Around the world, crime fiction is a top choice of the reading public. And there are SO MANY of these books, to the despair of every writer pondering how to promote their own new book in such a crowded field. But, what’s worth reading?
Let’s turn to the experts. Though publishers and others produce lists of the 20, 50, 100 “best” crime and suspense novels of all time, easily googlable, what do the real experts—authors themselves—say? The Guardian asked 25 top mystery writers for their picks and recently reprinted their replies—the article itself being a classic from 2018. (Purists will cringe at this carefree interchange of crime, mystery, and suspense, as if they are all one thing, but the categories are broad and their edges fuzzy.) Here are the first eight:
Val McDermid, who writes impeccable police procedurals, recommends On Beulah Height by Reginald Hill, which she calls “the perfect crime novel,” one that acknowledges the author’s roots in the traditional English detective novel, but also the “complexities of contemporary life.”
Lee Child, whose recommendations you will find on so many book covers, he must never say no to a request, suggests The Damned and the Destroyed by Kenneth Orvis. “The story was patient, suspenseful, educational and utterly superb. In many ways it’s the target I still aim at.”
Ian Rankin’s choice was Charles Dickens’s Bleak House. I’ve read this one! Against the background of a family fortune being frittered away by endless legal proceedings, Rankin wrote, “As in all great crime novels, the central mystery is a driver for a broad and deep investigation of society and culture.” Its strengths are a “mazey mystery,” shocking murder, slippery lawyer, and large cast of memorable characters. Dickens reportedly modeled Inspector Bucket on a real-life detective in Scotland Yard’s newly formed Detective Branch.
Sophie Hannah picked The Hollow, her “current favorite” of the Christie canon. She said the outdoor swimming pool scene in which Poirot discovers the murder is “the most memorable discovery-of-the-body scene in all of crime fiction.”
SJ Watson suggested Rebecca by Daphne du Maurier (1938). Another check-mark! He called it “a dark, brooding psychological thriller, hauntingly beautiful, literature yes, but with a killer plot.” While it superficially appears to be a romantic drama, it is “an exploration of power, of the men who have it and the women who don’t.” Timeless? I hope not.
James Lee Burke picked Dennis Lehane’s Mystic River. I can’t claim to have read this one, but the movie was terrific. Burke said it’s “the best crime novel written in the English language.” Lehane’s poetic lines, reflecting to Burke’s ear an affinity for Victorian poet-priest Gerard Manley Hopkins “somehow heal the injury that his subject matter involves.”
Sara Paretsky’s choice was The Expendable Man by Dorothy B. Hughes, whose novels “crackle with menace.” This one plays out in a bleak New Mexico landscape. “Insinuation, not graphic detail, gives her books an edge of true terror.”
Dreda Say Mitchell, in a sort of ouroboros, recommended Lee Child’s debut novel, Killing Floor. She cited its parsimonious style, a lead character both traditional and original, and a plot “put together like a Swiss watch.” Plus the x-factor of righteous anger that leads Jack Reacher to single-handedly “dish out justice and protect the underdog.” Read this one too.
Some interesting choices among the remaining 17—including two authors who picked Martin Cruz Smith’s Gorky Park. Time to reread it, apparently.