Everyone loves Summer Ryan. A model student and musical prodigy, she's a ray of light in the struggling small town of Grace, Alabama - especially compared to her troubled sister, Raine.
Then Summer goes missing. Grace is already simmering, and with this new tragedy the police have their hands full keeping the peace. Only Raine throws herself into the search, supported by a most unlikely ally.
But perhaps there was always more to Summer than met the eye . . .
Chris Whitaker's debut novel TALL OAKS garnered a lot of positive publicity and a CWA John Creasey New Blood Dagger award. Haven't had a chance to read the first novel yet, but when ALL THE WICKED GIRLS arrived it bounced to the top of the pile based on reputation and expectation alone.
Whitaker is an Englishman, but ALL THE WICKED GIRLS is set in the Alabama of many movies and American mythology. A depressed place, populated by struggling families, dirt poor but tight, close, loving and caring. Deeply religious, these are the sorts of people you feel would be wheeled out when you want to explain "salt of the earth".
When fifteen-year-old Summer Ryan packs a bag, leaves a note saying "I'm sorry", and disappears, the biggest surprise seems to be that it's the "good girl" who has gone. Her twin Raine is the one most likely to get into trouble. Not Summer, the music prodigy, the model student, the golden girl (obviously there's deliberation in the choice of names for these characters). Raine, fortunately, is exactly the sort of person that isn't going to let something like Summer's disappearance roll into yet another mystery. She's the one who is prepared to ask the question their parents, the town and the local Police Chief are trying to avoid - is "the Bird" back? This unknown perpetrator was assumed responsible for the abduction of five young girls in a neighbouring county, but everybody had hoped he was dead or gone. Everybody also assumes the girls are dead - although no sign of them has ever been found.
Symbolism is writ large in ALL THE WICKED GIRLS. From the Summer and Raine names of the twins, through to a town called Grace, which is anything but, and the massive storm that is brewing - meteorological and psychological. Combined with references to good and evil, and the twins aligned with the different sides, God, the Devil and the Church, and the darkness of the atmospherics matches the overwhelming message being delivered. The narrative is supported by the sense of a very odd place, populated by some very odd people, including the morally ambiguous, looming presence of the local Pastor. The idea that Raine's obsession with her sister's disappearance, supported by some of the classic outsiders in the community like this, eventually putting pressure on a dispirited, almost lackadaisical Police Chief does make sense, as does the stirring of the twin's father and his redneck mates.
The narrative switches viewpoint between Summer's voice in the lead up to her disappearance, and the third person telling of the story of Raine and her fellow seekers - Noah (hero cop's son), Purv (son of a local construction worker, victim of shocking violence from his father) and Police Chief Black as he finds his cop's instinct and drive again. Grace, is, it turns out, a town steeped in religious fervour, and not short of possible suspects in Summer's disappearance, and that of the five earlier possible victims.
The sense of this place, the culture and the society in which the action takes place is palpable, uncomfortable and overwhelming. The characters all turn out to have hidden depths and secrets, and it often feels like the whole place is operating on lies. It's deep, dark and beautifully written, with not a hint of an outsider author. The message is, like the atmospherics, on the heavy side - part noir / part morality play, and because of that there's no way you could call this entertaining reading. ALL THE WICKED GIRLS is, however, extremely involving reading, requiring commitment on the part of the reader to empathise and eventually understand that not everything here is what it seems.
Review - From the Shadows, Neil White
He hides in the shadows, watching, waiting, until the time is right . . .
Mary Kendricks, a smart, pretty, twenty-four-year-old teacher, has been brutally murdered and Robert Carter is accused of killing her.
When defence lawyer, Dan Grant inherits Carter's case only weeks before the trial starts, everyone expects him just to babysit it, but Dan's not that kind of lawyer. He'll follow the evidence - wherever it takes him.
Neil White is a new to me author, and one that is now on the to be read list. FROM THE SHADOWS is the first in the Dan Grant / defence lawyer series. It appears that there is also a 5 or so book series based around DC Laura McGanity, 3 books in the Joe & Sam Parker series and at least one standalone. Which begs the question why did it take so long for me to notice? Now I'm really kicking myself as if FROM THE SHADOWS, lawyer Dan Grant and his investigator Jayne Brett are anything to go by, I've got quite a few books to slot into the impossibly large reading queue in these parts.
Legal thrillers can sometimes be a little hit and miss for this reader, with the reason for a lawyer doing a bit of investigating on the part of their clients not always absolutely believable. The inclusion in this novel of Jayne Brett smooths a lot of that, as is the idea that Grant finds himself handling the case of accused murder Robert Carter at the very last minute. All of the setup items in the plot work well, providing context and motivation without the need for suspension of disbelief.
The two main characters, Dan Grant and Jayne Brett are well defined, flawed and capable of working closely together. The relationship is friendly, the reasons for their working partnership and brand of friendship are feasible, plus there's co-operation with just enough angst to make them believable. Grant might be the good bloke in the scenario but that's not overblown or sanctimonious, his difficult relationship with his disapproving father an ongoing thorn in his side. Brett on the other hand has a more dangerous spectre hanging over her head, with the family of her dead abusive boyfriend out for revenge. The inclusion of a strong supporting cast of different types of people gives the human factors of the plot much to work with - from Grant's business partner, through to the lawyer originally tasked with the defence of Robert Carter, and those close to the victim.
The plot's well done, with a good contrast between the requirements of defending the accused and a search for the truth come what may. Brett is a good investigator - dogged, determined and fearless without being overly reckless, she's able to work her way into conversation with many people, quietly looking for the reasons behind so much reluctance on the part of witnesses to get involved, or if they do, why they are telling so many lies. All the while there's an unknown person lurking and threatening. This aspect isn't overblown, it bubbles along in the background, adding to the tension, without feeling manipulative or staged.
A terrific thriller, FROM THE SHADOWS, is fast-paced and populated by extremely interesting characters embroiled in a clever story plot that twists, turns and sneaks around more than enough to keep the reader guessing until the end.
Book review - Did You see Melody? , Sophie Hannah
Tired and irritable from her cross continental flight from the UK, the last straw for Cara Burrows is being sent to the wrong room in the middle of the night by hotel reception. Disturbing a teenager and a man in the room, the over reaction is completely bizarre to Cara but in the light of day, it becomes just one of those things. The purpose of Cara’s trip was to regroup her thoughts and have a well-deserved break from her insufferable family so beyond that, she’d rather just enjoy what the Arizona resort has to offer. Cara has big mental fish to fry.
There’s both highs and dips with this novel. Some of the dialogue is quite fun and the main character Cara is comically harried with all that is going on in her life. We’ve all been there. Mother and teen daughter relationships based on sarcasm are very relatable, as is the faux cheeriness you often encounter from hotel staff when all you want to do is be left alone to enjoy your holiday. Author Sophie Hannah contrives to balance all of the mayhem of hotel goers joining forces for a holiday adventure with the darker depiction of a child’s murder.
As the abduction/murder plot is rather over worked, you will need to check your reality radar (and eyerolling) at the door in order to complete this read. As a beach towel novel, DID YOU SEE MELODY may have served a little better. As a crime novel, it’s a little oddball. It needs a little more darkness, or a little more lightness to slide home successfully in either category. Whether you are new to this author of an existing fan you will appreciate how Hannah has brought together a lot of diverse characters and made them interact in the unlikely environment of a high end desert resort.
Shades of “It’s a Mad, Mad World” for sure, but in the hands of Hannah DID YOU SEE MELODY has enough intrigue (satisfactorily largely in the hands of the women) to push (rather than sweep away) the reader through what is essentially a one location mystery. It’s a bit of frenetic trip in order to answer the burning question of the novel - did Cara really see Melody at the Swallowtail Resort?
Review - The Accident on the A35, Graeme Macrae Burnet
The methodical but troubled Chief Inspector Georges Gorski visits the wife of a lawyer killed in a road accident, the accident on the A35. The case is unremarkable, the visit routine.
Mme Barthelme—alluring and apparently unmoved by the news—has a single question: where was her husband on the night of the accident? The answer might change nothing, but it could change everything. And Gorski sets a course for what can only be a painful truth.
But the dead man’s reticent son is also looking for answers. And his search will have far more devastating consequences.
Graeme Macrea Burnet’s first novel was presented as the translation of an obscure French crime novel written and published in the early 1980s by French author Raymond Brunet (note the anagram). The conceit of that novel – The Disappearance of Adéle Bedaeu – was deepened by the creation of a faux trailer for the film version of the book. After his Booker prize nominated His Bloody Project, Burnet returns to the world of Brunet. The Accident on the A35 is, according to the preface, the translation of an unpublished Brunet manuscript, released after his mother’s death.
Once again, the book centres around detective George Gorski and the small, seemingly dead end town of Saint Louis in which he lives. When the book opens, Gorski’s wife has left him and he is called to the scene of a car accident on a nearby road. The scene appears to be an open and shut case but there are some odd details and Gorski allows himself to be charmed by the dead man’s widow into investigating further. At the same time, the dead man’s son Raymond, after finding an address in his father’s drawer of a house in a nearby town, is also both investigating and trying to grow up.
The Accident on the A35 Is written in the mould of a classic French crime novel, it is intensely focussed on the characters of Gorski and Raymond and is less about the solution to the crime, if indeed there is one, than the impact that the events surrounding the death have on them. Gorski gets caught up with an unsolved crime in a nearby town and Lambert, the shonky detective running the case. Raymond finds himself shoplifting and becoming obsessed with a girl called Delph who lives in the block of apartments that he has been watching.
It is unclear why Burnet feels the need to play the meta-narrative games with his crime fiction except maybe to find an excuse to write novels in this style. And he does it well, crafting a crime novel that is more about the effects of a crime and its investigation and resolution than a crime itself. But this device does provide another, potentially deeper layer to the text and the end notes invite the reader to consider how autobiographical the fiction is in relation to the (also fictional) life of Raymond Brunet.
Book review - Friend Request, Laura Marshall
Louise is on the treadmill of busyness that all single parents are forced to negotiate every day. Her son is great, her ex operates at the standard level of selfish and annoying, her fledgling business is going well and in the between-times Louise checks in and tries to keep up with everyone else’s frantic lives via Facebook. The bright shiny lives of Louise’s friends, ex colleagues and acquaintances are cyber surreal to her and the friends that were once vitally important in the school years have now become just posts on her phone screen.
FRIEND REQUEST is not a social media crime novel as expected; the platform is used instead here to spark off a chain of events. Thematically the story does not labour over the highlight reel that is social media but it is importantly touched upon, tying it neatly back into the past before Facebook etc when many of the same societal pressures existed for young people, albeit in a less technologically advanced age. Different generations facing the same age old concerns. Children being horrific to other children. The feeling of being completely alone as a teenager even though you are typically surrounded by many people on any given day of your school dictated life.
Louise’s slow disintegration is written with care, and it is the increasing of Louise second guessing herself that rachets up the tension. Is Louise actually being stalked, is she over thinking, is there real danger to Louise’s own life and that of her son now as a result of what she participated in as a child. As a reader we’re never entirely sure but there is never any doubt that Louise is fearful and keen to find out the answers to all the questions she should have asked long ago.
Laura Marshall’s debut novel reminds us why most of us move on and far beyond what we were in high school. Remove the rose-coloured glasses, and the “good old days” actually probably were anything but. The adults in this novel are being forced to remember what they were, and its uncomfortable for them to be reminded. This is a cleverly written ‘slow draw’ mystery of dread and old baggage. It will resonate with those who have had to pull back from toxic friends, online or otherwise, and with those who wish they could blank out the mistakes they have made in the past.
Munich by Robert Harris
Hitler is determined to start a war.
Chamberlain is desperate to preserve the peace.
The issue is to be decided in a city that will forever afterwards be notorious for what takes place there.
As Chamberlain’s plane judders over the Channel and the Führer’s train steams relentlessly south from Berlin, two young men travel with secrets of their own.
Robert Harris has long had a fascination with the events surrounding Neville Chamberlain’s trip to Munich in 1938 to negotiate with Hitler. That meeting, which ended with Chamberlain famously returning to Britain waving a piece of paper and declaring “Peace in our time”, has long been seen as the epitome of the appeasement policy that presaged World War II.
In 1988, on the fiftieth anniversary of that meeting, Harris was involved in a documentary called God Bless You, Mr Chamberlain.As the name of his documentary suggests, Harris has a more grey interpretation of Chamberlain’s actions than the popular historical account. And this view of the man and his actions informs much of his latest novel about these negotiations.
Early on in Munich it is clear that in 1938 the British were not ready for a war. Chamberlain is told that that the country needs at least a year to recruit, train and arm their forces. So that while Chamberlain honestly strives for peace, desperately trying to avoid a repeat of Word War I, he is also aware of a need to stall for time. As he observes: “The main lesson I have learned in my dealings with Hitler is that one simply can’t play poker with a gangster if one has no cards in one’s hand.” In Harris’s telling, Chamberlain does everything he can to box Hitler in to an agreement, knowing it is possibly all futile.
While full of historical characters the book itself is anchored around two fictional characters, both advisors to their respective leaders. Hugh Legat is one of Chamberlain’s private secretaries. Many years before, while at Oxford, he had a friendship with a German, Paul Hartmann who now works for the German diplomatic service. They have been estranged for six years after a falling out during Legat’s last visit to Munich, during Hitler’s rise to power, and events that hang in the background for most of the novel. Hartmann is part of a group seeking to bring Hitler down. He hopes to use Legat as a back channel to pass secrets on to the British and derail the Munich talks. So that while it is set against the backdrop of the real negotiations, this is a spy thriller, although one about amateur spies who are dedicated to a particular result but not very good at their craft.
It is easy in a historical novel like this to presage future events and for characters to make gnostic comments about how their actions will impact on the future. Harris does not fall into this trap but his characters are not stupid, they know that war is coming even while they struggle to prevent it. But what Harris does well is use the historical context to shine a broader light one human behaviour. For example, passages where SS characters talk of making Germany great again, and observations on Goebbels insight that the people would believe what they wanted even if it wasn’t true. More generally, Harris highlights the dangers inherent in the rise of nationalism.
Munich shows once again why Harris is one of the best historical fiction and thriller writers going around. His grasp of the detail and the main historical players mean that while the outcome is never in doubt historically, interest is in the cut and thrust of the negotiation process and the interplay of the personal and the political. And in Munich, Harris managed to seamlessly integrate this fascinating historical milieu with relatable characters in an engaging espionage tale.
Review - A Dark So Deadly, Stuart MacBride
Welcome to the Misfit Mob…
It's where Police Scotland dumps the officers it can't get rid of, but wants to: the outcasts, the troublemakers, the compromised. Officers like DC Callum MacGregor, lumbered with all the boring go-nowhere cases. So when an ancient mummy turns up at the Oldcastle tip, it's his job to find out which museum it's been stolen from.
If the universe wants to be particularly nice to us, it will make sure that A DARK SO DEADLY is the start of a new series from Stuart MacBride. There are echoes here of his long running Logan McRae series, but it's delivered with a slightly straighter bat (you'd have to be dead set in front to pick it though), and lots and lots of potential for places for the Misfit Mob to go and crims for them to annoy.
A haphazard grouping of cops who have been in trouble in the force, one who is most definitely not going gently into any sort of night - good or otherwise, and a female boss who is slightly erratic but nowhere near as in your face as DI Steel from the McRae series and there's so much potential here it's hard to know where to start. There's heaps of gallows humour that had this reader somewhere between smirking and laughing loudly at points, and then there's some beautifully dodgy villains, some over the top scenarios (mummified bodies for goodness sake) and that uncomfortable awareness that a scenario quite this horrible really shouldn't be making the reader laugh this much. But then readers, like the cops they are reading about, have to get through the worst of the worst, and MacBride is a genius at making it all feel like the world's gotten seriously it's weird and sick but it's going to be okay.
The Misfit Mob might even work out a way to be okay. You'd have to hope so as there will be some serious sulking in these parts if the universe screws this up on us, and this isn't the start of a new series.
Book review - A Dark So Deadly, Stuart MacBride
Police Scotland has created a “dumping ground” for those officers who don’t quite fit; the ill, those who have faced disciplinary action, those who refuse to play by the rules. DC Callum McGregor is an expectant father with a girlfriend who desperately needs to keep her maternity benefits, so it is in covering for Elaine’s on-the-job mistake that Callum finds himself joining Mother’s team at Oldcastle. Mother takes care of her castaways but they don’t always get along - or with anyone else for that matter.
The beauty of a standalone is the tantalizing possibility of it being a series starter. A DARK SO DEADLY introduces an irresistible new cast of characters (that this reviewer absolutely wants to see again) with the ‘Misfit Mob’. This ragtag collection of police officers is pure reading gold and it is a testament to the authors skill that he is able to create (again) a fresh set of police officers who are all complex, rich with backstory, and let’s not forget, hilarious. You can’t help but feel for Callum who has the whole world either badgering him for something or actively dropping bombs on him from a great height.
This ridiculously enjoyable book hurls along at a great pace, throwing up new dodgy villains and antagonistic colleagues for Callum to deal with at every turn. MacBride injects a terrific amount of energy and fizzy enjoyment into his novels and A DARK SO DEADLY is no exception. It’s rare you find a crime novel that is truly horrifying, whilst making you laugh out loud during the reading. Another great book delivered from a modern crime master.
Review - Bay of Martyrs, Tony Black & Matt Neal
Clay Moloney, a cynical reporter with a regional Australian newspaper, is expecting an easy Sunday at work when the body of a young woman washes up at the Bay of Martyrs. The death is an inconvenience for Clay, who's content filing obituaries and re-writing government press releases on the new multi-million-dollar airport. But the more he digs into the Bay of Martyrs incident, the more he realises the girl's death is not a case of misadventure, despite what the police tell him.
Whenever you're confronted by a jointly authored novel it's very hard to dampen the temptation to constantly look for hints on who contributed what components. Which was the case for around the first 20 pages of BAY OF MARTYRS and then I totally forgot to look.
Set in the South East of Victoria around the town of Warrnambool in particular, this is a great novel featuring a cynical local newspaper reporter, a new in town photographer, a dodgy local developer and an even dodgier politician. Nothing particularly surprising in the later I hear you say, and it's a very sad indictment on current day politics that as soon as the pollie made an appearance I had him marked as "one of the baddies", but how or why or when everything connects up is really the point of BAY OF MARTRYS. So named, because in the opening scenes of the novel the body of a young woman is found washed up on the beach of the bay of that name, drowned in what the local police inspector and notorious tricky bastard, would very much like to write off as an accident.
Only Moloney smells a story here, as well as in the sudden government cash splurge on the local airport - all supposedly in the name of tourism and economic growth. Meanwhile back at the newspaper he works for everybody's under pressure, big city owners are putting the brakes on costs, and his editor in chief would like nothing better than to see the back of the difficult to deal with Moloney. Bec, new girl in town, Irish-born photographer and hide-out from a tricky past is thrust into the investigation as part of her working day with Moloney and because of her relationship with one of the local cops.
There are many elements to the plot of BAY OF MARTYRS that come right from the playbook of corrupt goings on. Whilst much of the underlying truth won't come as any surprise to most readers, it's delivered in an engaging, paced and believable manner, partially because of some great characterisations, but mostly because it is so believable. Clay Moloney is a great character, perfectly capable of shouldering the responsibility of being centre to the newspaper's ongoing fortunes, the investigation into the young woman's death and uncovering a bunch of questionable goings on in a small community which is part long-term locals, part blow-in recent arrivals. He's also dealing with the housing crisis bought on by influx of students to the town, and the problems that a somewhat rudder-less life up until now have left in its wake. Whilst there are romantic attachments for all parties in BAY OF MARTYRS they aren't over blown and they certainly don't run smoothly. There are more bodies, there is a build up of tension towards the end, and there is a hefty dose of journalist-jeopardy that's not that hard to swallow at all, even if the twist in the tail was a bit Hollywood cliffhanger.
Nicely done, BAY OF MARTYRS is a very entertaining outing in what seems likely to be an ongoing series from UK based author Tony Black and local Matt Neal.
Review - Let the Dead Speak, Jane Casey
When eighteen-year-old Chloe Emery returns to her West London home she finds her mother missing, the house covered in blood. Everything points to murder, except for one thing: there’s no sign of the body.
LET THE DEAD SPEAK is the 7th novel in the Maeve Kerrigan series. A sobering thought for me given how much I liked this character in book number 1 and yet still I've now managed to miss books 2 through 6. Which means I can definitely say even if you've never read any of this series, LET THE DEAD SPEAK will work well.
A police procedural in style, LET THE DEAD SPEAK relies heavily on character interaction between Kerrigan and the team that she works with. There are a few tensions dotted throughout which are mostly self-explanatory, in particular there's obviously some clouds over Kerrigan from the recent past. When eighteen-year-old Chloe Emery's mother disappears, leaving behind signs of a bloody struggle, the entire team are baffled by the missing body. Despite that tension between within the team, they do manage to stay focused on the investigation that leads them to some dodgy neighbours and some very odd outcomes.
The plot here is an interesting undertaking with some elements that are going to be easy to pick, and much that remains unclear right until the end. Without a body, Kerrigan and her team are forced to focus on the possible why's of Kate Emery's fate, rather than the how or who up front, meaning this is a good old fashioned investigation in many ways, working each lead as it appears, weeding out a wide range of red herrings and possible suspects by coming to understand the victim, her family, and the immediate neighbours.
The use of first person narrative by Kerrigan works well here, giving the reader an inside view on the frustrations, achievements and feelings around an investigation like this. Peppered as it is with acerbic humour and plenty of barbs and cracks from colleagues, the perspective creates an immediacy and realism that wouldn't necessarily work as well with a more observational style.
About the only thing that readers who are new to this series might notice is that there is obviously back-story to Kerrigan's recent promotion, and her relationship with DI Josh Derwent - that alone should be enough of a reason to plug the gaps in reading the series, but it really shouldn't stop anybody from starting with LET THE DEAD SPEAK if that's the best option available. A series definitely worth reading whatever order you opt for.