Kristen and Valerie, long a couple, are in Hawaii on vacation, partly to help Valerie come to terms with her brother’s death. They are staying with Isaac, who’s a surfer buddy of Leslie’s, a high-school science teacher, and a lifelong resident of the islands. During an early morning excursion to see the glowing lava rolling down the landscape, Valerie sees a boot in the lava and realizes that there is a leg attached. It is quickly consumed by the lava, and as she is the only witness, all doubt the truth of what she has seen. The police report goes nowhere, so Valerie takes on the task of finding the identity of both the victim and the killer herself. With the luck and determination of the amateur, and the friendly and open nature of Hawaiians, allowing for a few glitches, she succeeds. This is a Hawaii we seldom see in TV police dramas. The locals speak a pidgin dialect, the importance of which is carefully explained by Isaac, and the customs and practices date back centuries. The landscape is of course dramatic and beautiful and the descriptions of food and produce mouthwatering. There are recipes for some of the dishes at the end, and a glossary of words and phrases. This is billed as the first in a series, so expect more to come from our interesting characters.
LGBTQ+
A wonderful foray into turn-of-the-19th-century Chicago, with women entering the workforce, immigrants transforming the city, and the LGBTQ community tucked away in hidden nightclubs. Harriet Morrow, all of 21 years old, is the first woman hired as a detective by the prestigious Prescott Agency—a decision that pleases almost no one, neither the male detectives nor the female typing pool. But working as a detective has always been a dream of Harriet’s, and now, with her parents dead and her younger brother to support, it’s a necessity. So too are the pants she wears, giving her the freedom to comfortably bike around Chicago while also exploring her identity as a lesbian. Within an hour on the job, Harriet gets her first assignment: to find a maid who has disappeared from one of the posh mansions on Prairie Avenue—and Harriet has only a few days to locate her. It’s magical how Osler transports us around Chicago, from the the large Polish community to queer social spaces to the ritzy homes of Chicago’s elite. Harriet is a wonderful lead character, and Osler brilliantly combines his protagonist’s growth into adulthood and Chicago’s emergence as one of the nation’s largest cities. This book is asking to be the first in a series
By day, Joe is a dreary accountant in a hotel, but by night they (Stars uses “they” pronouns when mentioning Joe) are Misty Divine, one of London’s leading drag queens. Joe’s wonderful life is thanks to Lady Lady, their drag mother, who discovered them, set them up in the right sequins and heels, and pushed them out onto the stage. Until the night Joe drops by Lady Lady’s dressing room and finds her dead, sprawled out on the floor, her fingers clutching half a truffle, her mouth oozing foam. Joe’s life is upended as they and the other drag queens become the prime suspects. But unlike the other girls, Joe won’t let only the police handle the investigation, especially when it means Joe could end up behind bars. Maybe I’ll find out who did it, said a voice somewhere in the back of Joe’s mind. Maybe I could catch the killer.” So we’re off and running, despite the fears of Joe’s boyfriend, Miles, tracking down the drag queens and kings who perform at the club, and some suspicious-looking hangers on as well. There’s plenty of humor in the novel—check out a side story about a very important Judy Garland dress, as well as the continual banter between Joe and Miles—but at its essence, this is a serious work of crime fiction, wonderfully executed and leaving unanswered some important questions. It has all the makings of a great series.
The many fans of Jane Pek’s first book, The Verifiers, will be thrilled to get their hands on this new novel featuring the indomitable Claudia Lin. In this darker and tougher novel, with a robust comic streak and a deep foray into technology—featuring synths, the scary new generation of bots—Claudia can’t help but employ some espionage tropes as she investigates a corrupt matchmaking firm with the help of a corporate whistleblower. But there is plenty else to distract Claudia. Her family is falling apart at a prodigious rate; she is barely speaking to any of them. Romantic tensions are growing between Claudia and not one but two women, one of whom is the ever soignée Becks, Claudia’s one-time boss and major crush. Questions about sexual identity are sending these 20-somethings spinning in and out of the proverbial closet. While Inspector Yuan, a character created by Claudia, provides plenty of maxims throughout the text. Lots of fun, but also some real terror, in what is a brilliant depiction of New York City.
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.
This piercingly written tale of modern life in Ghana is preceded by a warning in Quartey’s heartfelt prologue that his novel includes scenes of violence against gay characters and should be approached with “caution and mindfulness.” That’s fair to say, but it must also be noted that the violence is in keeping with the story and not gratuitous, except on the part of the criminals. The effects of white-supremacist missionary work in Africa also loom large in the story, which centers around the murderous homophobia stoked in Ghana by an American evangelical Christian, Chris Cortland. His bigoted ways have brought him to Africa where he finds a home among those who believe that “homosexuality isn’t indigenous to Ghana.” The tale features many well-drawn characters, all presented in an opening character list (don’t be put off by the full to bursting cast here!). They fall into three main groups: trans women who are being murdered, with famous Ghanaian pop singer Henrietta Blay the focus; Emma Djan and the other private investigators who who make this police-procedural-esque, employed because “the police might not give the case high priority”; and the smarmy, self-righteous circle of Americans and Ghanaians around Cortland, whose behavior means the book could also come with a domestic violence warning. The murder mystery is compelling here, but readers will also be absorbed by the politics and religious machinations and the emotional brutality the mixing of the two creates.
Perhaps only in New Orleans can there be a gay novice nun who is also a novice private detective and who offers up prayers like, “Hail Mary, share with me your divine vision, because I can’t see a fucking thing.” The nun in question is Sister Holiday, who teaches in a private school, runs a support group for survivors of Catholic Church sexual abuse, and on the side partners with a former cop to run Redemption Detective Agency. When the two hit the banks of the Mississippi to meet a new client, Holiday finds herself wading into the water to catch a body before it floats away. It’s her parish priest, and that awful discovery isn’t the last. Returning to school, the nun finds that another priest is missing. He seemed a kind young man, not one of the priests that Holiday loathes for their fake piety and fondness for their parishioners’ money. While a storm rages, Holiday must face the contradictions that are her life and life in New Orleans as well as help her brother and others face their demons, all while trying desperately to solve the mystery of the missing priest. Douaihy’s first in the series, Scorched Grace, was a New York Times Book Review Editors’ Choice, among other accolades. Fans of that book, as well as all who love an irreverent and smart lead, will happily join Sister Holiday for her second outing.
Whenever you love a book—that would be me and the first book in this series, The Mimicking of Known Successes—you can only approach the next installation with some trepidation. So I’m happy to report that this book more than lives up to my expectations—although it’s important to read the books in order. It’s set against a rather simple mystery: 17 students and staff members are missing from Valdegeld, the Oxbridge-like university where Pleiti is a professor. This is a space opera and a detective story, a romance and a cozy mystery, with the investigation led by Mossa, Pleiti’s lover and a detective, who in this story explicitly asks Pleiti for her help. Set in part on Giant, the huge rings that surround Jupiter and where many humans have settled, this narrative includes a lengthy trip to far-off Io, one of Jupiter’s moons. The pleasures in this book are many. There’s the growing relationship between the two women, especially Pleiti’s worries that Mossa may not have feelings as strong as she does. There’s the brilliant world-building, with special attention to the far-off settlements the two women seek out, revealing the fascinating means of travel and the many smaller, human communities scattered across the vast planet. Finally, there are ruminations from Pleiti about the aim of returning to Earth, her research area, and the hints of political dissent. Brilliant on all counts.
It’s thrilling to discover a debut this brilliant, full of wonderment, humor, and above all, love. Alistair McCabe, gay and handsome, smart and funny, arrives at New York University from upstate to pursue his destiny as a financial whiz kid. He’s got the talent, the obsessiveness, the drive—and the desire to help his Mom, who has done so much for him. Sweet, right? But being a brainiac isn’t quite enough—you need to fit in with the finance bros—and a much coveted banking internship leads to, well, nothing. Except for more debt. Fortunately, there’s Mark and Elijah, a couple ten years or so older who take him in as their third paramour (we’re spared “throuple”). Mark, a sort of small-time trust funder, and Elijah have their own set of troubles, which they’re happy to cast aside whenever Alistair visits. Alistair is eventually offered an opportunity to work for an elusive, sinister billionaire and he jumps at it while continuing to investigate the mogul’s wealth. What he discovers catapults him out of the life he had come to know into one both terrifying and wildly anxiety producing. Lefferts moves around the narrative with ease, visiting family and friends, picking up a character or two then setting them down. Slowly these scenes fall together and this expansive novel becomes far greater than the sum of its parts. Comparisons to Hanya Yanagihara’s A Little Life are inevitable, and in both books there is plenty that horrifies. But also, like A Little Life, it’s ultimately friendship that saves the characters. And us as well.
In the rural Ontario Bliss House live 17-year-old Cam; his cousins Wes, who’s in his late twenties; and Dorie, who’s five and is a distant relative Gramp and Gran took in. Gran died a few months ago and her abusive, alcoholic spouse not long after, but Gramp is not quite gone, his corpse hidden under a tarp in the house’s cold room. With no will leaving the house and farm to the remaining family, what else can they do? Wild-child Dorie is able to keep Gramp’s death a secret, as well as her knowledge of the game Cam and Wes play in Wes’s bedroom, the same one, she thinks, the nasty neighbor boy, Kyle, wanted to play with her in the barn. The ramshackle family is just starting to believe things are safe when Kyle’s mother sets the Misses Gurney on them. Beulah and Audrey Gurney are with Bethel Baptist and Dorie’s attire—or lack of it—when she plays in the yard is, they say, “the Lord’s business.” They brush Kyle’s behavior aside (“They’re Pentecostal”) but cannot see their way to ignoring Wes and Cam’s “sin,” launching the Bliss boys on a startlingly violent and engrossing path to keep their family and love safe from the state. Young adults as well as adult readers who aren’t squeamish (terms like “corpseooze” stand out) will root hard for this loving family and stay up to find out how their bizarre, Murphy’s-law-ridden odyssey turns out. Playwright Bartley’s previous fiction is set in Balkan war zones, making this memorable work a fresh start.