Holland evokes a suitably seedy, nightmarish world. This is a world of drug-addled bodies and duplicity; dimly lit nightclubs and dangerous criminals. The characters are believable, and the novel crackles with a relentless tension. The Darkest Little Room is littered with heavy-handed lines such as ‘every man’s heart is black at its core’ and ‘why does anyone love anything?’ Holland might have been trying to emulate the hard-boiled prose of authors such as Raymond Chandler, but he has not succeeded. The premise whereby a male protagonist’s safety becomes threatened by his obsession with a troubled and shady lady is well-worn. This reviewer was particularly reminded of Neil Jordan’s film Mona Lisa (1986).

Moreover, the novel’s sexual and cultural politics are questionable. Joseph’s belief that rescuing Thuy from her seamy trappings will bring him a sense of ‘redemption’ is laughably naïve. However, I still wondered about Holland’s decision to use the South-East Asian sex trade as the backdrop for an exploration of an Australian man’s psyche.

The Darkest Little Room is, essentially, reheated noir. That being said, the novel is a compelling read.