Your look into Bunker 13

You know anyone reading this will understand your use of the second person the moment they set eyes on Bunker 13. But you hope they'll understand this first look into the novel is through researching rather than moralistic eyes, and so let you describe it as fairly as you can.
You didn't read very far into Bunker 13 before realising the main character, MM, knows an awful lot about the history, tactics and techniques of parachute warfare. Due credit must be given writer Aniruddha Bahal for his research--as a journalist he's gathered way more than enough information for his words to feel you are really there with him, feeling each drop, each gust of wind, each dose of heroin with the crazily-living MM.

That's right, each dose of heroin. You think the drug references are a little overdone, but given how they ruin the body of an anti-hero you have a hard time liking it's quite a reminder how they continue to be rampant in today's world. And if you think it's cool you need help more than anyone.

But more than that the story is a military thriller, following MM through double-crosses, battles among the Indian Special Forces and Kashmiri warlords. And as military thrillers go it's extraordinarily well-researched, as if Stephen E. Ambrose or Mark Bowden suddenly turned and decided to do something about a drug-addled paratrooper who figures out how to inject heroin ('H') in freefall, and enters a lawless world of arms dealers, double-crosses and soldiers with more than their country's defence on their minds. You'd recommend it to anyone who doesn't mind you writing about books written years ago and with a strong enough stomach.
But since that isn't really your thing, you figure you'll take your time going through and figuring it all out.

You know right away it's a dirty book. But then you must admit, it's a dirty world.

Of course, you think you've something to say about the second person narrator, the kind of writing that calls the viewpoint character "you" rather than "I" (first) or "him/her/it" (third). In her fine book Get That Novel Written! Donna Levin calls the second person good for an experiment and not much else; besides, it distances readers from the story, coming across as more of narrative ego than anything else (think someone praising himself all the length of a novel) while Christopher Leland in The Art of Compelling Fiction says it draws the reader into the action--it's you complicit in whatever happens, you in whose head the wildest fictional forays occur.

All a matter of taste, talent and style, you guess.