Queens native son and former high-powered Manhattan attorney Ted Molloy is rebuilding his once-stellar legal career. His fancy office is now Gallagher’s Pub, where he partners with LesterYoung McKinley on foreclosure investment deals and represents his activist girlfriend, Kenzie Zielenski’s, organization in its battle to stop the construction of “the Spike,” a mega-development project threatening Corona’s immigrant communities. As the campaign against billionaire real-estate developer Ron Reisner heats up, someone attempts to sabotage Ted’s legal efforts and undermine Kenzie’s reputation. At the same time, Kenzie worries that a shady immigration lawyer is cheating Mohammed, a recent Yemeni immigrant who chauffeurs Kenzie in his cab. Dropping by the lawyer’s office one morning, she stumbles upon his body and spots a shadowy figure fleeing the scene. Could it be Mohammed’s 14-year-old stepson, Haidir? In the entertaining follow-up to his 2022 Nero Award winner Tower of Babel, Sears vividly captures the corrupt seediness of local real estate development dominated by big money and embraces the “kaleidoscope of colors, classes, and ethnicities” that marks New York’s largest borough. Fans of Dennis Lehane’s Boston-based Patrick Kenzie and Angela Gennaro series will enjoy following the gritty adventures of a flawed but appealing sleuthing couple.
City Life
It’s thrilling to discover a debut this brilliant, full of wonderment, humor, and above all, love. Alistair McCabe, gay and handsome, smart and funny, arrives at New York University from upstate to pursue his destiny as a financial whiz kid. He’s got the talent, the obsessiveness, the drive—and the desire to help his Mom, who has done so much for him. Sweet, right? But being a brainiac isn’t quite enough—you need to fit in with the finance bros—and a much coveted banking internship leads to, well, nothing. Except for more debt. Fortunately, there’s Mark and Elijah, a couple ten years or so older who take him in as their third paramour (we’re spared “throuple”). Mark, a sort of small-time trust funder, and Elijah have their own set of troubles, which they’re happy to cast aside whenever Alistair visits. Alistair is eventually offered an opportunity to work for an elusive, sinister billionaire and he jumps at it while continuing to investigate the mogul’s wealth. What he discovers catapults him out of the life he had come to know into one both terrifying and wildly anxiety producing. Lefferts moves around the narrative with ease, visiting family and friends, picking up a character or two then setting them down. Slowly these scenes fall together and this expansive novel becomes far greater than the sum of its parts. Comparisons to Hanya Yanagihara’s A Little Life are inevitable, and in both books there is plenty that horrifies. But also, like A Little Life, it’s ultimately friendship that saves the characters. And us as well.
Damani Krishanthan’s life is drudgery. Her Amma, or mother, is housebound and expects to be waited on hand and foot, even leaving food all over her face for that extra touch of martyrdom. When not on Amma duty, Damani drives for an Uber-like service that’s taking an ever bigger cut of her proceeds, even her tips, as time goes by, so that she takes every customer who pops up, sleeping only at red lights. A few times in the book the character directly addresses the reader, telling us for example that the city that this story takes place in will remain nameless because cities are all the same now; the effect is to telegraph that she’s so tired that she can’t even maintain the façade of fictionality and will just talk to us, OK? The non-stop grind lifts a bit when Damani gets a cute customer, Jo, who then shows up at a club the cabbie goes to with friends. She’s unlike anyone Damani has dated, but the same is true for Jo, who is not used to being in spaces where she’s a minority, a situation with results that push Damani over the edge. This protagonist’s life is a slow-motion train crash that you won’t be able to look away from, and Guns paints a scathing portrait of the gig economy, both in literal terms and in terms of those considered a temporary novelty in relationships. A debut with shades of Elle Cosimano’s Finlay Donovan series, but also memorably and refreshingly unlike anything else.