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Celebrated Japanese author Keigo Higashino makes his authorial power internationally known with Malice, the latest installment in his mystery series featuring police detective Kyochiro Kaga. This well-crafted dual narrative will entice and perhaps even outwit the most seasoned mystery readers.

This time Kaga finds himself on the case of a well known novelist, Kunihiko Hidaka, who was found murdered in his study by his wife and his best friend the night before his departure to Vancouver. The victim’s former best friend happens to be Osamu Nonoguchi, Kaga’s former colleague from his time as a public school teacher prior to joining the force.

Kaga is relentless in his search for Hidaka’s murderer, but there are key evidentiary elements that don’t add up for it to be as one-and-done as a break and entry gone awry. On a hunch he targets Nonoguchi, despite his vetted alibi, but does not have hard evidence to link him to the case—yet. Kaga’s persistency and detective precision in his search to expose the truth is exhaustive, and has him digging back so far as to uproot past unpleasantries such as middle school bullying practices and to question the supposed friendship between Hidaka and Nonoguchi.

This astute read is methodically constructed and will continuously challenge and enchant readers through strategic layering and its calculated release of critical information. Malice exhibits how the smallest seed of dislike can manifest into sinister, unjustified hatred. Someone who shares a smile with you could be plotting your demise.

Celebrated Japanese author Keigo Higashino makes his authorial power internationally known with Malice, the latest installment in his mystery series featuring police detective Kyochiro Kaga. This well-crafted dual narrative will entice and perhaps even outwit the most seasoned mystery readers.

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It’s impossible! The body of a young woman, dead only a few hours, is discovered in a pose that suggests she was trying to claw her way out of her own grave. To add an even more macabre touch, the gravesite is that of a woman who has been dead for two years.

Magic and murder make a spectacular entrance in Angel Killer, an intricate thriller with techno overtones written by illusionist Andrew Mayne. Originally self-published as a best-selling eBook, the novel now appears in a newly revised version from Bourbon Street Books. This is good news for jaded mystery fans who believe every possible character type has been imagined and brought to life. Nope! Jessica Blackwood grew up in a family of magic purveyors; her father, grandfather and great-grandfather formed a dynasty of famous illusionists, and Jessica joined the family business, making a name for herself as a clever young female magician.

For Jessica, however, there was one trick too many, and fallout from a fateful experience led her to abandon magic and her famous family for a career in law enforcement. Now an FBI agent, she puts her former skills to use when she becomes an advisor to a team studying the graveside crime, which appears to be a feat of incredible, gruesome magic. She’s called upon to think outside the box—or grave, as it were—and discover how the horrendous illusion was perpetrated. The “trick” horrifies but becomes a public sensation and a perfect prelude to more spectacular and deadly events.

The trick for Jessica and the FBI team is to ensure that the public recognizes that there is an evil, and very mortal, killer behind the “magical” and deadly crimes. Jessica’s elusive and mysterious former lover, Damian, watches her from the shadows, adding a frisson of further excitement to the scene.

Angel Killer is both addictive and at times ludicrous, as when the FBI misses clues simple enough for a child in grade school. But the whole book is one big glittery magic trick, guaranteed to ensnare readers who love a great illusion, with a lot of authentic tricks of the magic trade thrown in. This story magnifies the creepy possibilities of social media and its own very great illusions. So, “Like” fans, beware! It’s all smoke and mirrors in the virtual world, sometimes with lethal consequences.

It’s impossible! The body of a young woman, dead only a few hours, is discovered in a pose that suggests she was trying to claw her way out of her own grave. To add an even more macabre touch, the gravesite is that of a woman who has been dead for two years.

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After 117 years of operation, the Preston Youth Correctional Facility in Ione, California, shuttered its doors forever. Inspired by lives rebuilt and destroyed by the school, Peyton Marshall’s Goodhouse imagines an alternate future in which the school never closed—and juvenile corrections are based not on past behavior, but genetic makeup.

Because of a genetic predisposition toward criminality, James—along with other children like him—is legally required to live in a prison-like school from infancy to high school graduation. In their attempts to reform these possible criminals, the Goodhouse school system has no qualms about degrading, drugging and brainwashing its students. Their suffering is recounted in terse, bleak language by Marshall, a graduate of the Iowa Writers Workshop.

Though he’s still haunted by attacks at his last school, carried out by a terrorist organization bent on destroying those with criminal genetics, James is on his way to graduating fully reformed—until a girl opens his eyes to what the Goodhouse system and the terrorist organization really have in store.

Goodhouse moves like a thriller, slowly leaking secrets and keeping the reader in the dark. James is more of a vessel for the larger story than a complex character for the reader to dissect. He is quick to anger and often makes rash decisions. Marshall has no problem bruising and bashing him to further the story.

While depth is not found in James, the story is a tangled web of conspiracies, hidden motives, selfish acts and lies. Each new revelation moves in tandem with the others, gaining strength and excitement until the final crescendo.

After 117 years of operation, the Preston Youth Correctional Facility in Ione, California, shuttered its doors forever. Inspired by lives rebuilt and destroyed by the school, Peyton Marshall’s Goodhouse imagines an alternate future in which the school never closed—and juvenile corrections are based not on past behavior, but genetic makeup.
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If ever a book were tailor-made for a David Fincher movie adaptation (Se7en, Zodiac, etc.), it’s Lauren Beukes’ latest dark, genre-bending mystery.

On a cool November night in Detroit, Detective Gabriella Versado comes across the strangest crime scene of her career: a dead 11-year-old boy whose lower half has been replaced by that of a deer. Their bodies have been fused together into a macabre human-animal hybrid straight out of “True Detective” or NBC’s “Hannibal,” and Versado believes the killer will strike again.

Meanwhile, a diverse array of Detroit grifters—the unemployed writer, Jonno Haim, desperate for a story that will save his career; the homeless squatter known as TK, wracked by seizures; and the tortured artist, Clayton Broom, whose refrigerator is stuffed with secrets—begins to encounter strange things in the city at night, “when the borders are the most porous the between the worlds, and unnatural things leak out of people’s heads.” From faces carved into stone cairns at the city’s secret beach to perfect circles of upturned chairs in church basements, something is happening in Detroit beyond the city’s usual death and decay.

This is a police procedural that’s anything but procedural, a deft combination of otherworldly genre intrigue and the true-to-life details of a front-page homicide investigation. In short chapters that are brisk but never rushed, Beukes’ prose is a masterful display of James Wood’s free indirect style, embodying five distinct personalities touched by obsession, desperation and madness. Striking details—like “Detroit diamonds,” what locals call the blue glass left behind from broken car windows—lend an extraordinary sense of place to a story set in one of America’s darkest and most iconic cities. For many writers, reading Beukes is a sobering encounter with our own limitations, awed as we are by her immense talent and unwavering authority with words. To call Broken Monsters her masterpiece would be a disservice to both her previous and future work, but to count it among the very best books of its kind seems perfectly reasonable.

If ever a book were tailor-made for a David Fincher movie adaptation (Se7en, Zodiac, etc.), it’s Lauren Beukes’ latest dark, genre-bending mystery.

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Lucy Stone usually lets the mysteries come to her quaint hometown of Tinker’s Cove, Maine, but in the 21st installment of the Lucy Stone Mystery series, the popular sleuth is unexpectedly whisked off to the romantic streets of Paris. It’s not a first for Stone, as prolific series author Leslie Meier has sent her on junkets to Manhattan and England on occasion. Still, in French Pastry Murder, she’s a little out of her element. Luckily, the prize trip she’s won includes her husband and friends, and they’re staying near her daughter Elizabeth. It’s like Tinker’s Cove has relocated to France.

It should be a dream come true, but while Stone’s entourage takes a brisk tour of the city’s sights and, more specifically, its tastes—details of the cuisine will make readers feel like they have actually been to the many cafes the group frequent—they may have bitten off more than they can chew. When Stone stumbles on the wounded body of their cooking school instructor, Chef Larry Bruneau, she and her friends find themselves accused and stranded, their passports confiscated by police. The only way out is for Stone to figure out who has stabbed Chef Larry, a job that gets more and more complicated as the pages fly by.

Meier keeps the suspenseful scenes coming, but the mood is never menacing. Instead, Stone’s own optimistic attitude—she just knows she will figure this out—sets the upbeat tone of her investigation. Even when her daughter’s roommate disappears, bringing the killer a little too close for comfort, Stone charges on until the murderer is stopped in his tracks.

A quick Sunday afternoon read, French Pastry Murder pairs intrigue and entertainment to serve up a light but satisfying meal.

Lucy Stone usually lets the mysteries come to her quaint hometown of Tinker’s Cove, Maine, but in the 21st installment of the Lucy Stone Mystery series, the popular sleuth is unexpectedly whisked off to the romantic streets of Paris. It’s not a first for Stone, as prolific series author Leslie Meier has sent her on junkets to Manhattan and England on occasion. Still, in French Pastry Murder, she’s a little out of her element.

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Ever wonder what happened after the end of Pygmalion (the original play on which the film My Fair Lady is based), as Eliza Doolittle’s emerging independence wars with Professor Henry Higgins’s attempts to ensure that she remains under his proverbial thumb? Fear not. The pseudonymous D.E. Ireland (a debut team of two authors, Meg Mims and Sharon Pisacreta) has imagined an alternative. In Wouldn’t It Be Deadly, the first novel in a new Doolittle/Higgins mystery series, Eliza and Henry pair up to solve a murder. They share a continuing bond, however fractious the relationship, and there’s an immediate interest in finding the killer, because the professor himself has become the prime suspect.

Eliza now works as a teaching assistant to Higgins’ rival, phonetics teacher Maestro Emil Nepommuck, who teaches citizens of the “lower” classes how to speak like the gentry, a crucial need for any who wish to “better” themselves and move up a notch in England’s rigid class hierarchy.

Eliza, who wants to prove she is independent, has accepted an offer to assist Nepommuck in his phonetics laboratory. A Hungarian import with a very iffy past, he has started advertising his services in the newspapers, claiming that he is the person responsible for Miss Doolittle’s amazing transformation. As Eliza becomes acquainted with his present and former clients, it soon becomes clear that the maestro is using his knowledge of his clients’ backgrounds to indulge in a spot or two of blackmail in return for monetary or sexual favors.

Higgins, incensed over Nepommuck’s claims, retaliates by unmasking the man’s shady exploits in the newspaper, and shortly thereafter the Hungarian is found stabbed to death. Which of the imposter’s many nefarious dealings has resulted in his demise? His “way” with an assortment of ladies? His attacks on Higgins’ professional ego? Higgins is detained by the police, and it’s not until he and Eliza join forces to scour the streets for clues that the real killer is eventually unmasked.

All the familiar characters from the film and stage versions are back, from the tedious Freddy to the kindly Professor Pickering. However, an overdependence on these characters, along with Eliza’s predictable speech regressions in moments of stress, becomes tiresome and formulaic. Hopefully this promising idea for a series will take a cue from its many new characters—even a hint that the dour Professor Higgins hides a major secret of his own—and head off in a new, more enjoyable direction.

Done her in? Done her in, did you say?
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Victorian London comes alive in Anne Perry’s tension-filled new mystery, Blood on the Water, the 20th novel in her best-selling William Monk series.

Monk, commander of London’s River Police, is on patrol with his deputy, and the two watch a large pleasure craft as it wafts sounds of music and laughter across the water. Suddenly, they witness a terrible explosion and fire that sinks the boat within minutes, leaving few survivors. Monk’s boat, along with scores of others, become rescue crafts, as they pull ashore those lucky enough to be alive and retrieve nearly 200 bodies of drowned victims.

Readers of Perry’s popular series will know that this deliberate act of murder is just the opener for an intricate and densely plotted novel that will involve close detecting by Monk, his wife, Hester, and a number of other neatly described characters, including Scuff, an urchin the couple discovered barely surviving on the streets a few years earlier, and who is now part of their household.

Though the tragedy takes place on the river, the case is inexplicably handed over to the city’s Metropolitan Police, and Monk suspects an official cover-up, possibly connected to politics and profits from the newly built Suez Canal. The police arrest an Egyptian man, who is quickly tried and convicted, but evidence later exonerates him, and the bungled case is returned to Monk’s jurisdiction. He now must start from square one to find not only the culprit who set off the explosion but, more importantly, the individual or group behind the horrific but meticulously planned event. 

Perhaps due in part to the era in which it’s set, the story is sometimes overcome by a dreary “morality tale” atmosphere, and interactions laden with guilt often predominate. Monk and his determined wife, Hester, are deeply moralistic, not folks you can easily cozy up to. Fortunately, Scuff and his new associate, nicely called Worm, add a bit of lively detail to the strict tone of the book, and any levity comes as a welcome relief.

As always, the author’s strength lies in her knowledge of the early Victorian era, which enlivens and adds authentic color to the well-plotted narrative. Every detail of custom and costume is carefully aligned with 1860s England, with its teeming streets, polluted waterways and deeply rooted class structure and social mannerisms.

Victorian London comes alive in Anne Perry’s tension-filled new mystery, Blood on the Water, the 20th novel in her best-selling William Monk series.

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M.P. Cooley’s first novel Ice Shear is a solid, convincing mystery set in the snowy shadows of Hopewell Falls, New York. The story follows June Lyons, a former FBI agent who traded her big badge for the life of a small-town police officer to care for her sick husband, who has since passed. In an attempt to spend more time with her daughter and to fall in better with the police force, she volunteers for the graveyard shift. Her nights pass with no more excitement than driving drunks home and buying doughnuts for the morning shift.

The dear old town of Hopewell Falls is similar to Mayberry, until one night June finds a body of a celebrated congresswoman’s daughter impaled on icy shears that web the bottom of a frozen waterfall. The damage to the body indicates the girl died before the fall, but it’s only after another bloody body connected to the victim turns up that the case escalates into the murder mystery of the century and exposes the corrupt underbelly of a town laced with meth.

This pleasurable police procedural takes a while to pick up and does a fair job of telling Lyons’ side story as the main plotline progresses. Be patient, though—it’s worth the wait, as the story’s originality keeps readers engaged. When do you ever have a perilous biker gang showdown against a congresswoman who is in line for the vice presidency? Perhaps a trained mystery reader can see through the whodunit veil, but Cooley does an excellent job of taking readers through enough twists and turns that you’ll likely be guessing until the very end.

M.P. Cooley’s first novel Ice Shear is a solid, convincing mystery set in the snowy shadows of Hopewell Falls, New York. The story follows June Lyons, a former FBI agent who traded her big badge for the life of a small-town police officer to care for her sick husband, who has since passed. In an attempt to spend more time with her daughter and to fall in better with the police force, she volunteers for the graveyard shift. Her nights pass with no more excitement than driving drunks home and buying doughnuts for the morning shift.

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There are several ways to know whether you’ve got a really fine novel on your hands, and you can tell pretty quickly that Dry Bones in the Valley is a debut of that caliber.

First, author Tom Bouman knows his rural Pennsylvania setting and is familiar with its smallest details, from inhabitants’ accents and manners to their dilapidated trailer homes, and from animal tracks in the woods to the winds and the night sky. Second, the plot unfolds just right, beckoning with its authenticity and maintaining a flow that stays true to the characters and the narrator’s sense of how things are. The storyline may commence with a simple atmosphere, but it conceals unspoken depths that reveal themselves without an excess of words or urging by the author. Third, the people fit snugly in their roles, and their dialogue sounds true in every way—even when their backs are turned, we sense they’re still in character.

The understated, straightforward Henry Farrell is one of only two police officers in Wild Thyme township, a rural area where folks are not shy about dressing in camo or expressing their feelings about the hazards of “too much government.” This is hunting and fishing country, and Harry, who does some hunting himself, uses metaphors of field and forest as he seeks the killer of an unknown John Doe found high on a ridge. When a colleague is murdered, the action escalates, and Harry’s strength and patience is sorely tested.

Descriptions of the rural backcountry and its residents immerse readers in a landscape that rings with authenticity, humor and also great sadness. For some, grinding poverty rubs shoulders with the anticipation of a financial windfall, as the juggernaut of corporate gas drilling and fracking moves slowly across the Pennsylvania landscape, buying rights to property after property to feed its ever-escalating need for drilling sites.

With more questions than answers, Harry maneuvers the tangled trails, underbrush and home-grown meth labs that pockmark the countryside, contending with a colorful cast of locals, including a sad, aging recluse, the drugged-out “People of the Bus,” gun-happy revenge seekers, and last but far from least, the mysterious lady of the bog.

There are several ways to know whether you’ve got a really fine novel on your hands, and you can tell pretty quickly that Dry Bones in the Valley is a debut of that caliber.

First, author Tom Bouman knows his rural Pennsylvania setting and is familiar with its smallest details, from inhabitants’ accents and manners to their dilapidated trailer homes, and from animal tracks in the woods to the winds and the night sky.

Review by

The first thing you may think when reading the opening pages of Stephen L. Carter’s engrossing Back Channel is, “What in the devil is going on here?” It’s 1962 and we’re at the beginning of the Cuban Missile Crisis. President Kennedy is in a townhouse with a 19-year-old African-American girl, but not for the reason you think. It seems that this young lady is the key to stopping the world from becoming a glowing, radioactive ember in the darkness of space. You can’t be blamed if your first reaction is bemusement.

But even before this assignation, the young lady, Margo Evans, is sent to Bulgaria to babysit a real historical figure—you would never in a million years guess who it is. (Don’t worry, it isn’t Comrade Khrushchev.) Now, on top of your bemusement, you have to wonder, “Were things during the Cold War that desperate?” Anyway, Margo’s fractious charge has been approached by some Russian muckety-muck who may or may not tell him just what’s in all those crates the Soviets are shipping to Cuba. Her task is to get him to tell her so she can tell her handlers, or something like that.

But when the charge refuses to show up for a meeting because of obsessions he finds more pressing, Margo goes in his place. The experience proves traumatic, but then, to paraphrase one character, “Things get funny.”

If that’s not enough to keep you hooked, Carter surrounds Margo with people who are decidedly not nice and situations that are beyond surreal. Watching Margo navigate among so many landsharks, including our charming horndog of a POTUS, is fascinating in its own right.

Then, there’s Margo herself. Brilliant, logical, ambitious, patriotic in her own way, somewhat chilly in demeanor, she may remind you of a young Condoleeza Rice. But it’s her vulnerability, ultimately, that fascinates. She’s a girl, she’s an orphan, she’s a virgin, she doesn’t quite know what she’s supposed to do or how she’s supposed to do it. That you’re here to read this review tells you one outcome of her ordeal. For the rest of it, you’ll have to read Carter’s smart and snappy page-turner.

 

This article was originally published in the August 2014 issue of BookPage. Download the entire issue for the Kindle or Nook.

The first thing you may think when reading the opening pages of Stephen L. Carter’s engrossing Back Channel is, “What in the devil is going on here?” It’s 1962 and we’re at the beginning of the Cuban Missile Crisis. President Kennedy is in a townhouse with a 19-year-old African-American girl, but not for the reason you think. It seems that this young lady is the key to stopping the world from becoming a glowing, radioactive ember in the darkness of space. You can’t be blamed if your first reaction is bemusement.
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M.D. Waters provides even more suspense and revelations as she returns to the complicated dystopian world that she set up so brilliantly in her debut novel Archetype. Equal parts science fiction and romance, this two-book series follows our heroine Emma as she attempts to define herself in a futuristic world where cloning is an everyday affair.

At the end of Archetype, Emma had escaped her controlling husband, Declan Burke, after discovering that she is a clone of the resistance member Emma Wade. Now months have passed, and Emma has fled to Mexico to search for her parents in hopes that they can help her start a new life. When Declan appears on the news, offering a sizable reward for Emma’s return, she realizes that it is impossible for her new life to begin until her past is settled—including her feelings for Noah, the fellow resistance fighter she married before the cloning.

Much of the struggle in Prototype is internal, as Emma tries to overcome her past trauma. Archetype found Emma in a confused, fragile state, searching for answers and then discovering that she is a clone. By the conclusion of Prototype, Emma has transformed into a brave and determined woman who knows what she wants, and will fight hard to get it. With every turn of the page, Emma achieves the respect that comes from having loved, lost and fought every step of the way.

 

This article was originally published in the August 2014 issue of BookPage. Download the entire issue for the Kindle or Nook.

M.D. Waters provides even more suspense and revelations as she returns to the complicated dystopian world that she set up so brilliantly in her debut novel Archetype. Equal parts science fiction and romance, this two-book series follows our heroine Emma as she attempts to define herself in a futuristic world where cloning is an everyday affair.
Review by

For crime aficionados, New York Times best-selling author Marcia Muller is always a welcome name, one to rely on when you want a sure thing—a book that captures the imagination and might even make you wish you’d cancelled your evening plans so you could just go on reading. Her latest, The Night Searchers—to be exact, number 31 in her San Francisco-based Sharon McCone series—promises to be that kind of book.

Muller is quick out of the gate with a catchy plot hook: A weird couple seeks help from PI McCone’s detective agency because the wife is “seeing things.” As husband Jay rolls his eyes and pats her shoulder, wife Camilla describes witnessing devil worshippers operating from the basement hole of a city excavation, possibly conducting a human sacrifice. The canny, pragmatic McCone intuits that something more than mental instability is at work here, and sure enough, the unlikely scenario soon begins to tie into an investigation underway by RI International, the firm run by McCone’s husband, Hy, a high-level hostage negotiator. McCone and Hy discover a non-Satanic connection between Camilla’s sighting and the titular Searchers, a shadowy bunch of treasure hunters prowling the ’Frisco streets, and with the kidnapping of the director of a political policy forum.

Hy and McCone dispatch researchers and operatives from their companies to connect the dots and discover what, besides treasure, the mysterious Searchers may be hunting, and how it may tie in with kidnappings and devilish conclaves. McCone becomes the suspect in a supposed murder attempt and hides out for a while in a safe house aptly called Cockroach Haven while directing the investigation. The story sports Muller’s usual mix of eccentric characters, not least the Searchers themselves, all with fake names containing the letter “Z.”

The McCone and RI agencies seem to have the power to do almost anything, from calling up the troops to calling off the troops, and the action never stalls. But this time around, Muller’s narrative has a choppy feel to it, jumping from one thing to another and occasionally losing its focus and our attention. The couple’s too-spiffy upscale lifestyle has also become a bit wearing, and readers will miss the old days when McCone operated out of the All Souls Legal Co-op and scavenged around for her daily bread. We are amply compensated, however, by the captivating tour of San Francisco sights and sounds that’s woven throughout the book.

For crime aficionados, New York Times best-selling author Marcia Muller is always a welcome name, one to rely on when you want a sure thing—a book that captures the imagination and might even make you wish you’d cancelled your evening plans so you could just go on reading. Her latest, The Night Searchers—to be exact, number 31 in her San Francisco-based Sharon McCone series—promises to be that kind of book.

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In his first novel, The String Diaries, British author Stephen Lloyd Jones has created both an innovative storyline and a new creature to fear. The secret to overcoming this monster lies within one family’s weathered, string-tied diaries, which contain meticulously compiled stories, research and theories. But what is it that hunts this family, and why?

Jones imagines a fantastical subset of humans, inspired by Hungarian folklore: the hosszú életek, the “long-lived” ones, who are able to take on the appearance of any individual they please. For three centuries, Hannah Wilde’s ancestors have been sought by Jakab, a degenerate hosszú életek, whose twisted passion quickly led to an abject obsession with the women in Hannah’s family. Now he is fixated on her. Hannah must face this ancient evil or risk losing the love of her life and their daughter. She must use her family’s diaries as a survival guide, learning to trust no one, to verify everyone and, if ever compromised, to run. But with Jakab’s ability to take on the appearance and mannerisms of those she loves, will she have the resilience to make the correct decision?

The String Diaries is a phenomenal read, offering readers a refreshing villain and a thrilling narrative laced with the Gothic: a woman being chased by a tyrannical male of supernatural ability in uninhabited places. Jones dazzles in his ability to make his characters' raw nerves so palpable, the hairs on the back of your neck stand on end. The mounting tension throughout the novel is methodically woven through the centuries and the generations, bound together until the final pages. This book will have readers engrossed from start to finish, and hungry for more of Jones’ work.

In his first novel, The String Diaries, British author Stephen Lloyd Jones has created both an innovative storyline and a new creature to fear. The secret to overcoming this monster lies within one family’s weathered, string-tied diaries, which contain meticulously compiled stories, research and theories. But what is it that hunts this family, and why?

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