****The Snowman

The Snowman, Jo NesboBy Jo Nesbø, narrated by Robin Sachs — As the film of Jo Nesbø’s quintessential police procedural The Snowman (2007) comes to the big screen, listening to the audio version is perhaps a dramatized alternative between reading this terrifying bestseller and seeing the film (trailer), which, if the critics are to be believed, is pretty much a bust.

The book begins in 1980 on “the day the snow came.” A clingy married woman and her lover have a final midday assignation while her young son waits outside in the car. A hint of menace, a sense of being watched, hangs over the scene. The watcher turns out to be nothing more than a snowman, but the boy says the snowman gave him a message: “We’re going to die.”

The book then jumps to 2004, again November, again a first snowfall, and a missing woman, Birte Becker. She and her husband Filip also have a son. A snowman mysteriously appears on the Becker’s lawn.

The Snowman was the seventh outing for Nesbø’s prickly alcoholic detective, Harry Hole. Harry’s notoriety from capturing an Australian serial killer in book one (The Bat) haunts him in the Oslo department, making his superiors and colleagues reluctant to believe Harry’s contention that a serial killer is at work in Norway. The psychology of these interactions is strong. There’s a lapskaus (Norwegian stew) of grudging respect and desire to downplay another’s success—in short, all the petty office jealousies that interfere with getting work done.

A bright new transfer from the Bergen PD, Katrine Bratt, is assigned to work with Harry on the Birte Becker case. While he at first doubts her usefulness, her experience on the Bergen sex squad gives her good insight. They investigate cases of missing women going back a number of years, and Bratt discovers they all coincided with winter’s first snowfall. Another previously unrecognized common denominator is that a snowman stood near where each woman disappeared, an innocent symbol transformed into a diabolical observer.

The trope of settling first on one suspect, then having that theory demolished and settling on another, and so on, has become a bit hackneyed, though this is an excellent example of where it works well. When you are only 50 pages (or an hour) into a book and the police start saying they have their man, you know they’re wrong. Twists and turns inevitably lie ahead, with the real culprit laying down a succession of misleading clues. Nesbø is so clever with his logical traps that, even though you are sure they lie in wait, they’re still a surprise.

The Scandinavian setting is, basically Nordic noir. Snowy. Wet. Dark. And the story moves through the slush in a doggedly determined fashion, like Harry himself, without any of the literary attributes that help crime fiction rise above the genre.

Well-developed secondary characters—a slimy plastic surgeon, the strangely distant father Filip Becker, a chauvinist playboy media mogul, and a now-dead policeman involved in an earlier Snowman case—are all attractive suspects whom Nesbø dangles in front of you.

The narration by the late English actor Robin Sachs is solid. Sachs has a good feel for the characters, having narrated several Harry Hole books, even though he makes Harry sound older and more dissolute than I picture him. A bit of a problem for audio that wouldn’t arise in reading this story is that the characters’ names are hard to remember, especially those of the victims. Regular readers of Harry Hole novels would have an advantage here, because they’d be already familiar with the Oslo PD personnel. It’s a minor quibble and requires only a little extra attention.

For more on Harry Hole and his universe, read CrimeFictionLover.com’s complete guide to the series here.

*****The Cossack

photo: Ivan Bandura, creative commons license

By KJ Lawrence – Though this debut espionage thriller kicks off with a murder in winter 2014, it’s not the usual intercontinental bloodbath. In fact, in a nice twist, the killer—a Russian hit man named Mikhail Petrov—is having serious second thoughts about his choice of career. He regrets the string of corpses he’s left in his wake, and is weighing the likelihood he could change occupations without himself becoming a victim of the SVR—the heir to the KGB. With the death that opens this book, at least he gets what he came for: a set of 18th century banking documents.

Mikhail is an ethnic Russian who grew up in the Ukraine, and his victim is a young Ukrainian named Ivan, working in London as an assistant to noted photographer Daniel Brooking. Ivan has disappeared, but it’s happened before, and Daniel is not too worried about it until he receives a visit from Ivan’s friend, British intelligence official Anthony Graves. Finding out what happened to Ivan becomes a truth mission for Daniel. All he has to go on are some documents relating to a mysterious financial transaction during the American Revolution.

Across town, Mikhail Petrov likewise studies the papers he stole from Ivan. Though Ivan had cleverly divided his resources, both sets of documents converge on one location, a bank headquartered in New London, Connecticut. Mikhail travels there, and finds Daniel a half-step ahead of him. In author Lawrence’s hands, the shifts between these two characters’ points of view work well. They’re well-rounded, believable, interesting, and temperamentally different from each other. Daniel may be the novel’s main character, but Mikhail is more sympathetic than you’d expect and has considerably more skills for dealing with the hazards this unlikely duo eventually confronts.

You can almost smell the dust on the half-forgotten legend they uncover concerning a fortune in gold. What could this far-fetched tale have to do with modern-day Ukraine? Why was Ivan killed for delving into it? A question that does not occur to Daniel, at least at first, is whether poking a stick at this particular bear puts him at risk too.

Lawrence creates a strong sense of urgency by interspersing a parallel story line involving Ukrainian protests against the Russian-supported government, which peaked in 2014, the time when this novel is set. Ivan’s sister Yana, a physician, is an active participant in Kiev’s independence movement and a witness to the violence perpetrated by the Ukrainian police. Yana is poking a bear, too, determined to put an end to the careers of the worst offenders. Although this thread of the story is thinner than the main tale, it provides a real-life grounding and urgency to Daniel and Mikhail’s activities continents away.

The Cossack is a fine debut, with Lawrence a compelling—and compassionate—author worth watching.

**Without Fear or Favor

NYCity  police officer

photo: scubacopper, creative commons license

By Robert K. Tanenbaum – Among many other legal posts, Tanenbaum has been a prosecutor, an Assistant District Attorney, has taught law, and served two terms as mayor of Beverly Hills, California. This book-jacket terms him “a New York Times bestselling author,” although many readers have learned that doesn’t necessarily mean what we think it does. This is the 29th book in the long-running series of legal thrillers featuring New York City District Attorney Roger “Butch” Karp and his wife, investigator Marlene Ciampi. How could one man do all that? Easy. He didn’t.

In a rather notorious (in writing circles) revelation in 2003, Tanenbaum’s cousin, Michael Gruber revealed he had ghostwritten the “bestselling author’s” novels, the two had parted ways, and he was pursuing his own writing career. Followed by a rather inexpert successor, the quality of Tanenbaum’s books reportedly suffered, then for a while it appeared more skilled hands were at the computer keyboard. I knew none of this when I read Without Fear or Favor, but Tanenbaum’s hunt for a good ghostwriter should continue.

The new novel tells the story of a white cop murdered by a black militant who uses the nom de guerre, Nat X. Nat X proclaims that there’s a war on black people, and cops are the enemy. He does murder a policeman early in the story, then entices a teenager to shoot another one, and the remainder of the book is about bringing him to justice.

In some respects, this book is the antithesis of Don Winslow’s The Force, also about black-white relations in New York City as they collide within the criminal justice system. In Winslow’s book, corruption is rampant; in Tanenbaum’s, aside from three vigilante cops, duly punished, the police, the investigators, and the prosecutors are models of probity. Their solid ideals are revealed in unrealistic lengthy statements, more like essays than realistic conversations.

If these editorial opinions were confined to one or two characters, you might accept that they reflect a particular character’s point of view and bombastic communications style, but they also appear in the narration, which becomes indistinguishable from the characters’ “good citizenship” and “flaws in the system” lectures.

In addition to constant editorializing, the writer has a bad habit of introducing a bolus of superficial backstory every time a new character is introduced. It doesn’t explore the individual at all, and you’re left to apply whatever assumptions you may have about someone described as a product of “only the finest prep schools.”

Unsurprisingly, the story is loaded with clichés and stereotyped and cardboard characters. Perhaps most puzzling are the courtroom scenes of Nat X’s trial. I wonder whether Tanenbaum even read them. The defense attorney is not a worthy adversary for protagonist Karp, which greatly undercuts the tension of the trial. Not to mention that her deceptive behavior might well subject her to an ethics investigation.

Instead, How About . . .

If you like legal thrillers, you may find more believable courtroom drama in Steve Cavanagh’s The Liar or The Plea or Brad Parks’s recent Say Nothing. Or, come to Richardson Auditorium on October to hear John Grisham, Wednesday October 25, 2017, 4:30 p.m. Tickets on sale at the Auditorium website at noon October 19.

****The Ex

photo: Mr. Nixter, creative commons license

Written by Alafair Burke – Even two decades later, New York criminal defense lawyer Olivia Randall has never quite forgiven herself for the unnecessarily cruel way she broke up with her fiancé, Jack Harris. Subsequently, however, Jack seems to have found happiness in his career as a best-selling novelist and on the family front with his wife Molly and teenage daughter Buckley. But that happiness was merely a respite. Three years before the novel begins, a mentally disturbed fifteen-year-old murdered thirteen people and injured many more in a Penn Station shooting. One of the dead was Molly Harris.

The boy was the son of prominent investment banker Malcolm Neeley, who’d refused to get the boy treatment or do “anything that would label his son as ‘sick.’” The outraged families of the victims, led by Harris, filed a wrongful death lawsuit against Neeley, a suit recently dismissed by the court.

The book opens with the transcript of a police station interview with Harris. An NYPD detective is looking for information about a shooting that occurred earlier in the day: “Boyle: Okay, I’ve turned on the machine, Mr. Harris. Just to make clear, are you here at the First Precinct voluntarily?” Then, “And you’re willing to speak to me of your own accord?” You know immediately that Jack has already made a colossal mistake. He’s talking to the police without a lawyer.

Their flimsy excuse for taking him to the station for the interview, the pretense of needing to put the interview on tape because they’re talking to so many potential witnesses, all are bright flashing neon letters reading, “you’re in the deep water now, Jack!” The interview tells you a lot about Jack as well as the trouble he’s likely in. when the police reveal that one of the three people killed in that morning’s shootings is Malcolm Neeley.

Partly out of her own past guilt and partly because she can’t imagine Jack committing any crime remotely close to a triple murder, Olivia takes on Jack’s case. One of her first challenges is trying to unravel the puzzling sequence of events that lured Jack to the vicinity of the shootings in the first place. It seems to have been an elaborate ruse involving a woman, a book, and a picnic basket, with a big assist from social media. Did this woman even exist?

In her Internet research, especially, Olivia is aided by her office assistant Einer, a smart and savvy young man with a gift for sarcasm. Many of the other secondary characters come across strongly too in Burke’s skilled hands.

In the face of mounting evidence and doubts about Jack, Olivia can’t help but wonder, is this the same man I knew two decades ago? Can you ever really know what someone else is capable of? These are not uncommon questions, and the final reveal is fairly familiar territory as well.

In The Ex, you see a civilized, realistic New York City—not the city of top-to-bottom corruption in Don Winslow’s summer hit, The Force. Burke’s is a city of private schools, functioning public services, trendy night spots, and Armani.

On the short list for an Edgar Award in 2017, this is Alafair Burke’s eleventh crime thriller. She is a professor of criminal law in New York, a former prosecutor and has good genes. She’s the daughter of acclaimed thriller writer James Lee Burke.

Wind River

Wind RiverI know a lot of people who would not like this remarkable movie, written and directed by Taylor Sheridan (trailer). If you don’t like violence, you might as well stop reading now. If you oppose hunting, you can stop. If thoughts of a child being lost are too troubling, stop.

But if you want to see a powerful tale about achieving retribution despite the forces aligned against that possibility, you may appreciate Wind River. So many easy mistakes this movie could have made, but didn’t. There was no unconvincing romance, despite the respect and understated chemistry between the main characters. There were no long quasi-editorials about the plight of reservation Indians. The filmmakers show you that. There was no pretending that people simply get over soul-wounds by the next scene. These characters carry their pain with them and it helps shape who they are and what they will do.

What the filmmakers do give you is beautiful, treacherous mountain scenery (the Wind River Indian Reservation is in Wyoming, though the film was shot in Utah), where blizzards are blinding and it’s so cold that breathing can burst a person’s lungs. They give you snowmobiles racing across the fields, forests whose sounds could be branches breaking or a family of stalking cougars.

Best of all, they give you several profound cinematic moments, achieved not when the characters say a lot, but when they say almost nothing. “At times, Sheridan has his characters spell out a little too clearly what they’re thinking and feeling . . . but the words are so beautiful and come from such a place of deep truth, it’s hard not to be moved,” says Christy Lemire in her review for RogerEbert.com.

I don’t want to say too much about the actual story, so as not to take away from your experiencing it fresh. Suffice it to say it’s about the investigation of a murder; it’s about gun culture and drug culture and their inevitable consequences; and it’s about survival. And it’s about loving and safeguarding your children. Once you have them, a father says, “You can’t blink. Not once. Not ever.”

Put everything else aside and concentrate on the fine acting. Jeremy Renner plays the protagonist, fish & wildlife employee Cory Lambert (“I hunt predators”) who has many reasons for trying to solve this killing; Elizabeth Olsen is the FBI agent who learns more in a week in the snow than in her FBI Academy training, that’s for sure; Graham Greene is the laconic, seen-it-all tribal police chief; and Gil Birmingham is the father of the murdered girl.

Rotten Tomatoes critics’ rating: 86% ; audiences: 92%.

Beach Reads for Shark Week!

shark, graffiti

photo: Alexis LêQuôc, creative commons license

We’re in the middle of Shark Week, and it’s prime season for heading to the shore. Beach vacations deserve beach reads. If you read the true story Close to Shore, you may decide to get your excitement sitting under an umbrella with your book and a piña colada, leaving the swimming to others. Even if it’s a staycation this year, these authors will leave you feeling sand in your shoes.

  • Close to Shore: The Terrifying Shark Attacks of 1916 by Michael Capuzzo – from before New Jersey’s sharks congregated at the state house—reportedly an inspiration for Jaws
  • Rum Punch by Elmore Leonard – a West Palm Beach/Miami stewardess tries to secure her fortune ahead of the Feds and the mob—made into the film Jackie Brown
  • Razor Girl by Carl Hiaasen – down in the Florida Keys, Hiaasen’s typically hilarious collection of oddballs comes together after a faked auto accident
  • The Dogs of Winter by Kem Nunn – northern California surfing legends and an unsolved murder
  • Inherent Vice by Thomas Pynchon – sheer craziness with SoCal beach-dweller and P.I. Doc Sportello, who works in a marijuana haze with a 60s soundtrack—the movie is impenetrable
  • The House Without a Key by Earl Derr Biggers – 1920s Hawai`i, Charlie Chan, and the murder of a proper Bostonian—an old-fashioned classic
  • The Place of Refuge by Al Tucher – the dangerous assignments for two Hawaiian police detectives converge
  • The Beach by Alex Garland – a tourist searches for Thailand’s “perfect” beach in this suspenseful tale; his mistake may be finding it

Or, if you’re into real sharks, you can name a shark, track a tagged shark’s meanderings, and see where tagged sharks have been hanging out recently (orange dots). GPS tags ping when the dorsal fin breaks the ocean’s surface.

reading

(photo: Nico Cavallotto, Creative Commons)

 

Spy Fic: “Freshly Relevant”

Spy

photo: Joshua Rappeneker, creative commons license

The old saw “truth is stranger than fiction” was never more apt than when applied to the Trump Administration. Back in February, its bull-in-the-China-shop approach to national security inspired me to create a recommended reading list—as a public service [!]—comprising a few thrillers that would illustrate how espionage works and how to behave in order to protect our country and its secrets. The books on that list provide a much more exciting and vivid curriculum than tedious daily briefings, for sure. Apparently, my post came too late for Don Jr. Ah, well, authors keep trying. And the parallels keep emerging.

Last Friday Dwyer Murphy in LitHub said he also finds spy literature “freshly relevant.” And apparently, Senator Tom Cotton agrees. Murphy’s essay, “10 Great Spy Thrillers That Could be New York Times Headlines” starts like this:

The cast of characters is almost too much to believe: a Russian pop star, a British tabloid veteran, an attorney with mysterious ties to the Kremlin, a Moscow-funded lobbyist running a White House campaign, a real estate scion married into political power, and the son of the soon-to-be President of the United States.

spy, espionage, reading

(photo: David Lytle, creative commons license)

Murphy contends that you can get “uncannily close” to the strategies and schemes filling 2017 newspapers—and understand how the U.S.-Russia relationship got to be what it was and is—all while lounging in your beach chair with some pretty exciting novels. I remember wondering what John le Carré would do after the Cold War ended. Now we know. Trot out his backlist.

Here are Murphy’s picks that I’ve read too:

  • The Ipcress File, by Len Deighton – “cynical, paranoid, and savvy”; and the 1965 Michael Caine movie was a winner too
  • Night Soldiers, by Alan Furst – The hero of this novel is caught up in the struggle between Nazi Germany and Soviet Russia for Eastern Europe, “a work on a grand scale”—I’m a big Furst fan.
  • The Human Factor, by Graham Greene – Like many of Furst’s books, Greene’s classic starts with the protagonist, an MI6 operative near retirement, taking a few slight actions to aid the Communists and, when he’s in too deep, finding out they have an altogether different game on. The film version had an all-star cast and a screenplay by Tom Stoppard.
  • Tinker, Tailor, Soldier, Spy, by John le Carré – Murphy calls this the ne plus ultra of the Russian spy game. Le Carré’s A Perfect Spy is the favorite of other writers, including Philip Roth.
  • The English Girl, by Daniel Silva – Silva has cited this novel when discussing the Russian interference in the U.S. election. “KGB playbook 101,” he reportedly said.

If you still have room in your vacation suitcase, the other books on his list (which I have not read) are: Red Sparrow by Jason Matthews, David Downing’s Zoo Station, Mesmerized by Gayle Lynds, Martin Cruz Smith’s Tatiana, Seventeen Moments of Spring by Yulian Semyonov, and JFK’s favorite, From Russia with Love, by Ian Fleming. Read all these and you will be every bit as well prepared to manage our country’s security services as some of the people actually doing so.

*****Fierce Kingdom

paw

photo: Josh Henderson, creative commons license

By Gin Phillips – If you want to write a psychological thriller as compelling as this Gin Phillips debut, here’s how. If you’re a parent—or can imagine being one—construct your “worst nightmare” scenario, including in it all the times you thought about, as most parents do, how you would extricate you and your child from deadly peril.

Then think about all the ways your scenario could go wrong, your possible misjudgments, the quirks of your and your child’s behavior that spell possible doom.

Once you’ve depleted your daily allotment of adrenaline with this imaginary exercise, write it all down. Few child-in-danger novels set out to immerse themselves in the relationship between mother and child as Phillips has. It’s that relationship that brings the novel its relentless, overwhelming power.

Phillips has done that here in an edge-of-your seat thriller told mostly from the acutely observant third-person point-of-view of a young mother. Devoted, attentive mom Joan is hurrying her four-year-old son, Lincoln, out of the zoo at closing time. As they near the exit, she realizes they were wrong about the noises they’ve been hearing. They weren’t firecrackers or popping balloons, they were gunshots, and people lie dead and dying. Where to hide? How to hide, when Lincoln is averse to whispering and to having his wishes more-or-less met upon request?

The action takes place in the three hours, ten minutes from 4:55 to 8:05 p.m. one weekday, so, in a way, it unfolds before you in real time. The zoo/park setting in an unnamed American city is meticulously rendered, introducing not only the animal exhibits, but also the miscellaneous trappings—the snack court, the carousel, the circulating train and, in the season of Joan’s nightmare, the cheesy Halloween decorations.

The behavior and preoccupations of a four-year-old are so accurately described, you know this child. You can absolutely believe in every mistimed, too-loud complaint, every desire that needs immediate attention, and every incipient wail. You sympathize with Joan trying to comfort and control her son and be a positive parent, to reassure not terrify him. She knows him so well, she anticipates the best ways to assuage his discomforts. Unfortunately, what will work can be risky. At times, the tension is so high, you may need to take a break. (I did!)

Lincoln is a child who follows the rules. That mostly works, but Joan must finally tell him, “The rules are different today. The rules are that we hide and do not let the man with the gun find us.” The police have arrived—she’s heard the sirens—but the gunfire continues and they don’t seem to have penetrated the zoo itself. Why not? This delay is one of the few lapses in the novel’s believability.

So, if you write down a terrifying story such as that, you will have done what Phillips has done. Oh, and you need to throw in a moral dilemma or two, you must capture the thinking of a bright, inquisitive child without becoming saccharine or tedious, you have to create compelling secondary characters, and you must have the writing chops of a serious, thoughtful author. In other words, you must be Gin Phillips.

**Love Me Not

Motorcycle

photo: Chris Jefferson, creative commons license

By M J ArlidgeThis contemporary crime thriller set in Southampton, England, pits the local police force against a pair of serial killers. It’s a multiple point-of-view novel, told mostly from the perspective of DI Helen Grace, newly returned to her job, but also from the perspective of numerous other characters, including DS Charlene (Charlie) Brooks, various witnesses, and sleazy and irritating journalist Emilia Garanita.

Although many of the principal characters are women, they seem no more than superficially female. Grace rushes into situations on her Kawasaki without analyzing them or indicating the police department has any procedural requirements. Well along in the story, the author writes that she is now being propelled by instinct, whereas it seems that instinct is what has driven her all along. And, though the author refers to Grace’s feelings about her work, her emotions tend to be expressed in clichéd, rather than insightful, ways. There’s an unsatisfying pop psychology analysis of the killers’ motivations that does not evolve as new information is gained.

Perhaps police and school administrators’ paranoia about shooting incidents is markedly less in the U.K. than in the States, but when the serial killer invades a middle school, you have to wonder whether there should be more of a protocol or official response than having Grace calmly saying to a bunch of bemused teachers and students, “You should leave.”

Authors are constantly told “show, don’t tell,” especially when it comes to emotions. A worse pitfall is showing then telling, which suggests the author doesn’t trust the reader to understand what has taken place and needs him to explain it. Arlidge does this repeatedly. One example: A man is numb with shock about his wife’s murder until his dogs bound into the room and affectionately greet him. As he pets them, he comes near to tears. The author can’t resist explaining that the dogs’ love and devotion has penetrated the husband’s shock, revealing how devastated he is, which of course takes all the wind out of the emotional moment.

The action of the novel occurs over the course of a single jam-packed day, with flashbacks as necessary. Surprisingly, the police determine the identity of one of the killers less than a third of the way into the novel and the other, less than half-way in. This means the entire last half the book is an extended chase scenario as the police struggle to get one step ahead of the perpetrators.

This last half is fast-paced, of course, and readers attracted to entertainment rich with car chases may find it just the ticket. According to Amazon, this is Arlidge’s seventh novel featuring DI Grace, and he has been producing two of them a year since 2014, plus a pair of short stories. That’s a pretty fast pace too!

Best Mystery, Crime, and Thriller Fiction – 2017

books

(photo: wikimedia.org)

Because reading a bad novel seems, well, criminal, we can thank Bill Ott at The Booklist Reader for wading through the enormous output of crime, thriller, and mystery fiction to come up with his list of top books of the year, 5/1/16-4/15/17. He admits to ignoring some long-running series, in favor of bringing to light less familiar authors and work. So, from his list, in alphabetical order:

  • The Boy Who Escaped Paradise, by J. M. Lee, translated by Chi-Young Kim – part of a growing shelf of fiction set in North Korea—home base for alternative facts—where the mechanisms of the state purposefully distort the lives, minds, and hearts of the people. Gil-mo has escaped, following an adventurous trail through several countries. Now he sits wounded in a New York City jail cell, while the authorities try to answer the question, is he a murderer and a terrorist or a mathematical genius?
  • Celine, by Peter Heller – Celine is nearly 70, a private investigator with an oxygen tank, who specializes in missing persons. A “captivating, brainy, and funny tale” full of suspense, it’s set in the beautifully described Yosemite National Park. As in so many investigations, her quest is for more secrets than the fate of a nature photographer presumed killed by a grizzly.
  • Dark Side of the Moon, by Les Wood – Ott compares the zingy dialog of this novel about the theft of a diamond to that of Donald E. Westlake (author of the classic jewel-theft caper, The Hot Rock). It’s told from the  point of view of one of Glasgow’s notorious crime lords. Wood honed his crime-writing skills concocting detection challenges as a teaching tool for his physiology students at Glasgow Caledonia University.
  • Darktown, by Thomas Mullen – Set in post-World War II Atlanta, the story follows an unauthorized murder investigation by two newly hired black cops, at a time when “one-quarter of Atlanta policemen were, in fact, members of the Ku Klux Klan,” said Mullen in an NPR interview. They were supposed to patrol only the black neighborhoods, many of whose residents “saw them as toothless sellouts.” This story of men under pressure is already in line to become a television series.
  • Let the Devil Out, by Bill Loehfelm – “The most compelling, complex patrol cop in the genre” is Loehfelm’s New Orleans rookie Maureen Coughlin, on the trail of a white supremacist militia. This is Loehfelm’s fourth book featuring his smart and strong protagonist, with the gritty, corrupt, fascinating city of New Orleans her frowzled co-star.
  • Razor Girl, by Carl Hiassen – another laugh-out-loud story displaying “Hiaasen’s skewed view of a Florida slouching toward Armageddon.” The super-cool Merry Mansfield may be a scammer, whose trade is phony auto accidents, but when she rear-ends the rental car of the agent to a TV reality star, a high-profile mess ensues, richly peopled with Florida characters, including disgraced detective Andrew Yancy, eager to redeem himself.
  • Revolver, by Duane Swierczynski – Set in 1965, 1995, and 2015, this three-generation crime story is a “bleak, powerful tale of corruption,” Ott says, and shows how long a family will persist in trying to resolve a tragic murder. Crimespree Magazine likens the book’s style and its portrayal of the city of Philadelphia (“a character unto itself”) to the master, Dashiell Hammett.
  • What We Become, by Arturo Pérez-Reverte – In 1928, Max works ocean liners as a tango dancer with an eye for the ladies and their jewelry. Pérez-Reverte “drinks freely from many genres: historical epic, Hitchcockian thriller, and deliciously sexy love story,” Ott says. His affair with the beautiful but married Mecha Inzunza flares, then fades. Eleven years later their paths across again in France, when Max becomes involved in a risky espionage and her husband away, fighting in Spain.

Edgar Winners 2017

The Mystery Writers of America recently announced its 2017 Edgar winners. As last year, none of the nominees for “best novel” were in Ott’s list, which to me is evidence of the quantity of good writing out there. Awarded an Edgar for “best novel” was Before the Fall by Noah Hawley and for “best first novel” was Under the Harrow by Flynn Berry. Two other truly excellent novels in the latter category, reviewed here, were Dodgers by Bill Beverly and The Drifter by Nicholas Petrie.

Be sure to check out the “Book Reviews . . .” tab above to find more in the crime/mystery/thriller genre.