In used-up Booth City, there’s a place where used-up bodies routinely get dumped, so what makes this corpse different?
For starters, the young prostitute was not, as the cops had supposed, female. Augmented breasts misled them—that, plus the brutal knife-work. Okay, so it was a dead transvestite the police were dealing with, so what? To veteran homicide detectives like Eliza Ochoa and Ike Gorman, that news was hardly earth-shaking. Not in Booth City, where “trannies” were as common as corruption in a town that had long since lost all sense of itself as worthwhile. No, what was different, truly different, was that this poor soul turned out to have connections, links to people with clout. One of them, it seems, wanted her dead. But why? The question intrigued Ochoa and Gorman, good cops to the end. Undeterred by obstacles, personal and otherwise, they push their investigation. For a while it gathers speed before bogging down, stymied in part by bureaucracy. As the detectives close in, they learn first hand just how savage a tactician the cunning killer can be.
Sidor, as he demonstrated in his debut (Skin River, 2004), is a prince of darkness, steeped in the noir tradition and not giving an inch. That said, he is also bountifully talented.