Category Archives: Detective

****The Breaks

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streetwalker, San Francisco

(photo: David Selsky, creative commons license)

By Eden Sharp – In the hardboiled thriller The Breaks, readers are introduced to two engaging and memorable characters—private investigator Angela McGlynn and her sometime associate John Knox. McGlynn is self-assured and sassy, a computer hacking whiz and martial arts expert, not above using her attractiveness to lure bad guys into compromising positions. Knox is a recently discharged U.S. Marine with PTSD haunted by his Afghanistan experiences. McGlynn takes on Knox as a favor to a friend, who thinks the man needs something to occupy him, a way to feel useful again, and, as the case she’s embarking on turns darker and more dangerous, she’s damn glad to have him at her side.

This thriller takes place in San Francisco, where you can go from exclusive neighborhood to dangerous gang territory in a few steps. “The worst parts were only blocks away from the tourist traps and not marked on the map. It was easy to stray off track.” All strata of society are compressed on that small peninsula, and McGlynn and Knox stray way off track in this complex story, presented in short scenes from multiple points of view. McGlynn narrates in the first person, keeping her in the center of the action, but the scenes from Knox and others are third-person. There are quite a few characters to keep in your head, and I often had to use the search function to find the first mention of a name to place them.

Trouble begins when a retired suburban high school teacher asks McGlynn to find his teenage daughter. She’s run away from home, missing two weeks, and the police aren’t doing much. About all the father can tell McGlynn about the girl’s disappearance is that she had a serious cocaine habit and threatened to turn to prostitution to support it. Through her contacts in the community of working girls, McGlynn finds who the girl has been running with.

McGlynn suspects the girl was snatched because of an identity mix-up. She was carrying the stolen phone and I.D. of the daughter of a big-time narcotics smuggler. The police are trying to pull off an ambitious sting operation against him. But as they move forward, they keep tripping over McGlynn and Knox, and they aren’t happy.

Meanwhile, apart from her paying work for clients like the distraught dad, McGlynn uses her hacking skills to expose child pornographers. She’s tracked down a big-time seller of these images who lives in the city and is scheming to put him out of business.

These three skeins of criminality and investigation inevitably become tangled, which makes for a challenging guessing game among McGlynn, Knox, the cops, and the reader. Sharp has a talent for energetic prose that keeps this complicated story moving and the ability to put her characters in credible danger. The choreography of the final showdown scene is a little confusing, though the outcome is clear.

Ironically, I learned more about Knox’s character and motivations than McGlynn’s, despite the first-person narration. It makes for an interesting switch in expectations that McGlynn reacts to situations (after sex, in dangerous straits) in a coolly logical way typically associated with male protagonists, whereas Knox, because the trauma of his war experience is just under the skin, has more emotional reactions. One of the most interesting and insightful aspects of the novel is McGlynn’s running analysis of people’s psychology in various situations.

Sharp has a few troublesome writing tics, and the novel would have benefited from copy-editing and proofreading. Nevertheless, it’s an engaging read, and I look forward to more from her and the further exploits of McGlynn and Knox.

A slightly longer version of this review appeared on the Crime Fiction Lover website.

***The Storm Murders

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farm, snow, winter

(photo: M Pincus, creative commons license)

By John Farrow – Farrow is the pen name that acclaimed Canadian writer Trevor Ferguson selected when he decided to try his hand at writing genre fiction, and, if I have this right, this is his fourth book featuring detective Émile Cinq-Mars and the first of a planned “storm murders” trilogy.

In this mystery/thriller, prickly retired Montreal Sergeant-Detective Cinq-Mars finds himself flattered and cajoled and inevitably drawn into helping in the investigation of a rural Quebec double-murder that culminated in the additional slaying of two young Sûreté du Québec police officers lured to the remote farmhouse by a phone call.

Perhaps Cinq-Mars decides to aid this investigation because he is intrigued by the crime itself, the lack of apparent motive, and the absence of the killer’s footprints in the newly fallen snow around the house. Perhaps it is the puzzling entreaties of a senior FBI agent, looking for answers in a case that’s way out of his jurisdiction. Perhaps it is the bleak persistence of a Canadian winter making the days weigh heavy on Cinq-Mars’s insufficiently occupied brain. Or perhaps it is his wife Sandra’s startling intimation that she might leave him, making the investigation a welcome preoccupation that might enable him to in some way resurrect the man she’d fallen in love with.

The FBI agent, frustratingly close-mouthed, at least reveals that the deaths of the Quebec couple share certain grisly similarities with a series of murders in the United States. All have involved a married couple, always they’ve occurred after a major calamity. As none of the neighbors know much about the couple, relatively new arrivals to the area, and in the hope of finding out more details that would suggest a connection among these deaths, Cinq-Mars travels to New Orleans. The first pair of murders occurred there, shortly after Hurricane Katrina. Sandra accompanies him, because the trip promises to be a semi-vacation. Both she and Cinq-Mars hope a change of marital venue will help them reconnect.

Booklist has called the Cinq-Mars books “the best series in crime fiction today,” and this is the first of them I’ve read. Farrow’s writing style, honed by writing literary fiction, is confident and sophisticated, and the book starts strong. In general, the characters and setting are interesting and well-developed, especially good-humored multi-racial NOPD detective Pascal Dupree and ambitious hotel security chief Everardo Flores, who enliven every scene they’re in. Unfortunately, the plot was not as robust as these other elements. I guessed early on (and I’m not a particularly insightful guesser) why the FBI was interested in this series of murders. Farrow receives praise from some reviewers for writing character-driven mysteries, but for my taste, Cinq-Mars’s examinations of his feelings about religion, his wife, and retirement are rather too long. The denouement also was drawn out past the point of believability, including both conversation and events that seemed unlikely.

While this book has much to recommend it, especially for admirers of the series, in the end it requires some suspension of disbelief.

A slightly longer version of this review appears—along with reviews of many new crime and thriller novels—at the Crime Fiction Lover website.

Inherent Vice

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Inherent Vice, Joaquin Phoenix, Thomas PynchonWhen this film (trailer) of a Thomas Pynchon novel was released in 2014, critics said it was undoubtedly the ONLY Pynchon book that could be corralled into a film. I’m a big Pychon fan—loved V, The Crying of Lot 49, and Mason & Dixon—but I started Gravity’s Rainbow three times and never got past page 100. So I can sympathize with the difficulties director Paul Thomas Anderson must have faced.

Joaquin Phoenix plays “Doc” Sportell, a private investigator subject to regular harassment from a police detective called Bigfoot (Josh Brolin). Doc’s ex-girlfriend Shasta has taken up with a wealthy married property developer, and the developer’s wife wants her to cooperate in a plot to institutionalize him so she and her new boyfriend can raid his bank account. Then the magnate disappears. Doc uses is slight investigative skills to search for both the developer and Shasta in a stoner’s 1970s Southern California.

This set-up takes you down colorful and unexpected byways, which I couldn’t possibly reconstruct, and a multitude of stars provide performance gems: Owen Wilson as a mixed up dude-dad, afraid to leave the drug cult that’s captured him; Hong Chau as the hilariously matter-of-fact operator of a kinky sex club; Martin Short as a cradle-robbing dentist, with his clinic in a building shaped like a golden fang; Golden Fang itself, a mysterious criminal operation that . . . None of this probably matters. Neo-Nazi biker gangs, yogic meditation, stoners. You just have to go with it. Joaquin Phoenix, understandably, displays about a zillion different ways of looking confused.

If you have a taste for the absurd and what Movie Talk’s Jason Best calls “freewheeling spirit,” this is definitely the movie for you! I try to guess whether audiences or critics will like a movie better. Right on the money this time: Rotten Tomatoes Critics Rating: 73%; audiences, 53%.

**The French Detective: A Novel of New Orleans in 1900

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New Orleans, French Quarter

(photo: David Ohmer, Creative Commons license)

By O’Neil De Noux – A jambalaya of factors go into a reader’s enjoyment of a crime novel, and this one is definitely a (mostly) flavorful mix. De Noux has selected a time and place ripe for drama. New Orleans is consistently intriguing on many levels, most particularly for its diversity of strong cultures stewing together in the oppressive Louisiana heat. The time period, the turn of the last century, is filled with dramatic possibility, because of the city’s changing demographics and because of the real-life occurrence of the Robert Charles race riots, which De Noux draws into his story.

The challenges to New Orleans Police Detective Jacques Dugas begin when a four-year-old boy is kidnapped from the city’s Vieux Carré, at this point in its history an Italian and Sicilian district. Mostly recent immigrants, the residents have little use for the police and cooperation is scant, even when Dugas has the volunteer translating assistance of glamorous young Evelyn Dominici—Italian-speaking daughter of a Corsican jeweler and an English Lady. The Corsican is a New Orleans resident, but Lady Evelyn’s mother lives in England, ensconced in a drafty castle with her lover.

Dugas and his translator, rapidly falling for each other and flirting outrageously, pursue the many potential leads in the case until the investigation is derailed by the riots. The book is populated with white supremacists, Italian citizens committees, Sicilian mafia, Irish cops, and, always at the fringes, the blacks and the poor. Jambalaya. One delicious aspect of the book is how often Dugas, Evelyn Dominici, and their colleagues must stop to eat. Reading this book is enough to make the reader put on five pounds by literary osmosis.

Yet all is not well-served in this literary endeavor. This is a self-published book, which to me means the author-as-publisher takes on extra responsibilities. While De Noux attempts to absolve himself from any errors via a note saying “If you found a typo or two in the book, please don’t hold it against us. We are a small group of volunteers . . .” There are many, many more than a typo or two. The writer’s role, as John Gardner had it, is to create a fictional dream in which writer and reader are co-conspirators. Keep the dream going, and the reader continues to believe in the story created. Tyops wake you up.

Such lack of attention cannot help but make the reader wonder about the care expended on plot, characterization, and other literary matters. In this book, the plot raced hither and yon so often, I occasionally lost the thread, and it left loose ends (who wrote all those notes?). The character of Evelyn was, to me, unbelievable in her liberated attitudes for a woman of that era and an English Lady, no less. Nor was the attention devoted to the attractiveness of her figure interesting on a sustained basis.

Nevertheless, I actually enjoyed this book on its own terms, as a window into a pivotal time in one of America’s most fascinating cities.

A longer version of this review is available here on the Crime Fiction Lover website.

***Ellery Queen – February to May 2015

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Sherlock Holmes, detective

(photo: wikimedia)

The short stories in the Ellery Queen Mystery Magazine sometimes lead me to authors whose books I also enjoy. Here are several of the stories I especially liked from the February, March/April, and May 2015 issues:

  • Terence Faherty’s “The Man with the Twisted Lip”—a Sherlock Holmes parody—very entertaining. Faherty is an award-winning mystery writer with two long-running series. His most recent stand-alone novel, The Quiet Woman, set in Ireland, was published last year. [February issue]
  • “Leap of Faith” by Brendan DuBois about the lengths a boy will go to in order to protect his sister. DuBois’s most recent book is Fatal Harbor (2014) features his “fascinating character” (Boston Globe), former Defense Department analyst Lewis Cole.[February issue]
  • Loren D. Estleman’s story, “The Black Spot,” has hitman Peter Macklin doing clean-up for a Detroit-area mafia chieftain. Estleman’s 2014 book Don’t Look for Me is book 23 in a series featuring Detroit private investigator Amos Walker, “who views a dishonest world with a cynical eye—and is still disappointed” (Booklist).[March/April]
  • In “The Lovers of Traber,” private eye Willie Cuesta travels from the Miami he inhabits in Pulitzer-winning journalist John Lantigua’s crime novels to a rural Florida farming area to sort out a romantic interest gone too far afield. His most recent Latin-flavored book is On Hallowed Ground. [March/April]
  • Art Taylor’s first-person story “Commission” is told with a good sense of humor and will appear this fall in his book of short stories, On the Road with Del and Louise. [May]
  • “A Loneliness to the Thought,” by Michael Caleb Tasker, is set in New Orleans, with a teenage narrator whose life has that amber-enclosed feel of adolescence, while a series of murders takes place in the city. Nice evocation of place. Watch for his short stories. [May]

Always an entertaining read and available digitally from Amazon, B&N, Google Play, Kobo, Apple iPad, and Magzter.

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****Gun Street Girl

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Ireland, street scene, Belfast

Belfast street (photo: Recuerdos de Pandora, Creative Commons license)

By Adrian McKinty, narrated by Gerard Doyle — Gun Street Girl takes place in Belfast, in the mid-1980s, and The Troubles provide a fine backdrop of tension and mayhem. It’s the fourth (yes!) of a planned trilogy, because McKinty—and his readers—couldn’t quite let Detective Sean Duffy go.

The complex plot grows out of actual events of the era, including missile thefts from aerospace company Short Brothers (a convoluted affair in real life) and the hostile environment created by the Thatcher-FitzGerald Anglo-Irish agreement. In the novel, Duffy is out of step as usual with his confreres in law enforcement, especially for being the rare Catholic in the Royal Ulster Constabulary. When a murder investigation takes Duffy and a new recruit to Oxford, England, they encounter a more generalized anti-Irish prejudice. The British coppers apparently believe the Irishmen will be satisfied to sit in their cozy b&b in Oxford (unless my ears mistook, referred to as “Morse-land,” in a nice homage) and drink whiskey. They are, of course, mistaken.

What has taken them to Oxford is the unraveling of a case that at first appears open-and-shut. A couple is found murdered, and it looks as if their son shot them then committed suicide. Under Duffy’s supervision, Detective Sergeant McCrabban is technically in charge of this investigation and is ready to close the books on it, but something’s not quite right. For one thing, no one really wants Duffy and McCrabban poking around in it.

Meanwhile, Duffy’s future with the R.U.C. faces an almost-certain dead-end, and MI5 agent Kate tries to recruit him for her agency. All things considered, a change of employer is more than a wee bit tempting. She’s the Gun Street girl, and, as Tom Waits would have it, Duffy will “never kiss a Gun Street girl again.”

Doyle has won numerous Earphones Awards from AudioFile, and has a solid history narrating mysteries and thrillers. In this book, he must present various Irish and English accents and does so beautifully. I could listen to the book again just to hear him read it. Detective Duffy’s voice is crucial, since the story is told in first-person narration, and Doyle captures him—and McKinty’s dry, self-deprecating humor—beautifully.

A longer version of this review is available on the Crime Fiction Lover website.

****The Whites

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crime scene tape

(photo: wikimedia)

By Richard Price writing as Harry Brandt, narrated by Ari Fliakos. This crime thriller received a splashy reception, in part because of the puzzlement over Price’s transparent attempt to write it pseudonymously (which even he gave up on), but more because—whatever name he adopts—the publication of one of his gritty novels is an event crime fiction aficionados celebrate. Price is the author of Clockers, Bloodbrothers, The Wanderers and numerous screenplays, as well as award-winning episodes of The Wire.

What has made Price so successful, as Michael Connelly points out in a New York Times review, is his belief that “when you circle around a murder long enough you get to know a city.” Says Connelly, Price is an author who “considered the crime novel something more than a puzzle and an entertainment; he saw it as societal reflection, documentation and investigation.”

The book’s title refers to the unsolved but unforgotten cases a tight group of young police officers confronted during their careers. Think the elusive target Moby Dick, not a racial reference.

They had all met their personal Whites, those who had committed criminal obscenities on their watch and then walked away untouched by justice . . . .
No one asked for these crimes to set up house in their lives, no one asked for these murderers to constantly and arbitrarily lay siege to their psyches like bouts of malaria.

At the time of the novel, most members of this formerly closeknit group are out of the NYPD because of injury, other opportunities, or sheer burnout, but Sgt. Billy Graves is still on the force. Billy knows his friends’ “Whites” like he knows his own badge number, and when they start dying in violent circumstances, he has to ask himself . . . Meanwhile, his family is the target of an unnerving and escalating series of threats, which he urgently needs to figure out.

The book, told from the point of view of both Billy and his antagonist, is full of characters from diverse backgrounds and ethnicities, yet all are believable as individuals. The writing never falters and contains, as Connelly says, “a fierce momentum.” A favorite line of mine, about a witness smoking dope in his apartment, had him “blowing out enough smoke to announce a Pope.”

With recent events in Ferguson, North Charleston, Baltimore, and elsewhere, it isn’t good timing for a cop-as-hero book, and this novel’s moral dilemmas force Billy and the reader to consider the role of policing in our society and the differences between policing and justice.

Fliakos’s narration is excellent. Despite the large number of characters, I was never confused about whose voice I was hearing.

Crime Scene 101

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Television and the movies notoriously overstate the tools (especially the electronic ones) at a criminal investigator’s command, to the extent juries have developed increased expectations about the availability of forensic evidence. (Here’s a fascinating study of the “CSI Effect,” suggesting prosecutors and judges need to up their game.) At the same time, many writers of crime thrillers strive to accurately portray crime scene investigations and to make their fictional detectives follow more careful procedures than often occurs in real life.

crime scene investigation

(photo: U.S. Army, Europe, creative commons license)

Forensic investigator Geoff Symon recently talked to crime authors about evidence. He began by dividing it into two categories:

  • direct evidence, which means eye-witness accounts, with all their well-documented weaknesses and
  • circumstantial evidence, which is everything else.

Symon emphasized that circumstantial evidence is still evidence, and when a tv lawyer pooh-poohs a case, saying “it’s only circumstantial,” that’s not necessarily a weakness. In truth, unless there is a reliable eye-witness, all cases are circumstantial. Fingerprints, hairs, fibers, and blood and DNA other than the victim’s are all circumstantial evidence, and the accumulation of evidence of this type, when put together in a convincing narrative, can become absolutely compelling. Circumstantial evidence can relate to a particular category of people (say, all those with blood type AB negative or having a carpet with a particular kind of fiber), or to a particular individual (fingerprints or DNA).

Says Adam Plantinga in 400 Things Cops Know says “People watch crime shows on TV so they think the police can get readable prints off just about anything—human skin, stucco walls, quesadillas,” but “only a few surfaces are conducive to the retrieval of fingerprints.” Slick surfaces, like noncoated glass, glossy paper, and aluminum are best, he says.

Two additional considerations are avoiding contamination of the crime scene and maintaining the chain of evidence. No longer do hordes of people enter the room where a body lays, tromp around in their own shoes, and depart. (In the notorious 1954 murder of Marilyn Sheppard, “Police officers, relatives, press, and neighbors [were allowed to] troop through the house.” Subsequently, this case was a basis for the movie and tv series, The Fugitive.)

Today’s investigators recognize that “whenever you leave a room you take something with you and you leave something behind,” Symon said. Thus, the importance of hair coverings, gloves, booties, and hazmat-looking suits. Cross-contamination of the crime scene was vital to the defense of O.J. Simpson. First investigators on the scene, therefore, have a particular responsibility to document it accurately with photos, video, sketches, and notes, knowing it may be contaminated subsequently.

Similarly, the chain of custody for evidence is an essential part of “preserving” the crime scene evidence. Unless a piece of evidence has been carefully tagged, and each subsequent person who handled and tested it has signed for it, criminal prosecutors cannot claim that a trace of DNA , a hair, or other physical evidence is the same bit gathered at the crime scene and not somehow introduced subsequently.

Symon and other forensic investigators help authors by describing “reality.” The challenge for the author is to subvert reality in a believable way so their story’s plot can unfold. While in real life, procedural mess-ups may mean perpetrators are never be brought to justice, this often suits the author’s fictional purposes very well.

Baskerville

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Baskerville, McCarter

Lucas Hall & Gregory Wooddell in Ken Ludwig’s Baskerville

In the fan fic spirit I wrote about yesterday, the current production at Princeton’s McCarter Theatre, Baskerville, is a yet another take on the perennial Sherlock Holmes favorite.

Playwright Ken Ludwig wrote this version as a romp through the moors. Aside from the commercial differences with fan fic, another difference–and one that weakens the show–is that it so closely follows the original tale (“canon” in the fan fic vocab). Ludwig doesn’t have the freedom for farce of his Lend me a Tenor or Moon over Buffalo. Though it lacks fic’s mind-bending flights of fantasy, the production is massively entertaining, nonetheless, and no doubt some audiences prefer a retelling versus a reimagining.

The two main characters are ably played by Lucas Hall (Dr. Watson), who has the occasional chance to mug at the audience when encountering some particular absurdity, and Gregory Wooddell (Holmes). Ludwig has written both of these parts mostly as foils for the other actors, and they often come across as excessively bland. All the other characters, whether playing significant roles or walk-ons, whether servants or opera stars, whether German or Castilian, are played by Jane Pfitsch, Stanley Bahorek, and Michael Glenn. This calls for manic pacing and lightning fast costume changes, which become part of the fun. Can they do it? Pfitsch calculates that during a week of this production she makes 200 costume changes.

An early decision was to make this a fully costumed show, giving every character a full outfit, as if they were on stage for twenty minutes, not two. Costume “stations” are set up all around backstage, and a specific costume is positioned where a player will exit or enter. Often two costumers help get the old off and the new on—sometimes over the old outfit, sometimes as the character is walking. Michael Glenn wears the same shirt throughout, but has individual neckties for each character he plays. With no time to tie them, the secret is magnets.

The crew that enables all the costume changes and special effects to occur precisely on time deserves special recognition. The production makes full use of McCarter’s generous under-stage traproom with its elevators and hoses for smoke and fog effects and has other surprises in store.

Baskerville is a co-production with Washington D.C.’s Arena Stage, and although it was rehearsed and the effects all mapped out here in Princeton, it played in D.C. first. You don’t have much time: It closes March 29. Tickets here.

***The Cut

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marijuana

(photo: fotobias, Creative Commons license)

By George Pelecanos – Washington, D.C.: the Capitol, White House, Smithsonian, The Mall. Forget it. Pelecanos’s Washington exists outside these tourist-trod centers of power and culture, landing squarely in the territory of drug dealers, D.C. Jail, grease-pit restaurants, and sleazy auto shops. His characters aren’t the power-brokers talking endlessly around tables on the evening news. If they make the news, its ten seconds about a corpse found, a conviction, a police gone bad.

Pelecanos, who received an Emmy nomination for his writing on HBO’s gritty cop show The Wire, writes about a Washington, D.C. as authentically as anyone else out there. In this 2011 crime thriller, investigator Spero Lucas is asked to track down who’s behind a series of thefts of marijuana shipments. Lucas is a likeable protagonist, and the book contained none of the (c’mon, really?) believability-stretching plots of many books in this genre.

It was a fun read, but I gave it only three stars because it doesn’t really do anything new, either. In his drive to be current with the tastes of the young black characters, Pelecanos includes too many recitations of long lists of music groups’ names that I, alas, have never heard of, so can’t relate to. A bit of overkill there. Perhaps the people who know all those groups are part of Pelecanos’s target audience.

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