Vacation Reading, Italian Style

chalk outline, body

(image: pixabay, creative commons license)

Seventeen days out of the country, two eight-plus hour air flights, how many books should I pack? Always the burning question. This time, it turns out, not enough. I packed six and had to raid the hotel guest discards shelf for the return flight. Picked a good one too.

Here are quick reviews of five of them:

****Ellery Queen Mystery Magazine – The nearly 200 pages of this bi-monthly is like reading an entire book, one where you sometimes meet old literary friends, as in:

  • J.Rozan’s tale about the quick-wittedness of an elderly Chinese woman in “Chin Yong-Un Helps a Fool.” One of Chin’s previous escapades garnered Rozan a 2018 Edgar Award nomination.
  • Doug Allyn’s Dylan LaCrosse from Valhalla, Michigan, P.D. in another entertaining story steeped in the ethos of the Upper Peninsula.
  • Richard Helms’s Pat Gallagher, an unlicensed P.I. who roams New Orleans’s French Quarter, toting his cornet and stumbling into trouble. And
  • Lou Manfredo’s Sgt. Joe Rizzo, dealing with a “Brooklyn playboy murdered.”

**The Third Act, by John Wilson – This book which turned out to be YA, I hadn’t realized, blew an interesting premise. An Ohio drama program director writes a concluding act for an unfinished play by the program’s most illustrious graduate. The play is set in China at the time of the Nanjing Massacre of 1937, and the scenes in China create the sense of reading a play—little scene description, a few gestures. But the modern-day framing story is weak, and its grim conclusion sends an unsuitable message for young audiences, in my opinion.

****Faithless Elector by James McCrone – This is a look at one of the ways the U.S. Electoral College might be manipulated to propel a losing candidate into the Oval Office—entertaining and bone-chilling at the same time. Well-written with a bit of a logic stretch here and there. Particularly unnerving (and plausible) is that the conspiracy was discovered only by a fluke.

*****Twice Buried by Steven F. Havill – I love these evocative Posadas County Mysteries, which are fine-grained police procedurals. In this one, Undersheriff Bill Gastner takes great care investigating the apparently accidental death of an unexceptional old woman whose death (and life) law enforcement might tend to write off, and that makes all the difference.

****Half a Chance by John Perrotta – A quick read, this book is steeped in the action and lore of the thoroughbred race track. Someone’s playing fast and loose with big wads of cash, and can he keep all his financial transactions afloat while he rides out of town with the greenbacks? Lots of fun, strong characters, some redemption, and a fine evocation of horse-racing’s arcane world.

When Words Have a Long Tail

Independence Hall

Dan Smith, creative commons license

At a time when the U.S. Senate is considering a new member of the Supreme Court, the wisdom of viewing today’s problems and challenges through a 250-year-old lens is once again under scrutiny. No words put on paper today are likely to have as long and as consequential a tail for Americans as the Constitution of the United States.

In this month’s Language Lounge for Visual Thesaurus, linguistic provocateur Orin Hargraves returns to Independence Hall to consider the Founding Fathers’ accomplishment. In contrast to the typically fleeting nature of oral pronouncements (perhaps of the kind delivered in Senate hearings), Hargraves says, written language can have a “practically unlimited” afterlife. At the same time, it has weaknesses. It is missing context (quill pens versus the Internet) and, in the case of something written in the 1700s, people of today—our Senators, for example—cannot query the Founding Fathers for clarification and relevance.

Hargraves says the Constitution’s drafters of significant documents, like the U.S. Constitution, are aware “that the force of their words will long outlive them.” As a result, they choose those words with extreme care and provide a way to alter and update it, not easily though. Our Constitution now has 27 Amendments.

Despite the founders’ care, debate over the context and meaning of some of the Constitution’s provisions, especially the Second Amendment, is virulent. Even within such a presumably sedate setting as the Language Lounge, Hargraves says, past posts on this topic have inspired reader rants requiring “editorial intervention” by the Language Lounge masters. The prospects for consensus on a range of divisive topics seems remote, and The Washington Post says the first day of Kavanaugh’s hearings provided “a world-class display of bickering across party lines.”

Alice in Wonderland, words, Humpty DumptyOne helpful resource ought to be the Corpus of Founding Era American English, based on some 100 million words of text from 1760 to 1799 from various sources. (See how one source suggests this body of work should inform the Supreme Court nomination hearings of Judge Kavanaugh.) Yet, a historical perspective on the meaning of language in the late 1700s may not satisfy partisans “deeply invested in one view or the other,” Hargraves says. I suspect he’s correct. However much the advocates claim their interpretations are based on long-ago principles, in fact they serve current interests.

While no one would insist on using an owner’s manual for a Model T Ford to repair their Fusion Hybrid, the Constitution is not given room to breathe and grow to serve society today. That was then. This is the uncomfortable now. Attempting to return to some earlier meaning (if we even were clear what that was) may be just another way to avoid doing the hard work of making our systems and even our brilliant Constitution work in the 21st century.

Titus Andronicus

Titus Andronicus

Robberson, Cuccioli, & Cromer; photo: Jerry Dahlia

“A society drowning in violence and seemingly bereft of civil thought or action” is how the Shakespeare Theatre of New Jersey describes the setting for Shakespeare’s bloodiest play, now in a riveting new production, directed by Brian B. Crowe, through August 5. First performed January 24, 1594, it was one of the revenge dramas so popular among Elizabethan audiences and fans of the Death Wish franchise. Here, the desire for revenge trumps every other human feeling, with no possibility of compromise or negotiation.

It’s well worth seeing, not just because the opportunity comes about so rarely and not just because of Shakespeare’s thought-provoking content, but also because of the high quality of this production. The acting and production values are top-notch.

The title character (played by Bruce Cromer) returns to Rome a hero after his conquest of the Goths. His chained prisoners comprise their sultry queen Tamora (Vanessa Morosco), her three sons, and her advisor, a moor (Chris White). When Titus arrives, Roman brothers Saturninus (Benjamin Eakeley) and Bassianus (Oliver Archibald) are vying to replace their late father, the emperor. Given the opportunity to choose between them, Titus chooses Saturninus, who proceeds to claim his brother’s betrothed, Titus’s daughter Lavinia (Fiona Robberson). Skirmishes break out, but Lavinia and Bassianus flee.

Two of Titus’s sons were killed in the war, and the remaining sons demand the sacrifice of the Goth queen Tamora’s eldest son, despite her desperate pleas. Though she speaks honeyed words to Saturninus, her desire for revenge against Titus and all his children is clear.

The moor connives with Tamora’s remaining sons (Torsten Johnson and Quentin McCuiston) to kill Lavinia’s new husband, ravish her, and, so that she can’t reveal their identity, cut off her hands and cut out her tongue. Titus has lost five sons in the play so far, and his last son Lucius (Clark Scott Carmichael) is banished. He is devastated to see the wreck of his daughter. Only the counsel and forbearance of his brother Marcus (Robert Cuccioli) saves him from total madness.

Near the end of the play is a speech by Marcus that for me was the most relevant to politics in our own time: “O! let me teach you how to knit again this scatter’d corn into one united sheaf, these broken limbs again into one body; lest Rome herself be bane unto herself, and she whom mighty kingdoms curtsy to, like a forlorn and desperate castaway, do shameful execution on herself.”

Fine performances of Cromer as Titus, Cuccioni as Marcus, Morosco as Tamora, and her two reptilian sons (Johnson and McCuiston) were excellent. For me, though, the most moving performance came from Robberson, the handless, tongueless, young widow. And White delivers the moor with relish.

It’s fun seeing such a luxuriously large principal cast—16 actors—ably augmented by 11 members of the theater’s 2018 Summer Professional Training Program in multiple roles.

Dick Block created a memorable set, featuring giant swords and an enormous warrior’s helmet, Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

****The Greek Wall

razor wire fenceWritten by Nicolas Verdan, translated from the French by W. Donald Wilson –The European refugee crisis has been front-and-center in the news media for so long it’s become easy to tune it out. In award-winning Swiss author Nicolas Verdan’s literary crime thriller, all the horrifying consequences of what happens when groups of people are ripe for exploitation are on display. And he doesn’t stop there, underscoring how wide its ripples have spread in European society.

It’s 2010, and Agent Evangelos of the Greek National Intelligence Service is sent to investigate a severed head found outside the northern city of Orestiada on the border separating Greece and non-EU Turkey border. Is it the head of a Westerner? That’s what Evangelos’s superiors want to know, and they want the answer to be ‘yes.’ Something else to blame on the refugees.

Finnish members of the European Border and Coast Guard (Frontex) found the head near the bank of the Evros River. This strip of land is not only Greece’s border but that of the EU’s passport-free Schengen Area—in a sense, all of Europe. It’s the main crossing point for refugees into the European Union. Greek politicians want to build a Trump-like border wall there, and they want the EU to pay for it. Greece certainly can’t. (In real life, a 10-mile wall—actually a razor-wire fence—was eventually built.)

Verdan’s novel – his first available in English – is part political thriller, part police procedural, part mystery. A brief prologue offers hints regarding who has lost his head, but the circumstances are murky.

Much of this literary, sensitively written novel adopts the close-up point of view of Agent Evangelos, who takes the constant reversals of policy in stride simply by ignoring them. His focus is on solving the crime, and he moves doggedly forward, even when he’s told not to push his inquiry too hard. Novels based on current events risk becoming outdated, but the essential humanity of Verdan’s characters make this story timeless. An extra star here for humanity.

Hollywood in the White House

LBJ - Harrelson

Woody Harrelson as LBJ (2017)

Most of the time, Hollywood moguls and the pols inside the Washington Beltway hold each other “in mutual contempt,” said film historian Max Alvarez in an entertaining talk this week at the Princeton library. Yet politicians need Hollywood’s money and clout, and filmmakers need the government for such things as copyright and First Amendment protections and favorable trade regulations. And occasionally, they look to Washington—and the White House—for juicy story lines.

Screenwriters don’t overlook our Presidents who’ve been tragic characters worthy of Shakespeare. Lincoln has been most often portrayed, with Nixon second-most. Alvarez showed three clips back-to-back from movies about our 37th President: Anthony Hopkins in Nixon, Frank Langella in Frost/Nixon, and Kevin Spacey in the comedy Elvis and Nixon. Hopkins was the smarmiest, Langella the most tightly wound, and Spacey (I know, I know)—hilarious.

At least until recently, films about presidents and the presidency mostly flopped at the box office, and early on, not many were made. There was a bit of a burst in World War II, in films that had a propaganda message. If a president did appear in these early films, he was an upstanding, respected figure. That’s sure changed.

Alvarez suggested that because Presidents Kennedy and Clinton were younger and “cooler,” the creative types in Hollywood were drawn to material that included a president or presidential candidate in the early 60s and again in the 90s. (Note that the industry insider—Ronald Reagan—did not spark such ideas.) Television contributed, too, with 156 episodes of The West Wing from 1999 to 2006. Now we have Veep.

The movies have stopped treating presidents as paragons, with Wag the Dog, Primary Colors, Absolute Power, and Clear and Present Danger examples Alvarez cited. Why the shift? A scene from the Netflix program The Crown suggests an answer. In an episode set in 1957, Lord Altrincham, a small-time newspaper publisher, editorializes against Queen Elizabeth for being priggish and out of touch. In a meeting with her, he explains that the root of the problem is that, since the war, everything has changed, but the monarchy hasn’t. “What’s changed?” she asks, and he replies, “Deference.”

House-of-Cards

Kevin Spacey’s bloody hands in House of Cards.

Does exposure to charismatic, but dysfunctional characters on, say, House of Cards (not to mention such shows as Dexter, Breaking Bad, and Mad Men) normalize dysfunctional behavior? Alvarez thinks it may. Not that we have to go to the cinema or watch tv for that.

From the Department of Free Association . . .

. . . and so we have this recent Atlantic article about how continued exposure to the perfidies of the current administration is causing ‘outrage fatigue.’ Say it isn’t so.

 

****Stasi Child

Berlin Wall

photo: Department of Defense

By David Young, narrated by Julia Barrie – In a sense every person in this novel is a candidate to be the “Stasi Child” of this book’s title, so pervasive is the influence, the spying, and the danger posed by the Stasi, the State Security Service of the former German Democratic Republic. This is Cold War fiction at its most chilling.

Not even Karin Müller, the book’s main protagonist, a detective in the murder squad of East Berlin’s Kripo, is exempt. (The Kripo is the nickname for the Kriminalpolizei.) In fact, she is very much in the Stasi’s sights for several reasons. Closest to home, her math teacher husband has been fraternizing with “fascist elements,” risking a spell in jail, or worse. Already he was sent for a time to teach at a remote youth detention center as a warning. One he hasn’t heeded.

Mysteriously, detective Müller has been called on to investigate the death of a teenage girl whose body was found in a cemetery at the foot of the Berlin Wall. Dead bodies near the wall were not uncommon in winter 1975, when the story is set, as would-be escapees were shot on sight, but it appears this girl was shot in the back while attempting to escape into East Germany, not out of it.

The case is a minefield of political elements, as well. Müller is told that Stasi agent Klaus Jäger will actually be in charge of the investigation, though Müller and her Unterleutnant Werner Tilsner will do the work. Moreover, their remit is confined to discovering the girl’s identity, not seeking to find out who murdered her.

Whether the Stasi knows they are violating the terms of their assignment, whether they know she and Tilsner have been indiscreet, whether her husband is in jeopardy—everything could become a threat. Author David Young is an expert at ramping up these tensions, with one or two too many twists and turns nearing the end.

Interwoven with the chapters about the investigation are first-person chapters, set seven months earlier, told from the point of view of Irma Behrendt, a fifteen-year-old inmate at the youth work camp where Müller’s husband was sent. She dreams of escape and wants to take her best friend with her. It would be dangerous, of course, but desperation breeds courage. Eventually, the two narratives converge. Irma’s tale has been, all along, vital backstory.

With a female protagonist and first-person narrator, Julia Barrie was chosen to narrate the audiobook. Perhaps to give the many male characters distinctive audio personalities in her lower registers, she pitched Karin’s and Irma’s voices rather high. That sort of works for Irma—she’s young, after all—but not for Karin. She sounds too light, too immature, not forceful enough to be heading a murder squad. A benefit of audio is that Barrie handled all those multisyllabic German words with admirable ease.

 

Darkest Hour

Perhaps you feel about Churchilled out, what with Netflix’s The Crown and his memorable words floating over the disheartened British soldiers in Dunkirk, but director Joe Wright’s new film (trailer) is absolutely mesmerizing. I wish the film had gone on to present the whole rest of the war as vividly and thoughtfully, not just those desperate early days of the title.

Gary Oldman as Winston looks more the role than did John Lithgow, but the power of his performance comes from truly inhabiting the part and having a script by Anthony McCarten that shuns the clichés. Kristin Scott Thomas is brilliant as Churchill’s ever-supportive wife Clementine (resembling not a little Harriet Walter in The Crown). Lily James (Downton Abbey’s Rose, brunette this time) is sweet as his long-suffering secretary Elizabeth.

What this film provides that so many gloss over is scrupulous candor about the political facts facing Churchill. He was a compromise candidate for the role of Prime Minister, and people in his own party mistrusted him. They didn’t want him. The king didn’t want him. His predecessor, Neville Chamberlain (Ronald Pickup), and a strong faction, led by Lord Halifax (Stephen Dillane), advocated a peace deal with Hitler, which Churchill adamantly opposed.

While today’s viewers may side with Churchill on the question of whether a good treaty could have been achieved with the dictator, Wright never over-eggs the pudding by weakening Halifax’s arguments. Both sides of this consequential debate are principled and passionate.

Churchill was new and shaky in his position, the entire British army was stranded at Dunkirk, the European countries were overrun, France was about to fall, and America could not help (yet). It was truly Britain’s Darkest Hour.  How the PM deals with it all reflected his genius. “If it’s a history lesson,” says reviewer Godfrey Cheshire at RogerEbert.com, “it’s one that plays like a tightly wound, pulse-pounding thriller.”

And Bruno Delbonnel’s cinematography offers many nice touches, too. The slow-motion views of people in the street (which you realize is Churchill’s view as he passes in his car), the isolation of the elevators, the pockmarked French countryside from the air. Wonderful.

Rotten Tomatoes critics’ rating: 84% ; audiences: 83%.

****Kompromat

newspaper headlines

CC BY-SA HonestReporting.com, flickr/caseydavid

By Stanley Johnson – If you’re one of the millions of people on both sides of the Atlantic who look back on the elections of 2016 and say, to yourself or at the top of your lungs, “What just happened?” this satirical new political thriller is for you.

Its characters are such thinly disguised versions of today’s leading political figures, you can be forgiven for thinking you’ve inadvertently picked up a recent copy of The Times. Much-needed is the list of its many characters—from the US, Russia, Germany, China, various other countries, four “key animals” and, most numerous of all, leaders of the UK. “Kompromat” is a Russian word—a portmanteau meaning compromising material, and in this novel—as, possibly, in real life—most of these countries hold plenty of it on each other.

As the book opens, a 2016 US presidential candidate is participating in an international wildlife expedition that hopes to radio-collar a tiger. Events go wrong almost immediately. The candidate ends up in a hospital where the Russians plant a bug in his body. The CIA, ever on the ball, figures this out, and replaces it with their own bug. And they’re not the only ones. By the book’s end, America’s new president unwittingly has unwittingly become another “Voice of America.”

Meanwhile, the British have problems of their own. Its Secretary of State for the Environment is approached by the Russians, who have singled him out as a leading light of the “Eurosceptic wing” of the Conservative Party. He learns the Prime Minister agreed to the Referendum on EU membership (the “Brexit” vote) for a reason no more complicated than money. Apparently, the PM believed the vote would never actually occur and, even if it did, it wouldn’t succeed, and the Party would receive money for doing nothing.

Author Johnson devises numerous amusing and convoluted scenarios in which the hapless politicians become entangled. In his scenario, these byzantine schemes are organized and carried out by the Russian Security Service—the FSB, heir to the KGB—“ to change the whole structure of international politics.” The book is not only entertaining, it makes you think “what if?” and, as more news drifts out of world capitals, perhaps “why not?”

Johnson is a former politician and member of the Conservative Party, and a former employee of the World Bank and the European Commission, who has held a number of prominent environmental posts as well as being an environmental activist. In the time preceding the Brexit vote, he co-chaired Environmentalists for Europe. Although he’s on record as opposing the Referendum, his son Boris was a key leader of the “leavers.” The book is in development for a six-part television series too.

Weekend Movie Picks: LBJ & Battle of the Sexes

Spanning the short period 1960 to 1973, these two movies are based on real events—political, in the largest sense, and human, with their subjects’ vulnerabilities and strengths on view on a very public stage.

LBJ

LBJ - HarrelsonWoody Harrelson as LBJ? Actually, the Texas actor does a fine job in this eponymous movie written by Joey Hartstone and directed by Rob Reiner (trailer). When it comes to the history depicted, this film gets it more right than most, partly because Reiner took the time to read and absorb the Robert Caro and Doris Kearns Goodwin histories.

In 1960, LBJ is a genius in the Senate, though he’s profane, even vulgar, the opposite of the Kennedy clan. Johnson won’t say whether he plans to run for president in 1960 because, his aides suggest, “he’s afraid he’ll lose.” Lady Bird (played by Jennifer Jason Leigh) overhears and corrects them: “He’s afraid people won’t love him.”

When Jack Kennedy (Jeffrey Donovan) surprisingly asks the Texan to become his vice president, Johnson accepts. You think it may be as much to tweak Bobby Kennedy (Michael Stahl-David), who obviously loathes him, as anything else. One of the most uncomfortable scenes occurs when he corners Bobby in a door alcove and says, “Bobby, why don’t you like me?”

Johnson never expects this office will be a sure path to the presidency, especially not after a mere thousand days. Seeing how the public loves Jack, and the outpouring of grief after the assassination, he apparently decides the best way to make people love him is to pursue Kennedy’s policy relentlessly. And, thankfully, he did.

That decision brought us new Civil Rights laws, the War on Poverty, Medicare, Medicaid, Head Start—and, tragically, the full-on Vietnam War. (The War just received the full Ken Burns treatment and isn’t touched on much here.) He achieves those programs by continuing his masterful managing of the Senate, personalized here by Texas Senator Ralph Yarborough (Bill Pullman) and Georgia Senator Richard Russell (Richard Jenkins).

Though the critics are cool to it, for the accurate history and some fine performances, it’s nevertheless worth seeing.

Rotten Tomatoes critics rating: 52%; audiences 64%.

Battle of the Sexes

Battle of the SexesThis film is much lighter fare, though it certainly has moments of intensity (trailer). Written by Simon Beaufoy and directed by Jonathan Dayton and Valerie Faris, it shows the lead-up to the famous 1973 tennis match between world number one women’s tennis player Billie Jean King (played by Emma Stone) and former men’s champion Bobby Riggs (Steve Carell). You even get a bit of Howard Cosell, though filmmaking magic.

In 1970, women tennis players received far less (about a tenth, I think) prize money than the men, because, as the head of the lawn tennis association explained (Bill Pullman again), women’s tennis is just less interesting. King led a walkout, and the women left the association to form a new league. With Virginia Slims cigarettes as a sponsor, they had their own competitive tour (ironically, none of them smoked), managed by highly entertaining Gladys Heldman (Sarah Silverman) who does.

In that context, Riggs—a hustler and clown, playing tennis costumed as Little Bo Peep, complete with sheep, wearing swim fins, and the like—said he could easily beat the best woman player. “I love women,” he says, “in the kitchen and in the bedroom,” an attitude, unfortunately, newly topical. King takes up the challenge. While she trains, he cavorts.

Home life isn’t simple for either of them. Riggs’s wife has left him, tired of his gambling, and King, though married, has her first lesbian relationship. At the time, public knowledge of that might have destroyed her career.

Emma Stone does a fine job—likeable and focused—and Carell is a believably driven character, teetering on tragedy as comics convey so well.

Rotten Tomatoes critics rating: 84%; audiences 76%.

***The Force

NYPD Detective badgeBy Don Winslow, narrated by Dion Graham – For a while yet, perhaps every gritty, noir cop story set in urban America will be compared with the television series The Wire in terms of realism, character development, and sheer storytelling power. (Dion Graham, who narrates the audio version of Don Winslow’s much-anticipated new cop tale played a state’s attorney in that series.)

In both stories, the stultifying and morally questionable “powers that be” come up against a loose cannon Irish cop. In this case, Detective First Grade Denny Malone whose turf is Manhattan North, which includes Harlem and the Upper West Side. Malone, a chief detective on the Manhattan North Special Task Force—“da Force”—is a king. “Malone and the Task Force, they weren’t just any cops on the Job. You got thirty-eight thousand wearing blue, Denny Malone and his guys were the 1 percent of the 1 percent of the 1 percent—the smartest, the toughest, the quickest, the bravest, the best, the baddest.” So it’s no surprise that all manner of people want to take him down.

Winslow’s novel starts with a spectacular heroin bust Malone and his team make, and the consequences of that flow through the city, the justice system, and the lives and careers of all his characters. The essential question of the book is, whom do you trust? And Malone questions even himself.

A good cop novel is a thing of beauty. It shows every side of human nature; people struggling against poverty, the odds, themselves; the human comedy and life’s tragedies; bold acts of selfless heroism; and, often, a meticulous deconstruction of how high-minded public servants go bad. This novel has all that.

Expectations for The Force are high. Winslow’s 2015 exposé of drug trafficking, The Cartel, was excellent. His plots snare and bind his characters ever more tightly. The main characters—not only Malone, but his partners—his best friend Phil Russo and Bill Montague, a.k.a. Big Monty—are people you want to root for, so what if they’re a little dirty?

Winslow shows how corruption works, in detail, from the inside. That’s why it’s puzzling that he brings the key officials together for a scene near the end of the book in which Malone climbs up on a soapbox and recites their malefactions. The author tended toward preachiness in The Cartel too, but there it seemed warranted, since so many Americans are oblivious to the problems he exposed.

But readers of The Force likely know plenty about official corruption. For starters, Winslow has just spent more than four hundred pages showing it to them. Bleak as The Wire was, some cops tried to do the right things the right way; some characters redeemed themselves after grievous errors; some city institutions actually tried to make life better for citizens. In The Force, everyone is compromised. Some good can only be accomplished by doing a lot of bad. While you may believe widespread corruption exists, it takes a high level of cynicism to think it is the only social force at work. This book should have been better.

Dion Graham’s narration provides distinct voices, good humor, and an urgent delivery that carried me through to the end, which probably would have been a little harder to accomplish in the print version. The book itself was a disappointment. An author of Winslow’s stature and gifts could have done better.

A longer version of this review appeared on CrimeFictionLover.com.