As the third son of a modestly landed family, James Willoughby has been told from an early age that he must earn a living befitting his station. Being of “a diminutive stature,” James decides the military is not for him. Nor is the Church of England an appealing option. Despite his family’s opposition, the young man abandons his clerical studies at Oxford and heads north to Edinburgh to become a physician. It’s 1828, the Age of Enlightenment, and the Scottish city is a “shining beacon of medical discovery.” But James quickly learns that if he wants to develop anatomical knowledge and surgical skills, he must join one of the private schools in Surgeon’s Square. Unable to afford the additional tuition, James makes a bargain with his professor’s secretary and dissectionist, the charismatic Aneurin “Nye” MacKinnon, to serve as a lookout to prevent possible grave robbing in the Greyfriars kirkyard (graveyard) beneath James’s chamber window. The naive student soon discovers that he is aiding a gang of body snatchers who steal fresh corpses from churchyards for anatomical study at the medical schools. Nye explains to a horrified James that he is a Resurrectionist: “Our motivation is not in the value of the bodies we steal, but in the second life we give them.” Bedazzled by Nye’s scientific passion (and his dark sexiness), James plunges into this illicit, gritty underworld. However, their rivals in the body-snatching game, the sinister Burke and Hare, will murder anyone to corner the corpse market. Mixing a macabre gothic mystery with a sensitive coming-of-age tale and a touching queer romance, Dunlap has written an exciting, well-researched debut historical adventure. Bizarre, authentic details, like the mortsafes, or cages, that grieving families installed to protect the graves of their loved ones, make for an unforgettable read.
Debut
Before heading to her evening shift as an investigator for Phoenix Seven, an Italian liaison unit that works with the U.S. military in Naples, Nikki Serafino is relaxing on the sailboat she co-owns with her friend, undercover cop Valerio Alfieri, when they rescue a woman who has been abandoned in the bay by her abusive boyfriend. As they head back to port, the Calypso’s keel strikes a decomposing body; Nikki notes the ligature marks on the man’s neck. The next day, while assisting a U.S. serviceman and his family in the wake of a traffic accident, she discovers another murder victim, this time one who’s been shot to death. After the bodies are identified as American naval officers, Nikki must conduct a tricky balancing act of partnering with both NCIS Special Agent Durant Cole and the Italian police in the investigation of possible links between the killings. Could the Camorra Mafia be involved? At the same time, Nikki’s intense family drama, involving the recent loss of her American mother, a loser brother in deep debt to local gangsters, and a tumultuous relationship with her controlling boyfriend, Enzo, threaten to derail her probe. Heider, who lived in Naples for several years and deployed as a civilian analyst aboard U.S. and European naval ships, makes an impressive debut with this engrossing thriller that captures both the baroque beauty and gritty danger of Italy’s third-largest city. It also introduces a tattooed, kick-ass female protagonist (“Nikki was short and compact and muscular with a dynamic, interesting face”) who may remind some readers of Stieg Larsson’s Lisbeth Salander but without that character’s severe asocial tendencies. If there is a minor flaw, it’s that the Heider’s vividly drawn Italian characters far outshine her dull American counterparts. An enjoyable summer read.
Any cozy reader will assure you that there are few places more dangerous than the community garden. And Maggie Walker—who helped create the garden in Marlowe, her small Berkshire town—is reminded of this fact when opening day arrives and she discovers a boot jutting out of the garden. Attached to a foot. Which is attached to a body. Yikes! To make matters worse, Violet, whose idea the garden was, has seemingly disappeared. Maggie has only recently returned to Marlowe, smarting after the death of her “not-quite ex-husband,” and taking over the home of her recently deceased grandmother. But one thing keeps happening after another, from threatening telephone calls to harassment from a cousin as Maggie tries to find out what happened to Violet. An engaging look at small town life and death, this book was the recipient of the Minotaur Books/Mystery Writers of American First Crime Novel Award.
Every book has words, is comprised of words, but this book is about words. The ones that 16-year-old Robert Johnson used when his charter school teachers, who treat optimism as a kind of hygiene, told him he should confess to the murder of Lillie Scott, a hero of the rebuilding of New Orleans, who hired at her restaurant those down on their luck. The words the boy can’t or won’t say about what really happened, which barely matters anyway since the system will drag him in now or later, formed as it is of “strange empty words in the shape of language but without any meaning.” And the words that are unsaid as Lillie “[lies] down in the street so noiselessly, slow like a sheet in the breeze flutters to the ground.” Shoulder to the wheel of all this is Ben Alder, a former rabbinical student and son of a linguist, and his dude of dudes, Grand Old Dude of York, Mayor Van Dude of Dudetown, Boris Pasternak. These public defenders ask for every case involving a child, and Ben becomes Robert’s lawyer. All the boy wants is to talk to his dad. But Ben doesn’t tell him that he’s also representing the father, who, unknown to the boy, is in the same jail. Ben has “no questions that are small enough for the courtroom,” but still wrangles his fear and his clients through the morass to a satisfying outcome, one that will leave readers with large questions of their own, mainly about this country’s treatment of Black boys. Debut novelist Perry, a former New Orleans public defender, has wonderfully distilled a world of hurt onto the page.
Jane Austen’s throngs of fans will adore this series starter that introduces the writer as a lively amateur sleuth; a treasured member of a large, loving family; and as a woman of her time—feisty but too often kept from her potential. The marriage market among Jane’s circle looms large, of course, with Jane hoping for a proposal any day from a young Irishman while those around her assess one another in terms of their potential as financial insurance. When an alliance is about to be announced by a local family, their façade of gentility is threatened when a young woman is found murdered in their home. Jane recognizes her as a milliner she’s bought from lately. The local magistrate seems content to blame “gypsies” for the crime, an accusation Jane disputes as no traveling people have been seen in the area lately, but she’s soon sorry when another is accused: her mentally disabled brother, George. It’s now up to our literary hero to find the real killer and bring George home. The large cast of characters here keeps things lively; there’s often humor too, both in Jane’s wry comments throughout and in her witty letters to her sister about the case’s progression.
Alering’s striking, dark debut novel mixes magical realism with crime and dire poverty. Sheila, 17, and Angie, 12, are sisters living on the absolute edge in 1980s Appalachia. Their father is dead, their brother in prison, and they and their mother live with an elderly relative, growing vegetables and keeping rabbits for food. Sheila keeps her side of the room neat, Angie very much doesn’t, and the differences only begin there, with the most significant being in their dubious magical gifts: Sheila is burdened and chafed by a rope around her neck, visible only to her, that grows thicker and longer over time. Angie draws sinister tarot-type cards that she carries everywhere, with figures like “A creature made of root and sinew [with] a crooked crown of worms” that give her frighteningly accurate messages. Outside the squalor the girls live in are the hikers, whom they think of as impossibly rich, trekking the nearby Appalachian trail with their fancy equipment and cluelessness. When two of them are killed, Angie takes on the investigation, much to her sister’s exasperation. This is one of those novels whose setting and characters take the front seat—readers won’t soon forget Sheila and Angie and the lengths they go to to survive and find peace.
Sexy and perverse, deceitful and disturbing, this is one domestic thriller that doesn’t hold back. Elena and Adam are house sitting in South London when they come across the beautiful painter Sophia and her equally handsome husband, Finn. Sophia and Finn are suave and sophisticated, and dinner with the four soon evolves into casual meetings between the two women, and eventually friendship. Despite this, Elena can’t stop herself from becoming obsessed with Finn—sex with Adam leaves a lot to be desired—and Sophia recognizes Elena’s infatuation. But instead of being threatened, Sophia has a plan. Why don’t they exchange partners, with the men never the wiser? The women, physically very similar, will switch places during the night, when the men are asleep, making every possible effort—from hair to perfume—to trick their partners. Plausible? Barely. (Pro-tip: use blackout curtains). But while “switching” increases Elena’s fervor for Finn, for Sophia it opens up a whole world, one that she has been planning for ages. A fast and effortless read that never stops surprising.
In his debut novel, prizewinning short-story author Talty (a citizen of the Penobscot Indian Nation) brings us to just outside the border of the Penobscot reservation in Maine. Charles Lamosway lives within sight of the reservation, also within sight of a house where his daughter, Ellie, lives. Most people, including Ellie, think that her mother’s husband is Ellie’s father. Charles knows “what it [is] like to feel invisible inside the great, great dream of being,” with Talty succeeding beautifully in portraying a man who’s cut off from his own life and from the world around him, even as he cares for his mother, who is slowly slipping into dementia—a situation that brings Charles and readers some moments of dark comedy—and faces his stepfather’s violent death. Then—it seems almost inevitable, given Charles’ lot in life—his daughter goes missing, and secrets can no longer hold. The beauty of this book lies in following Charles as he tries to pierce the barriers that keep his love from mattering, a relentless struggle often mirrored in long phrases with repeated words (“and only then did the man leave and only then did the doctor come to the heavy wooden door”). There’s a satisfying ending here, and sure to be further prizes ahead for Talty.
When cousins Joshua and Nate view Joshua’s brother lying in the morgue, having been beaten, they swear that Darius won’t be “just another dead black boy.” Two years later, grief has solidified into a plan: Nate, Joshua, and friends Rachel and Isiah have taken Scott York, a white man, captive. They confront him about when his grandfather and three other white men threw a Black man off a bridge to his death. “Pawpaw? Impossible,” is the reaction, but the verdict is the same: Scott must each week deposit $311.54 into an account the group provides. They’re enacting a reparations program, and Scott’s nonchalance about the crime and incredulousness that the group would care about the dead man spur them on. Tensions caused by colorism and racial differences—Rachel is Black but often taken for Latina and Isiah is Korean American–and disagreements about whom to target introduce interesting ambiguities as the audacious plan unfolds and leads to mayhem. Mayfield’s foreword explains that he was inspired by Kimberly Jones’s video How Can We Win?. Readers can learn more about reparations and the history that makes them necessary by reading Ta-Nehisi Coates’sThe Case for Reparations and Bryan Stevenson’s (an author and activist who’s mentioned in the book) searing Just Mercy. A compelling and exciting debut.
Eustacia Rose, Professor of Botanical Toxicology, lives alone in London with just her extensive but exquisite collection of poisonous plants for company. She tends to her rooftop garden with meticulous care, buys the occasional rare specimen off the black market, and, Rear Window-like, follows the goings on of her neighbors through her super-powerful telescope. She even records the neighbors’ activities, giving it all the veneer of science. Until one day she hears a scream coming from across the street that is so terrifying it forces her to shift from voyeur to participant. The woman who screamed was the remarkably beautiful Simone, as Rose has named her, and days later, when Rose sees Simone being shoved into a car and driven off by a group of men, she becomes obsessed with saving the woman. But does Simone need saving? A fascinating novel that brings together the cops, friends of Rose from years ago, the use of toxins from poisonous plants, lost love, the nature of friendship, and the effects of the death of a parent. In the end, we see Rose begin to emerge from her cocoon and reenter the world around her, a transformation hugely satisfying to watch.