Alasdair Duncan’s Second novel, Metro, opens as a perceptive and witty portrait of the urban, metrosexual scene. Once again, the main character is a repressed homosexual: this time his peers are twenty-something business and law students. The novel palls around chapter four, just maintaining interest in loops of nightclub scenes, bawdy behaviour and skin-deep insights. The vernacular tone is refreshing, given today’s stuffy publishing landscape, so it is unfortunate that the cynical and superficial misrepresentations of the contemporary sexual mores undermine the novel’s social commentary.