Since Claudia Vera’s mom died, it’s just Claudia and her four-year-old son, Henry. She struggles to pay for the cheapest daycare in her Illinois town and is overjoyed when the exclusive Hawthorne School gives Henry a full scholarship, asking the awestruck mom only to volunteer at Hawthorne in return. Things soon turn decidedly odd. Claudia never sees any other parents, and the principal is increasingly insistent on Hawthorne’s unorthodox ways and on Claudia spending hours at the school doing unnecessary tasks. Oddness soon turns to a frightening effort to control—as the publisher’s discussion questions note, this book can be read as an allegory on narcissistic abuse—and Claudia finds herself in the most confusing and terrifying situation of her life. Scary, gothic schools are often found in mysteries, but this one differs in only featuring psychological horror (author Perry is a psychologist), no ghostly terrors. It also differs in presenting a Latinx mom and the use of Spanish (which you don’t need to understand to read the book) to both propel the narrative and help the protagonist. Perry excels in getting inside the head of an unsure mom and has written one of the most unusual and best mysteries of 2021. Fans of psychological mysteries and of the movie Get Out are the audience for this.
Thrillers
Journalist Sofie Morse is puzzled when U.S. First Lady Lara Caine, who at first appears to resemble Melania Trump—Eastern-European former model, cold demeanor, revolting husband—asks Sofie to write her biography. Sofie grows more bemused when interviews for the book reveal intimate details of Lara’s shocking history, a backstory that the president’s devotees won’t like at all. The tale woven by the First Lady is both a romance and a political drama that takes readers from Moscow to Paris and then New York, as Lara grows from dutiful Russian child to rebellious teenager, becoming forever changed by powerful love with a Soviet resistor while the regime he loathes crumbles. In the present day, Sofie and her husband are dragged into peril themselves as the interviews play out, with Lara’s family in the past and Sofie’s in the present embodying Churchill’s description of Russia as “a riddle, wrapped in a mystery, inside an enigma.” After Pitoniak’s (Necessary People, 2019) absorbing, immersive thriller, readers who enjoyed the romantic side of the work should try Paullina Simons’s The Girl in Times Square, while those who liked the dysfunctional Russian family aspect should be steered toward Zhanna Slor’s At the End of the World, Turn Left.
With two Pulitzer prizes for fiction under his belt, it’s not surprising when Colson Whitehead writes a character for the ages, but beleaguered everyman Ray Carney is a standout even for Whitehead. “Living taught you that you didn’t have to live the way you’d been taught to live,” says Carney, a young Black man who’s barely making ends meet in his Harlem furniture store while dreaming of more. The pressure’s on, too: his parents-in-law think their daughter could have done better, and Carney longs to be admitted to his father in law’s “paper-bag club,” but with skin darker than said brown bag, he’s not allowed. Loyalty to his own family leads Ray to help his cousin Freddy; always sketchy, Freddy convinces Carney to help him in a can’t-go-wrong robbery scheme that, yes, goes wrong, starting Carney on a heartbreaking trajectory. This character’s relentless efforts to make good in a world that expects and revels in his failure will remind readers of Jean Valjean in Les Miserables. Shadowing Colson’s terrific crime tale are the final throes of Jim Crow and the claw-your-way-up culture of early 1960s Harlem, but most of all, Carney will grab readers’ hearts and stay with them.
In 1911, Vincenzo Peruggia pulled off one of the greatest art heists of all time: the theft of the Mona Lisa. The painting was missing for two years before it was recovered, and the crime spawned innumerable conspiracy theories, with some suggesting that forgeries were made during its hiatus, including the painting now hanging in the Louvre. Flip to the present, when we meet Luke Perrone, an artist obsessed with Peruggia for good reason: Peruggia is his great-grandfather. When Perrone gets word that great-grandad’s diary has surfaced, he hightails it to Florence with the hope of learning more about his ancestor and the theft. Except Perrone isn’t alone in his quest, and he is soon being trailed by an INTERPOL agent, an updated femme fatale, and worse. It’s a pleasure to explore Florence and its art through Perrone’s eyes, and the shifts between 1911 and the present make for a compelling read. Santlofer, also a painter, creates a real sense of authenticity. Fans of Iain Pears and Barbara Shapiro are sure to love this novel.