A VIOLENT MASTERPIECE

In Harper’s darkest noir yet, powerful white men—some amoral, some immoral, and some purely evil—run amok in Los Angeles.

The basic message of this stand-alone sequel to Everybody Knows (2023) is that power corrupts. Harper’s wild prose and allusions to the likes of Samson and “war between the gods” raise tawdry situations to mythic, biblical proportions. In a plot revolving around noirish tropes of sex, money, and murder, the extremes of bad behavior displayed by the famous and the uber-rich are repellent, shocking, and frighteningly familiar. Expect a serial killer called the “LA Ripper” whose female victims are mutilated and worse, sexual deviance without boundaries, even cannibalism. Also expect masked thugs cruising the city in black SUVs, criminality covered up by law enforcers, and a pedophile whose death by suicide in a jail cell seems suspicious. The author’s rage seethes eloquently through characters whose lives are “crazy and electric and hollow.” Jake Deal, who earns a living covering the “brutalities and savage nights” of LA for his podcast, Creepy Crawl, is hired by an anonymous blackmailer to get dirty visuals of a list of rich and/or famous men. Up until recently, Kara Delgado has loved the fast-lane lifestyle offered by her job at Sub Rosa, a high-end concierge service, but that pleasure fizzled when Phoebe Butterfield, her co-worker and best friend, disappeared four months ago. Paranoia sets in when she notices that the four Ripper victims look a lot like brown-haired, green-eyed Phoebe and realizes the killer must be a Sub Rosa client. After rich pedophile Eric Algar’s death, his lawyer, Doug Gibson, finds he knows too much about a storage unit filled with incriminating evidence Algar gathered about his even more perverted pals. Jake, Kara, and Doug have lost their integrity, but working together to find the “Ripper,” they begin rediscovering their humanity. Whether they succeed, spiritually or practically, is the question.

This addictive page-turner offers an ugly vision of American soullessness but also leaves room for hope.