Deadly Animals, Marie Tierney’s brilliantly plotted debut mystery, introduces readers to Ava Bonney: a 14-year-old English girl obsessed with decomposing bodies.
Deadly Animals, Marie Tierney’s brilliantly plotted debut mystery, introduces readers to Ava Bonney: a 14-year-old English girl obsessed with decomposing bodies.
John Straley’s nonstop, high-octane Big Breath In introduces the unforgettable Delphine, a 68-year-old cancer patient-turned-investigator.
John Straley’s nonstop, high-octane Big Breath In introduces the unforgettable Delphine, a 68-year-old cancer patient-turned-investigator.
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Greg Rucka, author of the popular Atticus Kodiak mystery series as well as dozens of comic books and graphic novels, has released his first stand-alone novel, a suspense thriller entitled A Fistful of Rain that exposes the unsightly underbelly of the rock and roll industry. Miriam “Mim” Bracca is the lead guitarist for Tailhook, one of the hottest bands in the world. When they started their world tour almost a year earlier, the trio was just another rock band from Portland. Now Mim and her bandmates are media superstars. Their single is shooting up the charts like a bullet, and the band is on the cover of Rolling Stone magazine. Mim has it all fame, fortune and the adoration of millions of fans. But in a matter of hours, Mim’s world is turned upside down. She is kicked off the tour, and temporarily out of the band, for her excessive drinking. When she returns to her home in Portland, she is abducted at gunpoint and thrown into the back of a truck only to be returned an hour later untouched. When the police do nothing about the abduction, she calls her brother Mikel for support. He informs her that their abusive alcoholic father, who was imprisoned more than a decade ago for killing their mother, is out of prison and looking to reconcile. When nude photos of her surface on the Internet, she thinks things can’t possibly get any worse but they do.

Besides the compelling cast of deeply flawed characters and the masterfully constructed plot lines which kept me trying to figure out who was trying to blackmail Mim until the last few pages the melancholy, almost poetic narrative gives the story an extra level of illumination. The symbolism behind the phrase “a fistful of rain,” which comes from a Warren Zevon song of the same name, is used brilliantly throughout the novel as a metaphor for Mim’s life. And very much like a Zevon tune, Rucka’s novel is instantly addictive, hypnotically descriptive, witty, irreverent, disturbing and always entertaining. Paul Goat Allen is a freelance editor and writer living in Syracuse, New York.

Greg Rucka, author of the popular Atticus Kodiak mystery series as well as dozens of comic books and graphic novels, has released his first stand-alone novel, a suspense thriller entitled A Fistful of Rain that exposes the unsightly underbelly of the rock and roll industry.…
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Thrillers often explore espionage and intrigue from the inside, but Janette Turner Hospital’s new novel Due Preparations for the Plague plunges the reader into the shadowy world of terrorism and intelligence from an outsider’s perspective. The result is a mesmerizing tale of grief, mystery and revelation.

Due Preparations
opens as Lowell, a house painter, tries to cope with the approaching anniversary of his mother’s death in a skyjacking. As the date nears, the reader sympathizes with Lowell’s grief and anxiety. Already troubled by anger and guilt, Lowell is further shaken by unwanted phone calls from Samantha, who was among a group of children released from the doomed flight. Now a member of a support group for survivors of the incident, she pesters Lowell for any information he might have. Lowell’s troubles expand when his estranged father, a former intelligence agent, is killed in a traffic accident. Information he leaves his son sets Lowell and Samantha on the path to learning more about the tragedy that marked both their lives. An intense, riveting reading experience follows that explores the overlapping worlds of national security and international terrorism.

As civilians and proxies for the reader Lowell and Samantha have a tinge of the sinister about them. But Hospital skillfully imparts in them the idealism that drives many to enter the nation’s intelligence services, as well as the isolation and loneliness that are the toll of a lifetime in clandestine activity.

Gregory Harris is a writer and editor living in Indianapolis.

 

Thrillers often explore espionage and intrigue from the inside, but Janette Turner Hospital's new novel Due Preparations for the Plague plunges the reader into the shadowy world of terrorism and intelligence from an outsider's perspective. The result is a mesmerizing tale of grief, mystery and…

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For Pyotr Alexandrovich Kokorin, Monday, the 15th of May in the year 1876 is a good day to die. The fashionably dressed young swag, inheritor of an immense fortune, strolls through the lush thoroughfares of Moscow’s Alexander Gardens, requests a kiss from a total stranger and, being rejected, pulls a small revolver from his pocket and dispatches himself before a crowd of horrified onlookers.

The event is written off by the police as an open-and-shut case: a bored young aristocrat played a game of roulette and lost. However, Xavier Grushin, detective superintendent of the Moscow Police, decides to use the event as a training exercise for his new clerk Erast Fandorin. Unwilling to dismiss the case as a mere suicide, Fandorin pursues leads ignored by his superiors and finds himself embroiled in intrigues of global proportions. The Winter Queen is the first of Russian author Boris Akunin’s novels to be translated into English. All nine Erast Fandorin books have been bestsellers in Russia, where the series’ popularity is described as Erastomania. Combining canny intuition, keen observation and dumb luck, Fandorin resembles a 19th century Russian amalgam of Sherlock Holmes, James Bond and Samurai Jack.

Akunin writes in a charming, lyrical style that moves the story along briskly. American readers will find The Winter Queen deliciously nostalgic, distinctly Russian and surprisingly cosmopolitan in its appeal. Mike Parker is a writer in Nashville.

For Pyotr Alexandrovich Kokorin, Monday, the 15th of May in the year 1876 is a good day to die. The fashionably dressed young swag, inheritor of an immense fortune, strolls through the lush thoroughfares of Moscow's Alexander Gardens, requests a kiss from a total stranger…
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If 20-something polymaths put you off, better pass on this clever, erudite murder mystery set in the literary Boston of the mid-19th century. But you'd miss an entertaining and at times illuminating read.

Matthew Pearl, 26, a recent Yale Law School grad, became fascinated with Dante's work while at Harvard, where he earned the Dante Society of America's prestigious Dante Prize in 1998. The Society is in fact an outgrowth of a translation club founded by poet Henry Wadsworth Longfellow in Cambridge in 1865, during an era when Harvard's governing board was dead-set against admitting living languages as a valid area of study, preferring to cleave to Greek and Latin. Their reluctance also echoed the community's escalating xenophobia, prompted by the recent waves of Irish immigration. Italian, Pearl explains, "particularly represented the loose political passions, bodily appetites, and absent morals of decadent Europe." Hence, in preparing the first American edition of Dante's Inferno for publication, Longfellow's little club whose evolving roster of members included poet James Russell Lowell, litterateur/physician Dr. Oliver Wendell Holmes and publisher James T. Fields was involved in a somewhat seditious undertaking.

Pearl ups the ante by introducing a fictitious series of murders, each as the four appalled literati quickly realize based on a specific punishment to be found in Dante's various levels of hell. Whereas the recreations of academic chitchat (however faithful) can be a bit tedious, the pace picks up considerably once the quartet is hot on the scent: picture middle-aged Hardy Boys in frock coats. Pearl has a gift for the grisly recounting, for instance, the disjointed dying thoughts of a too-pliable judge whose brain is being slowly dismantled by maggots, or the shock of a greedy minister experiencing his first human touch in many years: "The grasp was alive with passion, with offense." His demise is especially unpretty.

It's only in retrospect that one can appreciate the intricacy of the plot. As one red herring after another falls victim, the true villain hides in plain sight. Forehead-smacking is in order when the revelation finally arrives.

In all, the novel represents quite a feat, if not quite a tour de force. It's intriguing to imagine what might transpire if Matthew Pearl were to cast off the bonds of historicity and decide, like many a successful lawyer-novelist before him, to tackle contemporary chicanery.

Sandy MacDonald is a writer in Cambridge and Nantucket Massachusetts.

If 20-something polymaths put you off, better pass on this clever, erudite murder mystery set in the literary Boston of the mid-19th century. But you'd miss an entertaining and at times illuminating read.

Matthew Pearl, 26, a recent Yale Law School grad, became fascinated with Dante's…

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In Night Road, best-selling author and book club favorite Kristin Hannah gives us a tale of two families, closely linked though opposite in many ways, suddenly torn apart by one heartbreaking mistake.

By the time Lexi Baill is 14—her father disappeared, her mother a drug addict—she has lived in seven different foster homes and gone to six different schools. Kids like her, she knows, are “returnable, like old soda bottles and shoes that pinched your toes.” She’s finally adopted by her grandmother’s sister Eva, who lives in Port George, Washington, where Lexi starts high school.

Also starting high school are Mia and Zach Farraday, twins from a wealthy family on nearby Pine Island. Their mother Jude is the quintessential overbearing, overprotective mother—and she would do anything for them. So when Mia, who is shy and not nearly as popular as the good-looking, athletic Zach, becomes friends with Lexi, Jude opens up her home to her as if Lexi were her third child.

Even in their senior year, when Zach and Lexi realize they have fallen in love, the three remain as close as ever, Zach devoted to his sister, and Mia and Lexi the best of friends. Then college decisions loom over them—Mia wants desperately to attend USC and for Zach to come with her, but Lexi is only able to afford the local city college. Zach is torn, but his impending separation from Lexi becomes trivial following a tragic accident as the three return from a graduation party, and the lives of all are changed forever.

Hannah keeps her readers totally engaged throughout this moving novel, which shifts from a story of young love to an exploration of Jude’s grief, guilt and rage—and ultimately her ability to forgive what happened long ago on Night Road.

 

In Night Road, best-selling author and book club favorite Kristin Hannah gives us a tale of two families, closely linked though opposite in many ways, suddenly torn apart by one heartbreaking mistake.

By the time Lexi Baill is 14—her father disappeared, her mother a drug addict—she…

Lee Child's improbable odyssey from British television executive to best-selling American novelist began in London in 1989. With businesses downsizing, he found himself at a cocktail party with colleagues from work discussing what they'd all do after the ax fell. Child told his friends, I'm going to write novels, but not while I'm working full-time. It was 1995 before he was finally fired, but by then Child was more than ready to move on. Seven years later, with the publication of his latest book, Without Fail, Lee Child finds himself well into a successful career as a novelist.

Without Fail is the sixth appearance for Child's appealing lead character, Jack Reacher, a downsized military police major. Reacher, a man in early middle age who grew up as a well-traveled Army brat and subsequently spent 18 years overseas in the military police, has a parochial view of the country he served. Now a rootless and reluctant civilian, he finds himself back in America, seeing his country for the first time with an immigrant's eye, much like his creator, who moved to the U.S. in 1998.

As a very young boy in England in the late 1950s, American popular culture consisted mainly of fragmentary artifacts left over from World War II, Child explains from his home in suburban Westchester County, New York.

Child's love affair with American popular culture continued and, by the time he went to work in British television in the mid-1970s, he was deeply immersed in it. He married an American woman and began devouring American mystery/suspense fiction and noticed a paradigm shift in the genre that disillusioned him. Except for the works of authors like Robert B. Parker and John D. MacDonald, the protagonists of many novels seemed to have figurative, if not literal, bullets near their hearts, Child says. Damaged people with a lot of self-doubt and even self-loathing. He was determined that any protagonist of his would not be one of those wounded souls.

At the same time Child committed himself to becoming a novelist, he was reading MacDonald's Travis McGee novels. He found McGee, a physically imposing man of action who never hesitated to do what he thought was right, tremendously appealing. Inspired by that model, Child created Jack Reacher, very much his own man of action, albeit one who has broad-based appeal to men and women alike.

According to the fan mail Child receives, many male readers admire the fact that Reacher isn't afraid to take drastic and sometimes deadly action, always on the side of the underdog and always for the right reason, while a significant number of female readers find his combination of physical strength and fundamental decency attractive. Men want to be him, and women want to be with him, Child explains. Reacher is heroic without being a caricature. I've often been asked to categorize Reacher, Child says. And I really can't call him a private investigator, because he doesn't have any real structure to his life. Child finally decided that Knight Errant, a wandering knight seeking adventure to prove his chivalry, was the only appropriate category for his character.

Without Fail finds Knight Errant Jack Reacher enlisted by the Secret Service to help its agents protect the vice president-elect against a credible threat on his life. Reacher assists the Secret Service in tightening up its protective tradecraft while seeking the identity of the potential assassins.

While the novel's many Secret Service personal protection details have an authentic feel to them, they aren't the result of agency cooperation, Child reveals. Anyone who says they've gotten official Secret Service cooperation regarding personal protection isn't being truthful. As its name implies the Secret Service doesn't divulge trade secrets. Finding no useful secondary sources to work with, Child decided the best way to create a believable setting for his novel was to accurately portray the institutional memory of the Secret Service. The thing that haunts the Secret Service is the JFK assassination, and virtually everything they do is predicated on making sure nothing like it ever happens again, Child says. Toward this end, he fabricated details of how they might go about protecting someone. Add the able assistance of Jack Reacher, and it all makes Without Fail a convincing and compelling read. British writer Lee Child features a uniquely American man of action in his Jack Reacher series.

Michael Grollman is a freelance writer in New Jersey.

Lee Child's improbable odyssey from British television executive to best-selling American novelist began in London in 1989. With businesses downsizing, he found himself at a cocktail party with colleagues from work discussing what they'd all do after the ax fell. Child told his friends, I'm…

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Suzanne Chazin, a member of the International Association of Arson Investigators, has unusual access to the inner workings of the New York City Fire Department. Her husband is a high-ranking chief and a 20-year veteran of the department, and her research includes interviews with many of its members. Flashover, her second electrifying thriller, is dedicated to the 343 members of the FDNY who died in the September 11 terrorist attacks on the World Trade Center.

In this follow-up to her well-received debut effort, The Fourth Angel, Chazen continues the adventures of Fire Marshal Georgia Skeehan. This time she's investigating a series of deaths in fires that have reached flashover stage the overwhelming combustion of a room and its contents by simultaneous ignition. What she uncovers leads her into the inner politics and hazards of the fire and police departments. Georgia discovers frightening evidence of greed and deception that are the cause of these recent deaths and perhaps others to come. The trail of clues eventually leads to a blackmailer who wants to blow up an underground New York City gasoline pipeline.

Georgia's career and personal life collide when her best friend, a woman detective with the NYPD, disappears, and the man found in the woman's blood-spattered apartment is Georgia's boyfriend and fellow marshal, Mac Marenko. What keeps her going are her strong family ties to her mother and young son. Chazin's knowledge of pyrotechnics and the machinations of the agencies sworn to protect the public lend an air of authenticity to this fast-paced thriller. Deftly drawn, Flashover's believable characters drive the action to the very last page. But what really captures the reader's attention is the wealth of details about how fires wreak havoc and how they are investigated. The smallest piece of evidence spins a tale as intricately woven as any insect's web, and only the magic of science can unlock its secrets. Firefighting is one of the most frightening jobs imaginable, and the courage and talent of these brave folk are heroically outlined in the novel. Especially after September 11, this is fiction that rings true.

 

Kelly Koepke is a freelance writer and editor in Albuquerque.

Suzanne Chazin, a member of the International Association of Arson Investigators, has unusual access to the inner workings of the New York City Fire Department. Her husband is a high-ranking chief and a 20-year veteran of the department, and her research includes interviews with many…

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Ronnie Deal, a Hollywood movie producer on the fast-track at Velocity Pictures, is young, beautiful and smart. Pizza deliveryman Ellis Langford is a 30-something ex-convict on parole. What do Ronnie and Ellis have in common? They both have checkered pasts, a steely determination to succeed in Hollywood and ruthless homicidal psychopaths who would like to see them dead. These intriguing characters are at the center of Ray Shannon’s stylish and bold new suspense novel, Man Eater. Man Eater begins one fateful evening at the Tiki Shack bar. Ronnie is having a bad day at work, and it gets worse when she crosses swords with street thug Neon Polk. Ronnie impulsively steps in to help a young women being beaten by Polk, who is the ultimate bad guy and the worst enemy she could have. Ronnie clobbers Polk with a beer bottle and makes her escape. For a man like Neon Polk, losing a physical altercation to a man is one thing, but losing to a woman is intolerable. With his fearsome street reputation to uphold, he seeks revenge.

Enter Ellis, who has some deadly enemies of his own. He has spent the last eight years in prison, putting an end to his dream of retiring young and rich. Naturally, he put his time in prison to good use by writing novels and screenplays. Now, leading the constricting life of a pizza-delivering parolee, Ellis finds that Tinseltown is not the promised land for an ex-con. Ellis and Ronnie, attempting to dodge their pasts, form a shaky alliance in an attempt to stay alive and pursue their elusive dreams.

The violent side of Hollywood makes it the perfect backdrop for the vivid and eccentric characters that populate Man Eater. These power brokers, script-sellers, gangsters and drug dealers form a combustible combination fueled by raging egos, greed, revenge and jealousy.

Ray Shannon, described by the publisher as a pseudonym for an award-winning California author, tells a fast-paced and riveting tale that will keep the reader’s pulse racing. The author’s artful depiction of Hollywood and the movie business is a treat. His talent for mixing quirky characters, bone-jarring violence and sly humor will no doubt invite comparisons to some of Hollywood’s best big-screen adventures. C.

L. Ross reads, writes and reviews in Pismo Beach, California

Ronnie Deal, a Hollywood movie producer on the fast-track at Velocity Pictures, is young, beautiful and smart. Pizza deliveryman Ellis Langford is a 30-something ex-convict on parole. What do Ronnie and Ellis have in common? They both have checkered pasts, a steely determination to succeed…
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Richard North Patterson has grown a bit discontented with the praise heaped upon his recent best-selling novels. "’Better than Grisham’ has no more or less meaning than ‘worse than Updike,’" he says wryly during a phone call to his summer home in Martha’s Vineyard.

"I never set out to be the master of the courtroom thriller. I just happen to think the law is a good vehicle for writing about a lot of things. What has come to annoy me a little is the shorthand description ‘courtroom dramas.’ It reduces what I’m doing to a kind of trick. To the extent that my books work, it’s for the same reason that any book works — because the story, the characters, and the ideas are arresting. What’s gratifying to me about No Safe Place is that it just changes the subject entirely."

That’s right. Richard North Patterson’s arresting new novel — his best novel yet — has little to do with the law and even less to do with courtrooms. No Safe Place is about national politics and political campaigns. "For years I’ve thought about writing a political novel," Patterson says. "The question was always whether I could do the work and have the access that would make it a serious book. I mean a lot of political fiction is awful. Silly stuff. There hasn’t been a really strong novel of national politics since Advise and Consent, and that was more than 40 years ago. It’s a form I like and one that has fallen on hard times, so in 1995 I decided that I had the time and the wherewithal to take on such a book."

Set in the year 2000, No Safe Place follows the dramatic primary campaign of Kerry Kilcannon, a liberal-leaning U.S. Senator from New Jersey who is challenging the heavily favored sitting Vice President, Dick Mason, for the Democratic presidential nomination. The contest comes down to a crucial primary in California, where Kilcannon’s older brother James was assassinated 12 years ago during his own presidential campaign. In the final week of the California campaign, Kilcannon alienates key supporters on issues concerning abortion rights, is stalked by a religious fanatic who has already shot up an abortion clinic on the East Coast, and learns that unknown opponents are peddling damaging allegations about an extramarital affair to the national media.

In less able hands such a plot would yield an overheated potboiler at best. But Patterson’s political portrait is wonderfully laid out, thrilling, intelligent, and nuanced. Senator Kilcannon is an immensely appealing central character who carries a heavy emotional debt to his slain older brother. He struggles to tell the truth and remain authentic but is not afraid to play hardball politics and is certainly not infallible on issues of tactics or morality.

Patterson points to the life of Bobby Kennedy as one influence on his portrait of Kerry Kilcannon. "Obviously Kerry isn’t Bobby Kennedy, and certainly his relationship with his brother isn’t anything like the relationship between President Kennedy and Bobby Kennedy. But I’m not sure I would have written Kerry Kilcannon this way if it weren’t for the resonance of Bobby Kennedy. Kennedy’s spontaneity, reaction to direct experience, impatience, and internal war between the practical politician and the Romantic are elements you see working in Kilcannon. Those moments of spontaneity are really engaging because so many politicians are so robotic, are essentially programmed to follow a plan. The notion that you have somebody who is not only incapable of doing that but who realizes that his salvation lies in refusing to do that is very, very interesting."

Much of the book’s suspense depends on the moment-by-moment shifts of campaign strategy as Kilcannon and his staff scramble to deal with threats of scandal. To get these details right, Patterson spent a lot of time with top political strategists from both political parties, including Ron Kaufman and George Stephanopolous. "I explained the story and said ‘Okay, you’re advising Kerry Kilcannon. What do you tell him?’ Essentially we worked out this hypothetical campaign. It was just fascinating."

During his research, Patterson also came to know and admire Secretary of Defense William Cohen and Senator John McCain, "both of whom have an absolute core, an idea of themselves that involves more than looking around a room and seeing how other people feel about them, an idea about themselves that transcends whether they are returned to office or not." Former President George Bush, "a modest man and a real gentleman" taught him about the "incredible focus and competitive drive you need to be President. It’s almost like having an extra chromosome."

Says Patterson, "I came away with the sense that the good politicians are better than we know and better than we have a right to expect, given the corrosive nature of the fundraising system that exists, the demands of the office, the absolute loss of privacy, dignity, and even respect. I mean, we all know the system’s crummy in a lot of ways, and we all know that it tosses forward a lot of people we wouldn’t want to have to dinner, but what we don’t appreciate is how good the good ones really are."

Patterson also manages to seamlessly weave into his dramatic narrative some of the most complicated challenges of American national politics — issues of character, gun violence, abortion, race relations, and the changing role of the media.

In fact the novel, which was completed last October, seems drawn from this morning’s headlines, which comes as no surprise to Patterson. "I have a theory that if you get it right, sooner or later it’s going to happen. Since I completed the book, we’ve had the Lewinsky matter, the Birmingham abortion clinic bombing, numerous occurrences of violence with guns, questions of whether the Secret Service can be called upon to testify on what it knows about a candidate’s life. All of those issues are floating around in my book. I think they are pretty predictable ones. Many of them flow from the kind of meltdown of standards that has occurred when you have so many different media outlets — including such non-traditional ones as the tabloids and Internet gossip columns — competing to define what is and what is not news."

"One of the points I am trying to explore in this book is the basis on which a candidate’s private life is reported and the difference between fact and truth. There are a lot of excuses offered for printing things that are based on assumptions that are either unknowable or an enormous stretch. I’m not suggesting that there aren’t times when personal conduct isn’t a matter of public concern, but I wonder if we haven’t gone too far in looking into every corner of a candidate’s life. In any event, that’s one of the things I really wanted to do with this book — provoke some thought on these very questions."

Alden Mudge is a writer in Oakland, California.

Richard North Patterson has grown a bit discontented with the praise heaped upon his recent best-selling novels. "'Better than Grisham' has no more or less meaning than 'worse than Updike,'" he says wryly during a phone call to his summer home in Martha's Vineyard.

"I…

Interview by

When readers fall in love with a character, it can be excruciating to have to wait a year (or more) for the next book in the series to be published—think of the crowds of people who flocked to stores at midnight to get the latest Harry Potter.

That might be one reason for the interesting back-to-back publication of three new mysteries by Laura Caldwell: June brought Red Hot Lies this month’s offering is Red Blooded Murder and Red, White & Dead will hit bookstores in August. So readers charmed by the series’ feisty, red-headed heroine, Izzy McNeil, won’t have to wait long for their next fix.

Izzy bears a definite resemblance to her creator: both she and Caldwell have red hair, law degrees and live in Chicago. And yes, feisty is applicable to both, too. Speaking by phone from her office at Loyola University’s School of Law, where she is a professor and Distinguished Scholar in Residence, Caldwell’s pleasure in her character is evident, dubbing her “the younger, taller, hotter and cooler me!”

“I guess what you’re supposed to do in life is go minute to minute, and that’s kind of what I’ve been doing with Izzy. It just started clicking, and moving, and I loved the character, and I loved writing those books. I’m writing a nonfiction book right now [about her work with Loyola’s Life After Innocence Project], but I’m ready to go back and start on number four.”

Caldwell certainly puts Izzy in some real pickles. In the first book, Red Hot Lies, Izzy’s biggest client is murdered, her fiancé disappears with the deceased man’s money, and her employer suggests she take an “indefinite leave of absence.”

This “fresh start” scenario is a topic Caldwell herself finds intriguing, and she continues it in her next two books. Red Blooded Murder puts Izzy in a new career, working as a reporter for Trial TV until the brutal death of a colleague places her under suspicion for murder. And in Red, White & Dead, Izzy dashes off to Rome to search for a vital piece of her personal history . . . and escape some Mafiosi killers in the process.

Caldwell is fascinated by the myriad ways people regroup—or not—after the life they thought they knew gets yanked out from under them. “Unless you live in a hole, that happens to everyone throughout their life. Someone dies, you’re in a car accident, or someone breaks up with you, you lose a job; there are a million examples, and I’m always fascinated with how people respond. So that’s why Izzy, in the beginning of book one, everything she really identifies herself with gets pulled away from her. . . . It was fun to be along for the ride as an author.” While Caldwell has no intention of putting Izzy in the backseat, she has created characters in all three books she’d like to play a more prominent roles in future books.

“I really am hoping to have different characters step forward now. I want Maggie [Izzy’s best friend] to play a bigger part. I also think Izzy’s mom is a fascinating character and based on what happens in Red, White & Dead, she’s got a lot of stuff to deal with, too. . . . So what I’m hoping with this series would be that all these characters would be fleshed out enough that as one develops or changes, it does affect other people.”

One word of warning: Those captivated by Izzy McNeil in Red Hot Lies may want to ration out Red Blooded Murder and Red, White & Dead. After this series jump-start, it will be a year or more before the fourth book in the series is released. That kind of wait could have frustrated readers wishing they’d been a little more judicious and a little less greedy. 

Rebecca Bain writes from her home in Nashville.
 

When readers fall in love with a character, it can be excruciating to have to wait a year (or more) for the next book in the series to be published—think of the crowds of people who flocked to stores at midnight to get the latest…

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Yes, that Tolkien. Simon Tolkien is the grandson of the famous author, no doubt a double-edged sword for a first-time novelist, but instead of the world of elves and trolls, this Tolkien delves into the world of judges and detectives. His famous grandfather, J.R.

R. Tolkien, wrote about the things he knew legends and myths. So, too, does the grandson, an Oxford-educated barrister who takes us from the manicured grounds of a mansion in Suffolk to the gritty holding cells of London’s Old Bailey.

Final Witness involves a manor house, an influential politician, a secret room, an unlocked door and missing jewels, all of which give this mystery a distinctly British air. Lady Greta Grahame Robinson, the one-time personal assistant and current wife of Sir Peter Robinson, is on trial for the murder of Robinson’s first wife. Her accuser is Thomas Robinson, the embittered teenage son of the murdered woman, who claims he was a terrified witness to the crime from within a hidden room. As the trial progresses, Tolkien flashes back to the beginnings of the relationship between the beautiful and enigmatic Greta and the Robinson family. Working from various points of view, Tolkien shows us the events that led to the crime, even as Greta’s flamboyant attorney spars with the state’s relentless prosecutor. As so often happens in the justice system, be it American or British, the truth is hard to pin down. Between the moody and troubled Thomas, his cold and angry father, and the complicated and mysterious Greta, Tolkien keeps us guessing as to the killer’s identity.

Simon Tolkien has the potential to become a British John Grisham. Writing in the shadow of his grandfather is certainly no easy task, but with clever plot twists, capable handling of courtroom scenes and an unerring ability to build suspense, he has proven in Final Witness that he can uphold the family name.

Yes, that Tolkien. Simon Tolkien is the grandson of the famous author, no doubt a double-edged sword for a first-time novelist, but instead of the world of elves and trolls, this Tolkien delves into the world of judges and detectives. His famous grandfather, J.R.
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The Digger looks like you, the Digger looks like me. He walks down the wintry streets the way anybody would, shoulders drawn together against the damp December air . . . He’s not tall and not short, he’s not heavy and not thin . . . If you glanced at his eyes you wouldn’t notice the shape or the color but only that they don’t seem quite human, and if the Digger glanced at you while you were looking at him, his eyes might be the very last thing you ever saw . . .

From the very first page of Jeffery Deaver’s new thriller, The Devil’s Teardrop, both the reader and the party-hatted residents of Washington, D.C., know they’re in for a very wild last night of the century.

"I try to write roller coasters if there’s any possible way," he says.

This is the way: The Digger, a human killing machine, is programmed to randomly slaughter pedestrians at four-hour intervals until his handler receives a $20 million ransom and calls off the carnage. But when the Digger’s accomplice is killed in a freak traffic accident, the massacre continues with seemingly no way to stop it. FBI Special Agent Margaret Lukas and former FBI document specialist Parker Kincaid must search for answers within the only piece of evidence they have, the ransom note, and find the Digger before he finds them.

Deaver’s intricately woven plot explores the world of document specialists in much the same way that his recent books, The Bone Collector and The Coffin Dancer, delved into other aspects of forensics. Lincoln Rhyme, the quadriplegic hero of those books, even makes a cameo appearance. (Rhyme will take center stage again next year in Deaver’s forthcoming The Empty Chair.) There is a leitmotif throughout the book: it’s always the little things.

"I really focus on the forensic detail," Deaver admits. "In fact, in solving crimes, that really is what people focus on. You rarely find the smoking gun. The smaller details somehow resonate more clearly with people. We have small details in our own lives; we tend not to have quite so many boulders rolling toward us. I try to make it something people can really relate to."

To get there, Deaver spends roughly eight months constructing his plots, a laborious task that results in a detailed 120-page outline. Then comes another three months writing the prose and transitions, where all the hard work pays off. "Once the outline is finished, I have no problem writing 30 pages a day," he says.

Deaver takes great care to place his hero in the utmost peril, working backward to set the trap. "The endings are the most important part of the book for me, and I don’t mean the last page but the last 30 or 40 pages," he says. "The Bone Collector came to me that way. I wanted my hero to be utterly helpless at the end of the book, in a locked room with the villain and nobody coming to save him. And I thought, helpless, helpless . . . well, we can tie him up with duct tape but that’s really boring, we’ve seen that a lot. Well, I’m going to make him a paraplegic. Yeah, but then we have Ironside. No I don’t want to do that. Well, I’ll make him a quadriplegic, I’ll just up the ante. So I worked backward from there."

Of equal concern are his villains, in this case, the Digger. "I wanted a complete cipher. He really has no condition other than just brain damage. I’m so sick of the abused child who turns into the psychotic killer. And here’s a case where I wanted, not some run-of-the-mill cheap psychological explanation for why somebody was the way he was, I just wanted a killer. It would be like trying to profile a gun. He is simply a tool. That, to me, was completely terrifying."

Two camps have influenced Deaver’s writing. Stylistically, he cites literary authors Saul Bellow, Bernard Malamud, Theodore Dreiser, John Dos Passos, and more contemporary writers such as Mark Halpern, Jane Smiley, and Annie Proulx. In crime fiction, he credits Ian Fleming’s James Bond series, Donald Hamilton’s Matt Helm books, and John D. MacDonald as inspirations.

His other major influence will come as no surprise to his fans.

"Movies were very important to me," Deaver says. "I don’t write my books, as some thriller writers do, to make political points, to get up on a soap box, to teach the reader esoteric information that they probably wouldn’t have access to otherwise. I want their palms to sweat and when they finish the book, say, ‘Whew, I survived.’ And movies have largely done that."

Despite the recent spate of political thrillers set in the nation’s capital, Deaver admits he chose it as the setting for The Devil’s Teardrop for a different reason. "I needed the FBI headquarters," he says. "There is such an inflation, such a ton of these political thrillers, most of which don’t really grab me very much, and I wanted to write a Washington book that didn’t really have to do with politics other than the internal politics that happen in the mayor’s office."

It’s also a city he knows well; five years ago, Deaver moved from Manhattan to Clifton, Virginia, just 20 miles west of Washington, D.C.

The Devil’s Teardrop is the 15th suspense novel from the engaging former journalist and lawyer from Glen Ellyn, Illinois, who says he’s done things a little backwards to get where he is today. "I never wanted to be a practicing attorney. I wanted to get a job with the New York Times or the Wall Street Journal reporting on legal matters. So what I did, when I was working as a journalist in New York, I went to Fordham law school at night with the idea that I would have some expertise that would get me a job at one of the better newspapers. But I happened to do real well at school. I had a lukewarm undergrad career but for some reason I really enjoyed law school."

He was recruited by the Wall Street legal firm of Lord, Day & Lord, where he practiced civil law for eight years before leaving to write fiction full-time. During those years, he published his early novels featuring a spunky punk Nancy Drew named Rune. He says Bantam Books is preparing to reissue them.

What most surprises people when they meet Jeffery Deaver for the first time? "That I’m basically a nice guy," he says with a chuckle. "It’s tough to get dates sometimes, if anybody’s read my books. People do tend to identify someone with the books they write, with some justification, but for me it’s just a job. I’ve learned what people like, I’ve learned how to craft a product that gives them some pleasure. I like to cook. I like to entertain. I like to have parties. I still have friends who will say, in the middle of one of my dinner parties, ‘God, I can’t get over that you’re the guy who writes that real creepy stuff.’"

 

Jay Lee MacDonald is a writer in Naples, Florida.

The Digger looks like you, the Digger looks like me. He walks down the wintry streets the way anybody would, shoulders drawn together against the damp December air . . . He's not tall and not short, he's not heavy and not thin . .…

Interview by

Country-singer-turned-mystery-writer Kinky Friedman rises each morning in his little green trailer deep in the heart of the Texas hill country and tilts at America’s sacred cows like a modern-day Don Quixote on mood elevators. His warped mysteries, together with a catalog of highly irreverent country songs from his wasted-minstrel days, represent the most wickedly funny sustained attack on racism, bigotry, and hypocrisy since Lenny Bruce.

Starting with his first mystery, Greenwich Killing Time, in 1986, through such fractured who-cares-who-done-its as Armadillos & Old Lace, Elvis, Jesus & Coca-Cola and The Love Song of J. Edgar Hoover, Friedman’s eponymous black-Stetsoned, cigar-chomping alter ego has stumbled ever blindly toward, if not exactly enlightenment, then random illumination. He may eventually solve the crime, but more often than not the clues seek him out as he holes up in his Greenwich Village walk-up with a disinterested cat and copious amounts of Jameson’s Irish whiskey to assist cogitation. The reluctant sleuth is aided by a loose assemblage of New Yawk barroom denizens collectively known as the Village Irregulars. Messrs. Ratso, Rambam, McGovern and the rest also are real people, rendered, one suspects, just slightly more irregular as they pass through the author’s Wal-Mart typewriter. ("About the last typewriter in Texas," he says proudly, having returned to the Austin area several books ago).

When last we visited the cockeyed world of country-singer-turned-amateur-sleuth Kinky Friedman (in Blast from the Past), a chunk of ceiling plaster, dislodged by Winnie Katz’s lesbian dance class upstairs, had transported the vicar of Vandam Street on a comatose trip back to the ’70s. His 12th misadventure, Spanking Watson, continues in the Sherlock-Holmes-on-a-bender tradition. The Kinkster concocts a cold revenge on his upstairs neighbor, and of course things go immediately awry. With an almost criminal glee, Kinky dupes and recruits his colorful cronies to find a would-be assassin of Katz, then unleashes them on the unsuspecting Winnie and her Danskin-clad students like a horde of locusts on a summer field. When he learns that someone actually is intent on killing Katz, the merry chase begins in earnest.

"Spanking Watson is the search for the perfect Watson," Kinky explains in his smoke-sanded baritone. "It’s a challenge I put out to all of the Village Irregulars to try and infiltrate the lesbian dance class upstairs. Ratso becomes one of those guys you always see in an all-female aerobics class, the kind of feminine nerds that get involved in that. And all of these idiots do infiltrate the dance class. They get up there and then Rambam bugs the loft for me. They do it under the belief that a death threat has been written to Winnie Katz, which I’ve shown them. Of course, I’ve written it myself when I was drunk. It’s kind of Machiavellian. A little darker. But I think it’s funnier."

Kinky’s is perhaps the least likely of modern literary success stories. In the ’70s, young Richard Friedman parlayed his musical talent, knack for social satire, and Semitic birthright into semi-success on the fringes of country music as Kinky Friedman and the Texas Jewboys. The band’s stage shows were outrageous, thanks to Friedman’s redneck-baiting, chauvinistic stage persona, and such bitingly hilarious anthems as "They Ain’t Makin’ Jews Like Jesus Anymore" and the tongue-in-cheek, anti-feminist ode, "Get Your Biscuits in the Oven and Your Buns in the Bed." Country music has never been fertile soil for comedy, much less satire, so it was little wonder Kinky’s music delighted the critics and offended almost everyone else. Let us note here that his "Ride ‘Em, Jewboy" remains the only country song ever recorded about the Holocaust.

"It took courage back then," he admits. "It did. That was before Howard Stern. It took pawn-shop balls. We were a country band with a social conscience — always very dangerous."

The band came to make its home in perhaps the only country bar on the planet that would have them, New York’s Lone Star Cafe. By all accounts, the party was great. "I met everybody in those days. Andy Warhol. Everybody came by," he says. But by 1976, the party was over. It took Kinky a few years to, uh, refocus and try his hand at a new medium — mystery writing. To borrow a title from one of his songs, when the Lord closes the door, he opens a little window.

"I think it was more like desperation," he admits. "I was searching for a lifestyle that did not require my presence. The Texas Jewboys had disbanded a decade earlier and I was living in New York, flying on 11 kinds of herbs and spices, and broke. So I attempted to write the first book by borrowing my friend McGovern’s typewriter."

Another pal, radio talk-jock Don Imus, pulled strings to get Greenwich Killing Time to Simon & Schuster. Since then, Kinky mysteries frequently appear on the New York Times bestseller list and have been translated into 17 foreign languages.

"It has definitely been a financial pleasure for the Kinkster," he admits. "It’s more than music has really ever been. Of course, as I always say, money can buy you a fine dog but only love can make it wag its tail."

Both Kinkys shamelessly traffic in such bons mots. "This is a Cuban cigar," he’ll say. "I’m not supporting their economy, I’m burning their fields." Or "I’m the oldest Jew in Texas who doesn’t own real estate." Some avid readers contend that these politically incorrect witticisms and rapier-like turns-of-phrase are the real reason to pick up a Kinky mystery. In fact, in tales such as Roadkill, which takes place on tour with Kinky’s compadre Willie Nelson, the plot seems to disappear altogether in a cloud of peculiar-smelling smoke.

"The problem with the Willie book was that I lost so much by taking the detective out of his natural setting. I lost all the Village Irregulars and the cat. And I only found that out halfway through. I fly by Jewish radar. I write like Oscar Wilde behind bars. I don’t structure a lot of this, and I think, in part, that if there is any freshness to these books, any flavor, that’s the reason."

If Roadkill fell short by Holmesian standards, it nonetheless brought Hollywood calling. "The latest idea is to do Roadkill with F. Murray Abraham as Willie and Lionel Richie as me," Kinky says, giving no hint as to whether he’s serious. (Asked whether he would consider playing himself, Nelson replies, "Stranger things have happened. Kinky starts these rumors, you know. And then they come true.")

In fact, the movie idea got its initial boost from a surprising source: President Clinton. "He invited me to the White House for an awards dinner honoring the arts. He must have been on medication because, out of several hundred people, he sat me right next to him at the power table there. He proceeded to try to get my books made into movies with the lady who’s the head of Paramount Pictures, Sherry Lansing."

Equally surprising, the idiosyncratic musings of a Lone Star Jewish iconoclast have been bestsellers in Germany, Holland, and England. Explanation, please? "The rest of the world sees these books as a commentary on America," Kinky says. "It’s unconscious commentary on America. I find that women and little old ladies are really picking up the books. Even though the books are becoming increasingly profane, they’re also possibly becoming increasingly profound."

How close is the fictional Kinkster to his creator? "I think the books are very close to home. They represent an inward turning. I often write with an utter disregard for the reader. That’s the most honest way to write. At the moment, the books I’m writing, each one seems to be the best one. All I have to do is continue to be unhappy and I’ll be fine."

Jay MacDonald is a writer in Naples, Florida.

Country-singer-turned-mystery-writer Kinky Friedman rises each morning in his little green trailer deep in the heart of the Texas hill country and tilts at America's sacred cows like a modern-day Don Quixote on mood elevators. His warped mysteries, together with a catalog of highly irreverent country…

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