In many ways, Michael Connelly’s novels featuring Hieronymus “Harry” Bosch fit neatly into the convention of hard-boiled detective fiction; however, the novels also display the author’s complex plotting skills and his insights into the psychological makeup of both the criminal and the detective. Many of his characters (criminals and sometimes those on the side of the law) are best categorized as “monsters,” social or psychological deviants capable of committing horrific crimes of torture and mutilation: the Dollmaker, the Poet, the Follower, and the Eidolon. For Connelly, often the psyches of these characters and that of Bosch are more interesting than the actual solution of the crime. Connelly views almost all pathological actions to be the result of social and familial forces; the born killer seems not to exist in his world. His protagonists must heed philosopher Friedrich Nietzsche’s warning, loosely paraphrased by a character in Lost Light (2003) as “whoever is out there fighting the monsters . . . should make damn sure they don’t become monsters themselves.”
Connelly won an Edgar Award for best first novel for The Black Echo (1992); Anthony awards for The Poet (1996), Blood Work (1998), and City of Bones (2002); a Nero Award for The Poet; Barry awards for Trunk Music (1997) and City of Bones; and a Shamus Award for The Lincoln Lawyer (2005). He was twice elected president of the Mystery Writers of America (2003 and 2004), the only writer ever to be accorded this honor.