Darktown: Book summary and reviews of Darktown by Thomas Mullen

Reader Reviews

Write your own review

Cloggie Downunder

Gritty and informative, this is a brilliant historical page-turner
“There was a lot that Rake was learning about his new occupation. He had survived against steep odds for years in Europe as an advance scout, had been alone for long stretches and had wisely figured the difference between threats and opportunities, collaborators and spies. Back home in Atlanta, however, he was finding the moral territory more difficult to chart than he’d expected”

Darktown is the fourth novel by American author, Thomas Mullen. In 1948, with a Negro population probably in excess of 115,000, Atlanta, Georgia had eight Negro police officers. Their powers of arrest were markedly fewer than those of white police officers, they were not issued with patrol cars, and they were quartered in the basement of a YMCA building. These startling facts underpin Thomas Mullen’s story of the murder of a young black woman and the black officers determined to find her killer.

Negro Officer Lucius Boggs is with his partner, Negro Officer Thomas Smith when they witness a Buick driven by a white man in knock over a light pole. They note a black female passenger, and give chase on foot when the driver leaves the scene. They observe him hitting her before she escapes from the car. Days later, they find her body in a pile of refuse. Boggs is no detective: his duties consist of walking his beat; but he is determined that her death will not go unpunished.

There is no love lost between the white officers and the Negro officers: it doesn’t help that the black cops have to call in white cops to make white arrests. When Boggs and Smith call for assistance in the traffic case, Dunlow and Rakestraw’s cruiser is slow to appear. Dunlow, old school and patently racist, ignores Boggs and Smith, and lets the driver off lightly; his rookie partner is more inclined to value their input.

Mullen follows known facts about the first Atlanta eight fairly closely in his tale, and the mention of actual historical figures gives the story authenticity. Each narrative, be it from the perspective of a fearful black sharecropper, an ageing white racist cop, a six-year-old negro boy, a white rookie, a back madam or a rookie negro police officer, has a genuine feel. He conveys the Atlanta of the immediate pre-civil rights era with consummate ease.

The characters are realistic: none of these black policemen is entirely blameless; even the most racist white officers have some virtues. The plot is wholly believable: there are a few twists, but there is no Hollywood ending here, and it is evident in the closing pages that Atlanta still has a long way to go. But Hollywood is apparently interested in turning Mullen’s book into a TV series, and it will certainly translate well. Gritty and informative, this is a brilliant historical page-turner.