When Michael Connelly finished his book "The Poet," he declared he wanted to finish his book with his killer still at large but later, having become a parent, he had a change of heart and felt he needed to have his villain ultimately tracked down (at least this is the story I've heard-- I would love to have the opportunity to discuss this with Mr. Connelly himself sometime). The result was "The Narrows," which features two of his characters seeking their own redemptions: Harry Bosch (no longer an LAPD detective but a freelance investigator) and disgraced FBI agent Rachel Walling. This book has an odd awkward feel. As in the previous book, "Lost Light," Bosch is now telling his tale in the first person. But there is a second point of view, Walling's, interspersed into the narrative, and that is told in the third person. Connelly also must have decided he needed to have "sparks fly" between his two characters, and the tentative romantic entanglement in the story just struck me as awkward as well. Otherwise I could easily have given this book a much higher score. The story itself jumps like a jackrabbit, between Los Angeles and Las Vegas, with twists and turns galore and some nice lore of the area thrown in, like the story of the famed "Zzyzx Road" sign in the middle of the desert between those two cities or the history of the deceptively dangerous drain culvert known as the Los Angeles River.