“Outstanding . . . Crompton effectively integrates Maasai culture into the absorbing plot.” —Publishers Weekly (starred review)

“[Crompton] has done something near-miraculous and made the figure of the incorruptible loner-detective fresh again.” —The Telegraph

“Can Richard Crompton repeat the excellence of last year's [Hour of the Red God] his first novel? Few would have considered a Masai warrior turned Kenyan detective as a hugely attractive crime fiction hero. But inHell's Gate Crompton does it again . . . Mollel tackles a variety of crimes, including corruption and murder, with a beguiling blend of moroseness, honesty, confusion and astute wisdom.” —The Times

“Crompton delivers a plausible and compelling tale of murder, corruption, tribal enmities, displaced persons, and poaching by small armies that outnumber and outgun the park rangers who are supposed to stop them. Additionally, he offers fascinating insights into today's Kenya, for example, the ubiquity of cell phones even in undeveloped areas and the national ban on smoking in public places. But it is the melancholic Mollel, whose resoluteness comes from the Masai culture he abandoned, who really propels Hell's Gate.” —Booklist

“Mollel's second appearance is . . . as layered and involving as his first, immersing the reader in a fascinating and unfamiliar world, with a mystery heightening the tension.” —Kirkus Reviews

“Hell's Gate is the second of [Crompton's] novels set in Kenya, and is every bit as good as [Hour of the Red God] . . . Crompton writes with ease about traditional customs and the impact on Kenya of globalisation, creating a vivid portrait of a country struggling to come to terms with modernity.” —The Sunday Times

“Richard Crompton's second novel is a clever and frequently thrilling read . . . If Nordic noir is joined by its African equivalent at the top of the bestseller charts it may well be due to the reading public discovering Richard Crompton to be one of the most gifted crime writers of his generation.” —Shots

“The struggle between the two sides of [Mollel's] nature makes him an interesting and sympathetic protagonist . . . The underlying conflicts at work in Kenyan society also become explicit through Mollel's thinking . . . The picture of Africa is not that of Alexander McCall Smith, and the lack of fairness and justice is a consistently appalling background. Mollel's humanity and touches of humour here and there do, however, lift the mood.” —Crime Review

“Impressive” —The Wall Street Journal