ALL THE SINNERS BLEED

A gripping cat-and-mouse game between a twisted White religious killer and the first Black sheriff of a small Virginia community.

Welcome to Charon County, a “teardrop-shaped peninsula” on the Chesapeake Bay with a cursed name and a blood-soaked history, where “equality’s surest foothold was found on the autopsy table.” The latest tragedy is a school shooting, terrible enough on its own but only the beginning of the fresh hell descending on Charon: Both the shooter and the lone victim are connected to a string of unthinkable abuses targeting Black children. And there is a mysterious killer still at large, his gruesome crimes steeped in Scripture and religious iconography. Recently elected Sheriff Titus Crown—organized, decisive, and conflicted between justice and vengeance—is on the case, using his FBI training to profile a madman. As in any good noir, everyone is an enemy and a suspect; Titus is hounded by bigots of all stripes: biased officers, casually racist locals, and venom-spitting White supremacists. Titus is basically the only three-dimensional character, though this isn’t a major hindrance. The novel crackles along with each new clue and obstacle; scenes and dozens of characters are sketched with efficiency. The diffuse subjects of Titus’ wrath are treated solemnly if unsubtly—institutional Christianity in particular takes it in the teeth. Tight pacing mostly keeps the contrivances at bay, though there may be the occasional eye roll at Titus’ pithy True Detective–style platitudes about how broken the world is. Nevertheless, readers will cheer at Titus’ brutal screeds against those who push him past the point of patience. “Evil is rarely complicated,” Titus explains. “It’s just fucking bold.” Cosby’s previous works, Blacktop Wasteland (2020) and Razorblade Tears (2021), have both been optioned for film adaptations, and his latest seems destined for the same treatment.

Another provocative and page-turning entry in the Southern noir genre.