Djibouti: A Novel - Softcover

Leonard, Elmore

Softcover

ISBN 10: 0062008315 ISBN 13: 9780062008312

Publisher: Harper Large Print, 2010

“Elmore Leonard is in a class of one....The greatest crime writer who ever lived.”
—Dennis Lehane

 

“Elmore Leonard is our greatest crime novelist...the best in the business.”
 —Washington Post

 

44 novels and still going strong! The incomparable Elmore Leonard—“The reigning King Daddy of crime writers” (Seattle Times)—is back with Djibouti, a gripping, twisting, playful, and always surprising tale of modern-day piracy. Djibouti sparkles with the trademark Leonard style, wit, and crackling dialogue that have made novels like Get Shorty, Out of Sight, and The Hot Kid crime fiction classics. This time Elmore’s taking us to the Horn of Africa for an unforgettable confrontation with con men, crooked diplomats, documentary filmmakers, and pirates...and it’s going to be a wild ride!

Review:

Amazon Exclusive: Joe Hill Reviews Djibouti

The author of the critically acclaimed novels Heart-Shaped Box and Horns, Joe Hill is a two-time winner of the Bram Stoker Award and a past recipient of the Ray Bradbury Fellowship. His stories have appeared in a variety of journals and Year's Best collections. Read his guest review of Djibouti:

In the spirit of Elmore Leonard’s 10 Rules for Writing, here are ten reasons why Elmore Leonard rules–a fact that has never been more obvious than in Djibouti, his 48th novel.

10. The babes. The heroine of Djibouti would be one Dara Barr, who has touched down in Africa to make a documentary about the booming piracy business and maybe win herself another Oscar. Dara is as laconic and unflappable as any of Leonard’s finest heroes (see: Hombre, Swag, The Hot Kid), with a creative and curious streak that marks her as special. Throw in an underwear model named Helene looking to make a married man out of a billionaire who likes to play C.I.A. agent, and you’ve got a book in which the gents are waaaaaay overmatched.

9. The bad boys. Creative writing teachers who want to show their students how to draft an unforgettable antagonist ought to tear out chapter 18 and pass it around. That’s where Leonard tells us the story of James Russell, a clever Miami lowlife, who reinvents himself as Jamal Raisuli, al-Queda bomb-thrower... all in 7 pages of breezy, economical characterization.

8. The talk. Plenty has been written about Elmore Leonard’s mastery of dialogue, and I don’t need to rehash it. Why bother, when I could just quote some of it? An elderly terrorist, jailed in The States, gets talking with James Russell:
“What is it you hope to become in your life?”
“Famous,” James said. “I been looking at ways.”
“Become a prophet?
“I don’t tell what will happen. I do it.”

7. The walk. Everyone hustles in an Elmore Leonard novel; you can’t stand still and hope to score. From the slums, where life is the only thing cheaper than khat, to the clubs, where it’s easier to find a pirate than out on the open ocean, everyone is on their way up or on their way down... in a hurry.

6. The sound. Leonard famously said that if his sentences sound like writing, he rewrites them, but don’t be fooled. These sentences jump to their own dirty, hothouse jazz rhythm. There isn’t a better stylist anywhere in American letters.

5. The seduction. Dara isn’t just curious about piracy; she spends thirty days on a boat with 73-year-old Xavier LeBo, long enough to fall a little in love with her best friend, and wonder if the old dude can still get it up. Xavier bets her ten-thousand dollars he can. It’s the book’s biggest gamble; trust me, it earns out big.

4. More boom for your buck. A lot of the suspense in Djibouti revolves around a tanker filled with enough liquefied natural gas “to set off an explosion a hundred times bigger than the Hindenburg disaster.” It’s an atom bomb with a rudder and all it needs is a target.

3. The place. Leonard doesn’t beat anyone over the head with his research, but from Djibouti to Eyl to New Orleans (the three backdrops for this story), the details are crisp, unforgettable, and right. You don’t read Djibouti. You live there.

2. The pay-off. Everyone in an Elmore Leonard story wants one, but only the reader is guaranteed to get one, and boy do they, in a final chapter that seems inevitable, yet comes as completely unexpected.

1. The know-how. Let’s get to it. In the fifty-plus years he’s been turning out lean, loose, laid-back thrillers, Elmore Leonard has cast his indelible stamp on American crime fiction, inspired his peers, and spawned a thousand imitators. He’s the kind of guy critics describe as old school, but that’s missing it. Elmore Leonard isn’t old school. He built the school.

(Photo of Joe Hill by Shane Leonard)

From the Back Cover:

Elmore Leonard, New York Times bestselling author and "the hippest, funniest national treasure in sight" (Washington Post), brings his trademark wit and inimitable style to this twisting, gripping—and sometimes playful—tale of modern-day piracy

Dara Barr, documentary filmmaker, is at the top of her game. She's covered the rape of Bosnian women, neo-Nazi white supremacists, and post-Katrina New Orleans, and has won awards for all three. Now, looking for a bigger challenge, Dara and her right-hand-man, Xavier LeBo, a six-foot-six, seventy-two-year-old African American seafarer, head to Djibouti, on the Horn of Africa, to film modern-day pirates hijacking merchant ships.

They learn soon enough that almost no one in the Middle East is who he seems to be. The most successful pirate, driving his Mercedes around Djibouti, appears to be a good guy, but his pal, a cultured Saudi diplomat, has dubious connections. Billy Wynn, a Texas billionaire, plays mysterious roles as the mood strikes him. He's promised his girlfriend, Helene, a nifty fashion model, that he'll marry her if she doesn't become seasick or bored while circling the world on his yacht. And there's Jama Raisuli, a black al Qaeda terrorist from Miami, who's vowed to blow up something big.

What Dara and Xavier have to decide, besides the best way to stay alive: Should they shoot the action as a documentary or turn it into a Hollywood feature film?