Review: KULT by Stefan Malmstrom

5 Scandi Stars!

Prior to discovering KULT (my initial selection because  it's  Scandi-Noir) I had some time back read one crime mystery  in which the Church of Scientology played a significantly villainous role. So is the case here; the author asserts both personal experience and knowledge of experience of others with Scientology. I in fact was reminded of a case in 1961 involving a classmate, her parents, and a different (but somewhat similar) religious belief--one whose tenets denied, even forbade, intervention of medical science. So some of  the  situations narrated  herein affected me especially intensely. Is that after all not the nature of good fiction, to stir us and to provoke  us to ponder and to Evolve?

Review: WAKE OF THE SADICO by Jo Sparkes

4 Stars

WAKE OF THE SADICO is a complex, rollicking, adventure, in which not only are there mundane adventures (scuba-diving, exploring coral reefs and marine life, discovering shipwrecks) but also metaphysical adventures, into dreams, reincarnation, past-life regressions. The characters, who are both loosely (in mundane reality) and closely (in past lives) entice the reader's interests, and the plot is thought-inducing. What If?

Review: WHERE THE SHADOWS LIE by Michael Ridpath (Fire & Ice #1)

5 Stars

WHERE THE SHADOWS LIE is Book 1 in Michael Ridpath's Icelandic crime thriller FIRE AND ICE series. Set against the stunning scenery of Iceland, this novel also hinges on protagonist Magnus Jonsson's (in Iceland, Magnus Ragnarsson) life in Boston, where his father had been a professor. As a Boston homicide detective, Magnus is seconded to the Reykjavik Police for a two-year term after coincidentally uncovering police corruption in Boston. 

Magnus' first Icelandic investigation involves a professor at the University of Iceland, a long-lost Saga, and Lord of the Rings aficionados. 

Review: WHITETOOTH FALLS by Justin Joschko

5 Stars!

Magnificently  lyrical, a literary  crime narrative  which in its expanse, characterization, and metaphorical  imagery reminded me of Norman Mailer's  The Executioner's Song. WHITETOOTH FALLS peels away the veneer of tourism and peaceful living in Niagara Falls, Ontario and the Greater Toronto metropolitan region, exposing crime, lowlifes, and scams; but also an unbelievable, life-altering (and life-destroying) paranormal element, one which will wreak untold havoc. 

Read this as a superb crime thriller.  Read it as an incredibly  imaginative paranormal exploration.  Read it to pause and savour  its literate imagery. Read it.

--Also read for Canadian  Challenge 2019/2020.

Review: EDGE OF NOWHERE by Michael Ridpath (Fire & Ice 2.5)

4 Ice Stars

EDGE OF NOWHERE is a novella introducing the backstory and foundation of Icelandic native Magnus Jonsson (Icelandic birth name Magnus Ragnarsson), who as a Boston homicide detective targeted by a Dominican criminal mob after accidentally uncovering police corruption, returns to Iceland, where policing is different and crime has historically been low.

Tour: FIRST CUT by Judy Melinek & T. J. Mitchell

Review:
Dr. Jessie Teska is new to the San Francisco Medical Examiner's scene, but she is not new to forensic pathology. A star in LA, she finds the new conditions horrendous. As she struggles to fit in, she begins to notice unexpected patterns, too many non-accidental deaths, and conspiracy. Of course she won't stop prying, and soon her life is now in the crosshairs.

FIRST CUT

Author: Judy Melinek & T.J. Mitchell

ISBN: 9781335008305

Publication Date: January 7, 2020

Publisher: Hanover Square Press

BIO:

Judy Melinek was an assistant medical examiner in San Francisco for nine years, and today works as a forensic pathologist in Oakland and as CEO of PathologyExpert Inc. She and T.J. Mitchell met as undergraduates at Harvard, after which she studied medicine and practiced pathology at UCLA. Her training in forensics at the New York City Office of Chief Medical Examiner is the subject of their first book, the memoir Working Stiff: Two Years, 262 Bodies, and the Making of a Medical Examiner. T.J. Mitchell is a writer with an English degree from Harvard, and worked in the film industry before becoming a full-time stay-at-home dad. He is the New York Times bestselling co-author of Working Stiff: Two Years, 262 Bodies, and the Making of a Medical Examiner with his wife, Judy Melinek.

BOOK SUMMARY:

Wife and husband duo Dr. Judy Melinek and T.J. Mitchell first enthralled the book world with their runaway bestselling memoir Working Stiff—a fearless account of a young forensic pathologist’s “rookie season” as a NYC medical examiner. This winter, Dr. Melinek, now a prominent forensic pathologist in the Bay Area, once again joins forces with writer T.J. Mitchell to take their first stab at fiction.

The result: FIRST CUT (Hanover Square Press; Hardcover; January 7, 2020; $26.99)—a gritty and compelling crime debut about a hard-nosed San Francisco medical examiner who uncovers a dangerous conspiracy connecting the seedy underbelly of the city’s nefarious opioid traffickers and its ever-shifting terrain of tech startups.

Dr. Jessie Teska has made a chilling discovery. A suspected overdose case contains hints of something more sinister: a drug lord’s attempt at a murderous cover up. As more bodies land on her autopsy table, Jessie uncovers a constellation of deaths that point to an elaborate network of powerful criminals—on both sides of the law—that will do anything to keep things buried. But autopsy means “see for yourself,” and Jessie Teska won’t stop until she’s seen it all—even if it means the next corpse on the slab could be her own.

SOCIAL:

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• TJ: @TJMitchellWS

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• Judy: https://www.goodreads.com/author/show/7382113.Judy_Melinek
• TJ: https://www.goodreads.com/author/show/1899585.T_J_Mitchell

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PROLOGUE

Los Angeles
May

The dead woman on my table had pale blue eyes, long lashes, no mascara. She wore a thin rim of black liner on her lower lids but none on the upper. I inserted the twelve gauge needle just far enough that I could see its beveled tip through the pupil, then pulled the syringe plunger to aspirate a sample of vitreous fluid. That was the first intrusion I made on her corpse during Mary Catherine Walsh’s perfectly ordinary autopsy.

The external examination had been unremarkable. The decedent appeared to be in her midthirties, blond hair with dun roots, five foot four, 144 pounds. After checking her over and noting identifying marks (monochromatic professional tattoo of a Celtic knot on lower left flank, appendectomy scar on abdomen, well-healed stellate scar on right knee), I picked up a scalpel and sliced from each shoulder to the breastbone, and then all the way down her belly. I peeled back the layers of skin and fat on her torso—an ordinary amount, maybe a little on the chubby side—and opened the woman’s chest like a book.

I had made similar Y-incisions on 256 other bodies during my ten months as a forensic pathologist at the Los Angeles County Medical Examiner-Coroner’s Office, and this one was easy. No sign of trauma. Normal liver. Healthy lungs. There was nothing wrong with her heart. The only significant finding was the white, granular material of the gastric contents. In her stomach was a mass of semidigested pills.

When I opened her uterus, I found she’d been pregnant. I measured the fetus’s foot length and estimated its age at twelve weeks. The fetus appeared to have been viable. It was too young to determine sex.

I deposited the organs one by one at the end of the stainless-steel table. I had just cut into her scalp to start on the skull when Matt, the forensic investigator who had collected the body the day before, came in.

“Clean scene,” he reported, depositing the paperwork on my station. “Suicide.”

I asked him where he was going for lunch. Yogurt and a damn salad at his desk, he told me: bad cholesterol and a worried wife. I extended my condolences as he headed back out of the autopsy suite.

I scanned through Matt’s handwriting on the intake sheet and learned that the body had been found, stiff and cold, in a locked and secure room at the Los Angeles Omni hotel. The cleaning staff called the police. The ID came from the name on the credit card used to pay for the room, and was confirmed by fingerprint comparison with her driver’s license thumbprint. A handwritten note lay on the bed stand, a pill bottle in the trash. Nothing else. Matt was right: There was no mystery to the way Mary Walsh had died.

I hit the dictaphone’s toe trigger and pointed my mouth toward the microphone dangling over the table. “The body is identified by a Los Angeles County Medical Examiner’s tag attached to the right great toe, inscribed LACD-03226, Walsh, Mary Catherine…”

I broke the seal on the plastic evidence bag and pulled out the pill bottle. It was labeled OxyContin, a powerful painkiller, and it was empty.

“Accompanying the body is a sealed plastic bag with an empty prescription medication bottle. The name on the prescription label…”

I read the name but didn’t speak it. The hair started standing up on my neck. I looked down at my morning’s work—the splayed body, flecked with gore, the dissected womb tossed on a heap of other organs.

That can’t be, I told myself. It can’t.

On the clipboard underneath the case intake sheet I found a piece of hotel stationery sealed in another evidence bag. It was the suicide note, written in blue ink with a steady feminine hand. I skimmed it—then stopped, and went back.

I read it again.

I heard the clipboard land at my feet. I gripped the raised lip of my autopsy table. I held tight while the floor fell away.

Q&A with Judy Melinek and T.J. Mitchell

Q: Do you plan your books in advance or let them develop as you write?

A:The idea for First Cut was prompted by some of Judy’s actual cases when she worked as a San Francisco medical examiner. She has real experience performing autopsy death investigation, and she also has the imagination to apply that experience to a fictional framework for our forensic detective, Dr. Jessie Teska. Judy invented the story, and together we worked it up as an outline. Then T.J. sat in a room wrestling with words all day—which he loves to do—to produce the first complete manuscript. That’s our inspiration plus perspiration dynamic as co-authors.

Q: What does the act of writing mean to you?

A: It is, and has always been, something we can do together, an important part of our marriage. We’ve collaborated as a creative team since we were in college together many years ago, producing and directing student theater. We’ve also spent twenty years raising our four children, and have always approached parenting as a partnership. We find it easy to work together because we write like we parent: relying on one another, each of us playing to our strengths. It helps that, in our writing process, we have no overlapping skill set!

Q: Have you ever had a character take over a story, and if so, who was it and why?

A: Oh, yes! That’s our heroine, Dr. Jessie Teska. She has elements of Judy in her, and elements of T.J., but Jessie is a distinct individual and a strong-willed one. We’re often surprised and even shocked by the ways she reacts to the situations we put her in. There are times we’ll be writing what we thought was a carefully laid-out scene, and Jessie will take us sideways. She’s coming off T.J.’s fingertips on the the keyboard, both of us watching with mouths agape, saying, “What the hell is she up to?”

Q: Which one of First Cut’s characters was the hardest to write and why?

A: Tommy Teska, Jessie’s brother. He’s a minor character to the book’s plot, but the most important person in Jessie’s life, and he’s a reticent man, downright miserly with his dialogue. Tommy carries such great emotional weight, but it was hard to draw it out of him, especially because so much of his bond to our heroine is in the backstory of First Cut, not in the immediate narrative that lands on the page. We’re now working on the sequel, Cross Cut, and finding that Tommy has more occasion to open up in that story.

Q: Which character in any of your books (First Cut or otherwise) is dearest to you and why?

A: The late Dr. Charles Sidney Hirsch, from our first book, the memoir Working Stiff: Two Years, 262 Bodies, and the Making of a Medical Examiner. Dr. Hirsch is not just a character: He was a real person, Judy’s mentor and a towering figure in the world of forensic pathology. Dr. Hirsch trained Dr. Melinek in her specific field of medicine and imbued in her his passion for it. He was a remarkable man, a great teacher and physician and public servant—a person of uncompromising integrity coupled with great emotional intelligence.

Q: What did you want to be as a child? Was it an author?

A: Judy’s father was a physician, and though she never wanted to follow in his immediate footsteps—he was a psychiatrist—she has always wanted to be another Dr. Melinek. T.J. has always been a writer, but also has theater training and worked in the film industry. As much as we enjoyed authoring the memoir Working Stiff, and as happy as we have been with its success, we are even more thrilled to be detective novelists.

Q: What does a day in the life of Judy Melinek and T.J. Mitchell look like?

A: Judy is a morning person and T.J.’s a night owl, so we split parenting responsibilities. Judy gets the kids off to school and then heads to the morgue, where she performs autopsies in the morning and works with police, district attorneys, and defense lawyers in the afternoon. T.J. takes care of the household and after-school duties. If we work together during the day, it’s usually by email in the late afternoon. T.J. cooks dinner, Judy goes to bed early, and he’s up late—at his most productive writing from nine to midnight or later.

Q: What do you use to inspire you when you get Writer’s Block?

A: We go for a long walk together. Our far corner of San Francisco overlooks the Pacific Ocean, bracketed by cypress trees and blown over with fog, and serves as an inspiring landscape. We explore the edge of the continent and talk out where our characters have been and where they need to get, tossing ideas back and forth until a solution, what to do next on the page, emerges. Getting away for a stroll with our imaginary friends is always a fruitful exercise!

Q: What book would you take with you to a desert island?

A: T.J. would take the Riverside Shakespeare, and Judy would take Poisonous Plants: A Handbook for Doctors, Pharmacists, Toxicologists, Biologists and Veterinarians, Illustrated.

Q: Do you have stories on the back burner that are just waiting to be written?

A: Always! We are inspired by Dr. Melinek’s real-life work, both in the morgue and at crime scenes, in police interrogation rooms, and in courtrooms. Our stories are fiction—genre fiction structured in the noir-detective tradition—but the forensic methods our detective employs and the scientific findings she comes to are drawn from real death investigations.

Q: What has been the hardest thing about publishing? What has been the most fun?

A: The hardest thing is juggling our work schedules to find uninterrupted time together to write. The most fun is meeting and talking to our readers at book events, especially those who have been inspired to go into the field of forensic pathology after reading our work.

Q: What advice would you give budding authors about publishing?

A: It’s all about connectivity. Linking up with other writers, readers, editors, and research experts is a crucial way to get your work accomplished, and to get it out to your audience. Yes, ultimately it’s just you and the keyboard, but in the course of writing your story, you can and should tap into the hive mind, online and in person, for inspiration and help.

Q: What was the last thing you read?

A: Judy last read The Cadaver King and the Country Dentist by Radley Balko and Tucker Carrington, and T.J. last read The Witch Elm by Tana French.

Q: Your top five authors?

A: Judy’s are Atul Gawande, Henry James, Kathy Reichs, Mary Roach, and Oliver Sacks. T.J.’s are Margaret Atwood, Joseph Heller, Ed McBain, Ross Macdonald, and Kurt Vonnegut.

Q: Book you've bought just for the cover?

A: T.J.: Canary by Duane Swierczynski. Judy: Mütter Museum Historical Medical Photographs.

Q: Tell us about what you’re working on now.

A: First Cut is the debut novel in a detective series, and we’ve recently finished the rough draft of Cross Cut, its sequel. We are in the revision phase now, killing our darlings and tightening our tale, working to get the further adventures of Dr. Jessie Teska onto bookshelves next year!

Review: THE POLAR BEAR KILLING by Michael Ridpath

5 Frozen Stars!

THE POLAR BEAR KILLING is an engrossing novella in Michael Ridpath's Iceland series. Vignis, a rare black Icelander (her American serviceman father was Black) is a police detective in Reykjavik, seconded to a fishing hamlet in NE Iceland on the investigation of the local police officer's killing. Fantastic scenic backdrop, wonderful characterization, puzzling plot, and a backstory of animal-rights activism combine into a compelling story.

Review: THE TWELVE STRANGE DAYS OF CHRISTMAS by Syd Moore

4 Strange Stars

4 Stars

A tale a day for the 12 Days of Christmastide: read all at once or savor like a ghostly Advent calendar. All are connected in some way to Rosie Strange's Essex Witch Museum and so this collection is included in that series. Beware: some will scare your socks off!

Tour_GOOD GIRLS LIE by J. T. Ellison

Good Girls Lie

Author: J.T. Ellison

ISBN: 9780778330776

Publication Date: 12/30/19

Publisher: MIRA Books

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Twitter: @thrillerchick

Facebook: @JTEllison14

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Author Bio: J.T. Ellison is the New York Times and USA Today bestselling author of more than 20 novels, and the EMMY-award winning co-host of A WORD ON WORDS, Nashville's premier literary show. With millions of books in print, her work has won critical acclaim, prestigious awards, and has been published in 26 countries. Ellison lives in Nashville with her husband and twin kittens.

Book Summary:

Perched atop a hill in the tiny town of Marchburg, Virginia, The Goode School is a prestigious prep school known as a Silent Ivy. The boarding school of choice for daughters of the rich and influential, it accepts only the best and the brightest. Its elite status, long-held traditions and honor code are ideal for preparing exceptional young women for brilliant futures at Ivy League universities and beyond. But a stranger has come to Goode, and this ivy has turned poisonous.

In a world where appearances are everything, as long as students pretend to follow the rules, no one questions the cruelties of the secret societies or the dubious behavior of the privileged young women who expect to get away with murder. But when a popular student is found dead, the truth cannot be ignored. Rumors suggest she was struggling with a secret that drove her to suicide.

But look closely…because there are truths and there are lies, and then there is everything that really happened.J.T. Ellison’s pulse-pounding new novel examines the tenuous bonds of friendship, the power of lies and the desperate lengths people will go to to protect their secrets.

Excerpt:

1

THE HANGING

The girl’s body dangles from the tall iron gates guarding the school’s entrance. A closer examination shows the ends of a red silk tie peeking out like a cardinal on a winter branch, forcing her neck into a brutal angle. She wears her graduation robe and multicolored stole as if knowing she’ll never see the achievement. It rained overnight and the thin robe clings to her body, dew sparkling on the edges. The last tendrils of dawn’s fog laze about her legs, which are five feet from the ground.

There is no breeze, no birds singing or squirrels industriously gathering for the long winter ahead, no cars passing along the street, only the cool, misty morning air and the gentle metallic creaking of the gates under the weight of the dead girl. She is suspended in midair, her back to the street, her face hidden behind a curtain of dirty, wet hair, dark from the rains.

Because of the damage to her face, it will take them some time to officially identify her. In the beginning, it isn’t even clear she attends the school, despite wearing The Goode School robes.

But she does.

The fingerprints will prove it. Of course, there are a few people who know exactly who is hanging from the school’s gates. Know who, and know why. But they will never tell. As word spreads of the apparent suicide, The Goode School’s all-female student body begin to gather, paying silent, terrified homage to their fallen compatriot. The gates are closed and locked—as they always are overnight—buttressed on either side by an ivy-covered, ten-foot-high, redbrick wall, but it tapers off into a knee-wall near the back entrance to the school parking lot, and so is escapable by foot. The girls of Goode silently filter out from the dorms, around the end of Old West Hall and Old East Hall to Front Street—the main street of Marchburg, the small Virginia town housing the elite prep school—and take up their positions in front of the gate in a wedge of crying, scared, worried young women who glance over shoulders looking for the one who is missing from their ranks. To reassure themselves this isn’t their friend, their sister, their roommate.

Another girl joins them, but no one notices she comes from the opposite direction, from town. She was not behind the redbrick wall.

Whispers rise from the small crowd, nothing loud enough to be overheard but forming a single question.

Who is it? Who?

A solitary siren pierces the morning air, the sound bleeding upward from the bottom of the hill, a rising crescendo. Someone has called the sheriff.

Goode perches like a gargoyle above the city’s small downtown, huddles behind its ivy-covered brick wall. The campus is flanked by two blocks of restaurants, bars, and necessary shops. The school’s buildings are tied together with trolleys—enclosed glass-and-wood bridges that make it easy for the girls to move from building to building in climate-controlled comfort. It is quiet, dignified, isolated. As are the girls who attend the school; serious, studious. Good. Goode girls are always good. They go on to great things.

The headmistress, or dean, as she prefers to call herself, Ford Julianne Westhaven, great-granddaughter several times removed from the founder of The Goode School, arrives in a flurry, her driver, Rumi, braking the family Bentley with a screech one hundred feet away from the gates. The crowd in the street blocks the car and, for a moment, the sight of the dangling girl. No one stops to think about why the dean might be off campus this early in the morning. Not yet, anyway.

Dean Westhaven rushes out of the back of the dove-gray car and runs to the crowd, her face white, lips pressed firmly together, eyes roving. It is a look all the girls at Goode recognize and shrink from.

The dean’s irritability is legendary, outweighed only by her kindness. It is said she alone approves every application to the school, that she chooses the Goode girls by hand for their intelligence, their character. Her say is final. Absolute. But for all her goodness, her compassion, her kindness, Dean Westhaven has a temper.

She begins to gather the girls into groups, small knots of natural blondes and brunettes and redheads, no fantastical dye allowed. Some shiver in oversize school sweatshirts and running shorts, some are still in their pajamas. The dean is looking for the chick missing from her flock. She casts occasional glances over her shoulder at the grim scene behind her. She, too, is unsure of the identity of the body, or so it seems. Perhaps she simply doesn’t want to acknowledge the truth.

The siren grows to an earsplitting shriek and dies midrange, a soprano newly castrated. The deputies from the sheriff’s office have arrived, the sheriff hot on their heels. Within moments, they cordon off the gates, move the students back, away, away. One approaches the body, cataloging; another begins taking discreet photographs, a macabre paparazzi.

They speak to Dean Westhaven, who quietly, breathlessly, admits she hasn’t approached the body and has no idea who it might be.

She is lying, though. She knows. Of course, she knows. It was inevitable.

The sheriff, six sturdy feet of muscle and sinew, approaches the gate and takes a few shots with his iPhone. He reaches for the foot of the dead girl and slowly, slowly turns her around.

The eerie morning silence is broken by the words, soft and gasping, murmurs moving sinuously through the crowd of girls, their feet shuffling in the morning chill, the fog’s tendrils disappearing from around the posts.

They say her name, an unbroken chain of accusation and misery.

Ash.

Ash.

Ash.

2

THE LIES

There are truths, and there are lies, and then there is everything that really happened, which is where you and I will meet. My truth is your lie, and my lie is your truth, and there is a vast expanse between them.

Take, for example, Ash Carlisle.

Six feet tall, glowing skin, a sheaf of blond hair in a ponytail. She wears black jeans with rips in the knees and a loose greenand-white plaid button-down with white Adidas Stan Smiths; casual, efficient travel clothes. A waiter delivers a fresh cup of tea to her nest in the British Airways first-class lounge, and when she smiles her thanks, he nearly drops his tray—so pure and happy is that smile. The smile of an innocent.

Or not so innocent? You’ll have to decide that for yourself. Soon.

She’s perfected that smile, by the way. Practiced it. Stood in the dingy bathroom of the flat on Broad Street and watched herself in the mirror, lips pulling back from her teeth over and over and over again until it becomes natural, until her eyes sparkle and deep dimples appear in her cheeks. It is a full-toothed smile, her teeth straight and blindingly white, and when combined with the china-blue eyes and naturally streaked blond hair, it is devastating.

Isn’t this what a sociopath does? Work on their camouflage? What better disguise is there than an open, thankful, gracious smile? It’s an exceptionally dangerous tool, in the right hands.

And how does a young sociopath end up flying first class, you might ask? You’ll be assuming her family comes from money, naturally, but let me assure you, this isn’t the case. Not at all. Not really. Not anymore.

No, the dean of the school sent the ticket.

Why?

Because Ash Carlisle leads a charmed life, and somehow managed to hoodwink the dean into not only paying her way but paying for her studies this first term, as well. A full scholarship, based on her exemplary intellect, prodigy piano playing, and sudden, extraordinary need. Such a shame she lost her parents so unexpectedly.

Yes, Ash is smart. Smart and beautiful and talented, and capable of murder. Don’t think for a moment she’s not. Don’t let her fool you.

Sipping the tea, she types and thinks, stops to chew on a nail, then reads it again. The essay she is obsessing over gained her access to the prestigious, elite school she is shipping off to. The challenges ahead—transferring to a new school, especially one as impossible to get into as The Goode School—frighten her, excite her, make her more determined than ever to get away from Oxford, from her past.

A new life. A new beginning. A new chapter for Ash.

But can you ever escape your past?

Ash sets down the tea, and I can tell she is worrying again about fitting in. Marchburg, Virginia—population five hundred on a normal summer day, which expands to seven hundred once the students arrive for term—is a long way from Oxford, England. She worries about fitting in with the daughters of the DC elite—daughters of senators and congressmen and ambassadors and reporters and the just plain filthy rich. She can rely on her looks—she knows how pretty she is, isn’t vain about it, exactly, but knows she’s more than acceptable on the looks scale—and on her intelligence, her exceptional smarts. Some would say cunning, but I think this is a disservice to her. She’s both booksmart and street-smart, the rarest of combinations. Despite her concerns, if she sticks to the story, she will fit in with no issues.

The only strike against her, of course, is me, but no one knows about me.

No one can ever know about me.

Review:

Through the first few pages of this novel, I expected it to be a four-star. Expensive private Virginia girls' school...not my area of expertise. Then with the next section as protagonist Ash's Oxford home life is exposed, my interest quickened. It wasn't long before I found myself totally absorbed in the mysteries and machinations, the puzzles and questions, the lies and concealment. Soon I was puzzling over the novel when away from it. Such an unreliable narrator! Such masquerading and facades throughout! For a School with an unutterably strict Honor Code: such deceit throughout! A solidly five-star psychological puzzler--not soon to be forgotten.   

Review: HAUNTED CHRISTMAS by Pat Herbert

5 Stars

HAUNTED CHRISTMAS is Book 2 in the Reverend Bernard Paltoquet Supernatural Mystery Series. Set in 1948-1949 in a post-war Britain of austerity, Rev. Paltoquet is in a new posting as Vicar in a London parish, his first, and immediately becomes fast friends with the local doctor, Robbie McTavish, an Edinburgh native. Robbie proves to be psychic, and on a trip to Bergen, Norway, he uncovers a tragic incident. The Bergen thread is indeed tragic, beginning the story and threading  through to the conclusion, so if you are especially sensitive, take note.

HAUNTED CHRISTMAS is rather like a return of Agatha Christie, were she to consider penning Paranormals. I know London does not make for a "village cosy," but still this series is rather similar in structure, setting, and character types.

Review: LAST RITUALS by Yrsa Sigurdsdottir

5 Snow Stars!

A totally exciting and engrossing mystery novel, with wonderfully designed characters and beautiful scenic setting. I learned so much about Icelandic medieval history and it's all just fascinating. The mystery is really convoluted; the investigators, Icelander Thora Gudmunsdottir and German Matthew Reich, are a gloriously mismatched pair. I shall be reading Yrsa Sigurdsdottir's fiction until I run out.

Review: I REMEMBER YOU by Yrsa Sigurdsdottir

5 Snow Stars!

Unbelievably, unbeatably, terrifying! Blew me away! From the first few pages I became a committed fan of this author new to me. I adore the setting, the characterizations, the interweaving of multiple time periods, the plotting--the terror!! Definitely a "read only in the daytime" spooky--and then still unforgettable! What a writer is this!

Tour_THE KILL CLUB by Wendy Heard

The Kill Club

Wendy Heard

On Sale Date: December 17, 2019

9780778309031, 0778309037

Trade Paperback

$15.99 USD, $19.99 CAD

Fiction / Thrillers / Psychological

368 pages

Summary:

A haunting thriller about a woman who attempts to save her brother's life by making a dangerous pact with a network of vigilantes who've been hunting down the predators of Los Angeles.

Jazz can’t let her younger brother die.

Their foster mother Carol has always been fanatical, but with Jazz grown up and out of the house, Carol takes a dangerous turn that threatens thirteen-year-old Joaquin’s life. Over and over, child services fails to intervene, and Joaquin is running out of time.

Then Jazz gets a blocked call from someone offering a solution. There are others like her, people the law has failed. They’ve formed an underground network of “helpers,” each agreeing to murder the abuser of another. They're taking back their power and leaving a trail of bodies throughout Los Angeles—dubbed the Blackbird Killings. If Jazz joins them, they’ll take care of Carol for good.

All she has to do is kill a stranger.

Jazz soon learns there's more to fear than getting caught carrying out her assignment. The leader of the club has a zero tolerance policy for mistakes.

And the punishment for disobeying orders is death.

Author Bio: Wendy Heard, author of Hunting Annabelle, was born in San Francisco and has lived most of her life in Los Angeles. When not writing, she can be found hiking the Griffith Park trails, taking the Metro and then questioning this decision, and haunting local bookstores.

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Excerpt: Chapter4 

THE CEILING ABOVE the crowd sparkles with strings of golden lights. They twinkle just bright enough to illuminate the faces. I adjust a microscopic issue with my toms and run my fingers through my bangs, straightening them over my eyes. The guys are tuning up, creating a clatter of discordant notes in the monitors. When they’re done, they approach my kit for our usual last-minute debate about the set list. Dao humps his bass in his ready-to-play dance, black hair swishing around his shoulders. “Dude, stop,” Matt groans and readjusts the cable that connects his Telecaster to his pedal board.

“Your mom loves my dancing,” Dao says.

“You dance like Napoleon Dynamite,” Matt retorts.

“Your mom dances like Napoleon Dynamite.”

Andre raises his hands. “Y’all both dance like Napoleon Dynamite, and so do both your moms, so let’s just—”

I wave a stick at them. “Guys. Focus. The sound guy is watching. We’re three minutes behind.” I have no patience for this shit tonight. This all feels extra and stupid. I should be doing something to help Joaquin. His dwindling supply of insulin sits at the front of my brain like a ticking clock.

The guys get into their spots, the distance between them set by muscle memory. Andre leans forward into the mic and drawls, “Arright DTLA, lez get a little dirty in here.” His New Orleans accent trickles off his tongue like honey.

The room inhales, anticipates, a sphere of silence.

“Two three four,” I yell. I clack my sticks together and we let loose, four on the floor and loud as hell. I’m hitting hard tonight. It feels great. I need to hit things. My heart beats in tempo. My arms fly through the air, the impact of the drums sharp in my joints, in my muscles, the kick drum a pulse keeping the audience alive. This is what I love about drumming, this forcing of myself into the crowd, making their hearts pound in time to my beat.

Dao fucks up the bridge of “Down With Me” and Andre gives him some vicious side-eye. The crowd is pressed tight up against the stage. A pair of hipsters in cowboy hats grabs a corresponding pair of girls and starts dancing with them. I cast Dao an eye-rolling look referring to the cowboy hats and he wiggles his eyebrows at me. I stomp my kick drum harder, pretending it’s Carol’s face.

The crowd surges back. Arms fly. A guy in the front staggers, falls. A pair of hands grips the stage, and a girl tries to pull herself up onto it.

Matt and Dao stop playing. The music screeches to a halt.

“What’s going on?” I yell.

“Something in the pit,” Dao calls back.

Andre drops his mic and hops down into the crowd. Dao and Matt cast their instruments aside and close the distance to the edge of the stage. I get up and join them. Together, we look down into the pit.

A clearing has formed around a brown-haired guy lying on the floor. Andre and the bouncer squat by him as he squirms and thrashes, his arms and legs a tangle of movement. Andre’s got his phone pressed to his ear and is talking into it urgently. The bouncer is trying to hold the flailing man still, but the man’s body is rigid, shuddering out of the bouncer’s grip. He flops onto his back, and I get a good look at his face.

Oh, shit, I know this guy. He’s a regular at our shows. He whines and pants, muffled words gargling from his throat. Some of the bystanders have their phones out and are recording this. Assholes.

The man shrieks like a bird of prey. The crowd sucks its whispers back into itself, and the air hangs heavy and hushed under the ceiling twinkle lights.

Andre is still talking into his phone. The bouncer lifts helpless hands over the seizing man, obviously not sure what to do.

I should see if Andre wants help. I hop down off the stage and push through the crowd. “Excuse me. Can you let me through? Can you stop recording this and let me through?”

I’m suddenly face-to-face with a man who is trying to get out of the crowd as hard as I’m trying to get into it. His face is red and sweaty, his eyes wild. “Move,” he orders me.

Dick. “You fucking move.”

“Bitch, move.” He slams me with his shoulder, knocking me into a pair of girls who cry out in protest. I spin, full of rage, and reverse direction to follow him.

“Hey, fucker,” I scream. He casts a glance over his shoulder. “Yeah, you! Get the fuck back here!”

He escalates his mission to get out of the crowd, elbowing people out of his way twice as fast. I’m smaller and faster, and I slip through the opening he leaves in his wake. Just before he makes it to the side exit, I grab his flannel shirt and give him a hard yank backward. “Get the fuck back here!” I’m loose, all the rage and pain from earlier channeling into my hatred for this entitled, pompous asshole.

I know I should rein it in, but he spins to face me and says, “What is your problem, bitch?” And that’s it. I haul back and punch him full in the jaw.

He stumbles, trips over someone’s foot and lands on his ass on the cement floor. His phone goes clattering out of his hand, skidding to a stop by someone’s foot. “The hell!”

“Oh, shit,” cries a nearby guy in a delighted voice.

“Fucking bitch,” the guy says, and this is the last time he’s calling me a bitch. I go down on top of him, a knee in his chest. I swing wild, hit him in the jaw, the forehead, the neck. He throws an elbow; it catches me in the boob and I flop back off him with a grunt of pain. He sits up, a hand on his face, and opens his mouth to say something, but I launch myself off the ground again, half-conscious of a chorus of whoops and howls around us. I throw a solid punch. His nose cracks. Satisfaction. I almost smile. Blood streams down his face.

“That’s what you get,” I pant. He crab-shuffles back, pushes off the ground and sprints for the exit. I let him go.

My chest is heaving, and I have the guy’s blood on my hand, which is already starting to ache and swell. I wipe my knuckles on my jeans.

His phone lights up and starts buzzing on the floor. I pick it up and turn it over in my hand. It’s an old flip phone, the kind I haven’t seen in years. The bright green display says Blocked.

Back in the pit, the man having a seizure shrieks again, and then his screams gurgle to a stop. I put the phone in my pocket and push through the onlookers. I watch as his back convulses like he’s going to throw up, and then he goes limp. A thin river of blood snakes out of his open mouth and trails along the cement floor.

The room echoes with silence where the screams had been. A trio of girls stands motionless, eyes huge, hands pressed to mouths.

The flip phone in my pocket buzzes. I pull it out, snap it open and press it to my ear. “Hello?”

A pause.

“Hello?” I repeat.

A click. The line goes dead.

A set of paramedics slams the stage door open, stretcher between them. “Coming through!” They kneel down and start prodding at the man curled up on the concrete. His head flops back. His eyes are stretched wide and unseeing, focused on some point far beyond the twinkling ceiling lights.

Next to him on the concrete lies something… What is it? It’s rectangular and has red and—

It’s a playing card.

Excerpted from The Kill Club by Wendy Heard, Copyright © 2019 by Wendy Heard. Published by MIRA Books.

Q&A with Wendy Heard

• Do you plan your books in advance or let them develop as you write?

I plan them for a long time before I start writing them, and I’m constantly revising my outline, but the plot and characters do develop quite a bit along the way.

• What does the act of writing mean to you?

It means everything to me! I have been writing for a really long time, since childhood. Words and story have always been the way I’ve made sense of things. I’m constantly making up narratives for people and events around me.

• Have you ever had a character take over a story, and if so, who was it and why?

Jazz held THE KILL CLUB hostage for months because I couldn’t get her to talk to me! She just kept crossing her arms across her chest and glaring at me. She did NOT want a book written about her, and I really needed her inner monologue for that first person POV! Eventually I started mentally arguing with her, and then in fighting with her and hearing her side, I started to get ALL of her IM. It was an interesting experience, trying to engage with a character in different ways until they cracked open.

• Which one of The Kill Club characters was the hardest to write and why?

Sofia. Her story is so much like so many others I’ve known. It’s quietly and invisibly tragic, her pain at the loss of her child so sharp.

• Which character in any of your books (The Kill Club or otherwise) is dearest to you and why?

Jazz! By far, Jazz is my favorite character. In my mind, she’s kind of the spirit of Los Angeles. She’s been through so much, and her sense of humor and lack of entitlement gets her through it all. She just continuously makes the best of every hand she’s dealt, moves forward, and doesn’t engage in self-pity.

• Do you have stories on the back burner that are just waiting to be written?

Let me get out my banjo. YES. I have so many. I have a YA that’s waiting to be written after I finish this current work in progress, which I’ve stopped and started a bunch of times, really honing the concept to get it just where I want it. But I’m constantly coming up with book ideas and having to tell them “not right now, darlings!”

• What has been the hardest thing about publishing? What has been the most fun?

Publishing is not for the faint of heart. For me, the beast is always self-doubt, and in a business that is full of rejection, that can really eat at you. It’s so easy to get out of balance and give our creative projects the power to define us. It’s important for anyone selling their art to remember to nurture a healthy life away from it, because art is a fickle master. It will come and go over your lifetime, and it won’t always be kind. You have to accept the rules of the game, but you don’t have to let the game play you.

• What advice would you give budding authors about publishing?

You’ll hear this a thousand times, and you won’t believe it, but: the most important thing is writing a good book, and more than that, the right book. If you let the market and external forces tell you what to create, you’ll resent and blame them when it doesn’t go well. That said, keep an eye on the market, find a way to love something you think can sell, and then put your personal spin on it. No one can tell your story but you. Prerequisite skills for publishing: The ability to revise without having a tantrum; an interest in book marketing and publicity; professional written communication; the ability to hold your freakout moments and vent them far away from a public or professional setting; an addiction to caffeine. And for God’s sake, if you’ve been working on something for years and it hasn’t sold and you’ve revised it forty times, write a new book.

• What was the last thing you read?

All Your Twisted Secrets by Diana Urban. It’s a 2020 book and has a fascinating timeline craft thing that you’re going to love.

• Your top five authors?

This is not fair because I have at least seven thousand favorite authors! How about this--here are some crime fiction authors doing some innovative things in the genre. Kellye Garrett, who’s doing sharp-witted, LA-based mysteries and winning a ton of awards. John Vercher, who talks about social issues while keeping it gritty and plotty. Rachel Howzell Hall, an LA native who does these rad investigative mysteries. Tori Eldridge has a recent and very feminist take on the action thriller with her recent The Ninja Daughter, which I highly recommend. Gabino Iglesias’ award-winning Coyote Songs is this incredible genre mashup, part folklore, part horror, all commentary, and I can’t recommend it enough. One more one more. Carmen Machado’s recent In the Dream House. It’s memoir told in all different genres, it’s chilling, engrossing, dense, and fascinating. Did you read Her Body and Other Parties? Just wow.

• Book you've bought just for the cover?

Wilder Girls. Because holy crap.

• What did you want to be as a child? Was it an author?

I was torn between the visual arts and writing, and I always vacillated between them. I have a degree in art, and I wrote a book, then did my painting degree, then wrote some nonfiction, then got my art teaching credential. I was trying things on for size. I do wish I still had time for painting. I never intended to abandon it completely in favor of writing books, but there are only so many hours in the day. I hope to come back to it in a future existence in which I have some spare time. In the meantime, I try to write about artists and art as a means of hanging onto it.

• What does a day in the life of Wendy Heard look like?

Sex, drugs, and rock and roll. Just kidding. I wake up at five, do publishing stuff, go to work at my day job, get my kid, come home, arm-wrestle her into doing homework, go to the gym, etc. On the weekends I wake up at five (yes I’m serious), write for a few hours, maybe record or edit an episode of the Unlikeable Female Characters Podcast, and then, you know, parenting and life stuff. Whenever my daughter is on a playdate or doing something away from me, I’m writing.

• What do you use to inspire you when you get Writer’s Block?

I dive into the DMs and torture some writing friends, make them brainstorm with me until I feel better and I have a plan. Or I just step away for awhile. I actually have come to trust writer’s block. If I can’t move forward, I need to stop and consider. There’s something wrong, and my brain is trying to get me to stop and gather up the threads. We’re so obsessed with productivity and daily word count, but I actually find I finish books faster when I don’t force myself to write things I know are wrong and waste weeks undoing things.

• What book would you take with you to a desert island?

I have a massive volume that contains all the Sherlock Holmes stories in one. I’d take one of those collection type of books. See, it’s technically ONE book.

• Favorite quote?

“If you work hard enough, you don’t need luck.” Hell yeah.

• Coffee or tea?

COFFEE.

• Best TV or Movie adaptation of a book?

The Neverending Story.

• Tell us about what you’re working on now.

I’m doing a final round of revisions on my 2021 YA thriller, She’s Too Pretty to Burn. It’s loosely based off Dorian Gray and is about a teen photographer who takes a life-altering picture of her introverted girlfriend, sending them into a spiral of fame and danger in an underground San Diego art scene. It has a character who’s basically a fine art Banksy and lots of art crimes.  

5 Stars

A remarkably twisted and deceptively multilayered puzzle, THE KILL CLUB enraptured me on two aspects. First, the puzzle. I know the concept of "kill a stranger and another stranger will kill the one you want dead" has been done before (Strangers On A Train), but still, I was engrossed, and in fact, I still want to know more of the backstory. This mystery could have a sequel; the possibility is definitely there at its end, and I hope so. 


The second aspect enthralling me is that our protagonist (such a well-developed character) is Lesbian, so right here we have Diversity. She also is Mother Bear to her much younger brother, who is Type 1 Juvenile Diabetic plus in the control of a horrid individual (adoptive mother). I will not spoil the story with revelations--just read it!

Review: A CHRISTMAS HAUNTING: THE TRUTH REVEALED

5 stars!

Distinctly spooky, set in a quiet village in Kent, England, peaceful but a hotbed of the paranormal, where Christmas Eve and Christmas for one family, holds chronic horror as well as familial joy.

Review: A CHRISTMAS HAUNTING: CLARK MANSION by Carrie Bates

5 Stars!
I enjoyed this scary holiday novella every bit as much as I enjoyed reading DECK THE BLOODY HALLS yesterday. I'd venture to say there is perhaps more of the psychological emphasis in this one, further delineating the original backdrop; but rest assured, there's plenty of scary heaped in.

Review: DECK THE BLOODY HALLS by Carrie Bates

5 Stars!!
This novella was great! Tremendously sad, yes, beginning to end. But the powerful reader's hook, the smooth and subtle characterizations accomplished in a brief space and never belabored, the knockout conclusion. I found it both well-written and impassioned and I wanted to leap right back in again.

Review: THE CORRUPTION OF ALSTON HOUSE by John Quick

5 Stars
Release Dec. 10 2019

All my life since early childhood I've railed at Injustice and promoted the Underdog. THE CORRUPTION OF ALTON HOUSE certainly ignited that mindset. "Corruption" indeed. Some mightily evil characters indeed populate this book, and so do too many of those to whom 18th Century statesman Edmund Burke referred: "The only thing necessary for the triumph of evil is for good men to do nothing." In other words, those who turn their backs and ignore injustice, or worse, serve it.