A serial killer and a drug kingpin have Nashville cop Romilia Chacon in their sights.
Barely recovered from her heroic tussle with the Jade Pyramid killer and incensed by her four-year-old’s accidental ingestion of crystal meth, Salvadoran-born Romilia Chacón looks once more to Guatemalan Tekún Umán, the seductive drug importer whose life she saved (Home Killings, 2001) just before he fled FBI jurisdiction. While tracking him, she reopens the case that has obsessed her for six years: the brutal murders of her sister Catalina and her married lover Jonathan, both impaled by a javelin during a romantic tryst. Although this trail has run cold, Tekún, wishing to thank her for sparing his life, taps into classified FBI files and connects her sister’s murder to two others. The wacko killer is now leaving surgically dissected bodies and clues all over the country along with his nom de murder, Minos, cribbed from a character in The Inferno. Temporarily assigned to the FBI, Romilia and her new bosses corner Minos among the California redwoods. Or do they? Enter Tekún to the rescue, squaring himself with Romilia.
Much imagination in the trimmings—who would have thought of using García Márquez as a love potion or Dore’s woodcuts of Dante’s second circle for motivation?—but less in the carpentry, since the Minos and Tekún Umán plotlines dovetail only perfunctorily.