The unforgettable protagonist of Lola returns in a gritty, high-octane thriller about a brilliant woman who will stop at nothing to protect her growing drug empire, even if she has to go to war with a rival cartel...or her own family.
It took sacrifice, pain, and more than a few dead bodies, but Lola has clawed her way to the top of her South Central Los Angeles neighborhood. Her gang has grown beyond a few trusted soldiers into a full-fledged empire, and the influx of cash has opened up a world she has never known - one where her daughter can attend a good school, where her mother can live in safety, and where Lola can finally dream of a better life. But with great opportunity comes great risk, and as Lola ascends the hierarchy of the city's underworld, she attracts the attention of a dangerous new cartel that sees her as its greatest obstacle to dominance. Soon, Lola finds herself sucked into a deadly all-out drug war that threatens to destroy everything she's built.
But even as Lola readies to go to war, she learns the greatest threat may not be a rival drug lord but a danger far closer to home: her own brother.
Edgy, complex, and breathtakingly propulsive, Melissa Scrivner Love has crafted a novel sure to please not only those who loved her first book, but everyone who enjoys a gripping thriller.
“You can't help loving this coldblooded murderer.” (Kirkus Reviews)
“Love crafts a first-rate plot, but this crime thriller’s real strength is the character study of Lola, who eschews preconceived notions of what a drug lord should be.” (Publisher's Weekly)
“Lola Vasquez is back in a stunning sequel to the author’s Edgar-nominated and Debut Dagger-winning Lola (2017), which drew inevitable comparisons to The Girl with the Dragon Tattoo. But Lola is in no way derivative. She leaps off the pages as a unique character, fully locked and loaded… Many readers may find themselves developing a definite affection for a woman who is essentially a cold-blooded killer.” (Booklist)
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Love Lola and the story, but the author’s obsession with “white privilege” while presenting Lola as some sort of victimized minority became more and more distracting and tiresome. At about the middle of the book I began fast forwarding through the politics in order to stay in the story without being distracted.
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