Ian Rankin likes to explore the gray areas in life. This time the ambiguities surround a murder at the Heights, a London more-money-than-taste highrise that houses HNWs and UHNW individuals—those are high net worth and ultra-high net worth to those of us in the LNW and ULNW zones. In this standalone thriller, DS Gillian Gish and colleagues are pitted against organized criminals and the walls that wealth can create in investigating the death of one of the highrise’s concierges, quickly finding a morass of complications. And then there are those moral gray areas—how far can Gish push when she just knows something is wrong, but has no real evidence? Is a police career worth it when Gish’s mother is not-so-slowly declining? Does wealth necessarily mean guilt? Fans of detailed police procedurals will be right at home here, with the London police’s steady and then all-at-once habits on full display. Those who enjoy a no-nonsense lead with heart to spare will fall immediately in step with Gish, too. Rankin’s Inspector Rebus novels wait in the wings for those who need more after this.—Henrietta Thornton
World Literature
Book of the Week June 18, 2026
This emotionally resonant standalone by a two-time Gold Dagger winner is Robotham’s most personal book yet. Although this is his 20th novel, the author, as he notes in his acknowledgements, first wrote it in his twenties and then filed it away until he accumulated a lifetime of writing experience to return to the manuscript. After 12 years in prison, Arlo Hackett has returned to see his mother in the small Australian town of Yulara on the Great Southern Road between Sydney and Melbourne. But the self-righteous, small-minded community is not ready to forgive Arlo for his role as an accessory after the fact in the rape and murder of 17-year-old Saxon Winacot, apparently committed by his neurodivergent younger brother, Luke, who later killed himself. Despite the town’s seething hostility, Arlo is determined to stay and fix up his mother’s house for sale after a stroke puts her in a nursing home. When he uncovers evidence that the cops might have brutally beaten Luke to extract a confession, Arlo searches his memories and questions locals to uncover the truth that will exonerate his brother. Alternating between past and present timelines, this is more than an atmospheric crime novel populated with well-drawn characters: It’s a haunting coming-of-age story; a sorrowful tale of lost love, missed chances, and promising lives cut short; and a moving narrative of redemption. Fans of Peter Temple’s The Broken Shore will find much to appreciate in Robotham’s trenchant depiction of small-town Aussie life.—Willy Williams
On September 11, 1888, a few days after Jack the Ripper’s second victim was found brutally murdered, a desperate Caroline Foster arrives in London with only a battered steamer trunk and five shillings in her purse. Forced to sell her deceased father’s estate to settle his debts, Caroline is now homeless. Her only hope is to find her estranged brother, Charlie, whose last known address is 212 Montague Street in London’s notorious Whitechapel district. What she finds is a disreputable gentlemen’s boarding house, the Whitechapel Full Moon Society, but no Charlie, who vanished in June. With nowhere else to go, Caroline applies for the open maid’s position. Mrs. Easton, the landlady, gives her three rules: ask no personal questions of the guests, never enter the iron-barred room on the second floor, and, most importantly, remain locked in her room during the night of the full moon. As Caroline adjusts to her daily tasks, she begins to suspect that this strange house and its odd residents might be connected to her brother’s disappearance and the serial killings terrorizing London. Writing with verve and flair, DeLozier, in her sophomore outing (after Eleanore of Avignon), offers a fresh take on the Jack the Ripper mythos and adds a paranormal twist. Following Caroline’s transformation from a sickly, timid young woman into a strong, confident protagonist who discovers her true identity and takes charge of her life is a compelling and delightful journey. Fans of historical fantasy mysteries with a touch of dark romance will adore this one.—Willy Williams
South African author Tsamaase wickedly combines the Western-horror haunted-house trope with non-Western context, infusing House of Margins with cultural symbolism and myth while drawing on Indigenous folklore and historical traumas. The book follows emerging author Anaya Sebeya, who has been invited to a prestigious residency at Günter Huis, an eerie colonial mansion on the slopes of Devil’s Peak, where she and four other emerging writers are competing for a grand prize. Being in the mansion inflicts distorted visions and terrible supernatural visitations, pushing Anaya to tell a story no one else dares to tell. Alternating chapters present Anaya’s story and that of her sister Ranewa, who searches for Anaya after she goes missing when the annual Günter Huis Fellowship is awarded, and shockingly, one of the competitors, Miche, launches a true-crime podcast about Anaya’s disappearance. The writing is tense and gives the immersive feeling of being trapped in a nightmare, intertwined with themes of abuse, colonialism, cultural appropriation, and spiritualism. The format combines Miche’s podcasts with Ranewa’s investigation, which jumpstarts when Ranewa discovers her sister’s long lost cell phone on her bed, still charged and sending messages. Readers will unravel as Anaya does, doubting what is true and who and what can be saved—this Afrofuturistic gothic horror story is full of keen observations on how postcolonial racism and the erasure of African culture are still in effect today.—Dodie Ownes
Book of the Week February 19, 2026
In ballroom dancing, a shadow step involves a pair of dancers facing the same direction, one of them standing behind and slightly to the left. In Blackpool, detective (and ballroom aficionado) Declan Miller’s third outing (after The Last Dance and The Wrong Hands), Afghan-war veteran Barry Cheshire and his wobbly dachshund, Ruby, find themselves in this position when they are menaced in a local park by a teenaged drug dealer and his two very large XL Bully dogs. Cheshire accidentally pushes the knife-wielding lad into the lake, unwittingly setting off a chain of escalating disastrous events that include murder and kidnapping. While Miller works to connect the dots between the crimes, he continues to mourn his late wife (he frequently chats with her ghost), parent as best he can his drug-addicted stepdaughter, attend his weekly dance classes, and torment his police colleagues with his cheeky and sometimes tactless humor. This series is lighter in tone (although there’s still some grim violence) than Billingham’s DI Tom Thorne mysteries, and there is enough backstory to inform newcomers. Quirky humor, strongly developed characters, and plenty of exciting twists make this a refreshing read for fans of British crime fiction.—Willy Williams
Fierce love from her grandmother and friendship with sweet sidekick Martin is barely enough to keep lonely Janey going. Her parents and older sister died in a Glasgow council-flat gas explosion. Granny’s doing her best ever since, but 12-year-old Janey is again pushed to the emotional brink when she finds the dead body of a young woman, Samantha, when walking badly behaved, marvelously named dog Sid Vicious. Janey did something—readers don’t know what—when she found the body, and she’s terrified that the police will find out. Still more terrifying is the local thug who’s the dead girl’s father, not to mention his violent minions who seem to show up everywhere Janey goes. There’s a glossary at book’s end explaining Glaswegian slang that’s used throughout the book, but the usage is understandable in context. It creates an immersive, chilly atmosphere for Janey’s desperate digging into who the killer is and how to get back to quiet life with Granny, Sid Vicious, and goofy, funny Martin. Love and Janey’s innocence and smarts make this a novel to remember. It’s a gem on its own, but you can also use the book as a primer for Callum McSorley’s Glasgow-gritty Squeaky Clean.
© 2025 firstCLUE Reviews
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As hilarious as it is horrifying, this crime novel is frankly like no other. Separated from his wife—and with visits to his pre-school daughter far too infrequent—criminal-defense lawyer Björn Diemel has only one option: to clean up his work-life balance. It’s his wife who recommended he take up mindfulness. And while initially he’d rather run in the opposite direction, Björn gradually finds himself seduced by the writings and teaching of mindfulness master Joschka Breitner. (“Mindfulness means being available to your own needs. Anytime you are available to others stands in the way of this mindfulness,” says Breitner.) As Björn rises in his organization, leaving a number of corpses in his wake, he finally understands what’s important in life. And there is nothing that will get in his way to stop it. Also available on Netflix as an eight-part series.
In this Korean bestseller, police detective Suyeon is called to the scene of the fourth suicide of an elderly patient at a crumbling hospital in a deserted part of Incheon. Her boss believes the deaths, spurred perhaps by pervasive depression and loneliness, are coincidental and sees no point in investigating further, especially since their families had abandoned the dead. But Suyeon thinks something is off. All four victims, who suffered from dementia, jumped from the hospital’s sixth floor, but very little blood was found at the spots where they landed. Returning to the hospital later that evening, Suyeon encounters a mysterious Korean-French woman named Violette, who tells her, “A vampire did it.” A skeptical Suyeon angrily dismisses Violette until the autopsy of a fifth suicide reveals two puncture holes in the victim’s neck and the body drained of blood. Claiming to be a vampire hunter, Violette explains to Suyeon that someone at the hospital is helping a vampire target his next victims. As Suyeon seeks to identify that particular nurse, the narrative shifts back to 1983 France, when a teenage Violette, adopted by loving French parents but feeling isolated and lonely because of her Koreanness, begins a strange, intense, almost Sapphic friendship with the enigmatic, barefooted Lily. Skillfully translated (but a glossary of Korean terms would have been helpful), Cheon’s novel is more than a queer paranormal mystery (the inconsistent vampire elements are its weakest parts); instead, it’s an eerie and bleak portrait of societal loneliness, isolation, and marginalization.
Luke Harris knows lots of classic rock songs, but only the first half, because, although his dad, Quin, is a great musician, the man can only concentrate on one thing for so long. Quin’s also hopeless at being a small-time criminal and is in and out of jail. That’s why when Luke’s mom died when he was a child, he had to go to a group home. Now he’s an independent and resourceful young man, studying to be an accountant and working as an aide to disabled youth. Two things crash into that mostly broke existence: he takes a job looking after Phil, a young man whose wealthy father more or less abandons his son to Luke’s care, and Gus, a mobster who forced Luke to work for him when he was younger, finds Luke and wants him back on payroll. A maybe-romance with Emma, Phil’s actress sister, complicates Luke’s struggle to get out of Gus’s clutches, a journey that ends with scary characters and threats meeting in a tense showdown. Scott invites us deep into the tangles of a coming-of-age story that’s fraught with complicated loyalties, love, and desperation. A great read for those who enjoyed T. Jefferson Parker’s A Thousand Steps.
A delightful, quirky, and comic foray into Parisian life that’s a clear homage to Hitchcock’s Rear Window (and the even earlier short story of the same name by Cornell Woolrich). Here, the dynamics include Nathalia Guitry, a successful photographer who, having witnessed a murder while taking pictures, is unable to work. She seeks help from Doctor Faber, who assigns her a creative task: to record the lives of the people in the apartment building across from her. Nathalia sends the stories to Doctor Faber via mail (she claims she can’t bear to watch him read them), vignettes that many readers will find to be the most fascinating parts of the novel. Eccentricity abounds as we encounter a lyricist, a life coach, and a well-known cartoonist; in its own surprising way, the Parisian building is reminiscent of Whitter, Alaska, where all residents live in one building, keeping a watchful eye on one another. Even the doctor has his own odd interests, from smoking to collecting keys. But what about that murder? Readers will appreciate racing through this brief novel to get to the other—very rewarding—side.
