Drama City - George Pelecanos

Drama City (2005) is one of Pelecanos's slice of life stories, set on the dark side of Washington DC. The title is meant to be a play on the two drama masks, comedy and tragedy, but there is no comedy here. It's all tragedy and, as in the classical model, it is all inevitable. It is inevitable that Lorenzo Brown, ex-con going straight as dog police with the Humane Society, gets drawn back to his criminal past. It is inevitable that Rachel Lopez, his probation officer, pays the price for either her free and easy sex life or her commitment to her clients. It is inevitable that it is what happens to Rachel that forces Lorenzo back to crime - the only thing that's not inevitable is whether his slip is an one-off or permanent.


Pelecanos is best known in the UK for his collaboration with David Simon on The Wire and Treme. What Pelecanos brought to the table was his fluency in 'street'. He conjures the speech of African American gang-bangers pitch-perfectly. His characters are deftly drawn and they carry the plot with an easy, streetwise lope. Pelecanos is an absolute master of his genre. You either like it or you don't. Personally, I love it.

What It Was - George Pelecanos

In the present day, two middleaged men chew the fat in a Washington bar.  Both are PIs from Pelecanos's earlier fiction - his original character, Nick Stefanos, and the post-Millennium character Derek Strange, this time without his partner Terry Quinn.

They reminisce about their youth, back in the Seventies, and Strange tells the tale of the notorious Red Fury who made a brief, spectacular name for himself in 1972.  The book is really about Red, as Pelecanos makes clear in the Intro - and Red is based on the real-life Cadillac Smith.  Strange is the right character to oversee Red's story because he, like Red, is black.  Red gets his handle from the reddish tinge of his distinctive Afro.

The 1972 Strange, four years out of the MPD and newly set-up as a PI, is drawn into Red's story by virtue of ring he is hired to find.  Pelecanos is really shrewd here, because commonsense tells us PIs are rarely hired to investigate killings.  The Homicide detective is Frank 'Hound Dog' Vaughan, a middleaged cop on the verge of retirement, thus making the circle with 2012 Strange and Stefanos.  Vaughn was Strange's partner back in '68, which again makes their cooperation in '72 sensible.

Vaughn is not the only one on the tail of Red Fury.  Red has caused a New York mobster to lose money and face, which is clearly not acceptable.  Red himself knows his days are limited.  The question is, who is going to get to him first?

Nobody writes dialogue as naturally and convincingly as Pelecanos.  Writing The Wire clearly honed his technique into a minor art form.  The characters, as ever, are compelling and multi-layered.  There is a slight problem structurally - he sets up Strange as the storyteller but immediately switches to third person for the story itself, allowing him to fully develop all his main characters.  He tries to resolve the problem with a jokey and unnecessary Outro, but for me that makes it worse.  What makes the novel sing, though, is the wonderful, encyclopedic period detail.  The beers, the cars, the fashions, the hairdo's and, above all, the music.

I have admitted in other reviews that I am not a big fan of the Derek Strange series.  But What It Was is nevertheless a reading treat.

The Double - George Pelecanos

Some people say George Pelecanos is best known as one of the writers on The Wire and, latterly, Treme.  I had definitely read at least one of his noir crime novels before then, but I'm damned if I can remember which one.  I think it might have been Soul Circus.  Anyhow, this is his latest, barely a year old, and it's a classic.

The Double is the second novel featuring Spero Lucas, ex-marine turned private investigator.  There are a number of storylines but the main one concerns a woman who had her painting (The Double) stolen by an ageing stud.  The title of the painting is a metaphor for the story.  It's not a double but the two sides of one man's personality, and hunting for it reveals the conflicting sides of Spero's personality, to him as well as to us.

Once you read Pelecanos's prose, you will recognise his dialogue in the TV series.  He has crafted a unique voice for himself, not so extreme as Ellroy, nor so flamboyant as Elmore Leonard, but crisp and hard and utterly compelling.  I get the impression Pelecanos is not as well known in the UK as he should be.  Now that Elmore has passed and Ellroy seems to have got stuck, there really is no better crime writer operating in the US today.