But the real draw of the series is its dark, dark humor. Beyond that, his action scenes are fast-paced and thrilling-there are a couple of high-octane doozies in this installment. “Herron’s plots are masterpieces of convolution and elegant wrong-footing. Listen to an excerpt from Bad Actors here The refusal to think outside their constricted notions of masculinity and honor hobbles them.”
But here, rigid definitions of who gets to belong in ‘our thing’ create fatal weaknesses among them. One that runs under the surface of Winslow’s novel is that it’s not just the faults of individuals that cause these men to fail. He has interrogated the ways that borders work between us, that we’re weak at the border when we build insurmountable walls to shore them up. Noir women are wicked smart, and press their advantages against how men’s low assumptions of women make them weak … Winslow has been lauded for the ways that his previous crime novels confront social issues. He shades the relationship between men and women in noir tones. Action and erotic sequences fire the adrenaline, while tender scenes feel languid and warm. He makes me wonder why I had never before seen the Trojan War as the obvious fight between rival criminal gangs … In City of Fire, he returns to his New England roots for this new classic he says took him decades to write … Winslow is a master of pacing. “Winslow…brings his sharp interpretive skills to Virgil’s Aeneid, and makes the events at Troy and the founding of Rome into a riveting gangster tale.
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