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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Fiona Barton’s slippery debut is a top-notch addition to the growing field of psychological thrillers starring untrustworthy female characters, such as The Girl on the Train and Gone Girl.

In the first chapter, readers learn a possible kidnapper and child molester is dead. Four years earlier, he was accused and tried for the disappearance of 2-year-old Bella Elliot, but found not guilty—in the legal sense. All of England was riveted to the trial, and the court of popular opinion considered him guilty. Now, in a freak accident, he has been run over by a bus and killed. In the immediate aftermath of his death, reporter Kate Waters seeks to interview his vulnerable widow, a woman who sometimes seems to know more than she’s letting on.

The intensity of the story comes from the three people who each share their perspectives of the events, as chapters alternate between the widow, the reporter and the detective assigned to solve the missing child case. Each telling takes up where the previous chapter left off, creating a continuous, intriguing storyline. These brilliantly crafted, revolving narratives form a realistic thriller that compels readers to continue reading, just as the detective compulsively continues to probe the case.

Readers will question what the widow knows—and when she first knew it. Through the three-pronged narrative, The Widow examines the depths of what spouses really know about each other and how they respond to each other’s needs. It also serves as a cautionary tale of Internet exposure.

Fiona Barton’s slippery debut is a top-notch addition to the growing field of psychological thrillers starring untrustworthy female characters, such as The Girl on the Train and Gone Girl.

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Loren D. Estleman began his prolific career writing crime fiction back in 1976, and he’s written close to 100 books, all high in the excellence quotient. He’s considered to be a master of noir for both his PI Amos Walker series and his Westerns, most featuring U.S. Deputy Page Murdock.

Estleman’s most recent series features a film detective named Valentino, who tracks lost films as an archivist at UCLA. Shoot, the fourth book in this series, seems a perfect combination of Estleman’s many talents. Full of insider facts about Hollywood’s great Westerns and the genre’s famous stars, it offers a neat mystery with a hint of noir, and delivers a hefty dose of the author’s trademark sly humor. It’s full of deliciously unsavory characters, and we soon know better than to take any of it very seriously. After all, this is Hollywood, where “the sunsets are painted and the stairs don’t go anywhere.”

Valentino gets an invitation to a reception held at the soon-to-close Western-themed Red Montana and Dixie Day museum, hosted by Montana himself, retired as one of the last remaining cowboys of Western film and TV fame. Red draws Valentino aside and hires him for a tricky job: locate the thief who’s blackmailing the aging star over a stag film depicting his beloved wife and film co-star, Dixie, made before she became every red-blooded American boy’s image of fresh-faced, innocent, straight-shootin’ womanhood. Find the blackmailer, destroy the stolen print, and Red will gift Valentino a priceless film, Sixgun Sonata, long hidden from the public and deemed lost.

Shoot runs a gamut of sleazy Los Angeles characters that confuse, delight and amaze. In addition to the famous Montana, Valentino matches wits with a cast of Hollywood characters, including his rival film tracker, the voracious Teddie Goodman, a dragon lady complete with crimson-soled stiletto heels and “reptilian” fashion sense; a couple eager to extend their friendship in unusual directions; the unique Dixie Day herself, faded by illness and loss; Valentino’s boss, Kyle Broadhead, about to tie the knot with a smart looker half his age; and a bunch of sleazy hangers-on hoping to benefit from the Hollywood dream.

Estleman's knowledge and love of Westerns is on full display in Shoot, which is chock full of film references, stories, gab and allusions guaranteed to send you back to watching some of those old movies. Estleman even includes a filmography of his favorites.

Loren D. Estleman began his prolific career writing crime fiction back in 1976, and he’s written close to 100 books, all high in the excellence quotient. He’s considered to be a master of noir for both his PI Amos Walker series and his Westerns, most featuring U.S. Deputy Page Murdock. Estleman’s most recent series features a film detective named Valentino, who tracks lost films as an archivist at UCLA.

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Becca, beautiful and brilliant, comes from an influential family with a predilection for law degrees. As a first-year law student at George Washington University, she feels the pressure from final exams—and from a weighted secret she’s been harboring. To get her head straight for exams, she heads to her parents’ summer home in the misty mountains of North Carolina, the perfect quiet place to collect her thoughts. She’s brutally assaulted and murdered before she ever gets the chance to take those exams.

Enter prominent investigative reporter Kelsey Castle, who is immediately intrigued by the case and by the tiny town of Summit Lake. For such a big thing to happen in a little town, there is an unusual absence of media buzz, only the murmuring of gossip at the local coffee collective. After learning that the local police force has been pulled from the case, Kelsey begins to question a cover-up, and her suspicions are further bolstered by the lackluster investigation from the county and a botched autopsy report.

Shocking revelations about Becca’s death parallel Kelsey’s own awful encounter only weeks before. This further drives Kelsey’s fervor to reveal the truth of Becca’s story, no matter the obstacles or dangers. The small amount of celebrity from Kelsey’s recently published book gains her favor from locals and helps her find the answers, but she doesn’t know that retracing the steps of the dead will ultimately resolve her own demons and help her come into a new life.

With a soaring pace and teasing plot twists, Charlie Donlea’s debut mystery is like a cool drink of water with a twist of lemon. It’s refreshing to find a book that has such a well-developed plot and excellent writing to back it up.

Becca, beautiful and brilliant, comes from an influential family with a predilection for law degrees. As a first-year law student at George Washington University, she feels the pressure from final exams—and from a weighted secret she’s been harboring. To get her head straight for exams, she heads to her parents’ summer home in the misty mountains of North Carolina, the perfect quiet place to collect her thoughts. She’s brutally assaulted and murdered before she ever gets the chance to take those exams.

For all of Imogene Scott’s 17 years, her mother has been a mystery. She disappeared when Imogene was a baby, and all Imogene knows of her are the bits and pieces her father, a medical mystery author, is willing to reveal—and that isn’t much. Now Imogene’s father has gone missing, and Imogene is convinced he’s searching for her mother. When the police and Imogene’s stepmother provide few leads on his whereabouts, Imogene decides the only way to track down her father is to investigate what happened to her mother by taking a page out of one of her father’s mysteries. Although Imogene is prepared to do this alone, her flaky best friend proves to be both a surprising asset and comedic relief. For Imogene, locating her parents is not about restoring her family, but about finding herself.

Narrated in Imogene’s sardonic and observant first-person point of view, The Mystery of Hollow Places explores themes of isolation, identity and familial ties. It’s not exactly a thriller, but it’s a page-turner nonetheless, with writing that’s crisp and efficient and characterization that’s strong and dynamic. This extraordinary debut novel from Rebecca Podos is an easy contender for a Morris or Edgar Award.

 

Kimberly Giarratano is the author of Grunge Gods and Graveyards, a young adult paranormal mystery.

This article was originally published in the February 2016 issue of BookPage. Download the entire issue for the Kindle or Nook.

For all of Imogene Scott’s 17 years, her mother has been a mystery. She disappeared when Imogene was a baby, and all Imogene knows of her are the bits and pieces her father, a medical mystery author, is willing to reveal—and that isn’t much. Now Imogene’s father has gone missing, and Imogene is convinced he’s searching for her mother.

Crime novelist Elmore Leonard once said writers should “try to leave out the part that readers tend to skip.” That’s advice Scott Frank clearly takes to heart in his debut novel, Shaker. Frank captures the underbelly of Los Angeles’ streets to perfection with sharply written prose and biting dialogue. There are no wasted words here, as right from the start things take an unexpected turn and the complications begin to multiply for main character Roy Cooper.

Cooper isn’t the sort of character readers expect or want to spend a lot of time with—he’s a killer on a mission, ruthless and efficient. But in typical Leonard fashion, Frank takes Cooper from unlikable killer to sympathetic loner. Sent to jail as a kid to protect his mother and baby brother, Cooper grows up fast in prison under the tutelage of fellow inmate/mentor Albert Budin, who continues to play an influence in his life long after their release from prison.

Cooper’s on a job to kill a money-skimming accountant in sunny LA when he stumbles into a back-alley mugging by four teenage gangbangers. Though he’s unable to save the victim of the gang’s assault, his efforts instantly garner him media status as a hero. This attention to his deeds works against him, however, as the gang sets out for revenge, a nosy detective suspects Cooper’s not all he appears to be and Cooper’s old mentor, Budin, is sent to clean up his mess.

Best known for his screenplays Little Man Tate, Minority Report, The Interpreter, Marley & Me and The Wolverine, Frank collaborated with Leonard on both Out of Sight and Get Shorty. In Shaker, Frank deftly blends action with flashbacks that allow us to get close to these characters and learn their motivations and flaws. The result is a richly layered crime story that is at times moving, humorous and, more often than not, violently bloody.

Crime novelist Elmore Leonard once said writers should “try to leave out the part that readers tend to skip.” That’s advice Scott Frank clearly takes to heart in his debut novel, Shaker. Frank captures the underbelly of Los Angeles’ streets to perfection with sharply written prose and biting dialogue. There are no wasted words here, as right from the start things take an unexpected turn and the complications begin to multiply for main character Roy Cooper.

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Bestselling author Thomas Perry loves plans, escapes and perfect getaways. He also has a low-key, sardonic sense of humor and is a master at creating witty and likable thieves that we end up rooting for, often over the more straight-and-narrow option. All of these keystones are in place in Perry’s most recent standalone thriller, Forty Thieves—and there are at least that many iffy characters tumbling around in this winning novel.

One year has passed since the body of research scientist James Ballantine was found stuffed in a storm drain, and the crime has gone unsolved. Enter two husband/wife teams, each hired for separate reasons connected with the case. Private detectives and former LAPD cops Sid and Ronnie Abel are hired by Ballantine’s former employers to pick up the dropped threads of the earlier investigation and to search out the killer. Ed and Nicole Hoyt are skilled assassins hired by a middleman to stop the Abels from completing their assignment.

Perry is skilled at developing the backstories of this at-odds quartet, and readers may find their sympathies meandering all over the place. All four are handy with their weaponry, and the good guy/bad guy labels may get a bit murky at times. Also, there’s another picturesque gang behind the Ed/Nicole hire, and readers may grow to like them, too: a bunch of Russian diamond thieves who really just want to retire quietly in southern California after an exhausting career.

For all who’ve never read a Perry novel, an unforgettable experience awaits. The author cuts the hyperbole and offers blow-by-blow descriptions of a series of game plans as they’re activated and carried out with varying degrees of success. The writing is spare, literal and droll at the same time, often reminiscent of the late Donald Westlake’s intrigues with his steely Parker and comic Dortmunder characters.

Forty Thieves is an adrenaline rush, as fast-moving vehicles crisscross like searchlights arcing across an urban night sky, as Ed, Nicole, Sid and Ronnie engage in their exciting game of search and destroy. As for the victim whose murder started the whole thing off, he may be the character you’ll end up liking least of all. And it may not be giving too much away to say that to work it all out, it’s “cherchez la femme” from start to finish.

Bestselling author Thomas Perry loves plans, escapes and perfect getaways. He also has a low-key, sardonic sense of humor and is a master at creating witty and likable thieves that we end up rooting for, often over the more straight-and-narrow option. All of these keystones are in place in Perry’s most recent standalone thriller, Forty Thieves—and there are at least that many iffy characters tumbling around in this winning novel.

Review by

There are precious few angels, burning or otherwise, in Tawni O’Dell’s intense psychological thriller Angels Burning, set in a bleak, backwoods Pennsylvania town where mining, money and good times have pretty much come and gone.

Police Chief Dove Carnahan works in Buchanen, the town where she grew up and has lived for 50 years. Buchanen is the only jurisdiction that’s close to Campbell’s Run, a toxic, long-abandoned mining town where fires still burn belowground decades later, and where the charred body of a recently murdered teenage girl has turned up, stuffed into a gash in the earth’s crust. Carnahan identifies the body as Camio Truly and follows the girl’s trail back to the doorstep of her unruly and eccentric family to search out the motive for her horrific murder.

O’Dell tells her dark tale with assurance and a talent for bringing Carnahan and her offbeat colleagues to life, along with a town full of down-on-their-luck rednecks with one foot outside the law. Carnahan tackles the Truly family head-on, including—though hardly limited to—the formidable matriarch, Miranda Truly; her listless daughter, Shawna, mother of the murdered teen; sullen granddaughter and new mother Jessy; and Jessy’s hyperactive 8-year-old brother, Derk, who’s everywhere all at once, under the table and on the roof.

The chief herself is a woman of many traumas, and her backstory crackles with tension and long-held secrets, kept ever since the murder of her mother many years earlier. Of her mother’s erratic, colorful past, Carnahan notes that “those acquainted with my mom’s past would go on to say that Cissy Carnahan dying on trash day was perfect timing.” Carnahan owns this secretive past along with her equally troubled sister, Neely, who isolates herself with her dogs and is obsessed with her privacy. The plot thickens when their brother, Champ, appears after many years away and out of communication, bringing with him a young son, Mason.

Readers will look hard to find glimmers of sunshine in this smoldering tale, and such moments can be found in intriguing characters like Mason, who’s a bundle of vulnerability and a breath of fresh air, or in Derk’s ADD-fueled antics. And it’s worth it just to stay around and get used to Corporal Nolan Greely of the state police—he’s a book all unto himself, behind the crew cut and mirrored shades.

There are precious few angels, burning or otherwise, in Tawni O’Dell’s intense psychological thriller Angels Burning, set in a bleak, backwoods Pennsylvania town where mining, money and good times have pretty much come and gone.

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Vincent Zandri captures readers’ attention from the opening scene of his new suspense novel, Orchard Grove, and proceeds to careen through lust and lives. Lana, as a young girl, brutally slays her stepfather who has been sexually abusing her for months. In an unusual twist, Lana relishes the power she experiences when she kills him, and he becomes the first of many men she murders throughout her life.

Fast forward about 36 years, and Lana returns to the bucolic area near Albany, New York, where her murderous spree occurred. Now, however, she’s bored, is married to a police detective and has a proclivity for topless sunbathing. Her neighbor, has-been Hollywood writer Ethan Forrester, stares at her from his bedroom window and fantasizes about a relationship with her. As his fantasy becomes a reality, the story charges up and down a razor’s edge of tension and seduction.

Ethan’s obsession with Lana only increases after they have sex, and he puts their marriages, his welfare and his sanity on the line. Meanwhile, Lana also exerts her mesmerizing sexual powers over Ethan’s wife. The Forresters recognize the havoc Lana is wreaking on their marriage, but Lana’s allure is impossible for them to resist. So when Lana devises a diabolical plan and needs Ethan’s help to execute it, he ignores his better judgement and agrees to her scheme, forever altering the course of his, his wife and Lana’s lives.

While the characters don’t have many redeeming qualities, Zandri manages to create a likable persona in Ethan for whom readers can root while head-smacking him for his stupidity. The sheer audacity of the violence and sex in the novel creates a story that, much like the Forresters' obsession with Lana, is hard to tear away from once a reader is hooked.

Vincent Zandri captures readers’ attention from the opening scene of his new suspense novel, Orchard Grove, and proceeds to careen through lust and lives. Lana, as a young girl, brutally slays her stepfather who has been sexually abusing her for months. In an unusual twist, Lana relishes the power she experiences when she kills him, and he becomes the first of many men she murers throughout her life.

Review by

Readers who fancy top-notch crime procedurals need look no further than the latest by seasoned Brit author Ann Cleeves. Harbour Street is her sixth mystery featuring Detective Inspector Vera Stanhope and her Northumbrian detective team. The first chapter unfolds on a Metro train that’s carrying a crowd of Christmas shoppers, one of whom doesn’t make it to the next stop alive. Vera’s top assistant, Sergeant Joe Ashworth, is in the train car where the fatal stabbing occurs, and he sees zilch until the train empties its passengers, all except for a lone, very dead elderly woman.

Who’d kill an elegant, self-contained older lady who seems to spend most of her days helping others? But this is no locked-room mystery, as Vera sets out to discover the truth, starting with victim Margaret Krukowski’s little attic room on Harbour Street and soon expanding to the street’s boat yard, church and local bar, as well as the Haven, a nearby hostel for homeless women. Margaret’s life begins to emerge through those who knew her: as “one of the family” to landlady Kate and her teenage kids; as friend and supporter to a downbeat, desperate woman of the Haven; and as a long-ago lover to more than one man who vividly remembers her. Yet she remains a private and secretive woman to those searching for her killer. Vera and her team delve into the past of Harbour Street to put together Margaret’s story and find a motive for her death.

This is an outrageously good book, one of the best procedurals to come down the pike in a while, with a comprehensible plot full of believable characters. Cleeves is superlative as she subtly and cleverly alters our perceptions of the main characters as the book progresses. Harbour Street’s colorful back-story is persuasively drawn, and its characters fit like pieces in a surprising puzzle.

Vera herself is a piece of work, as readers may know from Cleeves’ earlier books and thanks to the PBS TV series “Vera,” now in its fifth season. Overweight, opinionated and obsessive, Vera pursues often-eccentric lines of detection and makes unsparing demands on her team, including the hidebound but persistent Joe and the clever, self-absorbed Holly. Readers become party to the detectives’ private thoughts, petty grievances and jealousies that make them human and accessible to us.

Readers who fancy top-notch crime procedurals need look no further than the latest by seasoned Brit author Ann Cleeves. Harbour Street is her sixth mystery featuring Detective Inspector Vera Stanhope and her Northumbrian detective team.

Review by

British author Charles Lambert’s latest, The Children’s Home, is like a strange dream in which you can’t quite tell if you’re awake. Morgan, its disfigured, 20-something protagonist, lives isolated in his powerful family’s sprawling home. His estranged sister sent a housekeeper to live with him, and soon after, children began arriving. They appear with no backstory—one, in fact, materializes out of thin air—and Morgan and the housekeeper, Engel, become parents of sorts. The resulting story is a weird, poignant journey reminiscent of Calvino that explores fear, power, revenge and redemption.

When one of the children falls ill, Dr. Crane enters the scene. He befriends the young hermit and becomes a fixture at the house. When government agents arrive inquiring about rumors of “strays” living there, Crane speaks for Morgan, who is afraid to let strangers see his face. As Morgan and Crane observe strange, sometimes frightening, behaviors in the children, eerily related discoveries are made in attic trunks and in Morgan’s grandfather’s books. Eventually, circumstances force Morgan to balance his fear of being seen against his concern for the children’s safety.

Lambert’s story is addictive, although readers looking for concrete answers to its riddles may be disappointed. But while the book leaves many mysteries intact, its potent, often brutal, images have a lasting power. Things feel just a notch off in this world, like a walk through a quietly disturbing dream. It stays with you after, like that dream, trying to tell you something gravely important.

 

This article was originally published in the January 2016 issue of BookPage. Download the entire issue for the Kindle or Nook.

British author Charles Lambert’s latest, The Children’s Home, is like a strange dream in which you can’t quite tell if you’re awake. Morgan, its disfigured, 20-something protagonist, lives isolated in his powerful family’s sprawling home. His estranged sister sent a housekeeper to live with him, and soon after, children began arriving. They appear with no backstory—one, in fact, materializes out of thin air—and Morgan and the housekeeper, Engel, become parents of sorts. The resulting story is a weird, poignant journey reminiscent of Calvino that explores fear, power, revenge and redemption.
Review by

Read a page or three of Riot Most Uncouth and you may wonder why you’d want to stick around while young Lord Byron, author Daniel Friedman’s overwrought and outlandish protagonist, makes his eccentric, in-your-face debut. But stay on for a few more pages and you’ll find yourself intrigued and then committed to Friedman’s lavish, over-the-top plot and larger-than-life characters.

As with his award-winning fictional octogenarian Buck Schatz (Don’t Ever Get Old), Friedman’s imagination has run away with him again through volatile Byron, who is busy cutting a swath of drunkenness and sexual debauchery through the halls of Cambridge University in the company of his companion, a bear named the Professor. Byron, who fancies that his detective powers are unrivaled, is sure he can solve the case of a murder most gory that has been committed in Cambridge. He sets himself upon the task while not for a moment changing his dramatic lifestyle. His persistent, drunken intrusions into the crime scene upset the search undertaken by two apparent private investigators, Knifing and Dingle, who operate separately and rate pretty high in the “strange” category themselves.

The case escalates with more graphic murders, and Byron becomes suspect numero uno in some quarters, enduring a wild, punishing arrest attempt in a runaway carriage. But he’s implacable in his own fears that the crimes somehow involve his father, the long-gone and assumed dead Mad Jack, and his tales of vampires, told to Jack when he was a child living in horrific domestic circumstances. Byron is in thrall to these stories of the undead that frighten, repel and attract him in equal measure. It’s easy to get hooked on Byron’s wild imaginings as he reels out his wavering and fantastic but ultimately spot-on deductions.

Friedman has created a rogues’ gallery of bizarre and seamy characters in this bauble of a story that rankles, reeks and ultimately delights. Readers who start out wishing that Byron could be imprisoned for something—anything, really—may end up with an unexpected affection for Friedman’s overblown but endearing creation, hoping that young Byron will return to entangle us again in a mad quest for . . . whom? Perhaps the Cambridge murderer, who may have disappeared, or even some new embodiment of Byron’s father’s eerie fantasies. The poet is confident he’s up to the challenge.

Read a page or three of Riot Most Uncouth and you may wonder why you’d want to stick around while young Lord Byron, author Daniel Friedman’s overwrought and outlandish protagonist, makes his eccentric, in-your-face debut. But stay on for a few more pages and you’ll find yourself intrigued and then committed to Friedman’s lavish, over-the-top plot and larger-than-life characters.

Beneath the suspense-filled action of a homegrown terrorist plot, Nicholas Petrie’s debut novel, The Drifter, follows the compelling story of one former Marine’s struggle to reacclimate himself to civilian life while honoring his commitment to a fallen soldier. That alone is reason to keep reading, but Petrie amps up the stakes in surprising fashion, creating a story that is moving, thrilling and satisfying on every level.

Like Lee Child’s Jack Reacher, Peter Ash is a loner with an uncompromising sense of honor and duty. A soldier home after deployments to Iraq and Afghanistan, Ash is already battling personal demons in the form of a “white static” that constantly threatens his ability to function. The condition, a byproduct of post-traumatic stress, manifests itself whenever he enters confined spaces, forcing him to eschew the modern conveniences of hearth and home for uneasy nights spent under the stars or in his beat-up pickup truck where the wide windows ease his troubled soul.

Upon learning that one of the men he commanded overseas has committed suicide, a guilt-ridden Ash leaves the relative safety of his new lifestyle to aid the widow the man left behind. In the process of rebuilding the woman’s porch, and his own life, Ash finds his former soldier’s mangy dog standing guard over a suitcase filled with $400,000 in cash and four blocks of C4 explosives. Ash sets off on a trail of discovery, both internally as he learns to cope with his affliction and externally as he attempts to determine the origins of the money and the purpose for the explosives—all while trying to keep the widow and her children safe from the men who actually killed her husband.

Petrie’s meticulous research into the effects of PTSD on the nation’s returning veterans and the internal war many of them still fight as they try to resume their normal life brings an added dimension to his main character, but without being preachy. The result is an intimate story of personal discovery as well as an obsessive pageturner of a book.

Beneath the suspense-filled action of a homegrown terrorist plot, Nicholas Petrie’s debut novel, The Drifter, follows the compelling story of one former Marine’s struggle to reacclimate himself to civilian life while honoring his commitment to a fallen soldier. That alone is reason to keep reading, but Petrie amps up the stakes in surprising fashion, creating a story that is moving, thrilling and satisfying on every level.

Review by

Just after well-known British mystery writer Ruth Rendell died in May of this year, at the age of 85, her life and talents were described in the media with words like “brilliant,” “discomfiting” and “challenging.” Readers who’ve long been gripped by Rendell’s imaginative crime fiction, however, knew that already. From her popular Chief Inspector Wexford series with such hallmarks as the top-notch An Unkindness of Ravens and Not in the Flesh, to standalone classics like A Dark Adapted Eye (as Barbara Vine) and A Judgment in Stone, right up to her last, Dark Corners, the author’s unsettling prose has always attracted legions of readers.

Rendell’s final novel, her 66th, achieves the same high quality of work and complexity of character that have been typical of her fiction. Dark Corners indeed visits the dark corners so familiar in her other works: an eerie creepiness disguised as something plain and innocuous; a dark character or two who ominously invade the reader’s consciousness; that page the reader almost doesn’t want to turn.

Carl Martin is a newly published writer with a lovely woman in his life, and he has just inherited a home in an upscale London neighborhood. Who could ask for more? But Carl makes a big mistake—he decides to take in a tenant for the upstairs flat. It sounds harmless, at least to Carl, but renter Dermot is anything but. In true Rendell style, the everyday and innocent gets pushed into the dark and disturbing, as Dermot’s invasion into Carl’s life is relentless, turning it—and the reader’s comfort zone—prickly and unbearable. What follows is a descent into blackmail, murder and drunken oblivion. As one character quietly tells Carl: “I can see you’re suffering, but there is a way to end this, and you know what that is.”

Other writers might have ended with the story duly resolved, with the circle of crime and punishment neatly closed. But Rendell’s clever nightmares usually have something trailing off after the proper ending, so we aren’t quite finished. So it is with Rendell’s last engrossing novel.

Just after well-known British mystery writer Ruth Rendell died in May of this year, at the age of 85, her life and talents were described in the media with words like “brilliant,” “discomfiting” and “challenging.” Readers who’ve long been gripped by Rendell’s imaginative crime fiction, however, knew that already. From her popular Chief Inspector Wexford series with such hallmarks as the top-notch An Unkindness of Ravens and Not in the Flesh, to standalone classics like A Dark Adapted Eye (as Barbara Vine) and A Judgment in Stone, right up to her last, Dark Corners, the author’s unsettling prose has always attracted legions of readers.

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