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This becomes increasingly treacherous the more his daughter gets into trouble, first with pot and then by disappearing with a boyfriend who may or may not be mixed up in JaclynвЂ™s world. The problem is that even Chance canвЂ™t tell how much he is being fed and how much he is feeding himself. вЂњDoesnвЂ™t make any difference how many people IвЂ™m fighting,вЂќ D continues, вЂњI want them all defending because that means IвЂ™m dictating the action.

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I want the other guy defending while I attack.вЂќ He proves the point one night in the Tenderloin by taking on four muggers as Chance watches, beating them so badly it is uncertain theyвЂ™ll survive.ДЇor D, this is a way of showing Chance how to deal with JaclynвЂ™s husband, who may or may not be making threats. вЂњPeople talk about self-defense,вЂќ he says.

D is damaged also: diabetic, sleep-averse, defined by a tangle of violence below the skin. ItвЂ™s a tension that Chance, like all of us, must wrestle with, between propriety and something far more fierce and wild.Д®arly in the book, Chance meets a former Army ranger known only as D, a mountain of a man who restores furniture for an antique dealer on Market Street. This, of course, is another kind of border: a blurred one, in which darkness bleeds in and out of light. It was all just half lived.вЂќ Just how half-mad becomes apparent when he grows infatuated with a patient, the elusive Jaclyn Blackstone, wife of a corrupt and brutal Oakland cop who quickly becomes the novelвЂ™s counterbalance, the yang to ChanceвЂ™s yin. вЂњHe could see all of this for what it was,вЂќ Nunn writes of his main character, вЂњthe half-mad quixotic gesture better dreamt than executed because well вЂ¦ because that was what life was like in the end. For Chance, 49, astray вЂњwithin a dark woods where the straight way was lostвЂќ (to steal a phrase from Dante), this is both a practical and a philosophical consideration he is self-aware enough to see himself slipping off the straight and narrow, and yet powerless to stop himself.

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For Chance, this is true of his personal as well as his professional life: a collapsing marriage, a rebellious teenage daughter, trouble with the IRS.ДЄnd yet the thrill of вЂњChance,вЂќ the vividness of it, is that Nunn somehow makes this work - not cohere, exactly, because the novel is fundamentally an exploration of incoherence but reflect the awful incomprehensibility of the world. That, of course, is another risk, to build a narrative in which neither character nor reader ever fully knows whatвЂ™s real and whatвЂ™s perceived. It also takes its share of risks, beginning with the name of NunnвЂ™s eponymous protagonist, a forensic neuropsychiatrist in San Francisco who вЂњmade the better part of his living explaining often complicated neurological conditions to juries and or attorneys.вЂќ Such a formulation can seem contrived, especially in a novel like this one, which is, at heart, about uncertainty. вЂњChanceвЂќ is very much a book about entropy and darkness. As Eldon Chance, the central character of his sixth novel, вЂњChance,вЂќ reflects, вЂњWhat difference would any of it make when all was said and done? When entropy and darkness had had their way?вЂќ Like Chandler, NunnвЂ™s great subject is what lies beneath the surface, the desolation that infuses us at every turn.

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For Nunn, this has meant an exploration of boundaries, both actual and metaphorical his last novel, вЂњTijuana StraitsвЂќ (which won a 2005 Los Angeles Times Book Prize), traces the shifting landscape of the physical borderland.ДЄt the same time, there is also a willingness to take risks, to play against expectation, which marks both NunnвЂ™s fiction and his TV work on вЂњJohn from CincinnatiвЂќ and now вЂњSons of Anarchy.вЂќ His writing has been characterized as вЂњsurf noir,вЂќ but really, thatвЂ™s just a convenient placeholder, going back 30 years to вЂњTapping the Source,вЂќ in which a teenage boyвЂ™s search for his sister leads him to the unexpected fringes of a Southern California beach community. Is it too much to compare Kem Nunn to Raymond Chandler? Both have used the loose frame of genre to write enduringly and resonantly about the dark side of the California dream.