Charlie Huston - No Dominion

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A review by Victoria Strauss
Joe Pitt's a Vampyre. He's been infected by a Vyrus that slows aging, imparts phenomenal strength and sensory abilities, and survives by feeding off its host's blood – which forces its host to go out and drink more blood so the Vyrus can survive. There's a whole Vampyre subculture in New York City, dominated by several powerful Clans – a hidden world of power and violence unsuspected by ordinary human beings. In this secret world, Joe's what's known as a Rogue. Though he was once an enforcer for the politically-minded Society, does occasional strong-arm work for the powerful Coalition, and is the object of periodic recruitment efforts by the mysterious Enclave, he has no fixed Clan alliance.
This can be a problem when the freelance jobs dry up, and there's no money to buy the packaged blood that keeps a Vampyre from prowling the streets and ripping people's throats out. To make matters worse, Joe's worried about his girlfriend Evie, whose HIV status is deteriorating and whose medical bills are mounting. Swallowing his pride, he goes to Terry Bird, leader of the Society, and asks for work. As it happens, Terry's got something that needs looking into. There's a growing drug problem in the Vampyre community, some really bad stuff that makes users go crazy – not easy to manage for those infected with the Vyrus, which is solicitous of its hosts and cleans drugs and alcohol out of their systems almost as fast as they go in. Terry asks Joe to find out who's dealing.
A little pressure on Joe's favorite snitch turns up a middleman: a trust fund kid in a downtown loft who calls himself the Count. The drug is in bags of fresh, Vyrus-infected blood. Drinking infected blood would kill a Vampyre – but the drug isn't consumed, it's injected. The Count doesn't know what the drug is or why it works, but he does know where it comes from: Uptown, above 110th Street, the area controlled by the Vampyre Clan known as the Hood. This is enemy turf. To reach it, Joe will have to cross Coalition territory, and he's not exactly on good terms with the Coalition either. But Hood thugs and Coalition enforcers turn out to be the least of his problems. A forgotten evil waits in an Uptown mansion, along with a deadly plot that could lead to war among the Clans – unless Joe can survive long enough to figure out who's pulling the strings.
Already Dead was gritty and hip, packed with exciting action yet carefully attentive to the nuances of character. No Dominion is even better. The plot is a nonstop, explosively gory thrill-ride whose twists and reversals deliver surprises right up until the end – a true page-turner, impossible to put down. The glimpses of Vampyre culture, a bizarre nighttime world invisible to those who walk in daylight, are both fascinating and chilling, and the vicious complexities of Vampyre politics, where the smallest alteration of the balance could tip the Clans into open conflict, have plenty of real-world resonance.
As before, Charlie Huston fills the book with memorable characters – from the bigoted, relentless Vampyre matriarch Maureen Vandewater, to DJ Grave Digga, the charismatic leader of the Hood, to Terry Bird, who combines a post-Woodstock cultural ethos with a Machiavellian mastery of double dealing, to the Count, an amoral Gen-X slacker whose home life is a series of satirical references to Dracula movies ("I hate that self-aware, ironic, pop culture Vampyre shit," Joe tells him at one point). Huston has an amazing ear for dialogue, and endows each of these characters with his or her own distinctive voice. As for Joe, a tough guy's tough guy whose profane, world-weary first-person narration anchors the story, he edges close to noir stereotype, but is saved from actually becoming stereotypical by his very human doubts, and his unflinching recognition of his own moral failings.
Huston doesn't neglect the meta-story. Once again, Joe must seek help from the secretive Enclave, which is founded on the belief that the Vyrus is a spiritual force that will ultimately produce a Vampyre savior. Joe's discoveries about the drug may reflect upon that spiritual quest, and also raise disturbing questions about the origins and history of Vampyre society. Hopefully, we'll learn more in the series' next installment. I can't wait.

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He leans back, runs a finger over his moustache.

– You come with me. Kick it up at Percy’s place. Nobody gonna mess in Percy’s shit. Not Papa. All the shit in the world can rain from the sky, not a drop gonna land on Percy’s roof. That’s truth. Kick up there for a few days. I need it, maybe you bear a little witness to some of the shit been going on. Predo gonna kick and scream, but when I drop the knowledge on him, he’s gonna have to back down. Gonna give up some shit. An’ I tell him so, he gonna lay off yo ass. Once that happen, yo boy Bird gonna welcome you back with open arms. Hail the conquering hero an’ all that shit. All you gotta do? Sit tight. Give this shit some air to breathe. It all gonna sort out just fine. Cool?

He puts out his hand.

I don’t take it.

– Yeah. Trouble is. I got a date tonight.

He raises his eyebrows.

Got a date.

I shrug.

He keeps his hand out.

– Know, Pitt, that shit ain’t funny. Man’s here in front of you offerin’ his hand, offerin’ a way out of some shit you in, offerin’ to pull you up out of it, an’ you makin’ jokes. Best thing you can do here, stop bein’ a fuckin’ comedian an’ take what’s bein’ put yo way. Kiss this shit off twice, it doan come back around.

I look at his hand. I think about the sun and all the hours of daylight between right now and sunset. I think about those couple pints I drank before I came up here and the one left at home and the punishment I’ve been taking. I run my tongue around the inside of my mouth, feel the last traces of the cuts Vandewater’s boys put in there when they tried to make me eat that poker chip. I look at the man who sent me up that hill, the hand he’s holding out to me. I think about pulling the trigger on the machine pistol in my hand and watching the bullets disintegrate his face.

He sees my eyes.

Not a stupid man, he sees I don’t like him. He takes his hand back.

– Have it yo own damn way, Pitt.

I put the gun down.

– That’s kind of the point.

I pull Shades’ ski mask over my face. I slip on his gloves and his shades.

– That the A stop across the street?

Digga watches me.

– Yeah. Got the train fare?

– Got that grand you bet for me on your weak-ass dog?

He fishes his hand in his pocket and comes out with a roll.

– Here’s the G.

I take the money.

He thinks about something, licks his thumb and peels off another thin sheaf of bills.

– Here’s another G. For yo trouble.

I take it.

He puts his roll away.

– Kind of throwin’ good money after bad on my part. Seein’ as how you ain’t gonna live ta see nightfall. But you did yo part. Guess you deserve to least hold it for awhile, ’til whoever takes you down pulls it off yo corpse. That train takin’ yo ass nowhere, Pitt. Only place they can watch with the sun up is the hole. ’Tween here an 14th, gonna be nothin’ but hell to pay.

I open the door.

– Got no choice. My girl, she hates to be stood up.

I get out of the car and walk into the daylight.

It’s the direct UVs that get you. Uncovered skin gets hit by the direct rays of the sun, you cook like that boy got cooked in Vandewater’s apartment. Keep covered, stay in the shade, get lucky, and you can get by. You’ll burn alright; you’ll burn, and the more you burn the more you’ll push the limits of the Vyrus. But stay covered and you can get by. I am far too well protected by my covering for the sun to do any permanent damage here. I would have to walk in the direct rays, unshaded, for blocks before the UVs could do serious damage through all these layers.

And yet.

One step out of the garage, walking in the sun-protected lee of the mall, I feel it. Its pressure and heat. Like a Russian bath, a Russian bath that causes cancer. I feel the heat straight through the mask and gloves and every other stitch of clothing on my body. Sweat erupts across my scalp and rolls down my sides. My mouth goes dry and I feel a hot flash that ripples out from my gut, rolling through my organs and my blood. The Vyrus writhes inside me, confused, threatened, ready to kill me, kill itself, rather than endure the sun.

Crossing the street, trotting between the cars so I don’t have to stand on the corner and wait for the light to change, I remember something. I remember being a sixteen-year-old runaway, how I spent that summer, every day in Tompkins Square. I remember sprawling drunk and shirtless on the brown grass and waking, my skin so deeply burned it radiated heat. The girl I was with that night, holding her hand an inch from my stomach, warming her fingers. I poured ice-cold beer over my chest. For days the skin flaked and peeled. I picked at it, teasing off leafs of it and burning holes in them with the tip of my cigarette to gross out my friends with the smell. When the burned skin was dead and gone, I was browner than the grass in the park. That winter I was infected.

I look at the subway entrance just ahead. All things being equal, I’m going to die down there, somewhere between here and home. I stop at the top of the stairs.

I look up at the blue sky.

And pay for it with boiling tears and blurred vision.

Half blind, I stumble down the stairs into the hole in the ground, cursing myself.

The platform is crowded. My vision is still clouded, but I run my eyes around, looking for any of Papa’s ton tons macoute. Nothing.

I pull up the ski mask. Doesn’t matter who sees my face. The ones I’m most concerned about will smell me anyway.

I stand on the platform, shifting from foot to foot and rubbing the tears from my eyes, blinking away the blur. The platform grows more crowded. I put my back against one of the green girders that lines the platform. I breathe deep, smell the rats on the track along with all the other stinks of the station. I watch the faces, not caring if I catch anyone’s eye. Never certain if I have because of my fogged vision.

I squint at a map of the system. It’s a jumble of wavy lines: blue, orange, yellow, red, and green. Meaningless. That’s OK, I know the tunnels, I know the lines. I can picture the A in my head. The express down to 59th, to 42nd, to 34th, to 14th. I sniff again. Still smells clean, clean of what I’m looking for anyway. If the ton tons macoute want me, they’ll have to do it here, make their move in this station. Then again, they could try it on the line, move close to me on the packed train and…and what? What are they going to do on a packed train? Nothing. Nothing that won’t cause a scene. No, it has to be here.

Or.

Or Papa could have a deal with Predo. Percy said Papa might be dealing with him, might be on Predo’s tip. Figure it could be that bad. Figure ton tons could ride with me right onto Coalition turf. They could hang back, wait till we’re below 110th and show me their colors; do it just to drive me, herd me off the train, right into Predo’s enforcers.

The air moves in the station; a stale breeze blowing in from the tunnel, pushed ahead by the train. This is a bad play. I should be aboveground. Duck into a bar and call a car service. Get a limo with tinted windows. Yeah, sit in a bar on Hood turf and wait for a car. Bad call. A cab? Traffic, clear windows. Excuse me, cabbie, but would you mind driving exclusively in the shade? I’ll make it worth your while. No. A bus? Jesus fuck, what am I thinking, a bus? This is the way to go. It’s this way or it’s Digga’s way, on his tip. And enough guys got a handle on me, I don’t need anyone else thinking he can give me a ring whenever things go shitty on him.

The train squeals into the station. People cram themselves up close to the doors, staring at the folks on the inside, also packed at the doors. All of them sizing each other up, challenging one another for space. The doors slide open, the speakers crackle, there’s a brief free-for-all as the people on the train and the people on the platform trade places. I wait for the last possible second, looking for some danger more obvious than what I know is already out there, and push my way aboard.

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