Private investigators Derek Strange and Terry Quinn ("Right As Rain") are hired to find a 14-year-old suburban runaway who's working as a prostitute. But nothing prepares these former D.C. cops for the pimp whose territory they're intruding upon.
Private investigator Strange, in his second George Pelecanos outing (after 2001's Right as Rain), has seen enough of this face of D.C. His relationship to his secretary/lover Janine sputters in the wake of increasing, irrational infidelities. His moral compass swings wildly as he tracks the killers, Garfield "Death" Potter and friends. Not knowing if he can be satisfied seeing these men in prison, Strange contemplates other brands of "justice."
For fans of Pelecanos, all the usual trappings are here: the hyper-real dialogue, the bloody street fights, the immersion in classic R&B, and the most current music on the streets. Pelecanos does stumble in a few places. His narrative becomes wooden at times, and his plot features a couple of glaring coincidences (e.g., Strange just happens to jot down the license plate of a car that later turns out to be the one driven by the murderers). But Pelecanos is the real deal in noir. If Dennis Lehane owns Boston and Michael Connelly is master of L.A., Pelecanos is dark D.C.'s intimate chronicler. --Patrick O'Kelley --This text refers to an out of print or unavailable edition of this title.
Copyright 2001 Cahners Business Information, Inc.--This text refers to an out of print or unavailable edition of this title.
"Hell to Pay" was insanely boring. This would be the perfect novel to turn into a Steven Segall movie because it is already lacking a plot. Pelecanos jumps around way too much, and at too many times when he should be fleshing out the story more or adding some more action, which "Hell" is seriously devoid of. It seems like he used this book as a chance to describe the seedier side of Washington and to mention all of the urban hip-hop artists he knows rather than trying to tell an entertaining story.