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Hope Adams’ historical mystery, Dangerous Women, has a particularly inspired setting: the Rajah, a British transport ship carrying almost 200 female prisoners to Australia in 1841. In this essay, Adams reveals how the quilt made by the Rajah’s occupants inspired her to write her debut novel.


In 2009, I went to see an exhibition at the Victoria & Albert museum. It was called “Quilts,” and the Rajah Quilt, sent all the way from Australia, was hanging there among the exhibits. It’s a very beautiful piece of work. Beside it was a card detailing its history. I learned that it was made by women convicts under the guidance of a matron, Kezia Hayter. I also discovered that by the end of the three-month-long voyage, Kezia was engaged to be married to the captain of the ship, Charles Ferguson.

I could hardly believe it. If this story were invented, instead of historically true, an editor would say, “That’s too much. That’s too easily ‘happy ever after.’” I decided to write a novel about it then, astonished that it hadn’t been done before, by someone else.

I began to research the story of this voyage. I knew that men were transported to Australia and Tasmania, but did not know that since the late 18th century women had also been sent to the other side of the world.

What must such a voyage have been like? How would it be to find yourself in the middle of the ocean, far from everything you knew and were used to, separated from all those you knew and loved? The crimes that led to transportation were mostly theft, burglary, receiving stolen goods and forgery. The women who committed them often did so at the behest of men. They had scarcely any rights. They were poor for the most part and their crimes were those associated with poverty. Alongside Elizabeth Fry, the famous prison reformer, the real Kezia Hayter had worked tirelessly to improve the lot of prisoners even before she set sail on the Rajah. Her creative oversight of the work on the Rajah Quilt undoubtedly qualifies her to be thought of as an artist.

What must the women convicts’ feelings have been? How would they deal with unfamiliar companions? Who could they trust? Would they make friends? Who would take against them? All the problems experienced by any new prisoner (see “Orange is the New Black”) were going to be much harder to bear on a ship in the middle of the ocean, far away from every single thing they’d been used to.

Conditions on board the convict ships were better by the time Kezia Hayter was appointed to be matron on board the Rajah, but they were still harsh. She was to oversee the welfare of the women and one of the things she did was organize some of the convicts to make what is now known as the Rajah Quilt.

My research was helped enormously by an old school friend of mine, Carolyn Ferguson. She is an expert on the Rajah Quilt and has written extensively about it. She also showed me pictures of every single piece of fabric used in the making of the patchwork, and I’ve used word pictures of these at the top of some chapters.

This voyage of the Rajah is very well-documented. We have the captain’s log and the surgeon superintendent’s log. Kezia Hayter kept a diary. We have a list of the convict women with their names and crimes written down carefully. I have not used those names, because the descendants of these women are still living in Australia and Tasmania. The 1841 voyage of the Rajah was a very peaceful one, without much illness and only one death, from natural causes. I added a thriller element to the story to make it more suspenseful. This is a novel and not a history, so I have also changed somewhat the timeline of the romance between Kezia Hayter and Charles Ferguson.

The idea that more people will learn about Kezia and the others who made the Rajah Quilt by reading Dangerous Women gives me enormous satisfaction. I really hope everyone enjoys it.

 

Author photo © Hope Adams.

Hope Adams reveals how a quilt made by the occupants of a British prison ship inspired her to write her debut historical mystery, Dangerous Women.

Behind the Book by

Anna Lee Huber always knew that her Lady Darby mysteries, which are set in the 1830s, would eventually reach the cholera epidemic of 1832. What she couldn’t have known was that she’d be writing A Wicked Conceit, in which sleuth Kiera Darby must solve a series of crimes in a disease-stricken Edinburgh, while the COVID-19 pandemic was affecting Huber’s own life.


Illness is nothing new, and neither are epidemics, for that matter. Yet very few of us living in the developed world have experienced a pandemic. We’ve read about them in history books, but we haven’t experienced the strain and uncertainty and immediacy of dealing with one—until now. 

When I first began writing the Lady Darby mysteries and decided to set the first book in August of 1830, I always hoped the series would last long enough for the characters to reach the year 1832. But while I was aware that my characters would eventually have to wrangle with the cholera epidemic that struck Britain beginning in late 1831, I had no idea I would be writing about it while enduring a new pandemic in our time—nor could I have predicted how my own personal experience with a pandemic would inform not only my understanding of the past but also our present predicament.

First I had to confront the methods used for controlling a pandemic and treating disease in 1832 and how they differ from those we utilize today. Our scientific and medical knowledge has progressed immensely in 188 years. For one, we now understand that viruses and infections like cholera are caused by germs and not by miasmas.

In 1832, miasma theory was the predominant medical theory held by the brightest minds of the age to explain how diseases spread. The belief was that bad, noxious air emanating from things like rotting corpses, marshy land areas and other putrid matter actually released vapors that caused people to fall ill. This “influence in the atmosphere” was also believed to afflict those who had weakened themselves by exposure to certain behaviors, places or “exciting causes.” These theories promoted the idea that only people of “irregular habits” should fear diseases like cholera. So in addition to avoiding noxious air, doctors prescribed preventatives that were supposed to keep you from contracting dreaded diseases.

One of the most useful measures was the establishment of the first Central Board of Health, which was based in London with branches in other cities throughout Britain. The World Health Organization and the Center for Disease Control are the modern equivalents of these Boards of Health. Also, much like the regular televised coronavirus briefings held in 2020, the 1832 Central Board of Health published the Cholera Gazette to disseminate information to the public in an organized manner. Broadsides were posted that advised people of what foods to eat, how to clean themselves and their homes, and how to be mindful of the weather and the suitability of their clothing. Buildings in infected areas were even cleaned and whitewashed.

Quarantine measures were rarely recommended because cholera didn’t seem to spread by contagion but by personal contact. Contagionism was a precursor to germ theory, so it conflicted with the accepted concept of miasmatism. Quarantine was unlikely to have been effective anyway because the bacteria that causes cholera is not airborne like the virus that causes COVID-19. We now know that the reason cholera outbreaks kept recurring despite all the Central Board of Health’s efforts was that they failed to address the true source of the disease: open cesspools throughout communities.

It wasn’t until 1854, when Dr. John Snow was able to trace the source of a single cholera outbreak in London to a specific water pump, followed by a decadelong fight for germ theory to overtake miasma theory, that the real cause of cholera was pinpointed and accepted. Once significant sanitation improvements were made and uncontaminated water supplies were created, cholera became largely eradicated from many parts of the world, though areas without these two crucial elements still struggle with the disease.

While writing for an audience now familiar with the masking and social distancing protocols of the COVID-19 pandemic, it was important to communicate the differences in methodology between the medical community of 1832 and today. However, the feelings of dread, fear and misgiving that people experience during such times of crisis were as present in the past as they are today. The desire to make sense of such a calamity, to understand its cause and to draw some sort of meaning from it, was just as strong. 

Some people in 1832 found healthy ways to grapple with these issues and emotions, while others responded with anger and vitriol. Pamphlets from the time railed against people’s sinful natures and called on the government to change laws to save people from their own iniquities, correlating the concept of contagion with the idea that cholera was divine punishment for intemperance and immorality. Others even blamed doctors for allowing or causing people to die of cholera so their bodies would be available for dissection in anatomy schools. This fear ultimately resulted in violent cholera riots throughout Britain and Europe. 

But not everything that can be gleaned from our study of past pandemics is dire or disheartening. In fact, there is great comfort to be found in realizing we have been through difficult times like this before, and we’ll get through them again. Chaos and uncertainty may reign for a time, but humanity will eventually prevail. Science and social understanding will be advanced. We’ll emerge with a better understanding of the past, and hopefully of ourselves and others. As an author, I now have a greater empathy for the characters who inhabit my pages and the misfortunes I inflict on them.

Anna Lee Huber shares what it was like to write about the cholera epidemic of 1832 while the COVID-19 pandemic was affecting her own life.

Behind the Book by

Brian Klingborg’s Thief of Souls follows Inspector Lu Fei as he hunts a serial killer operating around a tiny town in northeast China. In this essay, Klingborg explores his enduring fascination with China and the unique combination of factors that make it a perfect setting for a mystery.


I first visited China in the summer of 1987 and took a three-week odyssey by sleeper train from Guangzhou to Nanjing, Shanghai, Xian—home of the famous terra-cotta warriors—and finally to Beijing.

Despite economic reforms launched in 1978, the country seemed caught in a time warp during that hot, humid summer. Most businesses remained state-owned, and the nefarious “iron rice bowl” system was in full effect—many workers enjoyed job security, but low wages and a lack of merit pay led to poor motivation.

Like the country itself, Shanghai was frozen in time. Grandiose European buildings dating to the late 19th and early 20th centuries lined the Bund but were mostly derelict. Beijing was a city of expansive highways, nearly devoid of vehicles. The pickings were slim in food aisles. If you wanted chocolate or other import items, you had to go to a “Friendship Store”—where no Chinese citizens were allowed to shop—and pay with “foreign exchange certificates.” Tiananmen Square was vast and empty, and viewing Mao’s corpse required only a short wait in line.

My, how times have changed . . .

Shanghai is now a city of towering skyscrapers and blinding lights. Private industry is booming, and upward mobility is the name of the game. Foreign goods are widely available, and judging from the Louis Vuitton handbags and designer clothes in evidence, people have the money to pay for them. Beijing’s roads are clogged with stop-and-go traffic, much of it consisting of imported luxury cars. And you can forget about visiting Mao—the line currently stretches for what seems like the entire length of the Great Wall.

These dazzling changes signify a rapid period of Chinese growth, a trend that, if it continues, may see the nation become the world’s foremost political, economic and military power. For some, this is a frightening prospect.

A rising China is the setting of my new novel, Thief of Souls, in which a Chinese police officer investigates a bizarre murder in a small northern town and runs afoul of local Communist Party bosses, corrupt business interests and a truly deranged murderer.


ALSO IN BOOKPAGE: Read our review of Thief of Souls.


In writing Thief of Souls, I had several goals in mind. I hoped to create a compelling mystery that did justice to a unique culture and people that many westerners are only familiar with through negative references. I wanted to explore the pressures and paradoxes Chinese citizens face as their society and way of life undergo radical transformation. And last but not least, I figured it was high time I leveraged the 30-plus years I spent studying Chinese history and religion into something productive!

I drew on my own academic background and the four years I spent living in Taiwan, three of those working locally for a Chinese company, as well as many later years of professional and personal travels to the region. I also conducted scads of research. And I was very aware that, as someone who is not Chinese, I had a solemn responsibility to base my story on a factual framework and to feature characters of flesh and blood rather than cardboard cutouts.

I hope readers enjoy the mystery and suspense of Thief of Souls but also see a kindred spirit in the daily challenges faced by many Chinese citizens—and their aspirations for a better future.

After all, as the old saying goes: “Within the four seas, we are all one family.”

 

Author photo by Lanchi Venator

Brian Klingborg explores his enduring fascination with China and the unique combination of factors that make it a perfect setting for a mystery.

Behind the Book by

In 1942, the rights to Arthur Conan Doyle’s Sherlock Holmes stories passed from 20th Century Fox to Universal Studios. Rather than continue to tell the adventures of Holmes and Watson in their original Victorian setting, Universal had the unorthodox but brilliant idea to bring Holmes and Watson into then-contemporary London, which added a jolt of modernity to Conan Doyle’s work and gave the war-weary British public a chance to see the heroic detective battling the Nazis on the silver screen.

Robert J. Harris’ A Study in Crimson takes its inspiration both from those films and the original stories. The result is a World War II-era adventure in which the iconic sleuth must hunt down a copycat of Jack the Ripper. In this essay, Harris explores how this unique fusion of literature, film and history came to be.


"The name of Sherlock Holmes will always be associated with a hansom cab racing through the fog-bound streets of Victorian London—but suppose he had been born later. Just imagine if he had been there when his country most desperately needed his help."

This is how I might have introduced A Study in Crimson if the concept of Sherlock Holmes in World War II had been my own invention. But it was Universal Pictures who in 1942 brought the detective forward in time in Sherlock Holmes and the Voice of Terror, the first of a classic series of 12 films starring Basil Rathbone. This was done with the full approval and support of the Conan Doyle estate. In fact, Conan Doyle’s son Adrian Conan Doyle declared this to be the best Sherlock Holmes film ever made. One might argue accordingly that these new adventures have much more of a claim to be an official part of the Holmes legacy than many of the other pastiches on the market.

All of this was in my mind when the idea occurred to me of adapting this version of the character for a novel. I grew up watching these films on television, and Basil Rathbone has always been my Sherlock Holmes, with his faithful Watson played by Nigel Bruce. Watching them in later years with my own children, I was struck by how seamlessly the transition from Victorian times to wartime London was made. This was due in great part to the fact that Rathbone and Holmes were already well established as the duo in two earlier Victorian-set movies and a very popular radio series.

In recent years, I have written three novels for younger readers in my Artie Conan Doyle Mysteries. In these, I imagine the young Conan Doyle having a series of adventures that will later inspire the creation of Sherlock Holmes. One of the most important aspects of these stories for me was that the mysteries should be worthy of the great detective himself. This naturally brought to my mind the notion of writing a Sherlock Holmes novel, but what held me back was that there are already so many Holmes pastiches out there, and that unless I had a different approach, there would be little point in my adding another.

Then one day my eye lighted upon my boxed set of the Basil Rathbone Holmes films. The producers, writers and directors of those films had managed to transfer Holmes to the 1940s while still retaining all the qualities that make him so memorable. Would it be possible, I wondered, to do the same thing in a novel?

I was very taken with the idea, but it was some weeks later before I had my plot. I was leafing through a Sherlockian biography of Holmes when I came to a chapter on Jack the Ripper. Holmes and Jack have confronted each other a number of times in books and on screen, and it occurred to me that the blacked-out streets of London provided a perfect setting for a new Ripper, one who called himself Crimson Jack. This would not only present Holmes with a worthy case but would also maintain a strong connection with the character’s Victorian roots.

I hope readers will be hugely entertained by the result, and perhaps even be ready for a further adventure.

 

ALSO IN BOOKPAGE: Read our review of A Study in Crimson.

How a classic film series and a legendary killer inspired Robert J. Harris' new Sherlock Holmes adventure.

Behind the Book by

Author Elaine Murphy explains how she got sucked in by the queasily liberating allure of sociopaths—and why you will, too.


Most people use the terms sociopath and psychopath interchangeably, though they’re technically different personality disorders. In both cases, the person acts without conscience and without fear of consequences. They are prone to manipulation, impulsiveness and lies, and they act recklessly. The primary difference is that sociopaths have a bit more emotional wiggle room, if you will. They might have real feelings for one or two people, they might experience a tiny bit of empathy or guilt, and they might have some emotion (like rage), although the emotion is fleeting. 

We’ve all known someone who has one or many of these characteristics, and I’ve personally done my best to avoid them in my life. So why are we still drawn to reading about these types of people?

Because it’s fiction! It’s so fun to watch these characters in action precisely because the stories aren’t real. Sociopaths are impulsive and unpredictable, so we never know what they’re going to do next. But much like when we follow a story about a zombie apocalypse or killer mermaids, we have the safety net of our TV screen or the pages of a book to keep the real threat at a distance. (Keep in mind that not all sociopaths are violent, just as all non-sociopaths are not harmless.)

In Look What You Made Me Do, Carrie Lawrence’s older sister, Becca, is a 30-year-old sociopath. Becca has been killing people since high school and roping her sister in to help hide the bodies. There’s a moment in the book when Carrie notes, “Not once in my life have I been afraid for my sister. She’s always been the biggest predator in the room, the one sitting at the top of the food chain, picking and choosing her next meal.” Sociopaths have no regard for how their behavior affects others and enjoy a “rules don’t apply to me” type of attitude. 

Becca was an amazing character for me to explore as a writer because she’s never boring. She has an idea, and she acts on it. She plunges headlong into whatever motivates her in any given moment and never considers the consequences. Becca wants to break into a building? Let’s go! Learns there’s a serial killer in town and he’s stealing her thunder and needs to pay? Let’s take care of this immediately, no planning required! 

Becca does all those things we wish we could do but have been raised—and possess the empathy and guilt that guide “normal” behavior—not to. Have you ever been in a conversation and just desperately wanted the other person to shut up? Seen something more entertaining over their shoulder and wanted to walk away? Thought the pretzel in their hand looked delicious and wanted a bite? You can watch a character like Becca in that scenario and know you’re not in for a boring scene in which the other person drones on. She’s going to take action. Maybe she’ll simply walk off. Maybe she’ll take the pretzel with her. Maybe she’ll kill the other person and call it self-defense for trying to bore her to death. As a reader and a writer, these are the types of characters that keep me turning—and typing—the pages. 

 

Author photo by Laura Shortt Photography.

Author Elaine Murphy explains how she got sucked in by the queasily liberating allure of sociopaths—and why you will, too.

Behind the Book by

Dan Fesperman’s new espionage novel, The Cover Wife, could have been a soapy, simplistic experiment in dramatics. It follows CIA agent Claire Saylor, as she goes undercover as the wife of an academic in Hamburg, Germany, while a parallel plot line follows Mahmoud, a young Moroccan immigrant who’s being slowly sucked in by a radical group of men at his mosque. But Fesperman, a former journalist who covered both the Yugoslav civil wars and the Middle East in the wake of 9/11, roots Claire and Mahmoud’s stories firmly in reality. In this essay, he reveals why why an individual spy is far less powerful than you’d think, and why that makes their work all the more thrilling.

Behold the Super Spy, who knows all, anticipates all, and because of their operational autonomy, is almost always a step ahead of the competition. Need to Know? That’s a doctrine for chumps and desk jockeys.

Such is the misconception some readers have of CIA officers and others who work in the shadowy world of espionage, believing that spies step into their assignments in full knowledge of the stakes, the objective, the tasks their colleagues will be carrying out and so on.

Claire Saylor, my main CIA character in The Cover Wife, enviously wishes this were true. But, as just about anyone who’s worked in the spy business will tell you, it almost never is.

In a manuscript I’ve just completed, for example, here’s a bit of Claire’s thinking as she approaches an assignment for which she’s been told very little about what to expect. All she knows for sure is that she has been asked to show up for an appointed rendezvous with an unnamed source who will announce his presence with a designated code phrase:

“On its face, it was a simple chore with clear but limited instructions and open-ended possibilities. She was no stranger to work like that. At times, her job in Paris seemed to offer nothing but: Take this parcel and leave it there; Meet Man A and deliver his message to Woman B; Sit on that bench until 3 p.m., while noting every coming and going from the opposite doorway. And so on. Simple orders with complex possibilities.”

The archetype for the Super Spy, of course, is James Bond, although not even your most bedazzled reader seems to believe anymore that real spies live in his glitzy world of casinos, martinis and luxury cars, complete with dinner jacket and an exotic gun.

And, about those guns: There is no such thing as a standard issue weapon for a CIA officer, except for the ones who serve in war zones. Most spies travel unarmed. Not only is carrying a weapon illegal in most countries, it would be a giveaway that you were up to no good.

On the face of it, such limitations make the job seem less exciting. But for me—or, more to the point, for characters like Claire—it only adds to the challenge. She’s always trying to expand smaller roles into bigger ones. Withhold info about an upcoming task and she’ll try to find out more. Or, as I’ve described her: “Whenever an op confined her to the dark, she sought her own path toward the light. It kept the job interesting even as it tended to thwart professional advancement.”

It also helps when, as in The Cover Wife, her supervisor is willing to participate in the subversion, by assigning her additional duties which they both try to hide from their superiors. Layers upon layers.

I suppose this tendency of Claire’s is the spy novel’s equivalent of the detective novel trope of gumshoes who never play by the rules. And you certainly can’t let characters wander too far off the straight and narrow without risking implausibility. But when you’re valued for your ability to dig out forbidden knowledge, it’s not much of a leap to expect this inquisitiveness to exceed its limits. Although Claire, alas, will never enjoy the freedom of the Super Spy.

Author Dan Fesperman reveals why an individual spy is far less powerful than you’d think, and why that makes their work all the more thrilling.

Behind the Book by

Lexie Elliott’s new book, How to Kill Your Best Friend, is perhaps the ideal escapist thriller: a possible murder, a friend group practically bursting at the seams with drama and some very twisted secrets, all against the backdrop of a luxury resort on a gorgeous, isolated island in Southeast Asia. We asked Elliott to share more suspenseful novels with stunning settings.


Writers: We’re a strange breed, and none more so than crime writers. Give us a beautiful villa overlooking a secluded beach and we immediately wonder what might be buried under the palm tree or weighted down at the bottom of the ocean. A sun-dappled European city has us looking past the landmarks and museums for what might be lurking in the narrow alleys. The contrast between the light and shade of human nature is never so stark as when played out in the most seductive of settings, the kind of places where people come to relax and forget their cares. Two of my novels (my debut, The French Girl, and my most recent novel, How To Kill Your Best Friend) feature exactly that delicious contrast, and with that in mind, I bring you some suggestions for thrillers where the gorgeous settings almost steal the scene.

 

The Talented Mr. Ripley by Patricia Highsmith

Mongibello, San Remo, Rome, Venice, Greece: The locations in this novel read like a travel agent’s advertisement (though the first is admittedly fictional—Highsmith took inspiration for it from Positano, Italy). Readers will be captivated as the young, wealthy American trust fund socialites of the 1950s frolic through the radiant Italian Riviera, unaware of the twisted obsession growing in the heart of Tom Ripley. I discovered this novel in my teens and it awoke in me a longing (never quite lost) to travel to these beguiling destinations, where surely I would dress most fabulously to drink cocktails in the warm summer evenings at the bars of the most fashionable hotels and restaurants. . . . Highsmith unerringly captures the details of both the time and place, and it’s her depiction of the juxtaposition of the glorious sun-drenched locations with the darkness of the conniving, murder and betrayal carried out by our extraordinarily creepy antihero Tom that truly sets this novel apart. (Oh, and the 1999 movie, with Matt Damon as Tom and Jude Law as Dickie Greenleaf, is excellent too.)

 

Pompeii by Robert Harris

The weather. The landscape. The opulent villas. The togas. Harris’ tautly accurate prose transports the reader to the heart of ancient Italy in the heat of late summer, with a tale of sleazy urban corruption, 79 A.D.-style, with a rigorously intelligent hydraulic engineer to guide us through it—all while trying to keep hold of both his integrity and his life. I defy any reader to finish this novel without a burning desire to immediately visit the ruins of Pompeii (though preferably without Vesuvius erupting at the time).

 

The Chalet by Catherine Cooper

Glamourous locales aren’t always warm: A luxury ski chalet in the snow-covered Alps also ticks the box (Champagne in front of the log fire, anyone?). Cooper’s descriptions of the beautiful, glacial landscape place the reader squarely inside a dual-timeline tale of twisted revenge spanning two decades.

 

Murder on the Orient Express by Agatha Christie

The queen of crime and the original luxury train experience: It's a match made in exotically located thriller heaven that spans both hot and cold climes. The opening chapters are set in bustling Istanbul, before the action steams along to snow-covered Yugoslavia. With Poirot aboard, and the train itself providing the “locked room” setting, you know you are in for a treat.

 

Author photo © Nick James Photography.

How to Kill Your Best Friend author Lexie Elliott shares four thrillers set in gorgeous locations.

Review by

Straddling the line between suspense and historical fiction, Lori Rader-Day’s Death at Greenway is an unsettling murder mystery that gives readers a nuanced look into life on the British homefront during World War II. 

Student nurse Bridget “Bridey” Kelly made a horrible mistake on duty, resulting in the death of an officer in her care. Her only hope for redemption is to take an assignment caring for 10 children who are being evacuated from London and sent to Greenway House, the country home of Agatha Christie. Christie makes only the briefest of appearances, although her library of books on murder makes for a chilling backdrop.

Like the children, Bridey experiences the effects of PTSD, so she struggles to care for them, especially when her fellow nurse, Gigi, proves to be less than enthusiastic (or knowledgeable). From the moment they settle into Greenway House, things feel amiss. Items go missing, and one of the children reports seeing a man lurking outside at night. After a body washes up in the quay, Bridey is asked to help and realizes the victim’s injuries were the result of homicide, not accidental drowning. All the while, the mysterious Gigi’s stories of her life before Greenway House fail to add up. When she goes missing, Bridey knows something foul is afoot.

Told from multiple perspectives (even those of individual children), Rader-Day’s novel is in many ways a portrait of grief and trauma. Each character is suffering due to displacement, rationing and German bombings. There are no real monsters, just people forced into circumstances they never thought possible. Bridey is a particularly compelling character—the reluctant detective, longing to move on with her life, but unable to let sleeping dogs lie.

Far from a cozy mystery, Death at Greenway is as taut as a bow string, with every character capable of snapping at a moment’s notice. 

Far from a cozy mystery, Death at Greenway is as taut as a bow string, with every character capable of snapping at a moment’s notice.
Behind the Book by

A glamorous dinner party goes horribly wrong in Tess Little’s debut novel, The Last Guest. The host, ostentatious director Richard Bryant, ends up dead and all the guests are suspects. So far, so Agatha Christie, but Little draws from the novel’s setting in the Hollywood Hills to cinematic effect, using the tropes of classic film noir and more modern, surrealist thrillers to create something entirely her own. If you find yourself wanting to watch a movie after finishing The Last Guest, Little has five perfect pairings in mind. 


It would be impossible to distinguish all the influences on any novel—as impossible as unmixing paint or lifting brushstrokes from the canvas. But those that had the greatest impact will always loom large in the writer’s mind. My debut novel, The Last Guest, is set in Los Angeles, and so I often reached for films while seeking inspiration. Who could paint a portrait of that city without wielding the color and texture of cinema?

The Invitation (2015), directed by Karyn Kusama

The Invitation is a masterful, slow-burning character study that explores grief, survival and unravelling social norms. As a horror film, it largely differs from my novel, a murder mystery. But their premises mirror each other closely—a home perched in the Hollywood Hills, an intimate dinner party, the mounting tension and creeping dread. As I was writing The Last Guest, my thoughts kept returning to the winding road in the opening scene, leading the protagonist towards his ex-wife’s house and the horrific night awaiting him there.

Mulholland Drive (2001), directed by David Lynch

Darker and more surreal than Sunset Boulevard, neo-noir Mulholland Drive was another film that sat with me as I wrote. The Last Guest is less of a dreamscape, more firmly rooted in reality, but the rich colors, underlying unease and ugly Hollywood truths of Lynch’s masterpiece were hanging over me nonetheless.

The Octopus (1928), directed by Jean Painlevé

If the 2020 runaway hit documentary My Octopus Teacher had been released before I wrote The Last Guest, it would certainly have provided inspiration for Persephone—the giant Pacific octopus who appears in the novel. As it was, I had to search for the creatures elsewhere, and found the silent, underwater films of French director Jean Painlevé online. In The Octopus, the strange anatomy of this alien animal is presented in black and white, tight close-ups giving a detailed study of how octopuses crawl, climb and jet through the water, how their siphons inflate to breathe and how their skin cells change color to camouflage.

Play it as it Lays (1972), directed by Frank Perry

Joan Didion’s spare, exacting prose has long served as an example for my own writing, and so too did Play it as it Lays, the film based on her novel of the same name. Protagonist Maria drifts through LA in an existential emptiness, taking long, lonely drives, much as my novel’s narrator, Elspeth, does. The sun is shining, as are the cars, the teeth, the oversized shades—but it all means nothing to Maria.

Sunset Boulevard (1950), directed by Billy Wilder

Any thriller set in LA will naturally be inspired by classic film noir, and Sunset Boulevard has everything you could want from the genre: a body floating in the swimming pool, a decaying mansion, directors and former silent movie stars playing themselves, even a chimpanzee funeral. While The Last Guest doesn’t feature an oil painting that lifts to reveal a cinema screen or a dead chimp, my own version of 10086 Sunset Blvd. does contain a pet octopus—and a projector screen that rolls down over its aquarium.

Tess Little’s sumptuous debut thriller takes as much inspiration from Agatha Christie as it does from its setting in the Hollywood Hills. Here’s what to watch after reading 'The Last Guest.'
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When you launch your search for a chilling suspense novel to read on vacation, why limit yourself to the tried-and-true favorites? Many new authors are trying their hands at whodunits this season, and I’ve found four whose debuts are great candidates for your summer reading list.

You have to love a story that sets its entire tone in the first sentence: “The shovel has to meet certain requirements.” And, in a mystery novel at least, where there is a shovel, can a burial be far behind? With his debut novel, Bad Things Happen, author Harry Dolan has channeled the great noir mystery novelists like James M. Cain and Jim Thompson. He has crafted a sly and suspense-filled tale set in the environs of a mystery periodical, Gray Streets. The stories in Gray Streets follow a simple formula: plans go wrong, bad things happen, people die. But then real life for our protagonist David Loogan starts to look a lot like a plot for a story in Gray Streets when he gets roped into helping his boss dispose of a corpse. And quickly, plans go wrong, bad things happen, people die. And let me say this: the characters in Bad Things Happen are masters at telling lies. There are layers upon layers of deceit, several murders, a veritable Pike’s Place worth of red herrings and a convoluted storyline guaranteed to intrigue. Oh, and if you can guess the culprit(s), you’re better at this than I am!

Escaping the past
By most measures, it would be difficult to like a character, who, by page 13, has shot and killed his longtime friend and mentor simply to save his own skin. Still, even if you don’t exactly like Paul Dark, you cannot help but be drawn into his machinations as he desperately tries to cover his tracks and distance himself from treason charges in Jeremy Duns’ cracking debut thriller, Free Agent. The tale begins in the closing days of WWII, when Dark was a young secret agent tasked with the clandestine execution of Nazi war criminals. Seduced by a comely young Georgian (that’s Georgia as in “Back in the USSR,” not as in “Georgia on My Mind”) nurse, Dark is recruited as a double agent for Mother Russia. Fast-forward 20 some years: a KGB officer, eager to defect to the West, has a piece of valuable information to trade for asylum—the identity of the British double agent embedded all those years ago. Dark must go into cleanup mode, and fast. All the players seem to have agendas within agendas, leaving the reader to wonder just who is playing whom, and how, and why. A diabolically clever novel that will keep you guessing until the final moments.

Be careful what you wish for
It is easy to look at the lives of others and think, if I could be like them (or have their stuff or date their girlfriend), then I would be happy. For Jay Porter, the protagonist of Attica Locke’s debut thriller Black Water Rising, the pie-in-the-sky dream was to be a lawyer, no easy feat for a young black activist in the 1970s. He has pulled it off, but it isn’t bringing him the recognition and financial security he had hoped for. His clients are “B-list” at best: his major case at the moment involves a young escort allegedly injured while plying her trade in a moving car, resulting in an epic denouement featuring a crash into a phone pole. It is not the sort of case of which dreams (or careers) are made. It scarcely matters, though, because Porter’s life is about to take a turn he could not have anticipated in a hundred years: he saves a drowning woman, and in doing so, unwittingly becoming a pawn in a deadly game involving a warring union, some good-old-boy oilmen, and the power elite of Houston. Locke could easily be compared to T. Coraghessan Boyle, Walter Mosley or Dennis Lehane: for one thing, she is in their class as a wordsmith, but more than that, she locks into a tumultuous period of American history, reflecting the social class structures and their attendant injustices through the eyes of her protagonist. Black Water Rising is an excellent book by any measure, but as a debut, it is nothing short of astonishing.

Fighting crime in a sleepy Amish town
I almost didn’t read Linda Castillo’s debut suspense novel, Sworn to Silence—a novel about an Amish cop in Ohio, penned by a former romance novelist, for heaven’s sake—until I happened to glance at the back cover, where I found exceptionally complimentary blurbs from Alex Kava, Lisa Scottoline and C.J. Box, three writers I admire greatly. I’m afraid I am as much a sucker for a good blurb as the next guy, so I decided to give the book a try. Painter’s Mill police chief Kate Burkholder is a “lapsed” Amish woman living outside the enclave, shunned by the Amish community for having embraced modern ways. She is a good choice for police chief, however, with strong law enforcement skills and an insider’s knowledge of the Amish language and people. When a series of murders rock sleepy Painter’s Mill, they strongly resemble four unsolved rape/murders of 16 years before, even down to details—which were suppressed in the original case. But that cannot be, for that killer is long dead—Kate knows that for a fact. Or does she? Kate will have to dredge up (literally) a skeleton from her distant past if she is to have any hope of solving the current batch of murders, and keeping the perpetrator from killing again. With high suspense, just a bit of romance and a very clever villain, Sworn to Silence is a rare example of a book that can be judged by its (back) cover.
 

When you launch your search for a chilling suspense novel to read on vacation, why limit yourself to the tried-and-true favorites? Many new authors are trying their hands at whodunits this season, and I’ve found four whose debuts are great candidates for your summer reading list. You have to love a story that sets its […]
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It is fascinating how two mysteries with first-person narrators, similar settings (small towns) and heroines (women struggling over whether to divorce their husbands) can be so different. Working Stiff goes for laughs, while For Better, For Murder tugs at the heartstrings.

In Working Stiff, set in Wisconsin, Mattie, a former nurse, has just started working as a coroner after finding her surgeon husband in a compromising position with another nurse. Since the house she shared with her husband is right next door to her new place, Mattie can’t help spying on him, and one night she witnesses him arguing with the other woman. Shortly afterward, Mattie is called to a murder scene: the victim is the other woman, making her husband the primary suspect.

Mattie has earthy sensibilities and big appetites; despite her unresolved marital situation, she finds herself very attracted to the detective investigating the case. Unable to contain her own curiosity, fueled by her need to know if her husband is guilty of more than infidelity, Mattie, in her new role as deputy coroner, starts her own investigation. Since she knows everyone in the victim’s world, she can do this with some ease. Both Nancy Drew and Agatha Christie are invoked, and several funny episodes occur on the way to Mattie solving the crime and coming to a decision about her marriage.

Here’s hoping Annelise Ryan will give us more of Mattie’s mother (“a modern day Nostradamus” and “many-times honored member of the Disease of the Month club”) in the next installment.

Meanwhile, in Lisa Bork’s For Better, For Murder, set in New York’s Finger Lakes, Jolene Asdale is struggling to keep her car business alive when a dead body falls out of the Ferrari she is showing to a customer. That’s bad enough, but the victim is a man she briefly dated and recently had a widely witnessed (and wrong interpreted) discussion with about business zoning. The man who is investigating the murder is the husband she hasn’t been able to bring herself to divorce even though she left him three years before. And then Jolene’s bipolar sister, who has been overhearing threats to Jolene (or are they just more of her voices?), disappears from the state psychiatric facility. Is she now part of a team robbing local convenience stores? Jolene’s husband Ray is convinced Jolene knows more about everything than she is admitting. Meanwhile, she’s trying “not to notice that Ray still carries a picture of [her] in his wallet.”

Jolene turns detective to save herself and her sister, giving Bork a chance to explore what’s it’s like to own a small business in a small town where everyone knows your business. Like Ryan, she includes gay characters while taking care to point out that there are still difficulties with being gay in a small town. Jolene, whose family history of mental illness haunts her, is a touching character. The plot is a little complicated, but the series has promise and the book ends with a happy twist.

Joanne Collings cozies up with a good book or two in Washington, D.C.

It is fascinating how two mysteries with first-person narrators, similar settings (small towns) and heroines (women struggling over whether to divorce their husbands) can be so different. Working Stiff goes for laughs, while For Better, For Murder tugs at the heartstrings. In Working Stiff, set in Wisconsin, Mattie, a former nurse, has just started working […]
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With more and more new writers getting published each month, it’s sometimes daunting to decide which newly minted authors to add to your reading list. From historical novels to literary fiction to mysteries that will keep you up all night, here’s a look at the best debut fiction of the season.

SUSPENSEFUL FAMILY DRAMA

The basic plot of The Swimming Pool sounds like a soap opera: A devoted wife and mother of two is murdered. Shortly after, her husband—a suspect—dies in a car accident. Seven years later, the son of the dead couple has a steamy affair. His lover? The woman who was his late father’s mistress.

Under Holly LeCraw’s spell, what could have been pure pulp is instead a passionate and suspenseful family drama and murder mystery, set during the sultry summertime of Cape Cod. LeCraw skillfully alternates between past and present, allowing the reader to observe Marcella Atkinson’s affair with Cecil McClatchey; the consequences it has on both her family and his; and her later relationship with Jed, Cecil’s son.

The aftermath of betrayal and the cost of passion loom large in the story’s background. Did Marcella and Cecil’s affair cause the death of Cecil’s wife, Betsy? Was Marcella’s temporary happiness with Cecil worth disrupting the lives of her family? Is it possible to find happiness after horrific events?

Although LeCraw’s descriptive prose is sensual and worth savoring, readers will whip through The Swimming Pool, eager to find out what really happened on the night of Betsy’s murder. At the novel’s conclusion, they’ll relish the fact that LeCraw is a debut author—how thrilling it is to anticipate what she’ll come up with next.

—Eliza Borné

BEHIND THE FREAK SHOW

To the modern thrill-seeker, the main event of P.T. Barnum’s Circus may be the strangely trained animals or death-defying stunts. The original circus, however, began with a much humbler lineup, as “A Museum of Curiosities” in New York City in the mid-1800s.

In The Transformation of Bartholomew Fortuno, readers get an inside peek at the lives behind the freak show, home to skeleton men, oversized beasts and bearded women. But the performers in Barnum’s sideshow are real people, complete with genuine struggles, emotions, ambitions and love lives. The story’s protagonist, Fortuno, or “Barthy,” is one such multifaceted character.

After meeting a new addition to the cast, Mrs. Iell Adams, Barthy’s tiny world is widened by his own curiosity. Intrigued by her alluring look, he begins to question his own “talent,” asking himself for the first time if he has chosen his life or if it has chosen him.

Trudging through his doubt, he follows the impulses of his newfound feelings, sometimes to his own detriment, and often leaving others in the wake of his decisions. Beginning as a troubled soul who rarely stopped to dwell on the past or realize the implications of the present, Barthy emerges transformed by the twists and turns of his true self-discovery.

Bryson’s writing invites readers directly onto the showroom floor with her apt descriptions of the culture surrounding the Museum life. She’s done her digging—and it’s clear in her detailed portrait of the complexities and conflicts of a life behind glass. This is an apropos end-of-summer pick for the historian and/or the endlessly curious. Whether or not they’re familiar with Barnum and his enterprise, readers will find much to appreciate in this story about the life-transforming power of love.

—Cory Bordonaro

THE DEPTHS OF LIFE AND DEATH

One of the hallmarks of Alzheimer’s disease is the tangling of the fibers used for sending and receiving neural messages, particularly in the regions of the brain associated with memory. As one of the leading researchers into the biological prevention of Alzheimer’s, Victor Aaron can identify all the signs of the disease with textbook precision, but it is only upon losing his wife in a car accident that he truly begins to understand the fickle and fleeting nature of memory.

In Rosecrans Baldwin’s You Lost Me There, Victor has memorialized his marriage as picture-perfect, but when he stumbles upon his wife’s private reflections on their relationship, recorded for their therapist, he begins to realize just how incompatible his own perceptions of the relationship are relative to his wife’s. As he delves deeper into Sarah’s recollections, Victor finds himself increasingly overcome with grief as he struggles to reconcile his memories of their grand romance. With the dawning understanding that “you never know what lurks beneath people, even when they’re perfect on paper,” Victor finds he must mourn Sarah all over again.

Unrestrained yet elegant, You Lost Me There is a powerful meditation on the all-consuming nature of grief and the power of memory as both redeemer and destroyer. A novel of contradictions, it plumbs the depths of life and death, sense and sentimentality, youth and maturity—all while tackling the big quandary of how we can hold on to the past while moving forward. This is a novel for which all the romantic intellectuals of the world will rejoice, as Baldwin proves there can be such a thing as a cerebral author who writes with his heart.

—Stephenie Harrison

SECRETS OF A SCOTTISH TOWN

The post-WWII town featured in A.D. Scott’s enjoyable novel is not a happy place. The weather in this Scottish Highlands village is often dismal and the people are hidebound, which leads too often to downtrodden women, mistreated children and a reflexive distrust of strangers. Then a little boy dies. At first it’s assumed that his death was accidental, but the town is gripped by horror as it’s revealed that the child was murdered. Who could have done such a thing?

The crime is of special interest to the staff of the Highland Gazette: Joanne, the typist, married to a brute who beats both her and their children; Rob, the charming cub reporter; McAllister, the editor-in-chief; and McLeod, “the subeditor and all-around fusspot know-it-all.” As the mystery of the boy’s death grows more tangled and frustrating, it’s McAllister who finds a possible clue to solving the crime in a secret trauma he’s been nursing for years.

Scott shows us that many in the town have secrets. Some are trivial, like the secrets children keep to stay out of trouble. But some are monstrous. Scott not only captures the townsfolk’s insularity and way of speaking, but writes beautifully about the natural world that surrounds them.

Written with humor, compassion and a fine sense of tragedy, A Small Death in the Great Glen is the first in a series by this promising new author.

—Arlene McKanic

THE MULTICULTURAL EXPERIENCE

Shoko was eight years old when American bombs fell on Nagasaki; she and her family experienced the repercussions from that day throughout their lives. Her younger brother Taro grew up hating all Americans, so when Shoko decides to try to “better” herself by marrying an American GI, Taro vows he will never speak to her again.

After relocating to the States with her new husband, Shoko struggles to become an American. She is aided by a book given to her by her mother when she left Japan, How to Be an American Housewife, but still finds it difficult to fit in. Margaret Dilloway, whose own mother was Japanese, writes perceptively about the neighbors who never visit, the classmates of Shoko’s daughter, Sue, who laugh about her mother’s accent, and PTA meetings where Shoko is painfully out of place.

Years later, in San Diego, Shoko has a weak heart, and knows she may die before she has the necessary operation to repair it. She longs to visit Japan once again and reconcile with Taro—“the only one who knew me, the real Shoko.” She asks Sue (now a divorced mother of precocious 12-year-old Helena) to go to Japan in her place—to try and find her uncle Taro. Sue agrees to go, Helena in tow; their journey becomes a revelation, in a myriad of ways. Sue learns things about her mother’s culture she had never heard of, finds cousins she never knew she had and comes to realize how much her Japanese roots really mean to her—and to Helena.

In this emotionally rich debut, Dilloway delves into all familial relationships: mother-daughter, father-son, husband-wife and sister-brother—each one both complicated and enriched by the added ingredient of the multicultural experience. Readers will easily relate to her touching, often humorous story of the way unbreakable family ties can stretch over decades, and from one generation to another.

—Deb Donovan

A ROAD TRIP WORTH THE RIDE

Bill Warrington, a cantankerous old man with Alzheimer’s disease, believes he has one last shot at something. But as the story unfolds, we see that every character has one last chance to drop the baggage from their angry past. All that is a bit iffy, however, since the key to bringing about a happy ending depends on a crusty grandfather on the brink of forgetting what he was trying to achieve in the first place.

Enter Bill’s granddaughter, April, a typical teenager looking for any chance to escape her tightly wound mother. And escape she does after yet another argument at home followed by a bit of luck. As it happens, Bill is ready to hit the road for one last hurrah in his ancient Impala.

In April’s eyes, this road trip’s purpose is to fulfill her dream of making it to California to become a rock star. But Bill has a secret or two. His plans for this trip are to reunite his feuding sons and his domineering daughter, April’s mother. But as the odometer miles add up, it becomes clear to April that Bill may not be able to pull off this shenanigan with his mental stamina fading faster every day. And how is a 15-year-old, alone and far from home, supposed to handle this deteriorating geezer while helping him achieve a highly unlikely reconciliation?

Bill Warrington’s Last Chance turns out to be quite a ride for all the characters involved—and it proves that taking a chance may not turn out exactly as you had planned, but it’s darn worth a try.

—Dee Ann Grand

 

A BUOYANT BEACH READ WITH HEART

Susanna Daniel’s Stiltsville is rooted in a community of stilt houses towering above Biscayne Bay, Florida, where the author spent much of her childhood. Daniel masterfully evokes the sticky Miami heat and refreshing ocean breezes, but there is so much more to these pages than fetching seaside images. Daniel’s characters are emotionally complex and so believable that Stiltsville almost reads as a memoir rather than a work of fiction.

The book’s beating heart is Frances Ellerby, whom readers follow on a moving journey that hits all the milestones: marriage, parenthood, trying illness, burial of loved ones and the highs and lows in between. Frances shares the spotlight with her attorney husband Dennis, only daughter Margo and son-in-law—with whom she chaffs—Stuart. On the periphery are Dennis’ parents and sister, characters that aid in relaying a story of unwavering familial support and friendship.

Daniel strikes a perfect balance of wit, weakness and tenderness in Stiltsville. As Frances raises a daughter, contemplates infidelity and cares for an ailing husband, her values are challenged and ultimately defined. It is not as light as other beach reads on the market, but Stiltsville emerges wonderfully buoyant.

—Lizza Connor Bowen
 

 

With more and more new writers getting published each month, it’s sometimes daunting to decide which newly minted authors to add to your reading list. From historical novels to literary fiction to mysteries that will keep you up all night, here’s a look at the best debut fiction of the season. SUSPENSEFUL FAMILY DRAMA The basic plot […]
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Whether you’re shopping for a serious scholar or an armchair academic, a mystery addict or a collector, we have a title for every bibliophile on your list. Stuff a stocking with one of the books below, and you’ll look smart this holiday season.

INSIGHTS OF A FAMOUS WIFE
Offering the inside scoop, so to speak, on what it’s like to live with a moody, complicated genius, The Diaries of Sofia Tolstoy, translated by historian Cathy Porter, provides readers with the rest of the story regarding one of Russia’s greatest writers. Sofia Behrs married Count Leo Tolstoy in 1862, when she was 18. Documenting their 48-year union, her fascinating diaries span five decades and chronicle events both personal and political. The daughter of a doctor, Sofia was smart and spirited, and she turned to journaling for both expression and confession. Tolstoy also kept a journal, and the two often shared their writings, no matter how hurtful the content.

As Sofia’s diaries make clear, the couple had a tumultuous relationship. Although she bore Tolstoy 13 children and supported him in his work, copying out his manuscripts and overseeing their domestic affairs, he was often cold and neglectful, and Sofia’s journals are filled with angst-ridden entries that describe her struggles to negotiate their shared life. Written with precision and earnest emotion, the diaries reveal the daily dramas—family quarrels, illnesses and financial concerns—that enlivened the Tolstoy household, and they show that Sofia was an accomplished artist in her own right. Featuring an introduction by Doris Lessing, this volume will strike a chord with both history buffs and literature lovers.

UNDER THE INFLUENCE
The title says it all: Writers Gone Wild: The Feuds, Frolics, and Follies of Literature’s Great Adventurers, Drunkards, Lovers, Iconoclasts, and Misanthropes catalogues notorious moments in the lives of famous authors. Compiled by journalist Bill Peschel, this tantalizing collection of true anecdotes documents a different kind of literary history—one of scandal and abandon, packed with scenes worthy of a bestseller. Peschel offers what amounts to mug shots of the literati, as he recounts incident after unbelievable incident: There’s Norman Mailer stabbing his wife, Adele, at the close of a night of carousing, and Theodore Dreiser slapping Sinclair Lewis during a formal dinner that becomes a bit of a brawl. Taking it to the streets are J.P. Donleavy and Brendan Behan, who duke it out on a London sidewalk.

Of course, the vino flows liberally throughout Peschel’s book, providing fuel, in most cases, for each writer’s act of passion. Peschel has organized the proceedings into chapters (“Public Embarrassments,” “Unfortunate Encounters,” “Fight Club”—you get the picture) and includes recommendations for further reading. An artful writer, he presents each priceless nugget of trivia with style and flair. Bibliophiles will love this enormously entertaining look at authors who succumbed to the very impulses they wrote about. When life imitates art, look out!

THE BEST AND THE BRIGHTEST
The Updikes and Munros of tomorrow are featured in 20 Under 40: Stories from The New Yorker, a terrific new collection compiled by Deborah Treisman, the magazine’s fiction editor. Proving that the short story form is as vital as ever, the volume presents a talented new generation of writers, all under the age of 40, whose work was showcased in the magazine this past summer.

The narratives are wonderfully varied, and the roster of authors is diverse. David Bezmozgis and Dinaw Mengestu, both transplants to the West, contribute powerful tales of the immigrant experience. Innovators Téa Obreht and Jonathan Safran Foer push the boundaries of the genre in stories that surprise, while ZZ Packer and Wells Tower use narrative voice as the foundation for their rich explorations of character. Bringing humor to the table, Joshua Ferris and Gary Shteyngart offer sharply realized satires.

The New Yorker has a reputation for fostering great fiction writers. With 20 Under 40, the magazine continues its tradition of spotlighting authors with fresh styles and exciting visions. Readers concerned about the state of literature in this digital era can rest easy: As 20 Under 40 demonstrates, the future of fiction looks bright.

’TIS THE SEASON OF SUSPENSE
Get ready for poisoned sugarplums and Santas who sleuth. Christmas at the Mysterious Bookshop, edited by Otto Penzler, offers readers a different kind of Yuletide yarn. Penzler, a connoisseur of suspense fiction, owns the esteemed Mysterious Bookshop in New York City. Every year, come Christmas, he solicits a story from one of his partners in crime—i.e., some of the most popular mystery writers working today. For guidelines regarding plot and character, Penzler offers only the following: Each narrative should take place during the holidays, be centered around a mystery and use as its setting—for at least a few scenes—his shop.

Penzler started this spine-tingling tradition in 1993, publishing the tales as limited-edition pamphlets, which he gave to his customers as gifts. Christmas at the Mysterious Bookshop brings the stories together for the first time in one volume. The 17 contributions include diverting whodunits and sophisticated crime dramas, as well as narratives written with good old-fashioned fun. Featuring pieces by Ed McBain (“I Saw Mommy Killing Santa Claus”), Donald Westlake (“Give Till It Hurts”) and S.J. Rozan (“The Grift of the Magi”), this roundup of holiday tales with a sinister twist is the perfect gift for the mystery lover on your list.

CRIME FICTION'S IT GIRL
Movie fans and fiction lovers alike have Lisbeth on the brain—Lisbeth Salander, that is. The heroine of Stieg Larsson’s Millennium Trilogy, Lisbeth is equal parts guerrilla girl and math geek—a street-smart genius with a knack for hacking who uses her computer skills to take on the baddies of Swedish society. Her adventures, chronicled in Larsson’s trio of bestsellers, The Girl with the Dragon Tattoo, The Girl Who Played with Fire and The Girl Who Kicked the Hornet’s Nest, have bewitched readers around the world.

Coinciding with the holidays is the arrival of the Millennium Trilogy Deluxe Boxed Set, a handsome slip-cased collection that will provide fans with an extra Lisbeth fix. The set contains new hardcover editions of the three novels, which have been outfitted with a fresh design that includes maps, unique engravings and one-of-a-kind endpapers. Rounding out the collection is On Stieg Larsson, a volume of previously unpublished essays and correspondence with the author, who died in 2004. With more than five million copies in print, Larsson’s thrilling trilogy has turned Lisbeth into the queen of crime fiction, and her story gets the royal treatment here. This lavish set is a must-have for Millennium devotees and readers in search of suspense.

Whether you’re shopping for a serious scholar or an armchair academic, a mystery addict or a collector, we have a title for every bibliophile on your list. Stuff a stocking with one of the books below, and you’ll look smart this holiday season. INSIGHTS OF A FAMOUS WIFE Offering the inside scoop, so to speak, […]

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