THE CANVAS | Kirkus Reviews

Harry Bosch and the Lincoln Lawyer team up to exonerate a woman who’s already served five years for killing her ex-husband.

The evidence against Lucinda Sanz was so overwhelming that she followed the advice of Frank Silver, the B-grade attorney who’d elbowed his way onto her defense, and pleaded no contest to manslaughter to avoid a life sentence for shooting Los Angeles County Sheriff’s Deputy Roberto Sanz in the back as he stalked out of her yard after their latest argument. But now that her son, Eric, is 13, old enough to get recruited by local gangs, she wants to be out of stir and at his side. So she writes to Mickey Haller, who asks his half-brother for help. After all his years working for the LAPD, Bosch is adamant about not working for a criminal defendant, even though Haller’s already taken him on as an associate so that he can get access to private health insurance and a UCLA medical trial for an experimental cancer treatment. But the habeas corpus hearing Haller’s aiming for isn’t, strictly speaking, a criminal defense proceeding, and even a cursory examination of the forensic evidence raises Bosch’s hackles. Bolstered by Bosch’s discoveries and a state-of-the-art digital reconstruction of the shooting, Haller heads to court to face Assistant Attorney General Hayden Morris, who has a few tricks up his own sleeve. The endlessly resourceful courtroom back-and-forth is furious in its intensity, although Haller eventually upstages Bosch, Morris, and everyone else in sight. What really stands out here, however, is that Connelly never lets you forget, from his title onward, the life-or-death issues behind every move in the game.

The most richly accomplished of the brothers’ pairings to date—and given Connelly’s high standards, that’s saying a lot.