HOT STEW

The bones of history are glimpsed in modern-day London through a Soho building housing prostitutes, addicts, and a French restaurant.

Mozley’s follow-up to Elmet, her widely praised debut, explores similar themes—property, ownership, gender—but exchanges rural for urban and replaces visceral intensity with something much longer and more sprawling. Through a sizable cast of characters and references to Soho's origins, the author conjures up the notorious London village in all its seedy glory, now awash not only with the sex industry, drinking holes, and crime, but also upscale developments and a more stylish, younger crowd. This modern scenario sits atop earth that has witnessed centuries of human activity, brothels (known as “stews”) having characterized the place for centuries. One particular building houses the Des Sables restaurant and is also home to apartments used by prostitutes, among them Precious. Robert Kerr, a retired gangster and one of Precious’ clients, used to work for gangland boss Donald Howard, who invested his criminal earnings in property and left it all to his youngest daughter, Agatha. She owns and now wants to develop Precious’ building and is trying to evict the prostitutes as well as the homeless drug addicts in the cellar and everyone else. This decision, the women’s response, and the disappearance of Cheryl Lavery, one of the homeless people, drive the action, but Mozley’s focus is more on her web of interconnected characters than events. And while themes of human trafficking, violence, and depravity seam the narrative, relationships and conversations dominate, sometimes a weakness when central figures can seem two-dimensional and peripheral ones lack definition. Cheryl’s transfiguration in the bowels of the city adds a surreal, dreamlike quality to a loose, witty, soapy story that, even while reaching toward cataclysmic events, retains gentle detachment.

A long, empathetic vision of place and people is delivered with wide context but less pungency than its title implies.