Santa’s Bookshelf

Santa Claus, reading

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Still looking for that perfect book for under the Christmas tree? Here are a few ideas for your weekend shopping that might suit some of the hard-to-buy for people on your list:

Film Noir Junkies – A.J. Finn filled his blockbuster psychological thriller, The Woman in the Window, with references to classic noir, and the main character watches quite a few too. And drinks Merlot by the case (trigger warning, Sideways fans).

Intrepid Travelers – if you can’t give a trip to Paris, you can give Mark Helprin’s Paris in the Present Tense. If they’re also classical music devotees, bonus points to you for finding this story about an aging cellist in the City of Light who really makes crime pay.

Jive-Talking Rap Music LoversRighteous or any of the other I.Q. books by Joe Ide. His characters’ language unspools across the page in pure urban poetry, as they solve crimes and right wrongs.

Unrepentant Bookworms – a book they can burrow into for days and maybe never sort out all the plot shenanigans, Lost Empress is about football, Rikers’ Island, a missing Salvador Dali painting, a man and his mom, transcribing 911 calls, Paterson, New Jersey, and so much, much more.

Armchair Psychologists – OK, does he have dementia or doesn’t he? Grace may not live long enough to find out on a Texas road trip with the elderly man she believes murdered her sister. Paper Ghosts is nice work from Julia Heaberlin.

Inveterate Classicists – David Hewson’s Juliet & Romeo is another in his fine adaptations of Shakespeare’s plays. Always inventive, always interesting. His Macbeth and Hamlet were winners too.

Road WarriorsShe Rides Shotgun is Jordan Harper’s award-winning debut thriller about a man and his young daughter on the run. They won’t be able to turn the pages fast enough.

Fairy Tale Fans – True, they may be startled at the liberties Karen Dionne took with Hans Christian Anderson’s tale, but in The Marsh King’s Daughter, she’s created a compelling story of a girl raised off the grid and what it takes for her to build a conventional life. Can she keep it?

Anyone Who Just Likes a Damn Good Book – You should get a twofer for Philip Kerr’s book Prussian Blue, which does a deep dive into both the dark days of the Third Reich and early 1950s France. Detective Bernie Gunther’s skill at solving murders doesn’t always make him friends.

Be Very Scared . . .

raven

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Credited with inventing detective fiction and contributing to the popularity of the then-new genre of science fiction, Edgar Allan Poe was one of America’s earliest authors to devote energies to the short story—as he defined it, a composition that could be read in a single sitting. Yet, his heart’s desire was to be a poet. Had he not died so young—at age 40—he might have been a great one.

This year, around the 169th anniversary of Poe’s mysterious death in Baltimore, Camden Park Press published Quoth the Raven, an anthology of poems and stories inspired by Poe’s work and sensibility, reimagined for the twenty-first century. Lyn Worthen was the collection’s hard-working editor. One of the short story authors, Tiffany Michelle Brown, interviewed seven of the collection’s 32 authors about their inspiration.

Brown: Imagine you’re in an old-timey elevator, a rickety one that boasts a well-worn, rusty cage. There’s a man in all black in the elevator with you, and he asks what your poem or story is about. What do you tell him?

Poet Tony Kalouria said she was inspired by the notion that unsolicited, unwanted advice is “for the birds.” Menacing, nay-saying birds, the spawn of Poe’s Raven.

Story-writer Susan McCauley used “The Cask of Amontillado” to inspire her story of murder and revenge, whereas my story sprung from Poe’s “Berenice.” In it, a woman sees her twin brother as the other half of herself and will stop at nothing to keep him close. In “My Annabel,” Emerian Rice told the story of two surgeons caught in a pandemic and their fight to stay alive for one another, and Sonora Taylor propelled Poe’s “The Tell-Tale Heart” into the maelstrom of social media with “Hearts are Just ‘Likes.’”

“Considering the rust on this rickety cage,” said Stephen R. Southard, “I’m not sure we’ll even make it to our floors.” His story sprang from Poe’s tale about a balloon trip to the moon, which, naturally, left many unanswered questions. Poe intended future installments, but never completed them. “Someone had to write the sequel, so I did.”

Brown: What’s a story or poem – by any author – that has truly creeped you out (in the best way possible, of course)?

  • The Exorcist — book and movie! “I was considering therapy for almost a week, I was so traumatized. And pea soup was definitely off-menu for a very long time” (Tony Kalouria). Frankenstein. “It’s terrifying and heart-breaking at the same time. And the way it plays with ideas of gods and monsters is really quite genius.” (Donea Lee Weaver)
  • Emerian Rich chose The Woman in Black by Susan Hill. “I read it after watching the movie because I just adored the film. The book has this underlying chill that scared me more.” He said the house (or the bog) seemed to mesmerize characters into doing strange things or paralyze their thought process in some insurmountable way.
  • The Haunting of Hill House by Shirley Jackson, said Susan McCauley. “I first read it in my early twenties and had to sleep with the lights on for several nights.”
  • Sonora Taylor picked the short story “Shadder” by Neil Gaiman. “ I read it in bed (having learned nothing since reading Poe’s “Hop Frog” in bed years before). Even though it’s short, even though I knew it was fiction, even though I had all the lights on, and even though my bed is up against the wall, I still felt the urge to look behind me at the end.”
  • Little Brother, by Cory Doctorow, said Steven Southard. “It’s a re-telling, and update, of George Orwell’s 1984 and a chilling tale of how easy it may be to slip into totalitarianism.
  • My pick was The Silence of the Lambs, the first modern “thriller” I ever read. The scariest film would have to be Alfred Hitchcock’s Psycho. It was decades before I didn’t think of it when in the shower. Or the deeply disturbing ending of George Sluizer’s The Vanishing. Nightmares.

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If You Met Poe, What Would You Say?

raven

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My fellow-authors in the anthology inspired by the work of Edgar Allan Poe, Quoth the Raven, have bonded via social media. Tiffany Michelle Brown, author of the story “My Love, In Pieces,” has interviewed a number of us regarding our experience looking at contemporary issues through a Poe-ish lens. Her interview with me is now posted on her website.

I loved Tiffany’s story because it grew from the seed of Poe’s gothic tale “Berenice,” as did my story, “Tooth and Nail.” Yet, they’re so different! She notes that when “Berenice” was first published by the Southern Literary Messenger, readers were so disturbed by its graphic content, they complained to the editor. When Poe published it subsequently, apparently he toned it down a bit. Hmph!

Dark like the days, and scary like the times.

*****Lost Empress

Football, leaves

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By Sergio de la Pava – Does anyone these days have the time to read a 640-page novel? I made the time and was glad of it! This remarkable book came to me as a reviewer for crimefictionlover.com, and it bucks convention in more ways than its length.

In all those pages, a lot happens—interesting, challenging stuff you won’t find in a typical novel. It includes a meditation on Time, an evisceration of professional football, a hilarious take-down of the U.S. health care system, an exploration of the meaning of loneliness and the futility of religion. Fundamentally, however, it’s a kaleidoscopic, postmodern approach to the question “what is justice?” All the while, Sergio de la Pava’s sly sense of humor keeps the pages turning, as situations at first merely odd spiral out of control like a poorly judged forward pass.

Characters are described with juicy details that make their stories tantalizing, and as the story settles down, two principal characters emerge. The first is Nina Gill, former co-owner and brains behind the wildly successful Dallas Cowboys. Family maneuvering gives her a football team of her own—not the Cowboys, the decidedly non-competitive Paterson (N.J.) Pork.

Nina is a woman who gets what she wants, and what she mostly wants is a winning football team. The NFL players are in a lockout, the owners have cancelled the season, and gutsy Nina recruits men desperate to play. Her second-in-command is college student Dia Nouveau, and the laugh-out-loud banter between tough Nina and can-do Dia is like the script for a screwball comedy, sometimes even written in script format.

Nuno DeAngelis is a career lawbreaker headed to Rikers Island. Nuno is a philosopher. “They can put him in Rikers, but they can’t make him live there.” The story of his life in prison, how he gets out and back in again, is written in what you might call a suprarealistic style, not as gritty crime drama, but floating somewhere above reality. But, since he’s there, his various connections give him assignments: avenge a vehicular homicide, snatch a Salvador Dali painting Nina wants . . . you know, the usual prison malarkey. Nuno writes his own brief for his Grand Jury proceeding, and it’s both expletive-laced and morally persuasive.

Trying to give a sense of the plot of a novel this sprawling is probably irrelevant. De la Pava has created a three-ring circus involving clowns, daredevils, and high-wire performers, creating extraordinary characters from people engaged in seemingly ordinary activities—a 911 call transcriber, a man caring for his ailing mother, a parking garage operator, a priest in a dwindling parish, and a failed doctor who becomes the Paterson Pork mascot.

De la Pava’s first novel, 2008’s A Naked Singularity, was originally self-published, but when the University of Chicago Press discovered and republished it in 2012, it received the PEN/Bingham Prize for best debut novel of the year. His is a refreshing and unforgettable voice, one that busts out of the boxes of both crime and literary fiction, stretching the form and the reader as well.

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Toronto: Backdrop for Mystery

Park Bench, snow

Trang Pham, pexels license

Two very different mystery/thrillers from authors based in Canada, where everyone is supposed to be so nice. !

*****Bellevue Square

By Michael Redhill – A compelling contemporary psychological thriller set in Toronto, Bellevue Square won the Scotiabank Giller Prize, Canada’s most prestigious literary award and is now out in paperback.

Narrator Jean Mason runs a downtown bookshop. When customers begin mistaking her for Ingrid—a woman they know from Kensington Market—Jean decides to track down this supposed doppelganger.

She stakes out a bench at the market’s heart, Bellevue Square, and observes the comings and goings of the folk living and trading nearby. The richly described life of the square becomes the center of the novel and of Jean’s attention. The Bellevue Square regulars are “a peculiar collection of drug addicts, scam artists, philanthropists, philosophers and vagrants.” Author Redhill gives them distinctive personalities and preoccupations that are occasionally comic, yet never cruel.

As Jean gets to know them, she likes them and they her. She lets them know she will pay for information about Ingrid and they come up with sightings and information, but should she trust it? Her husband Ian, a policeman, insists on knowing where she’s spending her days, and when she takes him there, his fresh and unsentimental eyes see a collection of loonies. “So this is how you’ve been spending your time? With these kinds of people?”

You hope Jean is successful in her quest for Ingrid, even as its likelihood dwindles. Redhill says Bellevue Square “is a literary novel but has one foot in mystery and a couple of toes in psychological thriller,” and Jean’s reality cracks and splinters around you in unique and unexpected ways. Well worth a read.

P.S. Until recently, the Bellevue Square of the novel was a real location in Toronto. In the spring of 2017, reports Redhill in his acknowledgements, the city’s Parks, Forests and Recreation division razed it. He says, “My regards to the City of Toronto for enthusiastically illustrating some of the themes in my work.”

 ***The Language of Secrets

By Ausma Zehanat Khan – Now also out in paperback, is Ausma Zehanat Khan’s second Toronto-based thriller featuring Esa Khattak,  head of the Community Policing Section, and his sergeant and chief sounding-board, Rachel Getty. As winter sets in, the Canadian authorities are trying to thwart a rumored New Year’s Day terrorist attack and Khattak’s friend, Muslim intelligence officer Mohsin Dar, has infiltrated the plotters. Then he’s murdered.

Khan vividly describes the icy, remote location where key scenes take place, as well as the cramped urban mosque where the police believe the plotters meet. Their putative ringleader is a charismatic but evasive man named Hassan Ashkouri who speaks in riddles and poetry.

Khattak is tasked with finding Dar’s killer. For personal reasons, Inspector Ciprian Coale, who heads the team trying to stop the terrorists, is determined to thwart Khattak’s investigation at every turn. He’s not above suggesting that Dar may not have been playing straight with him and hints Khattak may be equally unreliable.

Politics is thus intertwined with many aspects of this story, and every move Khattak makes is subject to political interpretation by his rivals, the news media, and the minority communities he serves. This slant on police work give his investigation an appealing timeliness. However, the author occasionally stops writing fiction in order to provide a lecture on political topics.

Khattak’s sister Ruksh has a new man in her life, one she plans to marry—coincidentally, the terrorist leader Hassan Ashkouri. In her reflexive hostility toward her older brother and her defiant determination to pursue the relationship she acts more like a sulky teenager than a grown woman. By contrast, Rachel Getty, Khattak’s sergeant, is an appealing character. Khan gives her an interesting background as a competitive hockey player with an important all-star game imminent, yet she doesn’t go to hockey practice once during the entire novel.

Although the desire to learn the fates of these characters kept me reading, Khan’s prose is murky at times; at others, she telegraphs too much, announcing, that a character just made a big mistake, for example. Show, don’t tell.

As a bottom line, this book contains unusual characters and situations that should carry you through the uneven patches in the writing.

****Quoth the Raven

raven

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Edgar Allan Poe, king of 19th century mystery and the gothic horror tales, is credited with inventing the modern detective story, wrote stories about inventions, science, and adventure, and, as people may remember him best, was a master of the macabre. The 169th anniversary of his own mysterious death in Baltimore was this month. To mark the occasion, Camden Park Press published a notable anthology of short stories and poems inspired by Poe’s works, reimagined for contemporary times.

Lyn Worthen edited the collection and—beyond amazing—the submissions were due August 30, and the book became available in early October! In her introduction, she says “I believe it is the evocative imagery he paints in sometimes hypnotic lines of pen and ink that have captured our imaginations; the sensations of fear, loathing, grief, and despair that have bound his characters to our souls. . . .those same elements that the authors in Quoth the Raven have so thoroughly captured.”

Just in time for Halloween ordering and reading, here are some of my favorites:

  • “My Love, in Pieces,” by Tiffany Michelle Brown, inspired by Poe’s “Berenice.” The experience of writing it, she says, was “both thrilling and terrifying.”
  • “Marcela,” by Penelope Paling. As in Poe’s “Liegeia,” Marcela is more than happy to continue the tradition of haunting her husband’s subsequent loves.
  • There’s “The Cask of Amontillado” and other diabolical death traps. Then there’s Hugh J. O’Donnell’s “The Montressor Method.”
  • If you’re an ailurophobic with a special horror of black cats, this volume will give you nightmares! Perhaps you should read “The Ca(t)sualty” by Donea Lee Weaver and “The Black, Long-Haired Domestic” by John Kiste in the daytime.
  • And Kenneth C. Goldman’s funny tale, “Get the Door for Me, Will You, Edgar?” about the trials of a high school English teacher. A more horrifying situation would be hard to come by.

My own story in the collection, “Tooth and Nail” also is inspired by “Berenice,” and concerns a young woman’s obsession with her twin brother. She’s developed a bad case of meth mouth and fixates on the blindingly white teeth of her brother’s new fiancée. No good comes of this. The villain of the tale is “the red-haired Wil Griswold,” a name and description inspired by Rufus Wilmot Griswold, who bore a grudge against Poe. After Poe’s death, Griswold wrote a scathing biography that started many of the rumors about the author’s depravity, drunkenness, and dissipation—which later scholarship proved to be false.
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*****Broken Ground

Scottish Highlands, thistle

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By Val McDermid—There’s a reason readers around the world look forward to a new book by the “queen of crime,” and her legions of fans will not be disappointed with this one! Val McDermid’s new police procedural is her fifth crime thriller featuring Edinburgh police cold case detective Karen Pirie, who’s not above putting her faith in the value of her work above the priorities of her superiors.

Pirie and her trusty ally, Detective Constable Jason Murray, and her untrustworthy new detective sergeant, “that utter shitehawk Gerry McCartney”—sent by the new Assistant Chief Constable Ann Markie to spy on Pirie, she’s sure—try to unravel three different cold cases.

They’re tackling the first, a series of brutal 30-year-old rapes, with recently obtained information about a vehicle that may have been involved. In the second, they’re flouting the rules to stay involved in a current-day situation: Pirie has overheard two women in a coffee shop planning to confront a hostile estranged husband. It’s a poor strategy with a strong potential for violence, and Pirie tells them so—advice not received as kindly as it was intended. It’s a testament to McDermid’s narrative skills that the pursuit of these two cases, subplots, really, are every bit as engaging as the team’s biggest and much more tangled investigation.

In an opening scene set in Wester Ross, Scotland, in 1944, two friends bury a pair of large crates in a peat bog. Seventy years later, the granddaughter of one of them returns to the Highlands to claim her inheritance. Using her grandfather’s map to the hiding place, she and her husband approach the local crofter, Hamish Mackenzie, a handsome fellow who might have swaggered out of the pages of Outlander. He agrees to help them dig.

The excavation proceeds smoothly. One crate up: in it, a pristine (I won’t say what; I’ll let you discover this treasure for yourself). They unearth the second crate, but it seems to have been disturbed, perhaps by the dead man lying on top of it. The body is remarkably well preserved, due to the peculiar characteristics of peat bogs. However it came there, it wasn’t recently, which means the investigation is in the remit of Pirie’s Historic Cases Unit.

McDermid is much-praised for her brilliant evocation of the places, mores, and culture of Scotland, as well as the procedures and rivalries within Police Scotland. As a result, the atmosphere she creates is believable down to the last wisp of mist. Introducing Hamish Mackenzie as a potential love interest for Pirie adds a bit of Celtic spice.

Although the cases Pirie works on are old, the investigation methods brought into play are fascinatingly up-to-the-minute. DNA analysis, deployed in the rape case, is only one of them. Rapid reconstruction of the bog corpse’s appearance is another. Analysis and enhancement of cell phone contents is yet a third. McDermid, who has a great interest in forensics, likes to get these technologies right, and she gives Pirie a pair of worthy confederates: her friends River Wilde, a forensic anthropologist, and Tamsin, head of a laboratory in Police Scotland’s Gartcosh Crime Centre. They, like she, believe families should not have to wait one day longer than necessary to learn the fate of their loved one.

Though Pirie occasionally missteps, mostly by treading on the toes of other police officials, and especially ACC Markie, McDermid never puts a foot wrong. Her prose is so clear and engaging, this is a book that will keep you turning pages. Like Pirie, you will be hungry for just that one more bit of evidence.

****The Skeleton Road

Having read the six books I took to Sicily, I raided my last hotel’s shelf of abandoned books and picked up this 2014 thriller by McDermid, which entangles Pirie and Murray in a case of long-ago war crimes, revenge, and distorted justice. The eight-hour airplane ride flew by!

 

Vacation Reading, Italian Style

chalk outline, body

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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.

What Writers Know – Part 1

red pencil, grammar, comma

Martijn Nijenhuls, creative commons license

Nearly irresistible clickbait for writers are articles like Reedsy founder Ricardo Fayet’s recent reprint of “12 Common Writing Mistakes Even Bestselling Authors Make.”

When I see such lists, I figure that not only will they point out my many writing shortcomings in excruciating detail, but the sum total of no-no’s will be a pretty accurate description of my actual writing style. It’s as if I’ve learned nothing.

And that’s not true, not for me, not for any of us. Surely we’ve learned something.

So what are these pitfalls we may stumble into, even the bestselling among us (though if we are best-selling, do readers actually care about these problems)? And can’t we think of them instead as mountains we’ve climbed and conquered? Show, don’t tell? We’re on it. Head-hopping? Never.

Here’s the first half of Fayet’s list recast as what we’re doing right. Very possibly, more often than not.

  1. Tell, don’t show. Every good novel or story has some of both. It’s a balancing act. Showing takes words, and sometimes we just need to move things along. “Get to the point!” I tell myself. We put the compelling parts of a story in scenes and dialog and summarize the quotidian so that readers reach the good stuff faster. That’s a judgment call and we practice making it every day.
  2. Strong opening narrative. In early drafts, I tend to open a story (or book chapter) with a warm-up. Thankfully, I recognize and delete my engine-revving. Drive, baby, drive!
  3. Manage description in action scenes. While we know to slow down the action in a tense situation, we know not to do so by, say, describing what the antagonists had for breakfast (unless it contained a mystery ingredient like ground glass). We know to be judicious. Too much detail “slows the pace, lessens tension, and interrupts the flow of the scene,” Fayet says. Very true.
  4. Believable conflicts. Unless our story is set during the Crusades, we create situations that couldn’t be solved if somebody would just pick up the damn phone. We may even make having or using the phone a huge liability (extra credit for you, Gin Phillips). We make sure characters’ external and internal conflicts are powerful enough for readers to invest time and interest in. Thankfully, thrillers are no longer, by definition, about world domination-sized conflicts, and we take advantage of that broader field of play.
  5. Viewpoint. Despite watching movies where the action shifts from the perspective of first one character to another and back again, we recognize such shifts may not work on the page. And agents and editors frown on them. Why give them an excuse to dismiss my work? We avoid head-hopping and stay safe.
  6. Never Assume! Of course our future readers will only know what is on the page (in our current draft). Here’s where my short attention span turns out to be a plus. Every time I read a draft, it’s pretty much all new to me. We know the perils of changing character names or introducing (or deleting) major plot points, etc. At the head of my draft, I maintain an annotated table of contents so that if I do make a change, I can quickly find the other places that mention this character/setting/issue and make everything consistent, or lay the groundwork for later happenings. A book is an ecosystem, and surely we know even a small change may ripple through the entirety. (Wait, was that cat black or white?)

For another pat on the back regarding things you’re doing right, here is Part 2.

P.S. Read my new short story “Tooth and Nail” in Quoth The Raven, an anthology of new works based on the style and sensibility of Edgar Allan Poe. For how to order it, click here.

***A Noise Downstairs

typewriter, writing

Steven Depolo, creative commons license

By Linwood Barclay – A professor at a small Connecticut college, living with his second wife on the shore of Long Island Sound, Paul Davis has had a rather unremarkable life until late one October night when he recognizes the broken taillight of his colleague Kenneth’s car and follows it.

Kenneth is driving erratically, and Paul worries the older man might be tipsy. When Kenneth stops his car on a lonely road and pops the trunk, Paul stops too and is shocked to see the bodies of two women inside. Wielding a shovel, Kenneth bangs him on the head and would have murdered him, except for the timely appearance of the police, investigating that car with a broken taillight they noticed a few moments before.

Eight months later, Kenneth has pleaded guilty to the murders and is in prison, but Paul hasn’t fully recovered. The blow to the head has mostly resolved, but he suffers from post-traumatic stress, panic attacks. His wife Charlotte and his psychologist Anna encourage him, but he has headaches, he forgets things, he’s haunted by the murders. Paul knew the dead women slightly and it seems Kenneth was carrying on with both at once. Only his wife was unaware of his reputation for womanizing.

Much of the story takes place within the four walls of Paul’s house, making it another one of those claustrophobic, unreliable narrator domestic thrillers which there are a lot of lately. Unfortunately, for me at least, that took the freshness out of Barclay’s story, though he has a nice red herring woven in.

Paul is determined to regain a grip on his life and decides the best way to try to answer his many lingering questions about the murders would be to review everything about the case and the reasons people commit murder. Charlotte and Anna are initially dubious, but persuaded by his determination.

Charlotte even buys him an old-fashioned Underwood typewriter. It’s a talisman of the case, because in one of its more ghoulish aspects, Kenneth made his victims type a note on such a typewriter, apologizing for their “immoral, licentious, whore-like behavior.” When Paul repeatedly hears the typewriter in the middle of the night, he slips downstairs to see who is using it, but the house is empty. He half-believes the dead women are trying to communicate with him.

On a visit to Anna, he loses his keys and Charlotte has to pick him up. Now here, the author lost me, because if he drove to the office and after their session he doesn’t have his keys, why wasn’t a thorough search made before calling for a ride? Then when Paul believes there’s been an intruder at his home, why does it take many pages for the characters to recall the missing keys? Ultimately, they are “found” in one of the two chairs in Anna’s office, but that unlikely discovery is taken at face value, and no one wonders whether they were there all along.

Odd events continue, and to put the ghostly typewriter issue to rest, his friend Bill suggests that he put a piece of paper in it and see what the women want to say. It’s an absurd idea, except that messages begin to appear. Even if you are skeptical of the paranormal, it’s not easy to see how these tricks are being accomplished, and Paul, not fully of sound mind, is increasingly anxious.

Author Barclay keeps the tension and the possibilities going at a brisk clip, and though you may figure out the direction of the plot early on, he has surprises in store.

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