to a tobacco chewing sheriff who is known for his racism, antisemitism, homophobia, and vindictiveness. The sheriff is haunted by the ghost of a slave just as Aaron is haunted by the ghost of his daughter. Aaron also sees spirits of slave chasers and their victims. If this were a different kind of story, the supernatural might threaten to get in the way. Since the story is ultimately a contemplation of death — its many causes and its effects on others — the supernatural makes a fitting contribution. It is also an exploration of southern hypocrisy, which Aaron comes to understand as an inevitability, even in his own life. The story requires Aaron to confront his family’s past (as well as his own) and, in doing so, addresses issues that arise in Another Kind of Eden and Every Cloak Rolled in Blood.

In “The Assault,” the police take little interest in investigating a beating that a couple inflicted on a professor’s (admittedly drunken) teenage daughter. The helplessness he has felt since his wife died in a car accident for which he blames himself is amplified by the assault, contributing to his sense of failure as a husband and father. While he is fishing with a Black professor, he has an encounter with racist rednecks. The police are more interested in the professor’s response to abuse than they are in the abuse inflicted upon the professor's daughter. A series of confrontations escalate from threats to violence. This is one of Burke’s most intense stories and my favorite in the volume.

“Going Across Jordan” tells the story of two drifters who ride the rails and enjoy a special kind of freedom. The older man irritates the authorities by singing Woody Guthrie songs. While working on a ranch in Wyoming, the younger man makes a foolish decision to accept his boss’ offer to borrow his Cadillac to bring a pretty Black girl back to the ranch. The young man learns that people with power who do favors for the powerless always have an ulterior motive. He also learns something about love and about achieving justice without resorting to violence.

I did not dislike any story in the collection, although three stories I liked a bit less. “A Distant War” is a story that would be at home in the Twilight Zone. A veteran whose radiator hose breaks brings his half Vietnamese son into the wrong bar (and maybe the wrong dimension) where he meets the wrong people at the wrong time. “Big Midnight Special” is a story about fighting and country music told in the setting of a prison. A seismologist who works in the oil drilling industry sleeps with the wrong married woman before all hell breaks loose in “The Wild Side of Life.”

Every story in this collection provokes thought. A reader might easily choose any of them as a favorite. All are told in a prose style that elevates grittiness to elegance in a way that only James Lee Burke can. This collection is a must for his fans.

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Flags on the Bayou by James Lee Burke

Published by Atlantic Monthly Press on July 11, 2023

Set in Louisiana during the Civil War, Flags on the Bayou is a departure from the crime novels that James Lee Burke usually writes. While the novel reads like a thriller, many of the crimes that inform the novel are crimes against humanity — slavery, the wholesale slaughter of war, enforced poverty, sexual abuse of women. Yet circumstances make key characters into killers, setting up a crime story about two women who must run from the law, women who (in a nineteenth century version of Thelma and Louise) would rather die than tolerate more abuse.

Near the end of 1863, Confederate soldiers are in retreat. By virtue of the Emancipation Proclamation, there are no more slaves, but not all plantation owners agree. Slaves continue to work in the fields while slave catchers continue to round them up, whether or not they have been emancipated, to sell them at slave auctions.  

Hannah Laveau is a (former) slave who lost track of her son at Shiloh. Hannah might be a witch. God might be talking to her. She might have mutilated and killed plantation owner Minos Suarez after he raped her. She wanted to kill him but isn’t sure whether she did. She might have done the same to her jailer.

Pierre Cauchon, a constable in charge of Negro affairs who is widely regarded as white trash, considers it his duty to bring Hannah to justice, but he must deal with the humiliations he has endured from Wade Lufkin, Hannah’s (former) owner. A duel with Lufkin scars Cauchon’s face but does not solve his problem. Nor does it resolve Lufkin’s tender feelings about Hannah or Cauchon’s about Darla Babineaux, a (former) slave owned by Suarez who refuses to work in the fields again. Wade and Cauchon are both tormented by guilt about the harm they have caused to others, just as they are tormented by love.

Florence Milton is a teacher and an abolitionist. Her skin is the right color to earn respect in the South, but she is regarded as a criminal because she works to help escaped slaves find their freedom. Her gender makes her a target regardless of her political beliefs.

Two characters, both brutal and crazed, represent the worst of the Union and Confederate officers. Colonel Carleton Hayes is a character who, more than any other, embodies evil. He commands hundreds of irregulars, fighting his own battles by unconventional means. He has slashed and burned his way through the war, destroying a Texas village because a woman spat on one of his men. Yet he considers himself an exemplar of southern manners and decorum. Captain John Endicott kills and rapes indiscriminately. Other soldiers say that Endicott does not represent the Union but they do nothing to stop him.

Burke is one of my favorite writers. His characters are complex, his stories move at a steady pace, and his prose is astonishing. His narration and dialog are always quotable:

Colonel Hayes: “There is no equal to poor white trash when they get their hands on a Bible.”

Hayes: “War is a confession of failure, and its perpetrators are the merchants of death, not because they are killers but because they never had the courage to live a decent life.”

Cauchon: “With regularity, North and South, we give power to people who have no interest in us.”

Cauchon: “You don’t need to seek revenge against your enemies. The bastards eventually fall in their own shite.”

Cauchon: “Never let them tell you that there is rhyme or reason to war, lest you join the lunatics who have perpetuated its suffering from the cave to the present.”

Burke never writes a novel based on a simplistic view of the world. He recognizes good and evil and understands the vast area of gray that separates them. Soldiers and officers from both the North and the South committed atrocities during the Civil War. Soldiers fought for pride more often than they fought for ideology. Soldiers from the North looted plantations and confiscated livestock that owners needed to feed their children. Soldiers from both sides raped women. There was no glory in the Civil War, no matter how often its battles are reenacted or its officers are commemorated.

Burke considers Flags on the Bayou to be his best novel. I think he said the same thing about The Jealous Kind (2016), a novel that I would probably put at the top of the list, but Flags on the Bayou belongs in his top five. It brings the tension and pace of a thriller as it encourages the reader to contemplate the moral issues that surround war in general, and the Civil War in particular.

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Every Cloak Rolled in Blood by James Lee Burke

Published by ‎ Simon & Schuster on May 24, 2022

Aaron Holland Broussard is part of the Holland family that James Lee Burke has chronicled in a dozen novels. Broussard is also Burke’s alter ego. At 85, it isn’t surprising that Burke uses Broussard as a way to reflect on his life, on the mystery of existence, and on loss.

Broussard is an 85-year-old novelist who, like Burke, lives with the pain of a daughter’s death. Burke explains in a letter to the reader that his daughter died of natural causes in 2020. Broussard feels he is being “boiled alive” by “psychoneurotic anxiety and agitated depression.” Broussard’s daughter died but is still at his side, appearing to warn him of dangers arising in both the corporeal and spirit world.

Broussard lives alone, although prolific writers who are surrounded by family spend much of their life alone in the act of creation. How much of Broussard is really Burke is unknowable to anyone who doesn’t know Burke. Nor does it matter. The novel is not a biography; it succeeds or fails as a matter of literary merit.

Broussard has evolved during his long life. He feels shame for supporting Strom Thurmond’s election and for cheering American pilots who gunned down civilians fleeing their village during the Korean War. Yet he was never part of a mob — not a Klansman, not a waver of Confederate flags, not a bigot. He believes heroism should walk with humility, that bravery follows kindness. He is a decent man who regrets his mistakes.

The story begins with a young man painting a swastika on Broussard’s barn. At various times, Broussard confronts or tries to reason with or help the boy and the father who poisoned him. The story involves drug dealing and buried gold on a reservation, a couple of gruesome murders, ineffective cops, and an unfortunate woman who wants to make a movie with Broussard. While some of the story is reality-based, a good bit of the novel asks the reader to believe (or at least accept that Broussard believes) that spirits of the dead are trying to influence us with evil or save us from ourselves. Broussard, on the other hand, wonders if he might be delusional, forced by grief to see things that aren’t there. A reader might wonder if that’s true, but that does not appear to be the conclusion that Burke invites.

Every Cloak Rolled in Blood succeeds despite its reliance on the supernatural themes crime writers often use to address the existence of evil. Broussard explains that the “great mystery for me has always been the presence of evil in the human breast.” On several occasions, Broussard encounters Major Eugene Baker, the officer who ordered his cavalry troops to massacre peaceful members of the Blackfoot tribe as they slept. A state trooper named Ruby Spotted Horse has a cellar that is a “conduit into a cavernous world that has never been plumbed,” a place where Baker’s spirit resides, among others who have the power to “come back upon the living.”

I’m not a fan of supernatural themes — the supernatural seems too easy as an explanation of evil, a copout that allows humanity to avoid responsibility for inhumane behavior — although I forgive Burke and other accomplished writers for evoking evil spirits. Burke’s prose makes forgiveness easy, particularly when he offers other insights into the human condition. Examples:

“I do not enjoy my role as an old man in a nation that has little use for antiquity and even less for those who value it.”

“I hate the violent history of the Holland family, and I hate the martial mentality of those who love wars but never go to them.”

“When you lose your kid, the best you can hope for is a scar rather than an open wound.”

 “I would like to claim power and personal direction over my life. But not a day goes by that I do not experience a reminder of an event that left me at the mercy of strangers.”

“The United States prides itself on the freedom of the individual, but we are still a Puritan nation and obsessed with sex.”

Burke’s letter to the reader describes Every Cloak Rolled in Blood as an “attempt to capture part of mankind’s trek across a barren waste into modern times.” Modern times include “the recalcitrant and the unteachable” who refuse to wear masks during a pandemic because the selfishness of cultural grievance is more important to them than public health. Those grievances include being the butt of jokes told by the “Hollywood friends” of liberals on Saturday Night Live, a grievance that fails to consider what they have done to earn mockery. The trek includes a long history of violence and bigotry and oppression. Burke writes movingly about Native Americans who were slaughtered and brutalized by white soldiers who, instead of being tried for war crimes, were lauded as heroes.

Burke describes Montana landscapes with religious awe and views his characters through the focused lens of compassion. The novel is, in some sense, a howl of pain, notable more for the emotions it evokes than the plot. But it is also a reminder that we must always struggle to understand our place in the universe, to be a barrier against the historic march of evil, to be strong but polite, open but on guard, emotional but not helpless or hopeless.

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Another Kind of Eden by James Lee Burke

Published by Simon & Schuster on August 17, 2021

Another Kind of Eden takes place when Aaron Holland Broussard is 26. Aaron has been to war, earned a degree, and written a novel. He describes himself as “a failed English instructor.” Aaron was a teenager when he appeared in The Jealous Kind, one of my favorite James Lee Burke novels.

As a post-war drifter, Aaron “learned quickly that the Other America was a complex culture held together by the poetry of Walt Whitman, the songs of Woody Guthrie, and the prose of Jack Kerouac.” Aaron spends the spring and summer of 1962 working on a dairy and produce farm in Colorado. The owner, Jude Lowry, is a decent man. Aaron is sufficiently decent to resist the advances made by Lowry’s wife.

Aaron works with Spud Caudill and Cotton Williams, two men who have his back when he’s attacked for driving a truck that has a union sticker. The Sheriff, Wade Benbow, briefly locks up Aaron despite his correct suspicion that the fight was started by Darrel Vickers, whose father Rueben is a well-connected rancher. Darrel is suspected of killing a little girl by locking her in a refrigerator when he was still a child.

Aaron learns the identity of his attacker from Jo Anne McGuffy, a waitress who paints macabre scenes in her spare time. Her paintings are based on the Ludlow Massacre, a mass killing of striking workers perpetrated by anti-labor militia members in 1914. Over the course of the novel, Aaron falls in love with Jo Anne, although she’s sleeping with her professor, Henri Devos, and if Darrel is worthy of belief, has been his lover, as well.

The plot involves threats to various people, mostly women, including Jo Anne and some women on a hippie bus who are being pimped out. They hippies “were the detritus of a Puritan culture, one that made mincemeat of its children and left them marked from head to foot with every violation of the body that can be imposed on a human being: state homes, sexual molestation, sodomy, gang bangs, reformatory tats, fundamentalist churches . . . . Their hallmark was the solemnity, anger, and pain in their eyes.” Spud is a suspect when a hooker turns up dead (because Spud works so that he can afford to visit hookers), but Aaron has seen no evil in Spud’s heart. Another woman, one of the hippies on the bus, is hospitalized for reasons that nobody wants to discuss.

Aaron saw more than his share of evil during the Korean War; he blames himself for a loss of an MIA friend. Benbow saw his share when he liberated a subcamp of Dachau. The notion of evil as a force is a popular theme among thriller writers who try to understand and explain the human condition. Burke has turned to that theme again and again, sometimes envisioning evil as the offspring of the supernatural. There are supernatural elements in Another Kind of Eden, including a war buddy who appears from the dead and creates a miracle at a delicate moment. Apparent demons and glimpses of ghosts, perhaps real and perhaps not, pop up near the story’s end. While I could have done without the supernatural, I always appreciate Burke’s effort to comprehend the absence of compassion and decency in human behavior.

Aaron learns something about himself as he struggles against evil men. He comes to accept that “the Holland legacy of violence and mayhem had always lived inside me,” but the acceptance of his inner demons gives him peace without encouraging him to embrace the violence. He instead embraces the inevitability of death: “As Stephen Crane wrote at the close of The Red Badge of Courage, the great death was only the great death, not to be sought, not to be feared, but treated as an inconsequential player in the human comedy.”

The supernatural elements put me off a bit, making me rank Another Kind of Eden below Burke’s best work. But novels that are not Burke’s best are better novels than most crime writers can compose. Burke’s prose style and the depth of his thought make him one of my three favorite writers of crime fiction and one of the best writers of American fiction in or outside of any genre.

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A Private Cathedral by James Lee Burke

 

Published by Simon & Schuster on August 11, 2020

Like many Robicheaux novels, A Private Cathedral is a meditation on the nature of evil. Crime writers have a tendency to conceptualize evil as a force, sometimes one that has supernatural origins. James Lee Burke did that in Light of the World. He returns to the theme of evil as a force beyond human understanding in A Private Cathedral.

Dave Robicheaux tells the story as something that happened many years in the past. In the present, Robicheaux and his friend Clete Purcell contemplate the evil of white supremacists who stand guard over statues of Confederate generals and the oppression of freedom that they represent. In the past, the story opens with Robicheaux watching Johnny Shondell, Louisiana’s answer to Elvis, performing on a bandstand. Isolda Balangie, who appears to be seventeen, approaches Robicheaux because he was once a cop. She tells him that the Balangie family has hated the Shondell family for generations. Johnny Shondell is nevertheless delivering her to his Uncle Mark for reasons Robicheaux would prefer not to understand.

Robicheaux visits Marcel LaForchette in prison at LaForchette’s request. Robicheaux agrees to see him because he “wanted to believe that evil has an explainable origin, one that has nothing to do with unseen forces or even a cancerous flaw in the midst of Creation, and that even the worst of men could reclaim the light they had banished from their souls.” LaForchette, a former mob enforcer who claims to have information about the Kennedy assassination, would like Robicheaux to give him a job so he can be paroled to Louisiana. His promises of reform make Robicheaux wonder whether he might have reclaimed the light.

LaForchette used to work for the Balangie family (he claims to have been the driver on the whack of a child molester ordered by the Balangies) but when Robicheaux next hears about him, he is on parole and working for the Shondells. Two private investigators approach Robicheaux for information about the disappearance of Isolde and its possible connection to LaForchette’s release.

The investigators end up dead and dismembered, as do a good many others. Robicheaux would like to stay out of it, but he can’t abide the Balangies and Shondells using a teenage girl as currency for a deal. His friend Clete Purcell would also prefer to avoid the drama until he finds himself strung upside down as a fire is being set below his head. Purcell isn’t sure how this fits into the Balangie/Shondell situation, but he means to find out.

This sets up what seems like a typical crime story — typical for Burke, who sets his stories in the deepest depths of southern corruption and depravity — but the novel takes a twist with the introduction of a reptilian character named Gideon Richetti, who is either a time traveler or has lived through evil events in the distant past. Richetti represents enduring evil, the kind that brought us Auschwitz and Huey Long and prisoners who die from dehydration after being locked for days in a steel coffin in the Louisiana heat.

Against his better judgment (or perhaps in the absence of judgment), Robicheaux becomes involved with Isolda’s mother, Penelope Balangie, who may or may not be married to Adonis Balangie. He also becomes involved (he thinks, given that he attributes his involvement on both occasions to blackouts) with Leslie Rosenberg, a woman Adonis is keeping on the side. Other key characters include a priest who may or may not have given into his temptations and a bent cop named Carroll LeBlane.

The plot is harrowing. As was true in Light of the World, its supernatural elements might (but probably don’t) have earthly explanations. Robicheaux would like to find a rational explanation for the slave ship he keeps seeing, the one that is also in Purcell’s dreams. He would like to think there is a reason for Richetti’s knowledge of events in Robicheaux’s past that he has never shared, or for Richetti himself, who starts the novel as more snake than human but evolves the story progresses. Those explanations will be just as hard for the reader to conjure as they are for Robicheaux. Everything that troubles Robicheaux could be in his imagination because, as he acknowledges, “superstition has its origin in fear.” Robicheaux has plenty to fear, but Burke makes clear that he isn’t alone. All our problems are grounded in fear.

Burke’s point seems to be that evil has had such an ineradicable presence throughout history that it can only be explained as a force that influences good people to do bad things. The alternative, as Robicheaux ponders, is that humans are not good at all, that they are fundamentally flawed and will trip over themselves in their hurry to harm others to satisfy their own sense of superiority. “I believe that most human activity is not rational and is often aimed at self-destruction,” Robicheaux says. “I also believe that ordinary human beings will participate in horrific deeds if they are provided a ritual that will allow them to put their conscience in abeyance.” Hence the ability of humans not just to turn their back on obvious evil, but to encourage it.

One reason to read any Burke novel is to luxuriate in his prose. “Here’s the strange thing about death,” Robicheaux explains. “At a certain age it’s always with you, lurking in the shade, pulling at your ankles, whispering in your ear when you pass a crypt. But it doesn’t get your real attention until you find yourself home alone and the wind swells inside the rooms and stresses the joists and lets you know what silence and solitude are all about.”

The other reason to read Burke is that few crime writers manage to plumb the souls of their protagonists, the struggle between their flawed natures and their fundamental decency, with such depth while still telling a riveting story. A Private Cathedral is just the latest reminder of why Burke occupies a laminated position in my list of favorite crime novelists.

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