Grove Press, Black Cat, Paperback, 9780802170736, 266pp.
Publication Date: July 13, 2010
Christopher G. Moore’s prize-winning series of Bangkok thrillers featuring Vincent Calvino, a disbarred American lawyer turned PI, have been praised for their captivating plots, engaging characters, and insight into the steamy Thai capital. In Asia Hand, the second novel in the series, Bangkok is celebrating Chinese New Year when Calvino’s revels are cut short. The body of an American, an acquaintance of Calvino’s, has been fished out of the lake in Lumpini Park. Around his neck are a string of wooden amulets, the kind upcountry Thais wear to protect themselves from evil spirits. Only rather than saving Hutton, these have killed him.
A freelance cameraman scraping by on the margins, Hutton had photographed something shortly before his death that he thought would make his career. Now the footagea shocking execution on the Thai/Burmese borderis running repeatedly on CNN, and the rights to Hutton’s life story have been sold to a Hollywood producer. But who killed Hutton and why? When Calvino investigates, he collides with a powerful filmmaker and an experienced old Asia hand who knows the terrain as well as our man in Bangkok. It’s all Calvino can do to stay alive, and find out who killed his fellow American.
Calvino is at once in the finest tradition of the lone private detective and a complete original.” Matt Benyon Rees, author of The Samaritan’s Secret
Calvino is a worthy successor to Raymond Chandler’s Philip Marlowe and Mickey Spillane’s Mike Hammer.” The Nation (Bangkok)
The top foreign author focusing on the Land of Smiles, Christopher G. Moore clearly has a firsthand understanding of the expat milieu. . . . Moore is perspicacious.” Bangkok Post
Vincent Calvino [is] Bangkok’s most newsworthy private eye. [Asia Hand is] dankly atmospheric.” Kirkus Reviews
"Underneath Bangkok society is a deeply encrusted demiworld of hope, despair, corruption, and courage that Moore, an American-born writer who has lived there for almost twenty years, paints with maestrolike Dickensian strokes." Tom Plate, The Seattle Times
"Moore's flashy style successfully captures the dizzying contradictions of this vertiginous landscape."Marilyn Stasio, The New York Times Book Review