SCOTT SIMON, host:
This is WEEKEND EDITION from NPR News. I'm Scott Simon.
Patrick Kenzie and Angela Gennaro are back. After a 12-year hiatus, the Boston private investigator couple makes a return in a new novel by Dennis Lehane. In the book, the two, who are more Charlestown and Dorchester than Nick and Nora Charles, get a middle of the night phone call from Beatrice McReady, who brought them the case that upended their lives when she asked Patrick and Angie to find her niece in Dennis Lehane's "Gone, Baby, Gone."
In his new novel, "Moonlight Mile," Beatrice McReady meets Patrick the next day at the JFK/UMass subway stop.
Mr. DENNIS LEHANE (Author): Hi, Beatrice. I'm sorry about the call last night, she said. I - she gave a helpless shrug and looked at the commuters for a moment. Don't mention it, I said. People jostled us as they headed for the turnstiles. Beatrice and I stepped off to the side, close to a white metal wall with a six-by-six subway map painted on it.
You look good, she said. You too, I said. It's nice of you to lie, she said. I wasn't, I lied. I did some quick math and guessed she was about 50. These days 50 might be the new 40, but in her case it was the new 60. Her once strawberry hair was white. The lines in her face were deep enough to hide gravel in. She had the air of someone clinging to a wall of soap.
A long time ago, a lifetime ago, her niece had been kidnapped. I'd found her and returned her to the home she shared with her mother, B's sister-in-law, Helene, even though Helene was not what would you'd call a natural born mother.
SIMON: And of course that is Dennis Lehane, who joins us from KUHF in Houston, Texas. He's been acclaimed as one of the great American novelists of any genre. Of course, he's best-known for his gritty and authentic Boston crime novels.
Mr. Lehane, thanks very much for being back with us.
Mr. LEHANE: Thanks for having me.
SIMON: And Patrick, in the book, reflecting back on the Beatrice McReady case, says that it was a case in which he liked the bad guys more than the good guys.
Mr. LEHANE: Yeah.
SIMON: That seems to be a constant tension in Patrick's mind to this case.
Mr. LEHANE: It's a constant tension, I think, in most of my books, to be honest. But in�"Gone, Baby, Gone,"�it was about a good man who made a very, very terrible decision and did very, very terrible things to then try and clean up the mess caused by that decision.
So Patrick is always haunted by the fact that the people he really liked in that case - and the action he really wanted to take was not the action he took. And so that's the dramatic fuel of both that book and "Moonlight Mile."
SIMON: And maybe - do you mind us explaining the decision that he made to...
Mr. LEHANE: No. And I think the cat's out of the bag. I mean, in "Gone, Baby, Gone" at the very end the missing child - the four-year-old - he discovers has been kidnapped by people for her own good. She has been taken from a bad, neglectful mother and she's being raised by people who love her. But they kidnapped her.
So at the end he can't sit there and say it's okay for people to just kidnap whoever they decide is being raised by bad parents. He has to do what is right, what society demands of him, which is bring the child back to her parents. So that decision - because he knows that for this particular child that's the bad decision.
SIMON: Another case that haunts Patrick, a woman named Peri Pyper, who will figure into this plot in a way I won't explain. But he handles an undercover operation. And when she's taken away she says something to him that absolutely stops you as a reader cold.
Mr. LEHANE: Yeah. She says you seem so real.
Mr. LEHANE: And what Patrick has become is Patrick's really working for the man in this book, which is to me very interesting too. He's an instrument now of sort of - for lack of a better word, he's an instrument of corporate America. And he's just a tool. He is caught in the same economic disaster that everybody else is.
So he can't be an independent contractor anymore. He has to sell out some of his principles, because he's looking to get the 401(k), he's looking to get benefits, he's looking to get, you know, health care. And to do that he has to work for a corporation.
And one of his jobs involves exposing a whistleblower who's in violation of her contract but at the same time is doing something that is morally correct. And exposing her is something that is going to haunt him throughout the book too. Because again, he's right, he's doing what he's supposed to do he's doing what his employers have hired him to do, and he's doing this in order to fulfill his first obligation as a father and as a husband, which is to put food on the table. But what is that costing his soul is certainly one of the questions of the book.
SIMON: Has this changed in what I'll refer to as detective fiction over the years? I mean, are private investigators, are they now overwhelmingly working for major corporations who hire them for reasons which often wouldn't make it into novels, except in this case they make into yours as an example of the kind of case that makes Patrick squirm?
Mr. LEHANE: I think that since the days of Spade and Archer, probably more private investigators were actually working for larger firms, for security firms, for Brinks. But the archetype, the fictional archetype, has always been of the knight errant.
You know, the American private eye novel is just a continuation of the Western. It's where the Western, you know, went when the bottom dropped out of the market for Westerns. So the private eye archetype has always been clearly that. There's no connection between the private eyes you see in fiction and real private eyes.
Because real private eyes spend most of their lives cooling their heels outside of courtrooms waiting to go and testify in insurance cases. Which is very authentic, but would make for an extremely boring book.
SIMON: Now, I hope I don't give away too much of the plot to note here that Patrick and Angie find the girl, now a young woman, whom they...
Mr. LEHANE: Yeah.
SIMON: ...rescued, and she's furious with them...
(Soundbite of laughter)
Mr. LEHANE: Yeah, she's furious.
SIMON: ...for what they did.
Mr. LEHANE: Yeah, she's furious with them and she's not playing by anybody else's rules under any circumstances. And just because you find her doesn't mean she's going to go with you. And as a 16-year-old now, she has choices.
You know, this is a book about, you know, in some degrees the central mystery is, okay, she's been found but what is going on? Why did she disappear? What is she seemingly waiting for? That becomes a sort of central mystery. She wasn't terribly hard to find and yet there's all these dangerous people who are looking for her. So that becomes - what is her play in all of this? And I think that's, you know, the central question certainly of the mystery aspect of the book.
SIMON: Yeah. Patrick finally says, when he's in the embrace of his family, that his blessings outweigh his regrets. Is that the sign of a life well lived?
Mr. LEHANE: I think so. I think we might have this weird unrealistic expectation that we're supposed be happy. And I just don't think it works that way. I don't think it comes even close. But if you can get through life where the ledger is that you have a 101 blessings and 100 regrets, then on some level you won. You know, there's the great line from "Hud": Nobody gets out of this life alive.
SIMON: Mr. Lehane, thanks so much for all your time.
Mr. LEHANE: Thank you.
SIMON: Dennis Lehane, his latest novel, "Moonlight Mile." You can read an excerpt on our website, NPR.org.
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