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

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

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

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

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

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

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

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

Sandy MacDonald is a writer in Cambridge and Nantucket Massachusetts.

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

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

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

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

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

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

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

 

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

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

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

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

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

 

Kelly Koepke is a freelance writer and editor in Albuquerque.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Alden Mudge is a writer in Oakland, California.

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

"I…

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

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

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

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

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

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

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

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

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

Rebecca Bain writes from her home in Nashville.
 

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

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Best known for his books about Detective Inspector John Rebus, Ian Rankin has written a suspenseful winner with The Complaints, our March Mystery of the Month. Starring Malcolm Fox, a member of the internal affairs department of the Edinburgh police force, BookPage's Whodunit columnist calls The Complaints "superb on every level."

Get to know Rankin a little better in his Q&A with BookPage—in which he shares his "words to live by," his proudest moment and more:

Name one book you think everyone should read (besides your own!).
The book everyone should read is The Prime of Miss Jean Brodie by Muriel Spark—a perfect, short novel, in turn hilarious and terrifying.

How did you approach writing stand-alone novels after so many books with Detective Inspector John Rebus? Were you nervous about disappointing fans?
A lot of fans were sad to see Inspector Rebus retire, but I have enjoyed the challenge of presenting them with new characters and stories. The Complaints has been well received, which gives me hope that I continue to exist, even without my shadow twin!

Describe The Complaints in one sentence.
The Complaints: An internal affairs cop fights for his job and his sanity in a city on the edge of physical and moral bankrupcy.

Where do you write?
I write in a room in my house. The house is a large, Victorian-era property in a leafy suburb of Edinburgh. My office would have been one of the bedrooms. I have a desk, a sofa and a hi-fi system in there. That's about all I need.

What was the proudest moment of your career so far?
There have been many highlights, from the thrill of first publication, to (eventual) success, the Gold Dagger, Diamond Dagger and Edgar. But I was probably most pleased with a letter from the Queen. She intended to award me with the OBE (Officer of the British Empire) for "services to literature." It was proof that the mystery novel was regarded as literature—who am I to argue?

If you had to be stranded on a desert island with one fictional character, who would you want it to be?
Not Rebus—we'd just fight. Maybe Molly Bloom from James Joyce's Ulysses—a fascinating, earthy, practical human being. I'm sure she'd have stories for the campfire.

What are your words to live by?
Words to live by? Words are my life—I love all of them equally.

 

 

Best known for his books about Detective Inspector John Rebus, Ian Rankin has written a suspenseful winner with The Complaints, our March Mystery of the Month. Starring Malcolm Fox, a member of the internal affairs department of the Edinburgh police force, BookPage's Whodunit columnist

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Write what you know. While writers are told that every day, a writer’s work is naturally that much better if what they know is pretty cool stuff. In Scott Turow’s latest book, Personal Injuries, the best-selling legal thriller writer takes what he knows his personal experience as a prosecutor in a major judicial corruption probe and turns it into a fast-paced and intricate story that is as much about what goes on in people’s heads as what goes on in courtrooms.

Turow, author of the top-selling Presumed Innocent and Burden of Proof, draws on his background as a former Assistant U.S. Attorney in Chicago to weave a tale of undercover operatives and deception. But he makes the characters especially Robbie Feaver, the personal injury lawyer who is flipped by the prosecution and used as a stalking horse to rein in corrupt judges as complex as the plot. Instead of creating what could have been stock players in a typical genre story, Turow, as he does in all his books, gives his characters a depth and a humanity that make their troubles that much more deeply felt.

BookPage spoke to Turow about the legal background that led to the story, about personal injury lawyers, and about being undercover both in life and in law.

BookPage: How close was your own experience [in the early 1980s] to the case in this book?

Scott Turow: A lot of the events in the book are things that I witnessed first-hand. When I was an Assistant U.S. Attorney, I had a large role in cases such as this one. There was one large undercover project, called Operation Greylord, that was aimed at the judiciary in Illinois. I was assigned to run a decoy, above-ground, highly visible investigation of judicial corruption in one court, while the undercover operation was going on in the criminal court. Then I was assigned to try to flip a criminal lawyer whom we had a case on. All the while, I was in this world of need-to-know. I knew there was an undercover investigation, but I didn’t know who they were or what they were doing. I was working side by side with them and didn’t know. It was kind of weird. In some ways, this book was the story of what I witnessed and took part in.

BP: Talk about the life of the undercover operative that you observed, and that you put in the book. [Note: One character, FBI agent Evon Miller, spends nearly a year undercover working with Feaver as a paralegal.]

ST: They try to get folks in places where they’re as close as possible to their own life. I’ve known agents who pretended to be Mafiosi or to be fences, which are actually very far from who they really are. I remember a female IRS agent who posed as a Mobster girlfriend for a time. Most of them don’t live it for the extended period of time that Evon did. But the guys I knew who infiltrated a crime family in Milwaukee did so for more than a year. It’s a tough life.

BP: Working with witnesses such as Robbie must be difficult. You have to ask them to do a tough job, and support them while they do it. Yet you know that they’re criminals. How do you handle that as a prosecutor?

ST: Those kind of dilemmas are commonplace when you’re a prosecutor. You’re always in that position with the flipper witnesses. It’s a very ambiguous relationship. You’ve pursued these people, they want to ingratiate themselves with you to get a lower sentence, you want something from them . . . but you know in the end you’re going to stand up in court and ask to have them sent away. What happens is that you develop some complicated personal relationships. You hate their guts when you see them for what they are, but you can also become beguiled by them in a certain way. At the end of the day, you get mixed feelings about standing up and saying, Send him to the penitentiary. Experiences like that were really the inspiration for Robbie.

BP: Speaking of Robbie, you cast him as a personal injury lawyer, the kind of lawyer who often gives lawyers a bad name . . . the ambulance chaser. What do you think of that profession in general?

ST: As the novel presents, there is a scamming aspect to the acquisition of business by these types of lawyers, and because they have a vested financial interest that gives them an inclination to push the envelope. In Robbie’s case, that was pushed a lot further than is right by anyone’s definition. All of those aspects tend to bring some personal injury lawyers into disrepute. On the other hand, as the novel is pretty honest about and notwithstanding some of the egregious aspects of their work, many really do care about their clients. You have to give them an enormous amount of credit in this country for having been responsible for a lot of reforms that benefit individuals, especially in the areas of sexual harassment, civil rights, and consumer rights. The plaintiff’s bar has been responsible for bringing to heel huge vested interests that were beyond the corralling of the political system.

BP: Two sides to every coin, it seems. That’s a big part of this book, in fact of many of your books.

ST: Yes, that’s a pretty durable Turow theme. Everyone has two sides. The tension is between the reality of life and who human beings really are. Everyone is pretty well intended in this book, even the crook Robbie and the overbearing prosecutor Stan Sennett. Sennett’s goals are good ones, he’s just over the top. It’s the inability of the laws and institutions to accommodate these fine differences in people that has always provided a theme for me. In this case, it’s particularly helpful to have that theme. The thematic wedge into this notion is the idea of being undercover, of playing a role, and that everyone is trying to pretend to be something that they’re not.

James Buckley Jr. is an associate editor with NFL Publishing in Los Angeles. He is the author of Eyewitness Football.

Write what you know. While writers are told that every day, a writer's work is naturally that much better if what they know is pretty cool stuff. In Scott Turow's latest book, Personal Injuries, the best-selling legal thriller writer takes what he knows his personal…

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"Mr. Charles LeBlanc, and his companion, Ms. Mildred Spurlock, will be visiting friends and relatives in Cliffside during the coming weeks. During their visit, the couple will be staying with a family friend, Benjamin Henshaw." In award-winning author William Hoffman’s new novel, this notice never actually appears in the social events column because the newspaper in tiny Cliffside, West Virginia, folded years ago when the coal ran out. Locals could tell you, however, that Charley LeBlanc is a convicted felon who received a bad conduct discharge after the Vietnam War. They could also point out that his girlfriend, Blackie Spurlock, just served seven years in prison for killing her husband.

Charley and Blackie were camping on Montana’s high plains when homesickness drew them back to what remains of Cliffside. Charley, the black sheep of a prominent Tidewater family, wants to visit Jessie Arbuckle, an elderly spinster he once befriended. On his return, he learns that Jessie has been murdered and that Esmeralda, a mysterious older woman, is the leading suspect.

He is determined to find the true motive behind the killing and uncover what brought Esmeralda to the scene of the crime. Charley, who appeared in Hoffman’s previous thriller Tidewater Blood, shows the same self-destructive tendency that has plagued him in the past; relationships with his brother and Blackie may be the price for nailing the killer.

Sheriff Basil Lester bars Charley from the crime scene and bears down on anyone who speaks with him. Still, Charley’s search uncovers enough suspects to suggest a conspiracy that reaches the highest levels of Cliffside’s society. With its stunning ending and sobering lessons for Charley, Wild Thorn is representative of the well-crafted suspense that has earned accolades and faithful readers for Hoffman during his long career.

John Messer writes from Ludington, Michigan.

 

"Mr. Charles LeBlanc, and his companion, Ms. Mildred Spurlock, will be visiting friends and relatives in Cliffside during the coming weeks. During their visit, the couple will be staying with a family friend, Benjamin Henshaw." In award-winning author William Hoffman's new novel, this notice…

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"Crossover" is a word heard more often in music than in publishing. Rarely does a writer who is extremely successful in one genre venture into another. Part of this phenomenon is the result of reader expectation and the ensuing pressure from publishers. Oftentimes, it is simply an author’s choice.

This makes James Patterson’s latest novel, Cradle and All, quite a surprise for his many fans. Patterson, best known for his Alex Cross thrillers, has ventured into an area few mainstream authors have attempted: spiritual millennial fiction.

With his trademark rapid-fire chapters, Patterson tells the story of Anne Fitzgerald, a former nun turned private investigator sent to investigate two pregnant teenagers. Besides being pregnant, the two girls share one other trait: They’re both virgins. Patterson recently talked to BookPage about the genesis of this novel and his own development as a writer.

BookPage: Your latest novel, Cradle and All, is a departure for you in some ways, isn’t it?
James Patterson: Well, it’s a little like When the Wind Blows in that there’s a little bit of the spiritual in it, a little bit of the supernatural. But yes, this one’s a little different. What brings all my books together, though, is the desire to make them real page-turners.

BP: Your publisher describes Cradle and All as "an entirely reimagined version of a 1980 Patterson novel, Virgin. That book is long out-of-print. Readers might want to know how this came about. What inspired you to "reimagine this book? In what ways is it reimagined?
JP: You’d have to read both versions, the old one and the new one, to have a real appreciation of how it changed. I think a lot of writers like to look at old work again. When Virgin came out, I always thought it was a terrific idea, but I don’t think I got it right, so I just kept fussing with the idea. It’s been out-of-print for a long time, so the publisher said "what about bringing Virgin out again? Once I got into it, I decided I wanted to rewrite it. I restructured it a lot, especially changing the main character, Anne Fitzgerald, to a private investigator.

BP: You have an interesting take on writing through female voices. How have you developed such an ability to capture women characters?
JP: I think it goes back to when I was a kid. I grew up in a house full of women grandmother, mother, three sisters, two female cats. I cooked for my grandmother’s restaurant. I’ve always been most comfortable talking to women. My best friends generally tended to be women. I liked the way they talk, the fact that a lot of subjects weave in and out of conversations. Sometimes men are a little bit more of a straight line.

BP: How did you begin writing fiction when you came from a background of marketing and advertising? At one time, you headed the J. Walter Thompson agency, right?
JP: I was writing fiction before I got into advertising, actually. My graduate thesis at Vanderbilt, in fact, was fiction. I was in a doctoral program in the English department and decided I wanted to move on to something else.

BP: So you came out of an academic background in fiction, and yet and I mean this as a compliment your work is decidedly unliterary. It’s accessible, story-driven, and character-driven. Was this a conscious decision or was this an evolution in your life as a writer?
JP: A conscious decision. I read Ulysses and I figured I couldn’t top that, so I never had any desire to write literary fiction. I never read commercial fiction until I was around 25 or 26, and at that point I read two books: The Exorcist and The Day of the Jackal. And I went, Ooh! This is cool. I like these. It’s a different experience from reading literary fiction; it’s a different reward. And I set out to write that kind of a book, the kind of book that would make an airplane ride disappear.

BP: There’s an ongoing discussion or conflict between popular and literary fiction.
JP: Yes, and I think it’s a silly thing to argue about. There’s plenty of room for both. Unfortunately, what happens in the book world is these petty arguments go right out to the populace, so you have an awful lot of reviews constantly trashing or demeaning the novels that are out there. If you look at the movie business, they’ve learned to be generous to both movies that are serious and movies that are more frivolous.

BP: Speaking of the movies, have you been happy with the way Hollywood has treated your novels?
JP: Yes, for the most part. Kiss the Girls was fine. Morgan Freeman was great. But there was a television movie adaptation of Miracle on the 17th Green that wasn’t all that great.

BP: Is there another movie version of Alex Cross coming out?
JP: Yes, Along Came a Spider is in production right now, with Morgan Freeman doing the role again. It’s supposed to be out October 8, but that might be a little optimistic.

BP: And what’s next for Alex Cross? Is another one in progress?
JP: Yes, it’ll be out next November. And I have a new series debut coming out as well. I’ve finished the first book. It involves four women who get together to solve murders. Each of the four women is involved in a different job, but the one thing they share is a level of frustration in their work, primarily from men. They all work in male-dominated professions and then get together in their spare time to solve murders without any interference from men. It’s sort of a Women’s Murder Club.

BP: So again, the female voice?
JP: Yes, when I created the Alex Cross character, there was a certain amount of eye-raising because he was a black man. And then I’ve written all these stories from a woman’s point of view.

BP: So you’re comfortable writing outside your "comfort zone"?
JP: I would be more uncomfortable writing a Tom Clancy military novel or a race car novel or anything like that. Where I’m writing is my comfort zone. I couldn’t write anything else.

Steven Womack is the Edgar-Award winning author of Murder Manual. His latest novel is Dirty Money (Fawcett).

"Crossover" is a word heard more often in music than in publishing. Rarely does a writer who is extremely successful in one genre venture into another. Part of this phenomenon is the result of reader expectation and the ensuing pressure from publishers. Oftentimes, it…

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When disgraced Elizabethan scholar Henry Cavendish becomes executor of his friend Alonzo Wax’s estate, he thinks his biggest problem will be paying off his impractical friend’s debts and cataloguing his vast collection of manuscripts and books. But instead, Henry is approached by an antiquarian with a sinister reputation who’s searching for the other half of a fragmented letter, from Sir Walter Raleigh to his lesser-known friend, scientist Thomas Hariot. Bernard Styles is certain that Wax had the letter—and that it’s the key to the mystery of the School of Night, a group of scholars that is said to have included the likes of Marlowe and Shakespeare, in addition to Hariot and Raleigh.

Despite some doubts, Henry agrees—Styles is offering a lot of money, after all—but after Wax’s vault is robbed and a close friend is murdered, Henry starts to rethink his commitment to sharing the letter with Styles and decides to uncover its secrets himself. He meets a mysterious woman, Clarissa Dale, who has a special interest in the School of Night, and together the two set out to solve the mystery. The story of their quest alternates with the 17th-century tale of Hariot himself, a man of science whose isolation is breached by a maid whose mind is a match for his own.

In The School of Night, author Louis Bayard makes a slight departure from distinctive historical mysteries like The Black Tower and The Pale Blue Eye (which has just been optioned for film) toward the post-Da Vinci Code genre of past-meets-present thrillers with a literary angle. He makes the change adroitly—both storylines are neatly paced, with intriguing plot twists that keep the pages turning. Fans of authors like Matthew Pearl and Rebecca Stott shouldn’t miss Bayard’s latest offering.

 

When disgraced Elizabethan scholar Henry Cavendish becomes executor of his friend Alonzo Wax’s estate, he thinks his biggest problem will be paying off his impractical friend’s debts and cataloguing his vast collection of manuscripts and books. But instead, Henry is approached by an antiquarian with…

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The Kellerman household seems to be in a state of controlled uproar on this particular afternoon. Faye Kellerman is leaving in the morning for a nine-day book tour in Germany. There is a hum of activity in the background during our phone conversation. Last minute preparations and pressing household matters occasionally take Faye away from the call.

"She's never been to Germany," Jonathan Kellerman tells me during one of his wife's absences. "They've wanted her to come for many years." He says her tour will focus not only on Stalker, Faye's current thriller, but on many of the other novels in her popular Peter Decker/Rina Lazarus detective series. "She's a big personage in Germany," he adds with obvious pleasure.

Of course Jonathan Kellerman is no slouch himself. He has written more than a dozen bestsellers in his Alex Delaware series since the mid-1980s. Commenting on the first, When the Bough Breaks, Stephen King announced that Jonathan Kellerman had reinvented the detective novel. Ardent fans continue to agree.

His latest effort, Dr. Death, centers on the brutal murder of a Kevorkian-like figure. Suspicions fall on the husband of one of Dr. Death's most recent "patients." As always, Los Angeles, vividly described, is also a character in the novel. Many advance readers (including this interviewer) think it may well be his best book yet. Jonathan, who gave up a career as a noted child psychologist to write full-time, believes the book is his most successful attempt to interweave a family psychopathology theme and "a really creepy killer."

Together, the Kellermans have an extraordinary publishing record. Each produces a novel almost every year, an astonishing pace to sustain for the better part of two decades. Stalker, which focuses on the experiences of Peter Decker's daughter, Cindy, as a rookie in the LAPD, is Faye's most successful book to date, the first to crack the top five in the New York Times bestseller list. Jonathan's last book, Monster, was a bestseller in both hardcover and paperback.

As we continue the interview, Jonathan mentions that one of their four children is also working on a novel, "a brilliant historical novel, a rather ambitious and wonderful book," he calls it in one of those warm, big-hearted comments that typify his conversational style.

Jonathan is illustrating a point about the importance of plot. He says his son has come to realize that at some level or another all literature is mystery. It's an excellent point. It's a point that puts Jonathan at odds with much fashionable contemporary writing. And it's a point on which Faye and Jonathan emphatically agree. Unfortunately, I am too distracted to quite take this in. I am thinking: What? Four children? Two prodigious, very successful writing careers under one roof? And now, possibly, a third? How is this possible? How do they ever manage it?

"Doing well in marriage is a good preface to doing well in a household like this," Faye says. "I think the key to managing this is the art of compromise."

"Right," Jonathan says. "Faye and I were married 12 or 13 years before either of us got published. It wasn't as if the two of us met at a writer's conference and brought these egos in. Faye was 18 when I met her; I was 21. To the extent that we've grown up at all, we've grown up together. The fact that our relationship was solid before we got published really helped."

It seems to be true. Throughout the hour we spend talking, the Kellermans graciously take turns answering questions; they trade jokes and witticisms; they encourage one another with praise and endearments and thanks. They say they really don't compete, that they are honestly happy for each other's successes. They seem genuinely to respect one another's work.

Asked to comment on each other's strengths as writers, they are quick to answer. "From the very outset, Faye had a golden ear for dialogue," Jonathan says. "It took me a while to learn to write dialogue. But Faye could do it right away because she's always been a gifted mimic. She also has an innate sense of pacing. Her books are lean, never padded. The story moves along at a rapid pace, because Faye is that kind of person. She's a busy person. She doesn't have a lot of patience for wasting time."

Faye responds, "Jonathan's strength is his consistency in always writing a fantastic story, his ability to keep the story moving and his wonderful prose. He uses the perfect metaphor — not five perfect metaphors. He's able to inject much more into his thrillers than the average thriller-writer because of his training as a psychologist and his keen insight into people."

In fact, the only thing resembling a dispute comes up during a rambunctious discussion of the movies. The two spar playfully over which is the greater movie, Jaws or The Poseidon Adventure. They come to a sort of agreement on Titanic. "That movie finally picked up once they hit the iceberg," Faye exclaims gleefully. "I mean once the water started pouring in, I turned to Jonathan and said, 'All right! Now we've got a movie!'" Jonathan agrees, and adds, "But for me, it wasn't worth waiting through two hours of sloppy romance for 20 minutes of iceberg."

To be honest, all this warmth and tenderness is a little disconcerting. And the Kellermans know how I feel. "I'm always wary of interviews like this," Jonathan says, partly in jest. "What happens is that we come across as disgustingly smug and goody two-shoes. Honestly, we don't have any big skeletons in our closets. But we're both extremely intense people, with very artistic temperaments. There's no doubt about it."

Of the two, Jonathan is probably the most intense. "Everything, everything seems destined to impede my writing," he says. "I'm so paranoid about this. I see life as a series of obstacles. I've got to get into my office and not be distracted. I'm just a fanatic about achieving focus, just trying to shut the door and shut off the phone. My secretary knows not to come in for anything short of an emergency."

Then, during one of Faye's absences, Jonathan says, "Faye has been so wonderful in taking care of me that she basically leaves me free to do this. She manages to do everything, so she's a lot more impressive as a human being."

"Anything that's great takes a lot, a lot, a lot of work," Faye says, later. "We like to write our books and we're grateful that they're successful, but we do work. This is a job. I mean this is a working household."

"Faye and I are very much enmeshed," Jonathan says. "We have four kids, we hang out a lot together, we both work at home, we generally have lunch or breakfast together three, four, five times a week. So we're like a retired couple. Our writing is the only private time we have. We each go into our little offices and close the doors. We're each pretty protective of that. We talk about the financial part of the business but we don't talk much about creative aspects. We don't talk shop."

So the success of this immensely productive marriage isn't just about compromise and work and family? It is also about allowing, even encouraging, private, creative spaces?

The Kellermans definitely agree. In fact, Faye might be speaking for them both when she says, "We love each other, but this is a very personal thing. Jonathan and I collaborate on almost everything that pertains to life. But we want our stories to be our own. For better or for worse, our books are our own personal little slices of life."

 

Alden Mudge writes from his home in Oakland, California.

Author photo by Jesse Kellerman.

The Kellerman household seems to be in a state of controlled uproar on this particular afternoon. Faye Kellerman is leaving in the morning for a nine-day book tour in Germany. There is a hum of activity in the background during our phone conversation. Last…

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