Kahn’s descriptions create urgency and ambiance. Clay’s bar smelled like “tobacco smoke, chorizos grilled in the kitchen by Milagra, his ancient Mexican cook; the sweet perfumed women at the bar, warm beer, burning kerosene and oiled boot-leather.” This poetry only falters during Clay and Allie’s love scenes, which are weighed down by clunkers such as “their mouths met like hungry animals.” The romantic subplot feels hollow in a book full of tragedy, but all the con artistry and the tensions of wartime more than make up for it.
History aficionados will appreciate how well Kahn weaves facts into fiction. Thespian John Wilkes Booth, Clay’s relative “by marriage—or at least by adultery,” is well integrated into the plot, as are various pivotal events. Kahn never romanticizes the war, painting sympathetic portraits of deserters while taking jabs at profiteers. Readers looking for a strong sense of time and place, most particularly Texas history lovers, will find this hits the spot.
Takeaway: Texas history aficionados will love this dramatic tale of love, double-crosses, and sorrow toward the end of the Civil War.
Great for fans of Tina Juarez’s South Wind Come, Edwin Shrake’s Blessed McGill.
Design and typography: A
Marketing copy: C+