Rite Judgement (DaDa Detective Agency Book 2)

“Lingua Lilla!”

Review by Joey Madia

A few months ago, a publicist introduced me to the whimsical, socially conscious, quick-witted work and worlds of the novelist Pete Adams. John Broughton describes him as “the Salvador Dali of thriller writers,” a description I mention because it is so fitting. Two writers that also come to mind are James Joyce (Finnegan’s Wake and Ulysses), and Robert Anton Wilson and his Illuminatus series, although reading his Cosmic Trigger books will also give you a sense of the lineage of which Pete Adams is a part, especially when it comes to the corruption of the international banking cabal.

The front matter describes Rite Judgement as “A politically correct / incorrect, risqué, mischievous, irreverent and, ever so naughty, crime mystery thriller. A real / surreal novel where life imitates art.” Quite a mouthful, and quite correct. Following on the heels of this quote is one from André Breton: “The imaginary is what tends to become real.” This is a form of spelling, or using words and the power of the mind in the form of poetry and prose, incantations, mantras, and the like to speak a new world into existence. After all, as we good (many now lapsed) Catholics and other religious types grew up hearing, and many still believe, in the beginning was the Logos… the Word. Which makes Trickster-Holy Storytellers like Adams invaluable to society indeed.

Still with me? I warn you, even more so than the book I read and reviewed a few months ago—Dead No More, from another of Adams’s series—the wit, metaphors, and action in Rite Judgement unroll at a very brisk pace. It is easy to get lost in the dense forest of words and images. There are plays on words, abundant cultural and political references, and rich social commentary. Therefore, Adams richly rewards those rare polymaths versed in history, art, and psychology, as so obviously is he. Continue reading

Dead No More (Rhubarb Papers Book 1)

“Language, Lilac!”

Review by Joey Madia

“I believe that banking institutions are more dangerous to our liberties than standing armies.” —Thomas Jefferson

With this opening epitaph, Pete Adams had me hooked. As the US Federal Reserve (neither Federal nor a Reserve) buys up all it can at a bargain under the banners of Qualitative and Quantitative Easing amid whispers of a trillion-dollar platinum coin Treasury Secretary Janet Yellen could use to avoid a government shutdown, even some old-money families like the Rockefellers in West Virginia are chiming in to say “The Fix Is Fully In.”

Dead No More opens with a car fire that kills two police officers—a mother (Dawn) and daughter (Carol)—and facially scars their granddaughter/daughter, Juliet. Carol’s husband, who is “something in the City,” which is code for a man of importance, is also killed.

It’s clear that the two officers were murdered because they were working on a case involving high-level families and government players who control the financial institutions and key development sectors in London. The police databases involving the conspiracy as well as the conspiracy itself employ a host of food-related code words, like Rhubarb, Vanilla, and Crumble, based on plot-related French and German words decoded as the narrative unfolds. The police database—a case archive—is further coded with words like Mammon (signifying greed). It is a smoking gun worth infecting with viruses, hacking into, and even killing its contributors and administrators to keep secret. Continue reading