Category Archives: Police

Going to the Dogs

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Interested in how police and emergency service dogs are trained and used? Lots of readers are, and mystery/crime authors often want to include service dogs in their stories, but accurately. Members of the Public Safety Writers Association got a close look at that corner of the world last Saturday from organization Vice-President Steve Ditmars. Ditmars worked many years as a police service dog handler and K-9 Unit supervisor for the Long Beach (Calif.) Police Department and gave a jam-packed Zoom program on the topic.

His first piece of advice was to find out what the policies and procedures are in the locale where you’re writing about, if it’s a real place, in the time period of your fiction. Ways of handling and using dogs vary by jurisdiction, he explained, and these practices change a lot too. If the locale is totally fictional, you have more leeway.

The training process for a police service dog is extensive, but the risk here, he said, is to get so caught up in it, you give Too Much Information. Ditmars has skirted such pitfalls very well in his own books—Big Dogs, Gasping for Air, and a third (coming soon). He finds adding canine characters helps him tell a story, because they enable a variety of perspectives and events. For example, the way someone handles or react to a dog can reveal key aspects of that person’s character.

And, of course, he cautioned authors to be mindful about what happens to the dog. Many readers have a soft spot for Man’s Best Friend, especially when they’ve shown heroism, loyalty, and discipline. You can write a gritty thriller where human lives come to a bad end, but if the dog doesn’t survive the last chapter, you’ll get pushback.

Dogs can be trained to take on many different roles: search and rescue, personal protection, patrol, tracking and trailing people, finding things (narcotics, cadavers, explosives, gas leaks, even from buried pipes). Each of these roles has a different training regimen and relies on dogs’ acute senses of smell and hearing. Ditmars said they are better than humans at pinpointing where a sound is coming from.

Public safety personnel like to use dogs for certain jobs, because it saves time, in, say, searching an area or building. They can be trained to guard suspects until their handler arrives. The threat of a bite is sometimes enough to keep the suspect in place. Dogs are good for departmental public relations too, at open houses and other public events.

Just as new parents “suddenly” notice how many baby products are out there, in a few days after hearing this excellent presentation, I read two stories in which dogs played a role. They were: Doug Crandell’s lively story “Bad Hydrous” in the Sep/Oct 2024 Ellery Queen Mystery Magazine and the Sherlock Holmes story, “The Adventure of the Creeping Man.”

Thanks, Steve, for this literary heads up!
Read more about Steve here.

Another Taste of France: Bruno: Chief of Police

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Now that we’re all Frenchified from watching the Olympics and their stunning opening ceremonies, which showed the Paris at its best, we can take a breath and turn to some of the country’s many other charms.

Millions of UK and US readers have basked in the sunny French countryside via the books by the late Peter Mayle, author of 1989’s A Year in Provence. If you’re one of them, Martin Walker’s more recently written detective series will transport you to a similar, simpler time and place. A place where a meal is something to be lingered over (and described in mouth-watering detail) and a glass of wine is savored, even if it’s the not-all-that-delicious small batch created by your hillside neighbor.

Martin Walker’s series of seventeen mystery novels, published beginning in 2009, retains the witty, warm-hearted, utterly charming feeling Mayle exemplified. Bruno, Chief of Police, is the series opener. The chief’s actual name is Benoît Courrèges, but to everyone, he’s Bruno. His beat is the small town of Saint-Denis and surrounding countryside, located on the Vézère River in the Dordogne—some 450 miles west and a bit north of Provence.

Bruno uses a cell phone, relies on DNA testing, and uses other up-to-date forensic methods, but his real skill is understanding the psychology and behavior of Saint-Denis’s residents. His understanding of what methods will and will not work in getting to the bottom of crimes committed there is acute. Big-city police authorities and the head of the local gendarmerie are ever convinced they know best how to handle situations that arise. But, faced with Bruno’s local intelligence, they’re usually defeated in a most gratifying, often amusing, way—such as a gendarme’s attempt to arrest a boy for possession of a potato (on market day, no less!), which runs quickly aground.

Walker weaves significant contemporary concerns into his rosy descriptions of markets, cafés and wineries. For example, market day offers the opportunity for rule-obsessed EU inspectors to search out cheeses, pâtés, and meats that, despite new restrictions, continue to be produced and sold just the way the sellers’ parents and grand-parents did. A woman cited for selling eggs without the required date stamp actually buys her eggs at the supermarket, washes off the dates, and packages them up with a bit of straw and (don’t think about it) to sell to tourists as real country eggs. And tourists there are, with all their agendas and cultural mishaps.

Intruding on this idyllic existence is the occasional murder, rare for the area, but perfect for Bruno’s particular skills Some stories’ strong political undertow allows the author to explore residents’ attitudes about immigrants, social cohesion, wartime behavior, and the like, which give the stories considerable weight.

Bruno is more than the town’s chief of police. For one thing, he coaches the town’s children who want to play tennis. He thinks it’s A good way to get to know the next generation, whose members soon will enter the risk-prone years of adolescence. He travels the area’s indifferent roadways to visit farm families, keep tabs on their concerns, making numerous friendships among them. When he needs them, they cooperate.

Good food too is a preoccupation. Bruno is an excellent, if unfussy cook, and partakes of the best his region has to over, including the truffles found in the woods behind his house. (I’m salivating.) Naturally, he has a loyal basset hound, Gigi, to keep him company and manage his hunting expeditions.

Bottom line: Walker’s mysteries are a pleasant way to spend a few hours. More than that, the investigations he’s designed dig into many facets of rural life as it has been and as it changes. Not all of them are pretty, and the appearance of simplicity is only on the surface. Along the way he introduces you to interesting local characters and captures a few idyllic moments. You’re very likely to want more of both.

Walker is a former foreign correspondent for The Guardian, has written a number of nonfiction historical and political books and lives in France’s Périgord region.

Savage Ridge by Morgan Greene

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Morgan Greene’s new thriller, Savage Ridge, is named for the tiny Northwest US town where the action takes place. Ten years before the now of the story, three teenage best friends—Nicholas Pips, Emmy Nailer, and Peter Sachs—committed murder. (Not a spoiler; you find this out on page one.) Though they were suspects in the crime, an air-tight alibi set them free. For the last decade, they have been deliberately out of touch with each other, scattered across the western United States. Now, within days of each other, they’ve arrived back at their home town, where the ghosts of the past confront them on every street and around every corner. Coincidence? Not a chance.

The story is told in chapters that alternate then and now—the time of the murder and the current day. And they alternate perspectives—mostly those of Nicholas Pips; the long-time sheriff, Barry Poplar; Ellison Saint John, son of the wealthiest man in the valley and brother of the deceased, Sammy Saint John; and Sloane Yo, a private detective Ellison has hired to reexamine the case. Her first assignment—bring all three of them back—is a success.

Sachs has thrived in his new life away from Savage Ridge, Pips has had a mediocre decade, and Nailer is a mess. None of them escapes the guilt they feel about the murder, no matter how much they reassure each other that it was wholly justified. The crime looms over them like the steep hillsides loom over the town, their pine forests jagged sentinels against the sky, ever watching, and darkening the outlook of the people below. Nor are the three friends exactly the same people they were ten years before and, as the story progresses, the absolute trust they once had in each other is increasingly, dangerously, shaky.

Yo’s investigations reveal Sammy was much disliked by his classmates and had zero friends. He was not the golden boy his father and brother pretend he was, but the product of an entitled, autocratic, abusive man. Now, ten years later, the father is dying, and Ellison desperately hopes that, by pinning the crime on his only suspects—Pips, Nailer, and Sachs—he can gain his father’s respect at last. If it isn’t soon, it will be too late.

The story is an interesting kind of psychological thriller, because of the careful construction of the mental states of the three killers. Their reactions, their jockeying with Yo (who circles ever-closer) and with each other create much of the tension.

Savage Ridge is also a fascinating study of small-town life. Everyone knows everyone else, everyone has felt the overweening power of the Saint John family.

For me, this book was a real page-turner. Although you know all along who committed the crime, the why is unstated for a long time. Meanwhile, the characterizations are so strong, I found myself really invested in the fates of all three of the friends, and Sloane Yo, too.

The Teacher by Tim Sullivan

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The screen and television writing experience of author Tim Sullivan comes through strongly in his series of crime thrillers involving neurodivergent Avon and Somerset Police Detective George Cross. The Teacher is the newest this entertaining series of police procedurals whose titles come from the murder victim’s profession. I also went back and listened to the first in the series, The Dentist.

Neurodivergent protagonists are increasingly popular, given the success of clever books like Nita Prose’s The Maid and Liz Nugent’s Strange Sally Diamond. They’re good examples that what might have been labelled a weakness can, instead, be a great source of strength.

George Cross—deemed by his boss to be the best detective in the Major Crimes Unit (MCU)— is on the autism spectrum. He’s not the easiest to get along with because his understanding of social graces is just about nil. And, because he deals only with hard facts, not the distracting possibilities and speculations hovering around a case like a bad aura, his investigations are a slow process.

A lot of good-natured humor arises from people’s inability to figure out where Cross is coming from. They aren’t accustomed to such bracing candor, so little waffling. I found myself delighted at every interaction characters have with him, because they show so clearly how much of the communication between people is vague and, at times, off-point. Cross is a breath of fresh air. Sullivan has done a terrific job in modelling Cross’s character, and I for one hope to read more of his exploits. Great job here!

Weird Synchonicities

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Or is that synchronisms? What I mean is when two unrelated things turn out to have something in common after all. Or when two totally different aspects of your life come together in an unexpected way. We’ve all had that experience, and the immediate reaction is, “Hmm. Weird.”

So, as a crime writer, I guess I shouldn’t be surprised that in working on my family genealogy, the matter of crime comes up. Like the mysterious death of an ancestor in colonial Virginia and the two murders my family was involved in. (Stories for another time.) Looking back through old newspapers, I found a juicy crime story concerning my second cousin, twice removed, whose 25-year-old wife shot and killed her 18-year-old sister, because of her husband’s attention to the younger woman. The young sister must have been quite something, because a subsequent story said public sympathy was with the accused, and an acquittal was expected.  

Having vaguely in mind the kind of gems those old newspapers can hold, I was drawn to a recent story in the Library of Virginia newsletter. It reports on the results of a patron’s random inquiry into the nearly century-old newspaper record regarding far southwest Wise County veterinarian, game warden, and lawman JL Cox. The Library staff’s research found police-media relations were just as fraught back then as they are now.

A 1927 story in Crawford’s Weekly reported the attempted arrest of a man on outstanding warrants. Refusing to surrender, the man threatened the officers, including Cox, who’d come to get him. “We had to be shoot or be shot,” Cox told the paper. He said, “Some folks may criticize, but I’d like to know what they would have done had they been in our place.”

Two weeks later, Cox was involved in another exchange of gunfire. But a few days later, after Cox complained about the coverage of the event, the newspaper issued a correction, saying Cox had not returned fire. Over the next couple of years, Cox repeatedly called on the newspaper to correct stories about his activities. It’s a distant echo of today’s uneasy relation between law enforcement and the media.

After this frequent pushback, it appears the newspaper adopted a policy of not abrading Cox’s thin skin. The way I read some of the Weekly’s later stories, the editors learned to get their digs in more subtly: “Some may have criticized Dr. J.L. Cox, county officer, for being quick on the trigger in past performances . . .” Note the vague “some.” Politicians still use that gambit today. “People tell me . . .”

In a story about a stolen car, the paper suggested that “whoever did it thought they were wreaking vengeance on County Officer JL Cox, whose Chrysler also is a maroon coupe, because of his unrelenting enforcement of prohibition, traffic, and game laws.” Readers of Crawford’s Weekly might have had strong opinions about those laws and how vigorously they should be enforced. Talking about his “unrelenting enforcement” might not have been viewed as a tribute to his dedication. It was moonshine country, after all. (A moonshiner’s wrecked car and cargo shown above, police officer standing by.)

It turns out that Cox may have been too diligent for rural Virginia, and in 1931, he was shot and killed trying to serve a warrant on a man for dynamiting fish in the Guest River. The man claimed self-defense, but the case was dismissed. Why? Doc Cox “had been fooling with” the man’s wife. That story never appeared in the newspaper; the Library staff found it in the memoir written by the Game Warden who succeeded Cox in that post. The conclusion that can be drawn from this little research project by the Library is, I suppose, that times change, but people don’t.

I Saw You!–or Maybe I Didn’t

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Unease about the growing use of facial recognition technology has clustered around some by now well-known difficulties: inaccurate results when non-white individuals are involved; inadequate training of personnel who “read” the results; adoption of privacy-invading systems without public knowledge or input; inadequate monitoring of accuracy.

Despite these concerns, use of this technology is expanding in law enforcement, border control, airport screening, even business, including retail. Remember Rite Aid? How’s it really being used? What are the benefits as well as the unintended consequences? These questions create a fertile arena for authors of crime fiction.

Properly implemented, facial-recognition could help make policing more efficient. It has been used to identify a number of the January 6 rioters, whose participation was then verified by other evidence (their own Facebook posts, often). The UK, whose cities are blanketed with camera surveillance, nevertheless still values the human element—a cadre of super-recognizers who “never forget a human face.” That would not be me.

Unfortunately, an identification facilitated by the facial recognition technology sometimes trumps other evidence gathered in more traditional ways. The arrestee’s alibi, for example. No matter how sophisticated the technology becomes, it remains true that a person cannot be in two places at once.

Police departments say the technology is used only to generate leads, and people should not be charged with a crime until there is corroborating evidence. In practice, though, the algorithm’s output often doesn’t mark the beginning of an investigation, but its end. That perception was borne out by a Washington Post story yesterday about. A Texas man has filed a lawsuit against Macy’s (and others) claiming overconfidence in the technology led to his arrest by the Houston police. While in custody, he was sexually assaulted. This is one of a half-dozen ongoing wrongful arrest cases are around the country.

In the U.S., a growing number of state and local law enforcement agencies have available to them the faces of nearly half the adult population. These photos come from various sources—including billions scraped from social media, as well as government-issued I.D. cards, mug shots, driver’s licenses, etc. (In which case I don’t need to worry, because my driver’s license photo looks nothing like me! Though probably it matches up with the eighty or so “nodal points” that define a particular face.) The Georgetown University Law Center’s project on privacy and technology calls this vast database “the perpetual line-up.” And you’re likely in it, no matter how law-abiding you are.

Maybe you’re thinking, “So what? I’m not a criminal. This doesn’t affect me.” At least not until there’s a misidentification. Crime fiction writers should have a field day with this one. It’s one thing in a traffic stop or arrest situation to attempt to verify someone’s identity; it’s quite another to use the database for a fishing expedition after-the-fact. And fish will be caught, possibly using grainy, out-of-focus, out-of-date, candid selfies, to create a list of possible matches. Facebook for a while identified individuals in the photos on our news feeds. My friend’s wife was consistently identified as me. I didn’t think we look at all alike, but the algorithm did, so I understand the reality of misidentifying people.

Police departments in several major American cities are experimenting with street surveillance cameras that can continuously scan the faces of people in real time. More than a whiff of China here. The People’s Daily has reported that China’s facial recognition system needs only one second to scan the faces of its 1.4 billion people.

Warrants aren’t required for a search of facial databases. The investigations aren’t necessarily limited to serious crimes. Defendants may never be told that it was an algorithm, not a human witness, that identified them. People who don’t trust the justice system, may prefer to take a plea deal and never have their case tried in court and face a potentially longer sentence. This means the true rate of false positive identifications is unknowable. All these aspects of the technology and its implementation, good and bad, lend themselves to situations crime writers can exploit.

Graphic by Mike MacKenzie (www.vpnsrus.com) under Creative Commons license 2.0 Generic.

Writing Believable Cop Dialog

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Criminal lawyer Repo Kempt wrote an interesting column for LitReactor a while back, “Cops Don’t Talk Like That!” Convinced I’m prey to every bad writing habit going, I read it carefully. I also joined the Public Safety Writers Association, comprising retired cops, FBI, EMTs, military, fire fighters and people who write about them—a great group generous in reviewing members’ ideas and words. They’re my insurance policy against cliched portrayals of law enforcement!

In his column, Kempt emphasized that good dialog is one of the best ways to make law enforcement characters believable. And he offered a tip: listen in to actual police radio frequencies to get a feel for it, or listen to podcasts with actual police from different parts of the country talking about their cases, as there are significant regional differences in jargon. “Figure out where your story is set, and tune into law enforcement transmissions or podcasts in that area.” Works for a story set in the 2020s, anyway.

“Good dialog” is hard to achieve when we’re exposed to a lot of lousy, formulaic dialog from television and movies—and, yes, books. In a display of lazy writing, a lot of writers rely on cliched personalities and behavior to save them the trouble of figuring out something new. For example the cliché of the troubled alcoholic detective doesn’t require a lot of writerly delving; we’ve seen it so many times, we already sort of “know” this character. The author is cheating readers out of getting to more meaningful, nuanced and fresher insights when relying on that trope, or the one where an older cop is near retirement (guilty!) or a jaded veteran is teamed with an idealistic young rookie, or the cop is fighting a custody battle. These are not constant topics of conversation.

Gallows humor between partners or in the squad room is another standby. Some authors—John Sandford (admittedly, I’ve only read one of his) and Tami Hoag—do this very well. A UK author I read recently turned this plus into a giant minus by making every cop statement a launchpad for another cop’s snarky comment. Truly clever comments are appreciated. Reflexive snark becomes tiresome. As one of Kempt’s interviewees said, “Real police dialogue is more normal.”

Believable dialog added a lot to author SA Cosby’s latest, All the Sinners Bleed. The Black sheriff of a rural Virginia county is juggling a lot of difficult issues—racism, a cluster of child murders, a badgering county commissioner. Cosby’s sheriff and his team each have a distinct, convincing personality. I’m especially aware of this because I listened to the audio version ably narrated by Adam Lazarre-White.

In 400 Things Cops Know, author Adam Plantinga points out that cops don’t scream at suspects in the interview room and includes the advice to new officers, “If the public screams at you, don’t scream back. Because if they piss you off, they own you.” In other words, you have to stay (or at least appear) emotionally uninvolved, no matter what. A scene in the last episode of Unforgotten (season 5) violated that principle and didn’t ring true to me. A character made a (self-justifying) confession, and the detective interviewer, not persuaded, slow-clapped his performance. Perhaps she didn’t believe him, but the slow-clap seemed not something a senior officer would do.

And what about grammar? Plantinga says, “Even if you pride yourself on speaking the King’s English, as a cop, your vernacular will soon regress to match that of those you encounter. . . . Hearing mangled diction is the linguistic backdrop of your day and eventually you yield to it.” He quotes Tom Wolfe’s Bonfire of the Vanities: “In a room with three people who said She don’t, he couldn’t get a doesn’t out of his mouth.”

Dead Drop

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James L’Etoile’s award-winning crime thriller Dead Drop takes a 360-degree look at the intertwined issues of illegal immigration, drug and arms smuggling, and unfettered violence plaguing the southwest United States and the challenges they present law enforcement. After a career spent in the California penal system, L’Etoile has seen these problems play out first-hand. In this action-packed story, you do too.

When it comes to the illegal border crossers, Phoenix, Arizona, detective Nathan Parker tries vainly to hold on to the principle, “Yes, they’re desperate, but what they’re doing is against the law.” But when he’s faced with some of the realities the immigrants confront—and, ultimately, when he becomes an illegal border crosser himself—he starts not just to see, but to appreciate the other side of the story.

In this novel, the immigration issue has many troubling dimensions—fentanyl trafficking, rapacious coyotes, weapons galore, disregard for human life, and the spotty coordination of federal, state, and local efforts to combat any of these. The quest for personal and organizational glory makes inter-agency cooperation more difficult, as always.

While the U.S. Attorney is working to create an airtight case against the drug smugglers—a process that’s taking literally years—people are dying in real time. One of them was Parker’s long-time partner, a death for which Parker blames himself. A new lead appears when a cell phone number is found on a dead man. He’s one of four found in the desert, sealed up in 55 gallon oil drums. Parker’s encounter with the owner of that cell phone leads to his suspension from the force.

The barrels were discovered by Billie Carson, a woman living on the raggedy margins of society, scavenging whatever she can find abandoned in the desolate landscape. Billie has learned how to navigate a dysfunctional support system and, contrary to his expectations, Parker learns a lot from her. Suspended, he isn’t supposed to keep investigating any link to his partner’s shooting, but (of course) he does, and Billie and he may be at risk because of their connection with the bodies in the barrels.

Given all the players—criminals, law enforcement, bystanders, innocent or not—it’s a complicated plot with a lot of characters and a lot of agendas, much like real life, probably. L’Etoile writes convincingly about his law enforcement characters, and some have managed to maintain a sense of humor. Billie’s a solid female character, but several of the other women are less believable.

The way L’Etoile describes the unforgiving desert environment of northern Mexico and south Arizona, for many people and even for a time for Parker, it’s almost as much an enemy as the gun-toting coyotes smuggling people through the tunnels under the “impenetrable” U.S. border wall.

It’s a memorable story, and if you want to read more about this troubled area, I recommend Don Winslow’s The Cartel and Down by the River, riveting nonfiction by the late investigative reporter Charles Bowden.

Order here from Amazon (if you use these affiliate links, Amazon sends me a small payment):
Dead Drop
The Cartel
Down by the River

drugs, El Paso, Rio Grande, narcotraficantes, DEA, Border Patrol, Mexico, Texas
U.S. Border Patrol agents on the Rio Grande (photo: c1.staticflickr)

Two 5-Star Thrillers: Her, Too and Sleepless City

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Her, Too
Perhaps inevitably, the Me, Too movement would uncover complicated situations that go beyond simply punishing sexual predators (which is hardly simple in itself), and in Bonnie Kistler’s new thriller, Her, Too, she reveals a bundle of them.

When the story opens, Boston-based defense attorney Kelly McCann has just won a major case. Scientist George Carlson Benedict—the beloved Dr. George—is a pharmaceutical researcher whose discoveries related to Alzheimer’s Disease have short-listed him for the Nobel Prize in Medicine. Could such a valuable and visible member of society be guilty of raping a subordinate? In the trial just concluded, his former colleague Reeza Patel said yes. And so did three other women whom Kelly silenced with payoffs and non-disclosure agreements (NDAs). Benedict is a toad, really, but Kelly doesn’t consider him an actual rapist, until his next victim—her.

Kelly sets out for revenge. And she knows who can help. The three women who signed the NDAs, except that they hate her.

The story lays bare the manipulative and inequitable way NDAs are handled. A former executive at Benedict’s company received more than a million dollars, the office cleaner only $20,000. Kelly doesn’t draw Reeza Patel into the group’s sketchy plans—the way Kelly eviscerated her on the witness stand is just too recent, too raw. Soon, there’s no choice: Patel dies from a drug overdose. Was it really suicide? And her death is just the first.

You might think Kelly is pretty unlikable, someone who’s taken advantage of women at their most vulnerable. But the author takes pains to show she isn’t a monster. In other parts of her life, she bravely faces difficult issues involving care, caring, and letting go. These are big subjects, and in this provocative, well-written novel, the author doesn’t shrink from them.

In so many ways, the Kelly McCann you meet on page one is not the same person you leave on page 304. Go with her as she works her way through some of the most consequential social issues of our times. Bonnie Kistler is a former trial lawyer whose previous books were The Cage (or Seven Minutes Later) and House on Fire.

Sleepless City
Reed Farrel Coleman’s new crime thriller Sleepless City is for readers who like their noir black as ink and thick as pitch. You can’t really call it a police procedural, although the main character—Nick Ryan—is a detective working in the New York Police Department’s Intelligence Bureau, because he doesn’t follow any procedures learned in the Academy or that the higher-ups would publicly condone. Early in the story, he’s recruited to do exactly that—help the city solve intractable situations by, you might say, coloring outside the lines.

The department is beset by difficulties. The city’s waiting to erupt into chaos with the next cop-on-civilian killing. An investment fraudster has stolen billions, including police pensions, and won’t reveal where the money is. A reptilian right-wing podcaster is intent on sowing social discord and anti-police feeling with wacko conspiracy theories. Nick’s bosses would like to clear up these messes through normal channels, but it’s impossible.

Someone, Nick never knows precisely who, approaches him to use his creativity, initiative, and fearlessness to work out difficulties such as these. He’ll get whatever weaponry and manpower he needs plus access to files and security footage. Like a latter-day 007, he has a license to kill. I’m guessing, the powers-that-be hope he’ll use it.

This set-up creates a no-holds-barred fantasy of vengeance, a “simple” answer to complex questions. Although I used the word fantasy, Coleman’s writing is anchored in a gritty reality. Blood is shed. Bones are broken. Explosions dismember victims. Dirt is smeared.

Yet Nick doesn’t simply march through the city brandishing weapons and mowing down bad guys. He takes into account the consequences of his actions, their moral aspects, and selects his approach based in part on the lesson it will impart to other malefactors. In other words, he seeks justice more than revenge. Seeing his various clever plots unfold—and how he has to think on his feet when something goes awry—is one of the story’s chief pleasures. Plus, I chuckled to notice Coleman’s discreet nod to his fellow NYC crime writers Tom Straw and Charles Salzberg.

As a reflection of breakdowns in the social order, crime writing deserves the kind of attention to what makes the social order actually work that Coleman gives it here. Nick Ryan may be a fantastical creation, in terms of his deeds, but in terms of engaging with the quandaries facing big-city policing, he’s wrestling with modern reality. Sleepless City leaves you wondering, is this what it takes? Sounds to me like a series in-the-making.

Island Adventures

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Retribution by Robert McCaw

Retribution is the fifth in Robert McCaw’s series of police procedurals set on the Big Island of Hawai`i featuring Chief Detective Koa Kāne. Hawai`i of course has been on everyone’s mind lately, and McCaw creates an atmosphere thick, not with wildfire smoke, but with tropical sights, smells, and sounds. McCaw’s writing style is straightforward, yet he musical Hawaiian language and incidental descriptions of the environment create a rich portrayal of “place as character.”

Even a tropical paradise has its ne’er-do-wells. Late one night, as the book opens, a Philippine freighter heads toward the Big Island’s port of Hilo. Before it arrives, a mysterious passenger, with a single suitcase and a long flat gun case, disembarks on a powerboat—the first of a small company of mysterious characters whose presence presages a succession of violent attacks that rock the island.

Koa Kāne is called to investigate the vicious stabbing death of a local thief and drug user, in which his brother is soon implicated. Kāne must withdraw from this case, no matter how convinced he is his brother is being framed. The chief replaces him with Deputy Chief Detective Moreau, but Moreau has little investigatory experience and is trailed by accusations of excessive use of force. His only asset appears to be the unflinching support of Hilo’s ambitious new mayor.

The author conveys the kind of stand-up guy Kāne is, not in so many words, but by showing how those around him act toward him. Attacks on these people circle closer and closer to Kāne himself. What triggered this eruption of violence? The possible suspects operate on separate political and historical planes, and you don’t put the pieces of the story together until the last chapters.

McCaw never sacrifices character development to the maintenance of the story’s fast pace. While it’s hardly a tropical vacation, you nevertheless feel like the author has taken you someplace distinctive, and given you an engaging story there.

Incident at San Miguel by AJ Sidransky

Murder, lies, and corruption are the crimes at the center of this riveting piece of historical fiction, Incident at San Miguel, by AJ Sidransky. Like me, you may not have known or remember that, in the 1930s, with war clouds massing, many European Jews immigrated to Cuba, which welcomed them, gave them safe haven, and encouraged their businesses to thrive.

They did very well until 1959 and Fidel Castro’s communist revolution, when the Jews’ situation, like that of all wealthy Cubans, quickly deteriorated. The novels main characters are two brothers—Aarón and Moises Cohan—on opposite sides of the new political divide. Aarón is a lawyer, about to be married, and Moises is his younger brother, in love with a political firebrand and leader of the Havana-based rebels. Despite their differences, they share one core value: an abhorrence for corruption.

Sidransky does a remarkable job describing the island, the Old Havana, the colorful streets, the foods, the music drifting from every radio, rum and cigars—all the minutia of daily life. What I particularly admire is how he conveys the substance of the brothers’ lives: Aarón trying to figure out which staff members to trust, Moises traveling the broken highways to remote manufacturers, both of them trying to relate to old friends without putting either themselves or the friends at risk. And the risks can be deadly. The spies of the Revolution are everywhere. You can be on the inside one day and on the outside the next. Jail or worse awaits people deemed traitors to the Revolution.

Sidransky gives an especially thoughtful portrayal of Moises. Despite his hardline views and occasional bursts of feverish political orthodoxy, he never becomes a two-dimensional character. He believes absolutely in his work, and his biggest blind spot is his wife.

Their livelihoods and even their lives threatened, many Jews (and others) try to flee the island—a dangerous undertaking demanding much planning and absolute secrecy. When Aarón realizes he cannot stay, and indeed, at other times over the years, the brothers desperately need each other.

In the last section of the book, the brothers reunite after decades of infrequent communication, and we learn much more about their lives’ key events. At the end, I expect you’ll be satisfied that the big questions have been answered and understand how each man has found his own way. You’ll want to read the introductory material that explains how the novel is based on a true story and where it diverges from that history to become exemplary historical fiction.