Literary Techniques
In Leonard's literary universe, dialogue serves as the vibrant pulse driving the evolution of plot, character, and setting. The novel unfolds in concise chapters—twenty-eight in a 283-page narrative—each akin to a scene in a dynamic drama. These features coalesce to create a briskly paced tale rich with authenticity. Leonard, in a candid interview, reminisced about spending time with the Miami Beach police, particularly one detective, to research LaBrava. He probed deeply, asking, "What occurs if a woman residing in a hotel receives an extortion note? What procedures are followed in such investigations? Is the FBI involved?" His inquiries ensured the book's realistic portrayal of police work.
The third-person omniscient narrator remains subtly in the background, allowing Joe LaBrava to emerge as the author's proxy and the moral compass of the story. Through his camaraderie with Zola, LaBrava becomes entangled with the lives and schemes of the other characters. This gradual immersion begins with a pivotal car ride in the second chapter, where LaBrava accompanies Zola on a mission to rescue Jean Shaw. Yet, LaBrava is not a mouthpiece for the author; rather, he is a steadfast and genuine figure, a benchmark against which all others are judged. By the novel's conclusion, he remains unchanged: still a photographer, slightly jaded, an ordinary man caught in extraordinary circumstances, yet largely untouched by them.
Leonard, a master of suspense, revels in crafting endings that twist and surprise. The novel culminates in such a surprising turn, especially for LaBrava. Eschewing the three predictable conclusions, Leonard devises a morally ambiguous fourth path that LaBrava embraces with a casual "Why not?"
Ideas for Group Discussions
LaBrava marks a turning point in Leonard's literary journey: Honored with the esteemed Edgar Award by the Mystery Writers of America, this 1984 masterpiece propelled Leonard into the media spotlight. One might ponder why LaBrava became the catalyst for such widespread recognition, drawing attention to an author whose sixteen previous crime novels had largely flown under the radar.
Exploring the Depths of Miami Beach
1. Leonard breathes life into his settings with palpable authenticity. How crucial is the vibrant tapestry of Miami Beach to the tale woven in LaBrava?
The Enigmatic Delia Robbia Hotel
2. Beyond serving as mere scenery, does Maurice Zola’s Delia Robbia Hotel play a more significant role? And what about its inhabitants, like the intriguing cosmetics vendor Franny Kaufman?
The Photographer's Lens
3. LaBrava’s career as a photographer is central to the narrative. But does it also shape his character and reflect broader themes?
The Enigma of Joe LaBrava
4. Maurice Zola paints LaBrava as "one of those quiet guys, you never know what he's gonna do next." Is this unpredictability accurate, or does LaBrava follow a more foreseeable path?
Trust and Secrets
5. With a knowing gaze, Maurice Zola whispers to LaBrava, "I'm going to tell you a secret I never told anybody around here." What about LaBrava engenders such trust and confidence?
Trust in a Cynical World
6. Despite enduring decades of scams and hardships, Zola remains curiously
trusting and concerned for others' welfare. Is this credible?
7. LaBrava unravels the schemes of Cundo Rey and Richard Nobles. What sets him
apart from these criminals, beyond their legal transgressions, and why is he
the ideal adversary?
Unexpected Twists
8. Leonard peppers LaBrava with surprises, particularly in its conclusion. How believable is this ending? Does Leonard weave the narrative in a way that primes the reader for this final twist?
Alternate Endings
9. Leonard toyed with three alternate finales: Jean Shaw's arrest, her demise, or her triumphant acquisition of all the money. How might these scenarios have...
(This entire section contains 388 words.)
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played out? Is the chosen ending truly the most fitting?
Reality vs. Illusion
10. As the story concludes, Jean Shaw, seemingly ready to leave behind her cinematic illusions, remarks to LaBrava, "It's not the movies, Joe." What deeper truths is she alluding to?
11. Jean Shaw was ensnared by her fantasies. Could the same be said of LaBrava? Or of other characters within the novel's pages?
Literary Precedents
Richard Nobles and Cundo Rey, though they tread the path of small-time hustlers, are cast from the same mold as Braden and his companions in Hombre (1961; see separate entry). The line that separates Nobles and Rey from the classic villains of western yarns is barely visible. Much like John Russell in Hombre, Joe LaBrava finds himself unable to maintain the life of a recluse he once led. His sense of social duty, romantic spirit, and experience in the Secret Service conjure images of the iconic detectives penned by Chandler, Hammett, and Macdonald.