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Skinner's pre-war New Orleans is a piquant gumbo of whorehouses, jazz dives, and quotidian street violence, a place where "anything goes if you got the price of the ticket," and where the desperate acts of a kidnap victim or a hit man's sudden bout with his conscience seem only to be expected. The Righteous Cut is less bleakly consuming than an earlier Farrell outing, Blood to Drink, and its final resolution exalts convenience over credibility, yet the balance of human emotions against action here is remarkably satisfying. --J. Kingston Pierce
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