A slightly different vibe than usual for Gordon, or maybe back to the Joe the Bouncer books before he got a little sick of them, judging from the last couple. A lot of misdirection as to the actual plot here, though we're talking a neo-noir in early-90s LA in and around a Larry Flynt/Al Goldstein-type porn impresario/provocateur, with a Pam-and-Tommyish subplot, an antirepression queer subcurrent to which he doesn't seem all that committed, and enough jokes, turns, and reversals for anyone. Not sure what to make of the brief Holocaust bit in the background, which is used for brief plot complications but which doesn't supply anything all that resonant to the plot, aside from grounding some LA jokes. (And, I dunno: is 1994 LA really any less gritty than 1994 NYC?)
That said, though the plot is...not ramshackle, but certainly comfortable in taking its time to develop, the comic verb choices, dry asides, and poetic glimpses of LA magic (a bit diegetically confusing, to be sure, given where the narration sits) all made this a lot of fun, kind of an idea of a bricolage retro-noir (which absolutely would fit the novel's setting, as right around this time we got the rediscovery of Jim Thompson and spate of neo-noir films either using Thompson or alluding to him). Given the direct allusions to, say Miss Lonelyhearts, and a false Chandleresque false ending, maybe that's what Gordon was going for.