El escenario es Baltimore. Cada tres días dos personas mueren asesinadas a tiros, a cuchilladas o a golpes. En el centro de este huracán se encuentra la unidad de homicidios de la ciudad, una pequeña hermandad de hombres enfrentados a la parte más oscura del sueño americano. David Simon ha sido el primer periodista al que le fue conedido acceso ilimitado a una unidad de homicidios.

Damn. This is a book to be re-read at least once. It has to be up there with the best non-fiction I've read.
Gonna have to track down some of Simon's later work. ( )

Unbelievably engrossing journalism. Finishing it is like the Wire ending over all again. Now what? ( )

This was the book that launched David Simon on his career, and it's just as good as you could ask it to be - dense, detailed, sympathetic, analytical, perceptive, and deeply immersing to the point where I read all 600 pages of the extended edition in 3 days. While I'm a huge fan of The Wire, Generation Kill, and Treme, I've never seen the acclaimed show this work spawned, although I'll probably have to eventually since this book is truly excellent. It's exactly what the subtitle promises: the true story of the year Simon spent embedded in the Baltimore Police Department's Homicide Division alongside a score of detectives doing what they can to investigate and solve the unending torrent of murder cases thrown their way by the good people of Baltimore.

The detectives are the heroes of the story, although they would probably be uncomfortable with the H-word. They're shown as a jaded, foul, exhausted, cantankerous, cynical lot whose chief respite from the grueling toil of police work is the type of black humor that could be called "gallows humor", except that the parade of criminals they're trying to get prosecuted don't end up on Death Row near often enough for their tastes. Simon is able to make each detective's personality vivid and present on the page, explaining the man's role in the ensemble of his department while also shedding light on what makes an otherwise intelligent person spend their life chasing what seems like an infinite carousel of depression and misery. Simon obviously cared deeply about these guys doing jobs that were basically guaranteed to destroy their marriages and leave them feeling like the cog in a vast and impersonal machine.

But the stories of the detectives are the melody, and the cases they chase are the true rhythm. Simon makes these real-life cases, which in the hands of a lesser writer might have felt like mere scene-setting, just as compelling and heartbreaking to the reader as they must have been to their loved ones, while also showing how the detectives' practiced emotional distance from these cases is essential for their ability to function. He's also upfront and honest about the fact that many of these cases, including some of the worst, don't have neat or happy endings; that same sense of realism obviously informed his later work on The Wire. Indeed, there are many easter eggs for Wire viewers, like the famous Snot Boogie story, plus names like Sydnor and Mouzone that got reappropriated as part of his general "stealing life" philosophy.

In between the men and their cases are some of his trademark rants/analyses of various aspects of America and its relationship to its crimes. There's one section in particular that struck me, about the debilitating effects of slick TV dramas on juries - citizens called to serve have gotten so used to the telegenic formula of conscience-stricken criminals, omnipresent witnesses, dramatic confessions, and smoking guns that it's become noticeably harder to get juries to follow the subtler and more complicated chains of logic that occur in real courtrooms to real-life guilty men they should be convicting. I can't help but remember scenes from The Wire like Clay Davis' acquittal and wonder if at least some of the motivation behind his creative work is an effort to present a more realistic depiction of life to TV viewers as a sort of antidote.

I can't help but feel like The Corner, his second book, hit me slightly harder, that's surely no slight to the man. This will always remain one of the greatest depictions of police work ever written, and for the fan of The Wire who's digging into the back catalog, this particular item is well worth it. ( )

A very detailed view into the Baltimore police department's homicide unit. At times it is insightful, at times funny. Despite the subject, it is rarely sad.

I found the story interesting. But it would be twice as good if it were half as long. So much could be edited out without significant loss. Further, the story is amazingly one sided. Simon automatically takes the police side on everything, without even questioning it, as far as I could tell. For a story that clearly aims to be comprehensive, this is a huge blind spot.

I think Jill Leovy's "Ghettoside: A True Story of Murder in America", about a homicide investigation in Los Angeles, is a much stronger book. Leovy follows a single investigation, largely through the eyes of a heroic police officer, but she also delves into the surrounding community.

> Rule Number Two in the homicide lexicon: The victim is killed once, but a crime scene can be murdered a thousand times.

> On the other hand, the guidelines don’t require departments to include the crime itself in the current year's statistics; clearly, the crime itself actually occurred in a prior year. Theoretically therefore, an American homicide unit can solve 90 of 100 fresh murders, then clear twenty cases from previous years and post a clearance rate of 110 percent.

> both of them certain in the knowledge that Rule Six in the homicide lexicon now applied. To wit: When a suspect is immediately identified in an assault case, the victim is sure to live. When no suspect has been identified, the victim will surely die. … Rule Six had been up ended and Garvey arrived back at the office unable to contain his wonder. "Hey, Donald," shouted Garvey, bounding across the office and then waltzing Kincaid around a metal desk. "He's gonna die! He's gonna die and we know who did it!" "You," said Nolan, shaking his head and laughing, "are one cold motherfucker." Then the sergeant turned crisply on his heel and danced a jig into his own office.

> People who have been shot believe they are supposed to fall immediately to the ground, so they do. Proof of the phenomenon is evident in its opposite: There are countless cases in which people—often people whose mental processes are impaired by drugs or alcohol—are shot repeatedly, sustaining lethal wounds; yet despite the severity of their injuries, they continue to flee or resist for long periods of time.

> For a homicide detective, an arson murder is a special type of torture because the police department is essentially stuck with whatever the fire department’s investigator says is arson

> More often than not, Edgerton ventures into the high-rise projects alone and finds witnesses; more often than not, other detectives march through neighborhoods in twos and threes and find nothing. Edgerton learned long ago that even the best and most cooperative witnesses are more likely to talk to one detective than to a pair. And three detectives working a case are nothing short of a police riot in the eyes of a reluctant or untrusting witness.

> As a consequence, city juries have become a deterrent of sorts to prosecutors, who are willing to accept weaker pleas or tolerate dismissals rather than waste the city's time and money on cases involving defendants who are clearly guilty, but who have been charged on evidence that is anything less than overwhelming.

> Many detectives prefer to take the file onto the stand, but with some judges that can be dangerous. A typical case file contains notes and reports on potential suspects and blind alleys that were eventually discarded, and a few judges will allow a defense attorney, on cross-examination, to take hold of the file and go fishing … One detective, Mark Tomlin, makes a point of copying his trial notes onto the back of the defendant's computerized arrest sheet. Once, when Tomlin was testifying, a defense attorney asked to see his notes and began to suggest that they be admitted into evidence. He then turned the sheet over, looked at his client's priors, and returned it without another word.

> "Captain, I got good news and bad news." "Good news first." "The autopsy went well." "And the bad news?" "We dug up the wrong guy." ( )