Morgan Carter is one unusual woman. A trained cryptozoologist—someone who searches for animals that haven’t been proven to actually exist, like Bigfoot and the Loch Ness Monster—she also owns the Odds and Ends bookstore in Door County, Wisconsin. Don’t expect to find any Jane Austen at Odds and Ends, but it has plenty of esoteric books about the natural world, jars filled with formaldehyde and weird specimens, not to mention mummified human remains. So when a few human corpses wash ashore on Lake Michigan with mysterious bite marks, who are you going to call? Morgan Carter! Thirty-something Morgan—accompanied by her lovely rescue dog, Newt—is at her happiest when seeking out cryptids. But Morgan has her own share of problems. Her parents, also cryptozoologists, were murdered just two years ago, and Carter feels a nagging responsibility for their deaths. Those deaths also left her hugely rich, which has created its own issues, especially in dating. This is full of local color, with a delightful cast, and has a completely unique premise; I can’t wait to introduce Morgan to readers, especially those seeking the unusual, the surprising, the off-beat.
Review
There’s strange and then there’s this bizarre-in-the-best-way, thought-provoking debut. It opens with a missing-person case. The subject is artist Ula Frost, who’s known for A) being reclusive and B) painting portraits that allow another version of the subject to appear from another world. At least, that’s the rumor; there have long been investigations of whether the phenomenon is real, and stories of those who have been found dead with their portrait in tatters nearby, adding a tinge of horror to the rumors. Either way, Ula is now missing, which sets in motion legal proceedings she arranged to give her possessions, including her paintings, to a forensic anthropologist named Pepper Rafferty, who didn’t know Ula and wasn’t expecting this. Now Pepper is the focus of attention from both Ula’s cult-like following and the frightening Everett Group, quasi-corporate thugs who want a particular painting that’s very much not for sale. Pepper, who normally goes through her life quietly wondering if another Pepper in another world likes her husband better and is more satisfied overall, is thrust into danger and science-fiction-tinged partnerships in her quest for a way out of the predicament she’s been dropped into. By the end, readers will have been treated to both a quirky love story and a great philosophical debate (what if you could produce other yous?). In other worlds, there might be other Ettas who are reading longer versions of Pokwatka’s fascinating puzzle, but in this world, I’m so sad this book is over.
What a wild ride this book is. The third in Olguin’s series set in Buenos Aires, it features the tough-hitting, brazen, flawed, but brilliant journalist Verónica Rosenthal, who loves her whiskey, her lapdog, her ex-boyfriend, and great sex, preferably with strangers. As the novel opens, there is a horrific car crash followed by an explosion, leaving one survivor, Darío, who becomes convinced that his wife and child didn’t die in the conflagration but survived and ran away. Is it possible? Later, a truck is pulled over in Buenos Aires, thought to contain drugs. But the cache is far more gruesome: a load of human body parts. Verónica pursues the missing wife and child, ultimately publishing a feature about a right-wing Catholic organization, the Christian Home Movement, which took young children from poor or single mothers and placed them in well-off Catholic families. At the same time, and unknown to Verónica, her ex-boyfriend is after the body smugglers, and eventually the two storylines converge, as do the lovers. But don’t for one minute think this is some linear thriller. This book ricochets from family drama to Argentinian history to the picaresque (Verónica in nun’s garb, infiltrating a convent) to the deeply emotional. While this can be read as a stand-alone, this series builds on itself wonderfully.
Isabel Henley leaves Boston for the remote coastal Scotland college of St. Stephens, ready to immerse herself in a feminist perspective of Catherine de Medici’s court. She’s chosen St. Stephens so she can work with Professor Madeleine Grainger, but arrives to find that Madeleine has fallen from cliffs near the school and died. There are whispers that it wasn’t an accident, but Isabel hopes they’re just drama—St. Stephens is quite the gossip hothouse. Isabel’s other contact, Rose Brewster, a student she knew in Boston, soon disappears mysteriously, leaving Isabel both socially bereft and unsure of her future at the school. Then things take a turn, both for the better and the much worse. Isabel takes over Rose’s dissertation—it’s funded!—and she’s off to Genoa, Italy, to research the history of a family still living there, the decidedly odd Falcones. Isabel is locked into their home’s archive every day by the debonair son of the house, deciphering letters written during the Renaissance that offer a tantalizing look at past life and politics (a Falcone was involved in a conspiracy to assassinate French king Henry III) and a chance to save Rose. Also tantalizing is Margaret’s language, which immerses us in Genoa’s “intestinal alleys” and Renaissance passive aggression (“I know I can expect nothing in return except for your contempt” is a winning line in one love letter). There are two attractions here: the present-day academic whodunit and the olden puzzle revealed in Renaissance letters; viewers of the Netflix series “The Chair” will eat this up, as will readers of Philippa Gregory and Robert J. Lloyd.
If you open this book thinking it’s a medical thriller—which is how it’s marketed—then you’ll be terribly disappointed. But take it on its own terms and it is one of the most evocative and heart-rendering tales you’ll have encountered in quite a while. A young Scottish doctor, caught stealing and using opioids, is deemed fit to return to practice and lands in St. Luke’s—one of London’s roughest hospitals and a place that’s desperately in need of staff. Author Stephenson was trained as a doctor, and this book goes deeply—and fascinatingly—into life in the hospital. Add to this a great cast of characters, including George, an orthopedist, rugby player, and teddy bear of a man who rooms with our protagonist, helping to keep him grounded. The criminal element comes into play when it’s discovered that several of St. Luke’s patients have died from opioid overdoses, clearly at the hands of medical personnel, with our narrator suspect number one. Woven throughout the book are the stories of doctors throughout history who doubled as serial killers—these sojourns away from the narrative will drive some readers crazy but I found the context they provided fascinating. In the end, the book comes down to just a few characters and a couple of questions: How does medicine, “a dark and a terrible knowledge,” force its practitioners to see things differently? And what’s the impact when they do see differently?
Reflecting the dark days of summer 2020, this book opens with Black reporter Caleb Moon covering the police killing of a Black boy and the local anger that has ensued. His editor is tiptoeing around the coverage and wants to cut the inflammatory detail that the police also shot the boy’s pet (“It’s just a fucking dog.”) He knows it’s relevant, though, when Caleb explains that the animal that three police officers found such a violent threat could fit in a colleague’s tiny purse. This is a case of overkill, and Caleb wants justice. He’s at first naïve enough to think that it might be in the cards, but then he attends the police chief’s speech about the situation, where white interlopers throw a bottle at the cops and disappear. Hope is close to vanishing; it evaporates entirely when a Black colleague is lynched. Things can hardly get worse, but Caleb soon finds himself in jail when he won’t plead guilty to causing trouble at the speech. His experiences in jail, coupled with the growing mystery of who’s behind the racist corruption eating away at his unnamed small town, paint a stark picture of a world built on greed and white supremacy. Readers will be eager to meet this understated, determined young protagonist in further mysteries. The book doesn’t reveal SLMN’s identity, but notes that he is a New York Times best-selling author and a movie producer.
Originally reviewed as Race: A Black Lives Matter Thriller
Best title of the year, amirite? And the best antihero as well. Grace Bernard was raised in London by her loving but impoverished single mom. Her father, a multi-millionaire, won’t have anything to do with them, even when Grace’s mother is dying and begs for support for their daughter, then a young teen. But by her mid-twenties, Grace is ready to take matters into her own hands and avenge her mother’s hard life. Grace doesn’t want to just polish off dear old dad. She slowly and meticulously plots the murders of everyone on the paternal side of her family, with her father last on the list, having watched his parents, children, and in-laws die before him. Yes, it’s dark, but it’s also deliciously wicked and brilliantly plotted, so much so that Grace is a bit wistful that no one except her will enjoy the genius of it all. Thus this book, which is meant to be locked away and discovered by future generations. Until something most unexpected occurs, upending Grace’s brilliant plan. Grace is sophisticated, urbane, droll, and at times risible. I could listen to her voice forever.
Benson is best known as the first American author of continuation James Bond novels, but apart from being fictional and starring a man, this unusual and excellent read is the furthest thing from 007 imaginable. The story starts with an omniscient, unnamed narrator introducing readers to Lincoln Grove, Illinois, where two back-to-back streets (map included) are the setting for what the gleeful narrator describes as an updated version of Thornton Wilder’s play “Our Town.” (Readers will also be reminded of Jim Carrey’s synthetic surrounds in “The Truman Show.”) Scott Hatcher is having an unusual day there, awaking to find his wife, Marie, gone. They haven’t been getting along but have agreed to postpone a divorce decision because it’s May 2020 and the world is in pandemic turmoil. When Scott finally reports Marie missing, it turns out that a neighbor’s husband is also AWOL, a man who has recently been the subject of both Marigold Way gossip and police attention as masks, drugs and other COVID-related items have been stolen from his job. As the missing-persons investigation becomes much more, the narrator’s cheerful, exclamation-point filled observations take on a sinister cast and the neighbors—this takes place almost solely in one setting, just like a play—all become suspect, their foibles and ambitions revealed. What a saga! As well as “Our Town,” readers can try this alongside Máirtín Ó Cadhain’s The Dirty Dust: Cré na Cille, which features a town’s dead folks gossiping together in a graveyard
How’s this for a setting: a 205 unit high-rise building in rural Alaska that houses the entire town’s population as well as stores, offices, and more. Welcome to Point Mettier, a pretty creepy village to begin with that only gets worse when body parts—a foot, a hand—wash up on the frozen shore. The local cops seem ready to shrug off the remains—lots of tourists fall off those cruise ships!—when they’re joined by Anchorage detective Cara Kennedy, who takes the matter a whole lot more seriously. What was meant to be a quick visit becomes a much longer excursion as the first brutal storm of the season moves in, closing off the tunnel, the one way in and out of town during winter. With time to spare, Cara digs deeper into the community, only to discover that almost everyone in Point Mettier has a secret to hide. A simmering romance with one of the other officers provides Cara with much needed distraction, but soon enough a violent gang, hanging out in a nearby Native village, takes center stage. This is a successful, well-paced first novel that juggles a range of cultures, a handful of strong characters, and a nuanced protagonist, delivering a very satisfying ending. And get this: Point Mettier pretty much actually exists. Check out Whittier, Alaska.
Inaya Rahman is stuck between two worlds. She’s a detective with the Community Response Unit of the Denver police department, which was created after 2020’s protests against police brutality. When she’s called to a horrific scene —a little girl, Razan Elkader, has been murdered and nailed to the door of the mosque where Rahman worships—she knows she can help, but she’s facing her usual problem: “too brown for the badge, too blue for her co-religionists.” She forges on, in private dealing with her family’s worries that the police force is too dangerous and her mother’s fretting that Inaya isn’t married yet. Outside forces are far less gentle: a biker gang affiliated with a local Evangelical church is far from happy that Syrian refugees have settled in the town and none too worried about bringing Razan’s murderer to light. Khan’s (Esa Khattak and Rachel Getty Mysteries, Khoran Archives Fantasy Novels) fast-moving but thoughtful series debut goes far beyond newcomers-vs.-racists tropes to look at real life in a changing town. Rahman is a tough, lovable and often funny protagonist who will appeal to fans of Joanna Schaffhausen’s Annalisa Vega.