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.

Chicago is infamous for its violence, from Prohibition-era mobsters to modern-day street gangs. As a result, novels set in Chicago often fall somewhere on the spectrum of crime fiction. Lori Rader-Day’s blood-tingling debut—a mystery so chock-full of suspense it’s best devoured in a single late-night reading session—imagines a different brand of violence in Chicago, a phenomenon that’s become all too familiar in the 21st century: school shootings.

Ten months ago, Rothbert University professor Amelia Emmet was shot in the gut by a male student she’d never met. Unfortunately, no one believes Amelia’s side of the story. She’s young, attractive and popular with students, so Chicago news media—as well as Amelia’s friends and colleagues—don’t understand why a complete stranger would shoot her before turning the gun on himself. “I don’t know what they all thought—that I baited a troubled kid, drove him insane with sex or quid pro quo grading practices, and then suffered the only outcome that made any sense? Got what I deserved? Asked for it? That was a phrase I’d come across more than once in the comments section of the student newspaper’s website.”

But if anyone can solve the mystery of her attempted murder, it’s Amelia. She’s a sociology professor who specializes in violence. With the help of painkillers and a walking cane, Amelia returns to Rothbert University, where she meets an earnest young graduate assistant named Nathaniel Barber who’s obsessed with the history of Chicago’s criminal underworld. There’s just one problem: He’s a little obsessed with Amelia, too. Together, they discover Amelia’s role in Rothbert’s shrouded pattern of death.

Rader-Day’s addictive prose is atmospheric and laced with dread. Rothbert’s lakeshore campus in the shadow of Chicago drips with dark secrets, and as in all good mysteries, every character is enigmatic and fascinating.

A perfect thriller for the summer, The Black Hour transcends the tropes and formulas of the mystery genre while deftly portraying academia and the city of Chicago as characters in their own right.

For most high school bullying victims, life eventually gets better. For Toni Murphy, her torment at the hands of a mean-girl clique turns into a nightmare she can’t escape.

As her senior year draws to a close, Toni is planning a future with her adored boyfriend Ryan. He’s the one bright spot in her life. At home, her overly strict mom disapproves of everything she does. Her “perfect” little sister Nicole always seems to make her look bad, while getting away with sneaking out and lying to their parents. And at school, she’s taunted by a popular girl group led by her ex-friend Shauna. Graduation can’t come soon enough

Then Nicole is found brutally murdered. Toni and Ryan are the only suspects, and Shauna’s crew testifies that they saw the two sisters fighting right before the murder.  No one believes Toni’s side of the story, and she’s sent to prison.

That Night takes up Toni’s story 17 years later. She’s paroled and back in her hometown, but starting a new life isn’t so easy: Shauna is still nursing a grudge and is eager to get Toni fired or worse. Meanwhile, someone has been talking about what really happened on the night of the murder. Ryan wants her to help him find out more.  Her parole decrees that she could be sent back to jail just for talking to him, but the lure of clearing her name is irresistible. Who killed Nicole? And what secrets was she keeping in the days before her death?

The narrative bounces back and forth between Toni’s post-parole and pre-prison life, deftly building suspense about Nicole’s fate. But it’s Toni’s richly depicted inner life that makes the book truly immersive. Chevy Stevens’ account of what it’s like to be powerless—whether as a grounded 12th-grader or a prison inmate—is pitch perfect (and relatable to anyone who’s ever been a teen). We see Toni grow from an impulsive girl to a guarded but good-hearted adult, and her desire for justice always rings true.

ALSO IN BOOKPAGE: Read a behind-the-book essay from Chevy Stevens for That Night.

Small in size and easy on the eye, ear and virtual palette, the co-written Treachery in Bordeaux is a pleasant undertaking, light on action and suspense but generously laden with French atmosphere and extra flavor for the wine cognoscenti. In the U.S. debut of the first book in the Winemaker Detective Series already underway in France, translator Anne Trager has managed to retain the cadence of the French original with her understated and flowing narrative. Sentences that start out with documentary plainness suddenly branch out with a graceful, humorous ease, making one want to read the book in its original language.

Well-respected and successful winemaker and critic Benjamin Cooker is something of an amateur sleuth. He undertakes to help respected vintner and good friend Denis Massepain investigate the contamination of several barrels of new wine he is fermenting at his wine estate, Chateau Les Moniales Haut-Brion. The wine cellars are scrupulously clean and recently renovated, so accidental contamination is ruled out and sabotage suspected.

Benjamin is a man of curiosity and wide-ranging interests, and he and his new assistant, the young and goodlooking Virgile Lanssien, are soon knee-deep in grape-laden schemes to determine who might want to destroy Massepain’s wine and his longstanding reputation as a fine vintner.

Readers slow down a bit to accommodate Benjamin’s lifestyle, enjoying his obsession with collecting antiques, especially those associated with his trade. One such item he’s acquired is a painting, or overmantel, depicting the rural area around his own estate—and he discovers that it has a twin, another panel that connects it to a larger artwork. His efforts to track down the missing section lead to more discoveries, and this curious side-trip may connect back to the intrigue at his friend’s winery.

Treachery capitalizes on the attractions of the French countryside and its inhabitants, as they sip coffee at an outdoor café, toast a birthday with the proper vintage, light up an aromatic pipe or walk their dogs. Benjamin quiets his mind, for instance, by painstakingly polishing his shoes.

This genteel atmosphere, however, is shot through with disquieting signs that the rural beauty is fraying at the edges. Like the rest of the world, the Bordeaux region faces encroachment by seedy housing developments, traffic jams and tourism with its tacky accoutrements. This collision of old and new provides the book with its suspense quotient—for all those who love a mystery.

Certain words tend to get overused in book reviews, such as “riveting.” Sorry, but Invisible City, Julia Dahl’s debut novel, is riveting. I couldn’t put it down without thinking about when I might be able to pick it up again, and it was finished all too soon for my taste. This story developed a life of its own, and the cast of characters began to walk off the pages into real life.

Dahl, a journalist herself, has painted the world of reporting and newsrooms with a welcome realism often absent from books that attempt to capture this rapidly changing profession. She is remarkable in her ability to portray the life of a tabloid journalist in today’s New York City, and then she adds another layer by setting the rush and tumble of the city against Brooklyn’s insular Hasidic Jewish community.

Rebekah Roberts, the daughter of a Hasidic mother who abandoned her and her non-Jewish father when Rebekah was a baby, becomes heavily involved in this world when she’s called to a murder scene linked to the Hasidim, as well as to people who may know of her mother’s current whereabouts. Rebekah’s narrative yields a surprising and uncompromising look at the individuals in this multilayered community, with its stalwarts and pariahs, its avid followers and secretive doubters. The reins of power wielded by law enforcement are often compromised by those of the ultra-Orthodox Jewish community, and it’s entirely possible that the murderer may escape into the depths of this society bound by tradition and longstanding fear.

No character in Dahl’s tale escapes scrutiny, and each one is drawn with an exacting brush to the author’s high standards. Each character becomes a surprise as the story unfolds, including several who straddle the line that separates a host of often-conflicting religious and civil constraints.

Rebekah must find her own entry into this tight-knit community, as she travels from the dark and closed homes of powerful Hasidic leaders to the shabby headquarters of a group that welcomes those who’ve come to question whether their strict religion holds all the answers. This is riveting stuff indeed, and Dahl is a major talent I am eager to revisit in the future.

Colin Cotterill lives in Southern Thailand, where he's set the inventive Jimm Juree mystery series in a rural outpost village called Maprao—a funky, lackadaisical, behind-the-times setting painted in cartoon colors with a comic wash. The Axe Factor is the third in this series of imaginatively plotted, very funny crime novels starring Jimm, a 30-something freelance reporter and “English language doctor” who still misses the bright lights and big-city atmosphere of her former home in Chiang Mai. She and her off-the-wall family are the proprietors of the Gulf Bay Lovely Resort and Restaurant, a motley collection of past-their-prime bungalows on Thailand’s south coast, where not much seems to happen during the best of times.

The town’s local Chumphon News has asked Jimm to interview Conrad Coralbank, a well-known writer of crime novels who’s living in the area, and the story takes off as Jimm immediately succumbs to the writer’s considerable charms. However, Jimm’s Grandad Jah and the village’s intrepid Lieutenant Chompu are not convinced Conrad is all he’s cracked up to be, and they begin their own cockamamie version of surveillance on his activities.

But wait: Conrad’s wife has gone missing, and so has a local female medical worker, and Jimm gets embroiled in a search for clues to their whereabouts. The book cleverly ratchets up the tension, interspersing regular chapters with anonymous diary entries written by a determined and graphic-minded serial killer. Readers are left to ferret out the diarist’s identity and discover when things might get dangerous for Jimm.

To top off another layer of mystery, there’s a change in the weather: An ocean storm is brewing just as Jimm’s wacky mother (who’s prone to seasickness) takes a trip out in the bay with Captain Kow, who we learn is Jimm’s real father.

The cast of characters—many returning from previous books—can be both frightening and funny. Jimm’s “language doctor” job involves translating the malapropisms in Thai commercial signs and writing them in “correct” English, and the book’s chapters are headed by hilarious examples of what she’s up against. There’s also a tongue-in-cheek reference to Cotterill’s well-known Dr. Siri mystery series, set in Laos. Each little addition adds atmosphere to the lively text, sure to please Cotterill’s fans and attract many more.

Best-selling author Nevada Barr is well known for her unique mystery series featuring national park ranger Anna Pigeon. Beginning with the award-winning Track of the Cat (1993), set in Guadalupe Mountains National Park in Texas, the Anna Pigeon novels have treated readers to the unique scenic beauty of an array of national parks scattered across the country. Seventeen books later, we’re still enjoying Ranger Pigeon’s thrilling adventures set in both backcountry and urban park settings.

Barr’s latest, Destroyer Angel, is an adventure of a different kind, set in the wilds of Minnesota’s Iron Range, where Anna is on a camping trip with four friends. Taking off by herself for a bit of solitude, the ranger is away from the campsite when four armed men take her companions hostage and set off with them through the wilderness toward an airfield rendezvous. One of the captives is a wealthy designer of high-tech outdoor equipment, and big money appears to figure largely as a motive in the kidnapping. The gang’s leader, called simply “Dude,” displays an oddly single-minded, steely determination to complete his errand. However, unbeknownst to the gang, Anna keeps up with the trekkers from a hidden vantage point, and she clearly holds the key to rescuing the prisoners.

Barr (a former park ranger herself) is a fine and engaging writer, and her books have never failed to capture the grandeur of her wilderness locales. Here, however, wilderness takes a back seat as we’re bludgeoned page after page with the message that these are really bad guys. The negative adjectives add up to overkill, contrasting with images of the selfless prisoners falling over themselves to lend a hand and save each other. The good-vs-evil theme soon wears thin.

Lucky for us, the four gangsters don’t know from wilderness, and they quickly fall prey to the power of spooky suggestions introduced by the hostages. This, and the advantage of Anna’s hidden presence and activities in the background, contributes to a gradual weakening of their power over the prisoners.

Readers of Barr’s usually stellar novels will not be deterred from adding this adventure to their must-read lists, and the inventive plot will serve to see us through to her next adventure.

In his second novel, Love Story, with Murders, Harry Bingham brings back the quirky but endearing D.C. Fiona Griffiths. Fiona has never been your standard British police officer—or your typical person, for that matter. Subject to Cotard’s syndrome, or "walking corpse syndrome," she admittedly associates more closely with the dead than the living. Fiona’s odd disorder and unorthodox investigation methods make her a standout character among police procedurals.

Fiona’s day goes from simple to complicated when an illegal dumping turns up a severed leg at the bottom of a freezer. The foot’s pink suede pump identifies the victim as Mary Langton, subsequently opening up a 10-year-old missing persons case that could possibly involve Fiona’s father, strip club owner and ex-criminal extraordinaire. As the police search the quiet Cardiff neighborhood for more of Mary, they come across more body parts belonging to another person, turning their macabre murder investigation into two.

Despite starting off slow, the story’s second half is fast-paced and gripping. Bingham does an excellent job of balancing several plotlines and developing Fiona’s character. Due to her disorder, which makes her more curious about than sympathetic to the dead, she has an unpredictable nature and uncanny humor, which entertain and baffle at times. Only when she experiences her own brush with death does she admit, “Fear has a color. A taste and a feel.” Her character blooms and becomes easier to understand, especially as she confronts other intense emotions, such as love.

Throughout the novel Bingham teases the reader as Fiona seeks to solve her own mysterious past, but unfortunately, nothing is developed or executed on this front. Perhaps readers will have to wait until the third installment in this series to see what makes Fiona Griffiths tick.

The third installment in award-winning author Kristina Ohlsson’s Fredrika Bergman series is a crime fiction fan’s dream. With The Disappeared, Ohlsson creates both an elaborate police procedural and a multilayered mystery that engages readers in a complex case with an unexpected ending. Once again featuring the brilliant Stockholm investigative analyst who tackled confounding cases in Unwanted and Silenced, The Disappeared brings Fredrika back to work on an unsolved missing-persons case. As she tries to make sense of a gruesome discovery—the missing woman’s body is found in an apparent mass grave—Fredrika finds that nobody is above suspicion, even those closest to her.  

This multilayered story builds to a shocking finale.

Ohlsson’s layered approach to storytelling can feel disjointed at first, as she delivers snippets of backstory and brief glimpses of each character’s life. Like rocks in a stone wall, however, the fragments build on one another, resulting in a sturdy structure that depends on the relationships between the pieces. Readers might consider taking notes on the fascinating—if sometimes disturbing—characters that Ohlsson draws forth. There’s an elderly children’s author who hasn’t uttered a word in decades, a former boyfriend with a troubling obsession, and a web of mystery that includes sexual assault charges, pornography and snuff films. It’s dark stuff, and Ohlsson never backs away, but instead takes us in for a closer look at the killer’s motives and methods.

If your notes fail to fully illuminate the winding path through this mystery, Ohlsson does provide guideposts along the way, as the investigators stop to consider the evidence and its implications. The action never pauses for long, however, and soon Ohlsson has us following another lead down another trail, wondering how they will all fit together. When they do, it’s in a most surprising but satisfying way.

Readers who haven’t yet discovered Elly Griffiths’ wonderful mystery series set on the remote and scenic ocean sands of Norwich, England, have a delayed treat in store. Griffiths’ newest, The Outcast Dead, continues to pique our interest in her continuing characters: forensic archaeologist Ruth Galloway and the stable of marvelous, scruffy characters that inhabit her life, including DCI Harry Nelson, the father of Ruth’s 3-year-old daughter. (This is mostly a secret, though not to Nelson’s wife, Michelle.)

Not the least of the major characters in these novels is the picturesque though vaguely scary setting. Ruth chooses to live in relative isolation near the edge of a salt marsh, amid sand dunes, sea grass and ocean light. Notably, in the series debut, The Crossing Places, the remains of an ancient henge are discovered amid the sands, setting the tone for the entire series.

In The Outcast Dead, while on a dig near Norwich Castle, Ruth uncovers what appear to be the remains of a Victorian child murderer known as Mother Hook, infamous in Norfolk history, nursery rhymes and horror tales for the iron hook she wore in place of a missing hand. Though she was executed for the crimes, there’s some historical evidence that suggests she may have been innocent, and Ruth is asked to participate in a popular British TV series exploring the notorious events.

Eerily and coincidentally, Nelson and his police force have arrested a local woman suspected of killing her own child, and there are limited but striking connections to an old child murder case in which both Nelson and Ruth were involved. Tensions mount when two local children go missing, and one is the son of a member of Nelson’s police team.

Among this series’ best features are its many moments of wry humor, as we’re witness to characters’ inmost thoughts and sometimes-outward rants. Storylines wander and then converge, as we’re drawn into the lives of the colorful individuals that Griffiths paints so well. There are just a few too many characters floating around—most notably, children—and it’s sometimes a challenge to keep them straight and to remember whom they belong to and who has begotten whom. But we never lose sight of the action, which is purposefully written and always enhanced by a setting that manages to be both enticing and dangerous.

William Shaw, an award-winning pop-culture journalist, does a standout job with his debut novel, She’s Leaving Home. This British crime thriller has a compelling whodunit plot staged in ’60s London, rampant with racism, sexism and an ever-growing counterculture of groupies clinging to the belief that love is all you need.

After a disreputable act of cowardice, Detective Sergeant Cathal Breen has one chance to regain face in his police squadron. Breen takes the murder case of an unidentified woman found near Abbey Road Studios, believing the victim to be a Beatles fan who frequently camps outside. Many of his colleagues are unsympathetic, wanting to call the case as it is, but Breen suspects there is more to the story.

He is joined by Helen Tozer, the first woman on his detective staff. Her tomboyish nature and brash characteristics at first unnerve Breen, who is more traditional, but their seemingly conflicting natures perfectly complement each other. Breen brings years of policing and detective methodology to the table, while Tozer, a Beatles junkie herself, empathizes with the younger generation. As the investigatory duo get closer to solving the case, they soon find themselves caught between intergenerational quarrels, racial tensions and political revolutionaries.

Shaw’s dialogue is well developed and his period detail is razor sharp, immersing the reader in the tumultuous era of swinging London with immediately relatable characters. She’s Leaving Home is the first installation in a trilogy of cultural thrillers, so keep an eye out for this dynamic duo. Whether you’re a Beatles fan or a mystery lover, this book comes highly recommended.