Duncan is a longtime friend of Max Daly, and a drug addict caught up in “cuckooing,” where dealers take over people’s homes as drug bases in exchange for product. Daly offers a sympathetic portrait of Duncan’s spiralling life, while opening a window onto a bizarre world where the most vulnerable exploit each other—and sometimes even form bonds.

Over the 2000s and 2010s, wave after wave of gangs fanned out from Britain’s drug supply hubs – London, Liverpool and Birmingham – to set up shop in smaller towns and cities across the country. They took over the homes of drug users and young women who had been groomed by older male gang members. As early as 2008 Suffolk constabulary reported that more than a third of Class A drug dealers arrested in Suffolk were under 21, and the majority were from London. (Before this period, most crack and heroin dealers in towns and smaller cities were “user-dealers”, addicted heroin users in their 30s or older, who were not as “professionalised” as the big city drug gangs.) Gangs often used sex workers, who targeted male tenants and moved in, bringing the young dealers with them. Community safety teams, who rescued 80 tenants in London in 2005, were the first to call the tactic “cuckooing”.

Audiophiles are sometimes described in terms reserved for cults; a 1956 New Yorker story, referenced in Colin Vanderburg’s exceptional tour of extreme listening, refers to “a remarkably articulate group of zealots” and “an almost mystical reverence for sound.” Vanderburg travels among the believers, tracing the decades-long promise of “consumer audio innovations” to their technological apex: the New York International Audio Show, where audiophiles sample six-figure sound systems in pursuit of a signal as pure as the world they already inhabit.

More than anything, I have spent long passages of this earthly life sitting on my ass, listening. I listen to music, but what I hear is sound. Texture, timbre, and tone; clarity and detail; space and depth. And I hear, even more acutely, what thwarts sound. Shrill treble, muddled bass — for me these are worse than peeves. They offend hearing. They diminish the human sensorium. Earbuds repulse me; laptop speakers grate; a tabletop Bluetooth unit is a kind of vandalism.

The word audiophile — etymologically, one who “loves to hear” — has a wine-sipping pretension that I hate, but sometimes an ugly shoe fits. Like similarly suffixed psychopathologies, the term suggests a state of warped dependence, of inbent sublimation. I didn’t set out to be this way, but neither have I ever sought help. My symptoms are apparent, their causes obscure. What, after all, do we love when we love sound?