Having come of age on the mob-controlled streets of 1960s South Philly, Detective Pete Coletti learned early to walk the fine line between cops and criminals - a skill that served him well during his eighteen years in homicide. Now nearing the end of his illustrious career, the highly decorated Coletti seems to be on the top of his world. But Coletti is harboring a terrible secret. His most famous arrest was based on a lie, and soon the priest he imprisoned for a decade-old murder known as the Confessional Killing will be put to death. And it all comes to light when the real killer begins to leave his calling card once again, turning Philadelphia upside down. Coletti must catch him to set everything right and stop the execution of an innocent man. As the chase winds through historic art galleries and gritty streets, the game intensifies, cultures collide, and Philly’s best detective is forced to face a past that could very well destroy him.
Solomon Jones is the Essence bestselling author of the critically acclaimed novels Payback, C.R.E.A.M., The Bridge, Ride or Die, and Pipe Dream, as well as the short-story collection Keeping Up with the Jones. He is a columnist for the Philadelphia Daily News and a spoken-word artist. He teaches creative writing at Temple University and is currently at work on his next novel.
©2010 Solomon Jones (P)2010 Blackstone Audio, Inc., and Buck 50 Productions, LLC
“Solomon Jones is the real deal. With page-turning plots and lifelike characters, he takes you beyond the ink and into the story.” (K’wan, bestselling author of Gangsta)
“Jones nails his Philadelphia setting and the hard role of cops.” (Publishers Weekly)
I chose this novel, in part because I grew up in Philadelphia. The author has good ideas, his narrative skills are a bit pedestrian. But the narration is driving me up the wall. All the characters so far are locals, yet many of them speak with a vaguely southern accent. This is Philly. People in every neighborhood have a distinctive accent, and it doesn't come from anywhere near below the Mason/Dixon line. It's making it really hard to listen to. It's like you had characters from Southie, in Boston, speaking with New Orleans drawls. Or Scottish burrs. It really detracts from the listening experience.
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