Barbara Clark

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Author Ellen Crosby has uncorked a heady, suspenseful story in The Vineyard Victims, the eighth book in her Wine Country Mysteries series, set in Virginia’s Blue Ridge Mountains.

Crosby’s background as a journalist shows in the directness of her writing style—it could almost be called a workmanlike cozy—that ups the ante without diffusing the narrative. She refreshingly omits flowery prose, instead offering a sturdy plot and in-depth characters that enhance this colorful, complex page-turner.

The series’ central character, Virginia winemaker and vineyard owner Lucie Montgomery, is an eyewitness when her neighbor, vintner Jamie Vaughn, dies in a fiery car crash. The fatal accident occurs at exactly the same spot where Lucie herself suffered a disabling car accident years before, and the trauma of that event soon resurfaces.

Jamie’s last words to Lucie are a frantic plea that will embroil her in reviving a 30-year-old murder case that involved Jamie and several friends during their college years, although they were later acquitted after a local handyman was found guilty of the crime. Lucie uncovers the still-raw edges of the old murder, that of a brilliant academician whose career deeply impacted Jamie and his peers in grad school.

Jamie, a former politician and failed presidential candidate, had lived a privileged life, but Lucie hears rumors of financial improprieties and campaign mismanagement that could cloud his legacy. Lucie, however, seems alone in thinking that the accident could have been a suicide.

The Vineyard Victims nicely interweaves details about the lore and lure of wine making with escalating tensions as Lucie discovers new clues. Questions about whether Lucie will regain her peace of mind, plus hints about new characters who may appear in future books, add to this full-bodied and tempting read.

Author Ellen Crosby has uncorked a heady, suspenseful story in The Vineyard Victims, the eighth book in her Wine Country Mysteries series, set in Virginia’s Blue Ridge Mountains.

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Hank Early’s riveting debut novel, Heaven's Crooked Finger, is set in Georgia's countryside, deep in mountain country. Most of its residents haven’t traveled beyond the Fingers, the five imposing peaks that surround their county. Those mountains, and what may be found there, are the focus of Early’s gripping narrative.

Readers will take a trip into the dark, evil heart of religious zealotry, and into the heart of fanatical preacher RJ Marcus. He keeps his congregation thoroughly cowed with his fiery sermons on hell and damnation along with his snakes, slithering in a pit at the front of the church, waiting to test a sinner’s faith—or fear.

After committing sins that are unpardonable in the eyes of the Church of the Holy Flame, RJ’s 17-year-old son Earl rebels against his father and leaves town. Earl's obedient brother, Lester, remains behind. But neither son has been able to free himself from their controlling father, even after his death months ago.

Thirty years after his escape, Earl is returning to his hometown in order to investigate the bizarre rumors that RJ has risen from the dead and ascended into the mountains, ruling the lives of his flock with all the terror of a true demon.

Earl is not as likable a fellow as we might wish for in a protagonist, but Heaven's Crooked Finger is chock full of meaty characters, any one of whom could figure as the subject of a separate book: the wily Rufus, whose lack of sight is never a hindrance to his wit and kindness; a villainous sheriff; runaways Millie and Todd; and a collection of lovely young women, victims of the church’s despotism.

Altogether this is a humdinger of a story told with a fresh voice and more than a lick of understanding.

Hank Early’s riveting debut novel, Heaven's Crooked Finger, is set in Georgia's countryside, deep in mountain country. Most of its residents haven’t traveled beyond the Fingers, the five imposing peaks that surround their county. Those mountains, and what may be found there, are the focus of Early’s gripping narrative.

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The game’s afoot—this time with a feminist, gender-bending twist—in a Sherlock Holmes-inspired mystery that is sure to attract any fan of the Great Detective.

What if there was no Sherlock Holmes—at least, not the pipe-smoking, cocaine-addicted super sleuth whose exploits have beguiled generations of mystery fans. What if, instead, Sherlock was the superb creation of a brainy woman named Charlotte Holmes, who invented the detective to enable her to engage her own skills for crime solving in an era when such pursuits were strictly a man’s game.

Author Sherry Thomas has concocted such a fiction in her Lady Sherlock series, and her latest, A Conspiracy in Belgravia continues the story of Lady Charlotte’s creation—a super-logical detective named Sherlock, who evidently suffers from an illness that keeps him “behind the scenes” while his “sister,” Charlotte (who is assisted by her partner and landlady, Mrs. Watson) acts as his public face.

Her scheme gets complicated when Lady Ingram, the wife of Lord Ingram Ashburton, Charlotte’s close friend and benefactor, requests a confidential meeting with Sherlock Holmes. Charlotte must balance her loyalty to Ashburton against Lady Ingram’s private request for Holmes to locate a former lover named Myron Finch.

As Charlotte searches for the elusive Finch, she weighs a marriage proposal from Ash’s brother, Lord Bancroft. And always lurking in the background is the shadowy arch-villain Moriarty. What is Lady Ingram’s connection to the infamous criminal mastermind, and how will it affect Holmes’ detective work? These and other Sherlockian puzzles are sure to be embraced by contemporary fans of the Great Detective—in whatever guise Sherlock chooses to appear.

The game’s afoot—this time with a feminist, gender-bending twist—in a Sherlock Holmes-inspired mystery that is sure to attract any fan of the Great Detective.

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World War I raged from 1914 to 1918. It killed many thousands and left countless others with emotional and mental scars that were little understood at the time—a terrible legacy of shock and mental disability that affected many of those who fought,  sometimes for the rest of their lives.

Charles Todd’s war novels have explored those lasting scars in two series, his Ian Rutledge mysteries and, beginning in 2010, a newer series featuring Bess Crawford, a World War I nurse.

In this ninth installment in his Bess Crawford series, A Casualty of War, the mother-son writing team known collectively as Todd has provided an authentic look at the visceral horrors of trench warfare, as they set readers down in a makeshift medical facility, or “forward aid station,” near the front lines. Bess has been assigned there near the end of the war, after another nurse has attempted suicide due to the high stress level at the facility.

Bess soon makes the acquaintance of one Captain Travis—first as a soldier about to rejoin his regiment, and soon after as a gravely wounded soldier himself; one who insists, moreover, that his distant cousin has intentionally tried to murder him on the battlefield. Trouble is, that cousin was killed in battle weeks before Travis was himself wounded. For his insistence on what took place, the captain is transferred to a mental facility, where his condition soon deteriorates.

Bess appears to be the only person who believes the captain may be telling the truth, and following the armistice she sets out to make sense of his claim and hopefully prove him sane. It won’t take readers long to discover that where there are two branches of a family, there’s often a will in dispute. Bess and her friend Simon set out to begin a search within the fold of the Travis family—a dangerous undertaking that involves a whole community as well as a number of family skeletons.

The authors deftly explore the early ways in which the medical community as well as families and loved ones try to understand what we now know of as post-traumatic stress disorder. A Casualty of War brings into sharp focus an era that thrust the world squarely into the 20th century.

In this ninth installment in his Bess Crawford series, A Casualty of War, the mother-son writing team known collectively as Todd has provided an authentic look at the visceral horrors of trench warfare, as they set readers down in a makeshift medical facility, or “forward aid station,” near the front lines. Bess has been assigned there near the end of the war, after another nurse has attempted suicide due to the high stress level at the facility.

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The first thing that fans of Sophie Hannah may want to ask is whether Keep Her Safe follows in the author’s tradition of intelligent, often witty, page-turning psychological thrillers. The answer is, of course, yes—the author has perfected a formula for success that continues unabated with her newest book.

Hannah is a big Agatha Christie enthusiast who has extensively researched that author’s works and even penned two novels of homage to the famed Hercule Poirot. She has said that she tends to follow in Christie’s psychological footsteps: "She always started with, 'How can this thing be happening, isn't it strange?'” This is Hannah’s M.O. as well,  and the puzzle in her latest story starts from something off-kilter.

Cara, an Englishwoman, books a stay in a five-star American spa as a way to temporarily escape her family and come to terms with issues that are driving her apart from her husband—her unborn child, for one thing.

While in the exotic, albeit weird, luxury of her surroundings, she sees something that surely is impossible that harkens back to a notorious 2010 crime that was the focus of the American media: when youngster Melody Chapa was abducted and murdered, and her body was never found.

If Cara’s right, then she's just seen Melody, now seven years older and living under a new identity, alive and well at the very spa where Cara’s staying. Cara tries to discover the truth, but as she researches the history of the famous crime and finds herself at the center of a very American phenomenon—a trial by media involving the FBI, local law enforcement and an aggressive, hotshot TV reporter named Bonnie Juno.

Along with a glut of off-beat characters, spa denizens and hangers-on, Cara delves into the much-publicized crime while unwittingly putting herself in danger. Keep Her Safe may stretch some readers’ credulity factor to the limit, but there’s no doubt of the author’s ability to weave a fascinating, complex plot that stacks up the building blocks of tension and dares readers to question the reliability of several narrators.

Hannah’s penchant for describing every towel, pool dimension and luxury amenity at the Swallowtail Spa may test some readers’ patience and endurance, but the story picks up as the book continues, and once you’ve read all the flashbacks, journals and court documents, there’s the pleasure of a final denouement that’s clever and well worth waiting for.

The first thing that fans of Sophie Hannah may want to ask is whether Keep Her Safe follows in the author’s tradition of intelligent, often witty, page-turning psychological thrillers. The answer is, of course, yes—the author has perfected a formula for success that continues unabated with her newest book.

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It’s best to leave your revolutionary fervor behind and just give in to the beautiful and opulent settings that blanket Tasha Alexander’s new mystery, Death in St. Petersburg. Set in that storied city in the early 1900s, before the cataclysm of 1917, Alexander’s novel captures St. Petersburg at the peak of its glitz and aristocratic splendor. The enchanted winter setting benefits from lines here and there from poet and Russian literary genius Alexander Pushkin, as this one that captures the atmosphere: “I love thy winters bleak and harsh; / Thy stirless air fast bound by frosts; / The flight of sledge o'er Neva wide, / That glows the cheeks of maidens gay. / I love the noise and chat of balls; / A banquet free from wife’s control, / Where goblets foam, and bright blue flame / Darts round the brimming punch-bowl’s edge.”

Sleuth Lady Emily, here in her 12th outing in Alexander’s popular series, is in Russia with her debonair and attractive husband, Colin. They investigate the tragic murder of prima ballerina Nemetseva, found outside the Mariinsky Theatre after her premiere performance as Odette/Odile in “Swan Lake.”

The book takes readers behind the scenes with a crash course in ballet, describing the beauty and cruelty of the unforgiving, competitive life of a top-level ballet dancer in Russia’s storied and revered Imperial Ballet.

The book cleverly balances flashbacks with Lady Emily’s current day, presenting the fascinating backstory of young Irusya (Nemetseva) and Katenka, young dancers in the corps de ballet, whose lives become intertwined over the years, right up to the fatal event, as the flashbacks catch up to the present day. Irusya’s brother, Lev, and his revolutionary circle of friends contrast with the aristocrats living sheltered lives in precarious comfort at their soirees and balls, while princes bestow expensive favors on their favored ballerinas, who remain a lower class . . . all setting the stage for events to come.

But it’s St. Petersburg that stars in this show, as we accompany Lady Emily and her husband through a brilliant Russian winter, where horse-drawn sledges draw their muffed and ermine-swathed occupants over the sparkling snows to the hush of a theater at opening; where glittering Fabergé jewels are trinkets for the rich; and where a ghostly ballerina appears in the city, bearing marks of her murder, and then disappears into the snowy landscape.

It’s best to leave your revolutionary fervor behind and just give in to the beautiful and opulent settings that blanket Tasha Alexander’s new mystery, Death in St. Petersburg. Set in that storied city in the early 1900s, before the cataclysm of 1917, Alexander’s novel captures St. Petersburg at the peak of its glitz and aristocratic splendor.

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A murdered British officer with ties to the World War II Secret Service, found with the ace of hearts, known as the blood card, on his chest. An open coffin containing the body of a gypsy fortune-teller, her hand clutching a similar playing card. How are they connected?

Enter two members of the former Magic Men, a special MI5 unit that served in the war effort, concocting trickeries to aid in the fight against the Nazis. Readers may already be familiar with Max and Edgar, who feature in author Elly Griffiths’ earlier books in this fantastical, intriguing series (The Zig Zag Girl, Smoke and Mirrors). In the latest, the exceptional The Blood Card, the pair once again delve into the world of illusion to discover what these deaths have in common.

It’s the 1950s, and former Magic Men member Max Mephisto is still hanging onto his career doing stage magic, even as the burgeoning era of television threatens to eclipse the popularity of live variety shows. Detective Inspector Edgar Stephens, also part of the core World War II group, is now on the Brighton police force, and the two old partners in espionage have nosed out a crime or two since that epic time.

Here they follow the aces to unravel the reason that Peter Cartwright, their former MI5 recruiter, has been murdered. Edgar takes his very first plane trip, visiting the United States to track down an American mesmerist who appears to be connected to Cartwright. When the American magician dies after a hit-and-run, and Edgar himself barely escapes the same fate, Max and Edgar realize they’ve stumbled onto something more than just a trick of fate.

Griffiths has a matter-of-fact, conversational way of setting her scenes, and effectively uses plain declarative sentences, making a mundane event often seem wildly off-beat. Her understated humor and sly comments just slide into the dialogue, augmenting the storyline while never overtaking it.

The upcoming coronation of a young Queen Elizabeth figures large in this story, and the author cleverly mixes magical deceptions with real-life espionage. The straightforward crime detection sometimes seems a bit downsized, surrounded by a gypsy funeral; backstage ghosts; subliminal messages; the eerie smell of lavender; and a classic case of misdirection involving a disappearing general. As Edgar so cogently asks, “But what was the trick and why had it been performed?”

The further adventures of Max and Edgar continue to enthrall, this time in service of queen and country.

A murdered British officer with ties to the World War II Secret Service, found with the ace of hearts, known as the blood card, on his chest. An open coffin containing the body of a gypsy fortune-teller, her hand clutching a similar playing card. How are they connected?
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We have an understandable human fascination with stories of underground societies. Homeless and often forgotten people have done what seems incredible and unnatural to humankind—a species that has always thrived in the open air and on high ground. Here are the people who choose to go underground; and much has been written about the individuals who shelter in the tunnels and abandoned human byways that exist under earth’s cities.

In her outstanding new Ruth Galloway novel, The Chalk Pit, author Elly Griffiths as usual has drawn on her extensive knowledge of archaeology and history, enticing readers beneath the streets of Norwich, England, on a dark journey that will yield some strange discoveries. Archaeologist and professor Ruth travels below ground to a series of abandoned thoroughfares to investigate the age and provenance of some human remains just discovered in an area where a local architect hopes to build a very modern enclave of shops and restaurants.

At the same time, DCI Harry Nelson is looking into the mysterious disappearance of a homeless woman named Babs, and he hears a rumor that she may have gone underground. Then, two homeless men who knew her are found brutally murdered. Soon Ruth, Nelson and his detective team are pursuing separate investigations in the eerie, claustrophobic yet fascinating caverns beneath the streets where they uncover a trove of unsuspected life and activity.

Readers new to Griffith’s stellar mystery series will soon become familiar with Ruth and Nelson and their singular relationship, as well as with the unconventional, extended family of friends and acquaintances who’ve been with the series since its outset, from the meticulous Judy and Druid-inspired Cathbad to Clough and his love, Cassandra.

Griffiths’ understated, dry humor invests her characters with a special humanity that’s a cut above the ordinary. Behind each character’s façade, their thoughts can be very funny indeed—mostly not too far off from emotions we’ve felt ourselves. Conversely, when the author wants to move you to tears, she can also do that very well indeed.

The novel wraps with a zinger of a final sentence (containing a suspicion that a few skeptical readers may have had earlier in the story), and it's one that guarantees the allure of the next Ruth Galloway book that is sure to follow.

In her outstanding new Ruth Galloway novel, The Chalk Pit, author Elly Griffiths as usual has drawn on her extensive knowledge of archaeology and history, enticing readers beneath the streets of Norwich, England, on a dark journey that will yield some strange discoveries. Archaeologist and professor Ruth travels below ground to a series of abandoned thoroughfares to investigate the age and provenance of some human remains just discovered in an area where a local architect hopes to build a very modern enclave of shops and restaurants.
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It’s Halloween night, and the K-Bar in Bolton, Montana, is well into its annual costume party. The bar is full of Elvis impersonators competing for top dress-up honors. Drinking with her friends among other costumed partygoers and over-imbibers is local college student Grace Adams, dressed up as a prom queen. She gets spooked enough by someone she has tagged as a stalker that she leaves the party to escape the real or imagined threat.

At the same time as hips are swiveling in the K-Bar, the nearby home of well-known local residents Peter and Hannah Granger is burning to the ground, leaving the remains of two unidentified bodies in the rubble as well as a heap of smoldering questions.

Enter Detective Macy Greeley, who arrives from neighboring Helena to investigate the fire and determine whether it was accident or arson. That it was an intentional act soon becomes clear, and Macy sets out to dissect the lives and relationships of the Grangers—Hannah, an artist and teacher at the local college, and Peter, a nationally popular author who teaches a popular writing workshop.

Macy must determine the identity of one of the bodies and unearth a motive behind the murder of Peter Granger, the second victim. As more becomes known about the coterie of female students who seemed to be Granger groupies, readers may begin to share Macy’s suspicions that a lot more than manuscript critique was going on in Peter Granger’s creative writing workshop. It turns out Grace was once very close to the Grangers—taking painting classes from Hannah and a spot in Peter's coveted workshop—until they had a mysterious falling out.

The detective casts a wide net to include the volatile, often troubled young women who formed the members of the writing workshop; Jessica, a despondent art department associate with mixed motives: the Grangers’ personal assistant, Cornelia; a disaffected boyfriend or two; and the malignant stalker, Jordan.

Karin Salvalaggio’s Silent Rain builds on themes in her earlier Bone Dust White (2014). Those who haven’t read the first book may find that Silent Rain involves some heavy sledding. Both Grace and Macy were front and center there, and that past influences the present in the new entry. Unfortunately it’s often referred to with roundabout, sometimes muddy allusions. The goal may be to preserve the suspense in Silent Rain, but the result for the reader is often confusion. This book is all arms and legs—presenting too many questions that dangle without resolution. This can obscure the author’s very real talent for intriguing police procedurals, a solid core that will hopefully emerge more strongly in future novels.

It’s Halloween night, and the K-Bar in Bolton, Montana, is well into its annual costume party. The bar is full of Elvis impersonators competing for top dress-up honors. Drinking with her friends among other costumed partygoers and over-imbibers is local college student Grace Adams, dressed up as a prom queen. She gets spooked enough by someone she has tagged as a stalker that she leaves the party to escape the real or imagined threat.

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"I couldn’t put it down!" It’s an old cliché, often used to describe a book that achieves an immediate and constant hold—so much so that a reader can consume it in close to one sitting—no matter what the hour or how many chores need to be done.

Lately, such addictive reads seem to be few and far between, with many simply trying to up the ante on gore or the twist surprise factor, and most merely end up leveling the playing field.

At last, though, here’s a book that fits the bill. I Found You is addictive, and it doesn’t insult your believability quotient.

British author Lisa Jewell has penned 13 previous novels, including the creepy The Girls in the Garden (2016). In I Found You, Jewell combines several ongoing plots; all three of the storylines she’s imagined here stand on their own with intriguing characters, while at the same time seductively weaving one cloth. These stories are set in motion at differing times and places, but sooner or later they converge in a funky English seaside town called Ridinghouse Bay.

A man sits on the beach in the pouring rain: staring out to sea; soaked to the skin; silent. A middle-aged single mother sees him as she gazes from her cottage window.

Near London, a young newlywed from Kiev discovers that her husband of three weeks has gone missing. Without any new friends or understanding of British culture, she must somehow set the wheels in motion in order to discover what’s happened.

In a decades-past flashback, two teens on holiday with their family encounter an older teen who raises their suspicions in a hair-raising fashion. The scene unfolds during a visit to the beach by a traveling vintage “steam fair” (a showcase of steam-powered vehicles and machinery) that provides an appropriately seedy feel to the proceedings.

Each of these finely drawn stories tends more to gloom than to creepiness, but Jewell’s skill is such that an overriding sense of menace seeps into every page, overriding the commonplace feel of the setting. The action reaches a climax at a once-lovely seaside mansion, now overgrown with neglect—its path leading to a rusty, padlocked door hiding lonely rooms and seaswept vistas.

Jewell knows how to urge the reader on, but not in a bludgeoning way. Occasionally, the action gets a little too ordered—and perhaps winds up a bit too neatly—but by that time, readers will have enjoyed just about every minute of this captivating read.

British author Lisa Jewell's I Found You is addictive, and it doesn’t insult your believability quotient.
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If you haven’t read any books in Donna Leon’s stunning detective series featuring Commissario Guido Brunetti, now up to 26 books, the first installment may take a bit of getting used to as everything takes place on the water. Of course it does—her detective lives in Venice, where you pop out your door and into a boat in order to get to your destination.

In Earthly Remains, the scene shifts from Venice to its nearby islands, resulting in a subtle change in pace and atmosphere in this outstanding new entry in the series.

Brunetti’s blood pressure has run a bit awry, and he ends up embarking on a trip to regroup and relax. With his wife, Paola, in agreement with the plan, Brunetti is off to stay by himself in a villa that’s owned by a wealthy relative just a short boat trip away on the nearby island of Sant’Erasmo, in the Venetian Lagoon.

Earthly Remains takes shape as Brunetti begins his somewhat solitary stay at the unoccupied villa by making the acquaintance of the villa’s caretaker, widower Davide Casati. The two begin rowing daily together in the quiet waters of the lagoon among the shimmering reaches of nature, water and sun, burning Brunetti’s mind to quiet. He grows to love the nature that surrounds him as they row: “Brunetti had the sudden realization that, though none of this belonged to him, he belonged to all of it.”

Leon paints a picture of the incessant, encompassing warmth and the quiet reaches of nature as the two men travel out among the reeds and skimming ducks under the burnishing sun. Casati introduces his friend to the bees he keeps on a number of outlying islands where, in many of the hives, the bees are dying—to Casati’s grave distress.

The sun-blanched idyll changes in an instant when Brunetti, walking to the dock in the early morning to meet his friend, finds that both Casati and his boat are missing. Brunetti must slip back into character as a law enforcement officer as he joins in the search for the caretaker. As facts emerge, the detective is forced to re-evaluate all that he knows about the caretaker and his troubled past.

Stunning descriptions of the often tranquil surroundings mingle with an atmosphere that quickly turns malignant as troubling discoveries begin to emerge and take shape beneath the surface of the calm waters.

If you haven’t read any books in Donna Leon’s stunning detective series featuring Commissario Guido Brunetti, now up to 26 books, the first installment may take a bit of getting used to as everything takes place on the water. Of course it does—her detective lives in Venice, where you pop out your door and into a boat in order to get to your destination.
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“I didn’t do the crime.” Journalist Rebekah Roberts reads these words, part of prisoner DeShawn Perkins’ handwritten plea for justice. He’s doing time for a murder that took place 22 years earlier, when Malcolm and Sabrina Davis, along with their young foster daughter, were brutally shot in their Crown Heights apartment. DeShawn, their troubled foster son, is fingered for the crime. But after reading DeShawn’s letter, Rebekah is moved to follow up on his contention of innocence.

Conviction is the latest mystery from Julia Dahl (Invisible CityRun You Down). Police officer Saul Katz, a prominent character in Dahl's earlier books, is a kind of stepfather to Rebekah. The story slips back and forth in time between 2014, the year Rebekah reads DeShawn's letter, to 1992. We learn that 1992 was the year of the murder, and that Katz was involved in the DeShawn case as a rookie with the NYPD during this time when violence between black and Jewish neighborhoods was rampant in the Crown Heights section of Brooklyn.

The elements of this chilling, well-crafted jigsaw puzzle never skip over the hard facts of racial division and frequent bloodshed that racked the Brooklyn community during the '90s. Each character receives close attention: from Isaiah, an uncompromising Jewish landlord; to Henrietta, whose testimony solidified the case; to Joseph's unspoken, terrible mission; and finally to DeShawn and his tragic story. Most of all, Conviction captures the characters of Saul and Rebekah in their intricate, sometimes explosive interactions that explore both affection and wariness.

One particular passage captures Dahl’s essential mindset as she frames this story. In Saul's early cop years, while closely involved with the Crown Heights neighborhood, he recognizes “how much the camaraderie among officers resembled the camaraderie among the men in shul. . . . The men in blue uniforms—like the men in black hats—had a common language, a common purpose, a common set of rules and prejudices. They were misunderstood by outsiders, but outsiders were not important. What was important was the man beside you.”

Rebekah shines in this installment in Dahl's series, and the young journalist is sure to linger in readers’ minds. She’s solid, believable and never overplayed. In Conviction, Rebekah recognizes the insular nature of parties in conflict and finds a way to bring the truth to light.

“I didn’t do the crime.” Journalist Rebekah Roberts reads these words, part of prisoner DeShawn Perkins’ handwritten plea for justice. He’s doing time for a murder that took place 22 years earlier, when Malcolm and Sabrina Davis, along with their young foster daughter, were brutally shot in their Crown Heights apartment. DeShawn, their troubled foster son, is fingered for the crime. But after reading DeShawn’s letter, Rebekah is moved to follow up on his contention of innocence.

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In A Twist of the Knife, Becky Masterman ventures into intriguing new terrain with the third installment in her exciting crime series.

Hardheaded FBI agent turned PI Brigid Quinn darkened readers’ doorways previously in Rage Against the Dying (2013) and Fear the Darkness (2015), and she’s back again, barreling through a new investigation as she heads from her Arizona home to Florida to offer support and assistance to her former partner, Laura Coleman. Coleman is volunteering with a legal group that’s trying to prove the innocence of death row inmate Marcus Creighton, convicted of killing his wife and three kids.

You might think that Brigid, newly married and pushing 60, would have lost some of her rough edges to the call of love, but there’s none of that—though she’s happily married to Carlo, who seems downright saint-like at times. As for Brigid, she’s as opinionated as ever and figures that Creighton, given his past criminal record, probably isn’t innocent. She heads off to Laura’s aid, with the added excuse that her father is ill in a Fort Lauderdale hospital, and she can do double duty by spending time with her parents. The story is enhanced by intriguing characters including Shayna Murry, Creighton’s mistress, who hasn’t provided the alibi Creighton needs; fingerprint expert Tracy Mack, who has screwed up some cases in the past; and determined, steely Alison Samuels, a child abuse specialist who’s conducting an intensive search for traces of the Creighton kids, whose bodies were never found. Brigid’s cop brother, Todd, adds another layer to her family scene as he becomes involved in the Creighton case.

Ultimately, A Twist of the Knife is equal parts crime thriller and family drama. Oddly, Brigid projects a very narrow comfort zone for a cop who should know better when it comes to family dysfunction. Food fills the gaps in family togetherness—what else is new? “Mom never said what she meant”—join the club. Brigid, an otherwise strong character, often seems unable to roll with the blows or have much understanding of her own role in the family drama. Her stubbornness looks more like a cover for her own inability to connect.

Masterman’s writing is both satisfying and spare. The dialogue is brisk and realistic, and the story has a roller-coaster quality and a headlong pace, as readers are once again kept in suspense about what the volatile Brigid will get up to next.

In A Twist of the Knife, Becky Masterman ventures into intriguing new terrain with the third installment in her exciting crime series.

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