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"Right as Rain (Derek Strange/Terry Quinn)" Overview

Derek Strange is an ex-cop who's making a good living with his own business, a detective agency called Strange Investigations. A new case hits him close to home: A police officer has been slain by another policeman in a confusing late-night clash, and the dead officer's mother asks Strange to help her make sense of his killing. That mother's request sends Strange into the darkest chasms of the D.C. underworld, where police officers and criminals operate by their own secret laws, and where human life is sometimes of less consequence than cash, drugs, and other forms of currency. Strange is joined in his quest by Terry Quinn, the officer who was exonerated in the police inquiry into the shooting but who is still haunted by that terrifying night. Together Strange and Quinn confront the ravages of an unquenchable drug trade, the realities of race in the capital police force, and some of the most implacable, dead-eyed killers ever to haunt the pages of a novel.

"Right as Rain (Derek Strange/Terry Quinn)" Specifications

George Pelecanos's Washington, D.C., is a far cry from the upwardly mobile, tourist-attraction-speckled enclave of Margaret Truman (Murder at the National Cathedral, Murder in Georgetown). Pelecanos's capital is a haunting terrain of drugs and death, a no man's land of posturing dealers and skeletal warehouses that shelter their buyers:

A rat scurried into a dim side room, and a withered black face receded into the darkness. The face belonged to a junkie named Tonio Morris. He was one of the many bottom-of-the-food-chain junkies, near death and too weak to cut out a space of their own on the second floor; later, when the packets were delivered to those with cash, they'd trade anything they had, anything they'd stolen that day, or any orifice on their bodies for some rock or powder.

When PI Derek Strange is hired by Chris Wilson's mother to find out why her son, a black cop, was killed by a white cop, Terry Quinn, on a dark night in that no man's land, Strange figures that the answer is painfully clear: a typical case of mistaken identity, fueled by the assumptions and preconceptions of Quinn's innate racism. But what Strange finds is a tentative kinship with Quinn, who is desperate to proclaim himself "color-blind." Kicked off the force and convinced that there's more to his own story, Quinn asks to join Strange in his investigation. As the two pry into the past, drifting through the neighborhoods both men have known all their lives, they find themselves enmeshed in a tangle of cold-blooded competition and heated personal enmity.

Pelecanos generally has a light touch with the treacherous quagmire of -isms, veering only occasionally into sententious meanderings about the consequences of an economically and racially divided society. His wry humor, particularly in his descriptions of Earl and Ray, the heroin middlemen who bring the concept of white trash to a depressingly low level, leavens the novel's noir bleakness. And Strange himself is a compelling character: a middle-aged black man who has seen more of life's callousness than he cares to admit, and whose jitteriness about personal commitment speaks volumes about his own expectations for happiness. A strong character and a good read--Pelecanos fans can settle in and look forward to Strange's next appearance. --Kelly Flynn

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Monday, September 5, 2011