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In the same week successful Nashville prosecutor Thomas Dennehy is handed a seemingly open-and-shut capital case involving the murder of a local white woman by Sudanese refugee Moses Bol, an anti-death penalty organization comes forward with evidence that in a prior case Dennehy gave the needle to the wrong guy. To further complicate matters, Fiona Towns, the intriguing new pastor of a downtown church, posts Bol’s bail and presents herself as his alibi. All this is clever and pleasingly convoluted, but what distinguishes Blood of Angels is its portrait of a new Nashville, bursting with refugees and a previously unimagined stripe of racial tension, as well as Reed Arvin’s characterization of Dennehy as a good man who may have done a bad, bad thing.

Blood of Angels
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