A few months ago, I stumbled across The Devil’s Detective, which told the story of Thomas Fool, a damned soul doing his best to investigate murders in Hell. It was a book that completely caught me off guard, and blew me away, creating an astonishingly vivid world, and truly committing to its premise – after all, how could you solve murders in a place designed around suffering? Unsworth’s novel embraced that question, turning it into a book in which Fool’s quest for hope and answers is as much a defiance of Hell as it is a murder mystery. It was an incredible, beautifully written book that I loved, and one that I was eager to see followed up.
Now comes The Devil’s Evidence, the second (and hopefully not last) Thomas Fool novel, which picks up some time after the first book. Fool’s stature has continued to grow, but what that means for Hell – which seems to have embraced the idea of Information Men – remains to be seen. Is Fool just a pawn in Hell’s games, or his own man? But before he can deal with that question too much, or work on the series of fires that are breaking out across Hell, he’s drafted into accompanying a delegation of demons into Heaven. And once he arrives, he starts to realize that he’s been brought here to exercise his particular skills all over again – because something horrible is happening in Heaven.
Just as he did in The Devil’s Detective, Unsworth makes his book work by embracing his environment, creating a take on Heaven unlike anything else out there (much as he did with Hell). Unsworth’s Heaven is a beautiful place, but a strange one, with joyful souls in constant waking dreams, and angels unable to perceive anything that might leave them questioning the perfection of their world. It’s a rich, strange world, and as viewed through Fool’s eyes, one that’s both beautiful and utterly alien, both appealing and wholly wrong. More than that, it’s a deeply strange place, much like Unsworth’s Hell; in both places, the idea of religion, sin, or forgiveness feel almost absent and abstract, as though they barely matter at all to the final product.
Once again, though, it’s Unsworth’s rich prose and storytelling skills that make this such a knockout, though. As Fool begins to investigate the horrific crimes throughout Heaven, Unsworth keeps the pressure building, introducing off-kilter angels, ratcheting up the tension between Fool and the demons who resent him, and escalating the stakes far beyond these original murders. Through it all, Unsworth keeps us invested in Fool’s fate – not only his life, but his emotional stakes, his sense of purpose, and his efforts to find something resembling happiness in a horrific life. And once again, that quest for meaning and understanding becomes important as an end unto itself, with knowledge serving both as its own reward and its own curse.
The Devil’s Evidence is a worthy sequel in every way, and that’s no small feat, given how much I loved The Devil’s Detective; it avoids the problem of repetition by letting the story, the world, and the characters evolve and grow, expanding Unsworth’s odd cosmology in the most logical way. And the result is every bit the book that Detective was, working both as horror novel and detective story, as neo-noir and dark fantasy, as bleak crime novel and surreal Barker-esque horror. It’s a wonderfully unique novel, and one that leaves me eager for more Thomas Fool to come.