Tuesday, March 21, 2017

On the Passing of Colin Dexter

It was with sadness that I learned today of the death, at age 86, of British educator-turned-author Colin Dexter. Born in Stamford, Lincolnshire, England, back in 1930 as Norman Colin Dexter, he went on to create the often-cantankerous and Oxford-based mystery-series protagonist Detective Chief Inspector Endeavour Morse, who first appeared in 1975’s Last Bus to Woodstock. Dexter’s 13 Morse yarns and additional short stories later provided the basis for the 1987-2000 ITV detective drama Inspector Morse starring John Thaw, and inspired a small-screen sequel, Inspector Lewis (2006-2015), as well as the prequel Endeavour (2012-present). According to the Daily Mail, Dexter “died peacefully at home in Oxford this morning.”

In its obituary of Dexter, The Guardian writes:
Though he thought of himself primarily as a school teacher, Colin Dexter will be remembered as the crime writer who created the curmudgeonly but entertaining Inspector Morse. Morse, the beer, crossword and Wagner-loving detective who drives a vintage Jaguar around Oxford, solves murders by deep thinking, often about chance remarks made by his sidekick, Sergeant [Robbie] Lewis.

Dexter … claimed that he was no writer, but could revise his “bad starts” into something that worked. The formula was certainly a success for some dozen Morse novels and many original scripts for television, the medium that delivered the doings of the idiosyncratic Morse to an audience across 50 countries. “I just started writing and forced myself to keep going,” he said. “And it’s been the same ever since.” …

Dexter happily went along with publicity strategies to boost Morse because he felt he owed a debt of gratitude to his publishers but, like Morse, he hated cant and pretentiousness. He made millions out of Morse but lived in the same four-bedroomed house in Oxford that he had occupied since moving to the city in 1966.

He was neither impressed by displays of wealth nor anxious to live up to his income, his main sybaritic expenditure being on red wine, Flowers beer, whisky and his car. The last of these was as elderly as Morse’s, but of a lesser make. The one extravagance to which Dexter would admit was his purchase of the first editions of the works of [English scholar-poet] A.E. Housman. He had planned to write a book on Housman when he finished with his detective, but found by that time that other writers had cornered the market.
The Guardian adds this touching note:
Dexter was often asked whether he wrote for a readership or for himself. His answer was that he wrote for his old English teacher Mr. Sharp. He would write a page and then ask himself, “Would Mr. Sharp like that?” His aim was to feel that Mr. Sharp would give it at least eight out of 10.
Among the encomia delivered today in memory of Dexter are these remarks from UK crime-fiction critic Barry Forshaw:
“Dexter’s Oxford copper is one of the defining figures in British detective fiction—a multifaceted, fascinating protagonist who readers have followed avidly through a series of beautifully turned and ingenious novels. In a line of descent that extends back to Arthur Conan Doyle’s Sherlock Holmes (notably via the laser-sharp intellect), Inspector Morse is a character who can stand shoulder to shoulder with the very best in the genre. Interestingly, his creator shared several characteristics and traits with his hero; he was classically erudite (with a particular love of the poetry of Housman, as mentioned above), and shrewdly analytical in terms of the varied personalities he encountered. But Dexter was the polar opposite of Morse in terms of his character: extremely affable, immensely charming and humorous—and (most of all) sensitive to the feelings of those around him. An anti-Morse, in fact.”
And this piece in The Bookseller adds more to Dexter’s story:
In later life, Dexter had type 2 diabetes, a condition that he also gave Morse in the last few books of the series. Morse was killed off in Dexter’s final book, The Remorseful Day, which published in 1999.

Dexter was awarded an OBE [Order of the British Empire] for services to literature in 2000 and was given the Freedom of the City in Oxford in 2001. He also won the CWA [Crime Writers’ Association’s] Diamond Dagger award and the Theakstons Old Peculier Outstanding Contribution to Crime Fiction. ...

“I’m extremely sorry to hear of the death of Colin Dexter. He was the first crime writer I really discovered, having been led to his books through an obsession with the Morse television series,” [Waterstones fiction buyer Chris] White told
The Bookseller. “The intelligence, wit and melancholy which were the hallmarks of his writing established a legacy of page-turning erudition which will ensure his books are bought and read long into the future.”
All of us here at The Rap Sheet offer our sympathies to Colin Dexter’s family and friends in the wake of his passing.

READ MORE:Inspector Morse Creator Colin Dexter Dead at 86,” by Sian Cain (The Guardian); “Colin Dexter, Creator of Inspector Morse, Who Sleuthed in Novels and on TV, Dies at 86,” by William Grimes (The New York Times); “‘In Short, He’s a Really Good Bloke,’” by J. Kingston Pierce (The Rap Sheet).

Sunday, March 19, 2017

Get Your Leftys Right Here

Last evening, during a special event held as part of this year’s Left Coast Crime convention, in Honolulu, Hawaii, the winners of the 2017 Lefty Awards were announced in four categories. Mystery Fanfare reports the rundown of victors as follows:

Lefty for Best Humorous Mystery Novel: Body on the Bayou, by Ellen Byron (Crooked Lane Books)

Also nominated: Die Like an Eagle, by Donna Andrews (Minotaur); Fields Where They Lay, by Timothy Hallinan (Soho Crime); The CEO Came DOA, by Heather Haven (Wives of Bath Press); Floodgate, by Johnny Shaw (Thomas & Mercer); and A Disguise to Die For, by Diane Vallere (Berkley Prime Crime)

Lefty for Best Historical Mystery Novel (Bruce Alexander Memorial), for books covering events before 1960: The Reek of Red Herrings, by Catriona McPherson (Minotaur)

Also nominated: Crowned and Dangerous, by Rhys Bowen (Berkley Prime Crime); A Death Along the River Fleet, by Susanna Calkins (Minotaur); The Murder of Mary Russell, by Laurie R. King (Bantam); and What Gold Buys, by Ann Parker (Poisoned Pen Press)

Lefty for Best Debut Mystery Novel: Murder in G Major, by Alexia Gordon (Henery Press)

Also nominated: Cleaning Up Finn, by Sarah M. Chen (All Due Respect); Terror in Taffeta, by Marla Cooper (Minotaur); Decanting a Murder, by Nadine Nettmann (Midnight Ink); and Design for Dying, by Renee Patrick (Forge)

Lefty for Best Mystery Novel (not in other categories): A Great Reckoning, by Louise Penny (Minotaur)

Also nominated: Dark Fissures, by Matt Coyle (Oceanview); Michelangelo’s Ghost, by Gigi Pandian (Henery Press); The Necessary Murder of Nonie Blake, by Terry Shames (Seventh Street); and Heart of Stone, by James W. Ziskin (Seventh Street)

Congratulations to all of the nominees!

The 2018 Left Coast Crime gathering, aka “Crime on the Comstock,” will be held in Reno, Nevada, from March 22 to 25.

READ MORE:Weekend with Lefty,” by Les Blatt (Classic Mysteries).

Friday, March 17, 2017

Revue of Reviewers, 3-17-17

Critiquing some of the most interesting recent crime, mystery, and thriller releases. Click on the individual covers to read more.

Thursday, March 16, 2017

Flocking of the Lammys

Lambda Literary, “the nation’s oldest and largest literary arts organization advancing LGBTQ literature,” has announced its finalists for the 29th annual Lambda Literary Awards, aka the “Lammys.” There are 23 categories of contestants this year, but Rap Sheet readers might be most interested in the following two:

Best Lesbian Mystery:
Blood Money Murder, by Jessie Chandler (Bella)
Bury Me When I’m Dead, by Cheryl A. Head (Bywater)
Collide-O-Scope, by Andrea Bramhall (Ylva)
Final Cut, by Lynn Ames (Phoenix Rising Press)
Pathogen, by Jessica L. Webb (Bold Strokes)
Requiem for Immortals, by Lee Winter (Ylva)
Under Contract, by Jennifer L. Jordan (Clover Valley Press)
Walk-in, by T.L. Hart (Bella)

Best Gay Mystery:
Bitter Legacy, by Dal Maclean (Blind Eye)
Homo Superiors, by L. A. Fields (Lethe Press)
Lay Your Sleeping Head, by Michael Nava (Korima Press)
Nights in Berlin, by Janice Law (MysteriousPress/Open Road)
Speakers of the Dead, by J. Aaron Sanders (Plume)

The winning works in all categories will be declared on Monday, June 12, during a special ceremony to be held at the New York University Skirball Center for the Performing Arts in Manhattan.

Congratulations to all of the nominees!

School’s Out, the Heat Is On

Well, this is a rather significant video find. One Archibald Von Unknowski (real name or alias?) has posted, on YouTube, the 72-minute pilot and all five episodes of Richie Brockelman, Private Eye, a 1978 NBC-TV series starring Dennis Dugan as a surfer turned low-budget Los Angeles gumshoe. I wasn’t a big fan of this show when it first aired (even though it was created by Stephen J. Cannell and Steven Bochco, and launched from The Rockford Files). However, I’m prepared to give it a second watch after all these years.

READ MORE:Never Send A Boy King to Do a Man’s Job,” by Marty McKee (Johnny LaRue’s Crane Shot).

Wednesday, March 15, 2017

Illuminating Mystery Fiction’s Twilight Side

(Editor’s note: Tennessee scholar/book dealer Curtis Evans writes The Passing Tramp, an excellent blog about classic crime fiction. He is also the author of Masters of the “Humdrum” Mystery: Cecil John Charles Street, Freeman Wills Crofts, Alfred Walter Stewart, and the British Detective Novel, 1920-1961 [2012], Clues and Corpses: The Detective Fiction and Mystery Criticism of Todd Downing [2013], and The Spectrum of English Murder: The Detective Fiction of Henry Lancelot Aubrey-Fletcher and G.D.H. and Margaret Cole [2015]. Evans’ latest book is Murder in the Closet: Essays on Queer Clues in Crime Fiction Before Stonewall, about which he writes below.)

In her 1943 writing guide, Mystery Fiction: Theory and Technique, editor and occasional mystery author Marie F. Rodell advised prospective crime writers during the height of the Second World War that the depiction of sexuality in crime fiction was a metaphorical minefield, a virtual Iwo Jima of infractions:
The morality of the average mystery fan is apparently pretty strait-laced. He will countenance murder, but not sexual transgressions … booksellers will tell you it is true. …

Sexual perversions, other than sadism, are definitely taboo. And sadism must be presented in its least sexual form. Homosexuality may be hinted at, but never used as an overt and important factor in the story. An author may, in other words, get away with describing a character in such fashion that the reader may conclude the character is homosexual, but he should not so label him. All the other perversions are absolutely beyond the pale.

Even references to normal sex relationships must be
carefully watched. Except in the “tough” school, unmarried heroines are expected to be virgins, and sympathetic wives to be faithful to their husbands. … Abortion is considered legitimate mystery material if it is handled carefully and, of course, condemned. Apparently it is regarded by the fans as closer to murder than to sex.
Rodell allowed that these taboos limited the “field of potential material for murder fiction,” but she reminded her audience of hopeful neophyte mystery-makers that their chosen line of writing was escapist literature and that shocks and controversies savoring of real life “are among the things the [mystery] reader is trying to escape from.” Rodell advised, no doubt bloodcurdlingly to many modern crime writers: “If you have a message, if you want to write fiction with a purpose, try some other form. Mystery fiction will not serve.”

Today Rodell’s book gives bemused readers of modern crime and mystery fiction—a genre in which, to borrow from Cole Porter, anything goes—a hint of the confining strictures under which crime writers once labored. It has become accepted everyday wisdom that in crime fiction published before Stonewall—the 1969 street demonstrations sparked by an early morning police raid on the Stonewall Inn, a gay bar in Manhattan’s Greenwich Village neighborhood, an event recognized as an epochal turning point in the fight for LGBTQ rights—comparatively little was written about LGTBQ life and that what was written was uniformly disapproving.

Traditionally, pre-Stonewall LGBTQ history has been seen through the powerful negative image of the closet, that dark place where all “the gay” had to be hidden away from public view, confined to its own restricted world of twilight (to use a common code word in pre-Stonewall fiction for homosexuality). Scholar Michael Moon defines the closet as “a powerful social mechanism for regulating the open secret that same-sex desires and relationships existed, but did so largely invisibly and inaudibly.” Violating what he calls the “code of the closet” could bring about “exposure, public disgrace, social ostracism, criminal prosecution.”

Across much of the 20th century, writers of popular fiction such as crime novelists undeniably faced, whether they considered themselves queer or “normal,” pressure to hoe straight rows in their writing, adhering to accepted social standards of what was deemed proper for inclusion in literature of escape. Yet historians, having come to appreciate that the pre/post-Stonewall binary paints too limited a picture of pre-Stonewall queer life, have revised the confining construct of the closet, arguing that it falsely reflects, as scholar George Chauncey has put it, “the Whiggish notion that change is always ‘progressive’ and that gay history in particular consists of a steady movement toward freedom ... ”

During the period between the two world wars, for example, queer people became for a time much more publicly visible in the western world, both simply as themselves, at such popular urban venues as nightclubs and drag balls, and as creative constructions in films, plays, and the more daring mainstream fiction. (Chauncey has charted the course of this phenomenon in his 1995 book, Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890-1940, through documentation of the Prohibition-era “pansy craze.”)

Similarly, during service in the Second World War “large numbers of young gay men and women came to discover their sexual identity,” and not long after the conflict seemingly everyone was reading, or at least reading about, the landmark Kinsey Reports on human sexuality, with their deeply intriguing scale of sexual responses indicating that homosexual activity was much more widespread than had previously been suspected. In those years queer subject matter began appearing more frequently in fiction, both in the form of hardback books and in what had become ubiquitous paperbacks, the latter frequently decked out with provocatively sexualized covers. That movement toward greater sexual frankness in entertainment media became something of a pride parade by the mid- to late Sixties, as legal impediments to free speech fell.

* * *

This complex queer history is in fact reflected in crime fiction published prior to the Stonewall riots, a fact amply illustrated in a new essay collection which I had the honor of editing: Murder in the Closet: Essays on Queer Clues in Crime Fiction Before Stonewall (McFarland). Aggregately, the essays in Murder in the Closet lend support to the view that in crime and mystery fiction published before Stonewall, more queer things made it out from behind seemingly secured closet barriers onto printed pages than many people have been inclined to credit. Like the clever culprits in their books, mystery writers knew a thing or two about getting past locked doors.

In Murder in the Closet, 17 contributors—in 23 essays—explore queer aspects of crime fiction published over the course of eight decades, from the late Victorian era to the height of the Swinging Sixties. The study ends with early mysteries by American writers Joseph Hansen and George Baxt, whose telltale titles included Known Homosexual (1968) and A Queer Kind of Death (1966), both of which indicated that by the mid- to late Sixties the closet door was hanging precariously on its hinges.

“Locked Doors,” the first section of this book, covers authors who established themselves in detective fiction from the 1880s to the 1930s. Australian writer-academic Lucy Sussex, for instance, looks at the “The Queer Story of Fergus Hume,” an author made famous by his Mystery of a Hansom Cab (1886), though in fact he wrote scores of additional mysteries and other works, never replicating that initial great success. Sussex, who also composed Blockbuster!: Fergus Hume & the Mystery of a Hansom Cab (2015), highlights quite a few queer threads in the tapestry of that fictionist’s life and work.

In the book’s other essay concerning a pre-World War I wordsmith, “A Redemptive Masquerade,” John F. Norris examines a fascinating find from the hand of the muckraking American journalist and author Samuel Hopkins Adams (best known among mystery-fiction fans for his “rival of Sherlock Holmes” short-story collection, Average Jones): a rather queer novel indeed called The Secret of Lonesome Cove (1912).

The next group of essays gets into the Golden Age of Detective Fiction proper. A half-dozen pieces—by Noah Stewart, John Curran, Michael Moon, Brittain Bright, Jamie “J.C.” Bernthal, and Moira Redmond—queerly illuminate crime fiction by perennially popular British Queens of Crime: Agatha Christie, Dorothy L. Sayers, Ngaio Marsh, Gladys Mitchell, and Josephine Tey. Following those are essays by Michael Moon and yours truly, which appraise a couple of trebly initialed male English mystery writers: C.H.B. Kitchin and G.D.H. Cole, the latter of whom appears prominently in Martin Edwards’ The Golden Age of Murder (2015) and in my own The Spectrum of English Murder.

Then, in “Two Young Men Who Write As One,” I take the latest look at the British expatriate couple Richard Wilson Webb and Hugh Callingham Wheeler, who wrote some of the finest mid-20th-century American crime fiction, under the pseudonyms Patrick Quentin, Q. Patrick, and Jonathan Stagge. More and more has been trickling out about Webb and Wheeler over the last few years, as can be seen in an essay by Mauro Boncompagni in Mysteries Unlocked: Essays in Honor of Douglas G. Greene (2014), as well as in the introduction and afterword (written, respectively, by me and Joanna Gondris) to publisher Crippen & Landru’s Patrick Quentin short-story collection, The Puzzles of Peter Duluth (2016).

The final three essays in this section of Murder in the Closet are devoted to the vintage American mystery writers Todd Downing, Rufus King, Clifford Orr, and Mignon Eberhart. Downing was a part-Choctaw Oklahoman whose mystery fiction, once praised, had for a time fallen into neglect. However, his books have recently been rediscovered and reprinted (see numerous posts in my blog, along with my book Clues and Corpses), and they are the subject of “Queering the Investigation,” an essay by Charles Rzepka.

In “A Bad, Bad Past,” I retrace the queer college backgrounds of both Rufus King, one of the most important (and unjustly neglected) pre-war American crime writers, and Clifford Orr, who produced only two detective novels before becoming a columnist for The New Yorker; and I relate those backgrounds to their crime fiction.

In the last essay in section one, titled “Foppish, Effeminate, or ‘A Little Too Handsome,’” Rick Cypert recalls one of the most read U.S. mystery writers, Mignon G. Eberhart (dubbed, more on account of sales than real similarities, “America’'s Agatha Christie”). Specifically, Cypert analyzes how this very popular author—a Mystery Writers of America Grand Master Award winner—treated men and masculinity in her books, particularly those males who are just “a little too handsome.”

The second section of Murder in the Closet, titled “Skeleton Keys,” primarily covers writers from the post-World War II era. However, its opening two essays—James Doig’s on the outré Australian serial-killer novel Twisted Clay (1934), and Drewey Wayne Gunn’s on real-life, 1940s Canadian-American killer Wayne Lonergan and his murder scandal’s influence on crime fiction—focus on precursors to the more explicitly LGBTQ fiction of that period.

Tom Nolan’s “Claude Was Doing All Right” scrutinizes kinder and gentler but still hard-boiled detective fictionist Ross Macdonald’s evolving attitude toward homosexuality, both in his fiction and in his own life, while my “Elegant Stuff … Of Its Sort” details the provocative mid-century crime-fiction career of “Edgar Box,” aka Gore Vidal.

Going back across the pond to Great Britain, J.F. Norris’ “Adonis in Person” studies the crime fiction of gay man of letters Beverley Nichols, while Bruce Shaw’s “More Than Fiction” spotlights the life and writing career of iconic lesbian Nancy Spain. Finishing the collection are three essays—by Nick Jones, Josh Lanyon, and again, Norris—on the writers Patricia Highsmith, Joseph Hansen, and George Baxt, whose fiction reflected cultural changes as the world moved toward Stonewall. Mystery fiction certainly was not in Kansas anymore, if you will—though in truth it never really quite was, despite Marie F. Rodell’s admonishments.

I am very proud of Murder in the Closet and I think the essays it contains make a significant contribution to LGBTQ history, mystery genre history, and cultural history in general. I hope mystery-fiction fans will give it more than a passing glance.

Tuesday, March 14, 2017

Owl Be Seein’ You

The 7th Canon, a courtroom thriller by Seattle lawyer-turned-author Robert Dugoni, has won the 2017 Spotted Owl Award, according to “The Blood-Letter,” an irregular bulletin from the Portland, Oregon-based fan group Friends of Mystery, which sponsors the commendation. This is the first time Dugoni has captured the Spotted Owl, which is supposed to be given annually to the “best mystery written by an author whose primary residence is in the Pacific Northwest.” “The Blood-Letter” reports that this year’s Spotted Owl judges ranked their nominees for the award in this order (including several ties for placement):

1. The 7th Canon, by Robert Dugoni (Thomas & Mercer)
2. House Revenge, by Mike Lawson (Atlantic Monthly Press)
3. The King of Fear, by Drew Chapman (Simon & Schuster)
4. Not Dead Enough, by Warren Easley (Poisoned Pen Press)
4. Salvation Lake, by G.M. Ford (Thomas & Mercer)
4. Blood Flag, by Steve Martini (Morrow)
7. Ping-Pong Heart, by Martin Limón (Soho Crime)
8. Judicious Murder, by Val Bruech (Smoking Gun)
9. The More They Disappear, by Jesse Donaldson (Thomas Dunne)
9. Downfall, by J.A. Jance (Morrow)
9. Violent Crimes, by Philip Margolin (Harper)

By the way, Dugoni’s The 7th Canon is also vying for a 2017 Edgar Award in the Paperback Original category.

Previous recipients of the Spotted Owl include Jon Talton, Chelsea Cain and Johnny Shaw, Mike Lawson, Bill Cameron, and Alan Bradley. The prize was first presented back in 1996.

Gold Among the Green

With St. Patrick’s Day now quickly approaching (uh-oh, where did I stash away my all-green wardrobe?), Mystery Fanfare’s Janet Rudolph has posted an updated selection of crime and mystery novels that either employ said annual holiday in their stories or are related in some fashion to Ireland and the Irish. Titles range from Andrew Greeley’s Irish Gold and Debbie Viguié’s Lie Down in Green Pastures to the inevitable St. Patrick’s Day Murder, by Leslie Meier.

Thursday, March 09, 2017

Revue of Reviewers, 3-9-17

Critiquing some of the most interesting recent crime, mystery, and thriller releases. Click on the individual covers to read more.

Wednesday, March 08, 2017

Bullet Points: “Day Without a Woman” Edition

Today has brought forth a wide variety of protests by American women, highlighting the importance of women in the modern workplace, spotlighting ridiculous disparities in pay between male and female workers, and opposing anti-woman policies proposed by Donald Trump, who’s notorious for saying that women will let famous guys “do anything … Grab ’em by the pussy.” Obviously, not all women in the United States have the support of their employers to take this day off from their jobs, but many are doing just that. “[A]ll across the country,” observes New York magazine’s Eric Levitz, “women are abandoning their posts. Classes have been canceled; children, left to their fathers; boardrooms, left unmanaged; dinners, left uncooked; blog posts, left unwritten.” It’s to those women enjoying a bit of extra leisure time today that I offer this expanded version of The Rap Sheet’s irregular crime-fiction news wrap-up.

• After my recent viewing of the British TV miniseries The Night Manager, adapted from John le Carré’s 1993 novel of the same name, I’ve been picking up a few le Carré novels that I have not already read. Now it looks as if my choices will increase in number. The author’s U.S. publisher, Viking, told the Associated Press that le Carré’s next novel, A Legacy of Spies (due out on September 5), will star his series espionage agent, George Smiley. According to the AP, “the novel tells of how Smiley and such peers as Peter Guillam receive new scrutiny about their Cold War years with British intelligence and face a younger generation that knows little about their history.”

• Double O Section’s Tanner (aka Matthew Bradford) offers this backgrounder on Smiley’s participation in the le Carré novels.

• The full schedule of events has been announced for this year’s CrimeFest, which will be held (as usual) in Bristol, England, from May 18 to 21. Click here to see which authors will be in attendance, and when they are set to participate in panel discussions.

• Meanwhile, organizers of Left Coast Crime 2019 have spread the news of who will appear as the guests of honor at their “Whale of a Crime” convention in Vancouver, Canada.

• Turner Classic Movies’ brand-new offering, Noir Alley—ably hosted by Film Noir Foundation president Eddie Muller—debuted this last Sunday with a presentation of that 1941 Humphrey Bogart private-eye classic, The Maltese Falcon. The cable station will follow that up this coming weekend with the 1945 movie Detour, starring Tom Neal and Ann Savage. If you would like to learn what the future holds for Noir Alley, click here to see the broadcast schedule through July. All of Muller’s films begin at 10 a.m. on Sundays.

• The third season of Bosch, the TV drama based on Michael Connelly’s best-selling series of novels featuring Los Angeles police detective Harry Bosch, won’t begin streaming on Amazon Prime Video until Friday, April 21. However, Entertainment Weekly recently posted an ominous trailer for that new 10-episode season, which draws its plot from Connelly’s novels The Black Echo and A Darkness More Than Night. And the author talks in this Q&A from his Web site about what to expect from the forthcoming story arc. By the way, work is already gearing up on Season 4 of Bosch, which will be based on Connelly’s 1999 novel, Angels Flight.

• For the Strand Magazine Web site, Alfred Hitchcock biographer Tony Lee selects what he says are the “Top Ten Alfred Hitchcock Movies of All Time.” (Yes, Notorious makes the cut.)

• I somehow missed the February release, in Great Britain, of Taking Detective Stories Seriously: The Collected Crime Reviews of Dorothy L. Sayers. But Kate Jackson’s critique of that book, at Cross-Examining Crime, makes me want to track down a copy as soon as possible—if only in hopes of sharpening up my own reviewing style. “[T]his is a must-read for all fans of golden age detective fiction,” Jackson opines. “Get it for the laughs, get it to find out what Sayers thought of her friends’ work, or get it to find some new authors to track down. But above all get it!”

• There has been a variety recently of excellent essays penned about crime-fictionists old and not-so-old. Britain’s Guardian, for instance, carried this article by Brian Dillon about how Raymond Chandler’s renowned shamus, Philip Marlowe, “found his voice.” UK crime-culture researcher and author Sarah Trott (War Noir) delivered a two-part analysis, on the Strand Magazine site, of Chandler’s literary legacy; Part I is here, Part II can be enjoyed here. Sarah K. Stephens recounts in the online publication The Millions “how P.D. James and detective fiction healed my broken heart.” And in a review for Literary Web of the new big-screener Tomato Red (watch the trailer here), William Boyle applauds the “genius” of Daniel Woodrell, the “Battle-Hardened Bard of Meth Country.”

• In Reference to Murder’s B.V. Lawson brings the news that author-editor Rick Ollerman “will be launching a new digest-sized magazine this summer called Down & Out: The Magazine. The first issue features a new Moe Prager story by Reed Farrel Coleman, and the second a new Sheriff Dan Rhodes story by Bill Crider.” Yours truly, by the way, has been asked to contribute review columns to this fledgling periodical. Wish me luck on the venture.

• What a terrific project! With the benefit of hefty financial grants, Northern Illinois University is busy digitizing 19th-century “dime novels” for widespread public consumption. “These dime novel format books sold in hundreds of thousands of copies—they were the best sellers of their day,” explains Lynne Thomas, the curator of NIU’s Rare Books and Special Collections. “They were read by more average Americans than anything that is taught in literature classes of the period, including things like Moby Dick or the work of Nathaniel Hawthorne.” Start your exploration of the growing collection here. (Hat tip to Bill Crider’s Pop Culture Magazine.)

• Congratulations to former President Barack Obama for winning the 2017 John F. Kennedy Profile in Courage Award. In a statement, Kennedy’s grandson Jack Schlossberg gave this explanation of why Obama deserved the commendation: “Faced with unrelenting political opposition, President Obama has embodied the definition of courage that my grandfather cites in the opening lines of Profiles in Courage: grace under pressure. Throughout his two terms in office, he represented all Americans with decency, integrity, and an unshakeable commitment to the greater good.” Obama was presented with the award last evening, May 7, at the John F. Kennedy Presidential Library and Museum in Boston, Massachusetts. No doubt Donald Trump will launch one of his whiny tweetstorms in response ...

R.I.P., men’s adventure magazine writer Walter Kaylin.

• Which long-running CSI TV series is your favorite? Criminal Element wants to know. (In case you’re curious, at last check the original CSI: Crime Scene Investigation had amassed the greatest number of votes in this survey—61 percent.)

• Black Gate contributor Bob Byrne has more than a few nice things to say about the 2001-2002 A&E-TV series A Nero Wolfe Mystery, which starred Timothy Hutton as Archie Goodwin and Maury Chaykin as Rex Stout’s agoraphobic, beer-loving Manhattan sleuth, Wolfe. “[E]ven if you’ve never read any Wolfe,” Byrne remarks, “it’s a pretty good period detective series and you should give it a try.”

• I came in on Voyage to the Bottom of the Sea after its original prime-time run, but loved weekend repeats of that 1961-1964 Irwin Allen sci-fi TV sea adventure. Apparently I was not alone in my admiration, as the blog Cult TV Lounge proves here and here.

• Lee Goldberg, who wrote three episodes of the 1985-1988 ABC-TV series Spenser: For Hire, inspired by Robert B. Parker’s detective novels, has posted this promotional spot for that program’s 1985 fall premiere, featuring a theme song that Goldberg describes as “a cringe-inducing twisting of Randy Newman’s ‘I Love L.A.’”

• Although nefarious misdeeds are usually solved and their perpetrators captured in crime fiction, Vox informs us that, in fact, “fewer than half of violent crimes and about a third of property crimes in the U.S. are reported to the police each year. Meanwhile, less than half of violent crimes and less than one-fifth of property crimes that are reported are actually cleared by police and referred to prosecution. (Keep in mind that the clearance rate is not even the solved rate, because prosecution doesn’t always lead to conviction.)”

• Since I didn’t happen to tune in for last month’s Oscars presentation, I missed the fact that Robert Vaughn, the Man from U.N.C.L.E. star who died last November, was not mentioned in the broadcast’s “In Memoriam” segment—although some 45 other people were, according to The Spy Command. A damn shame!

The March edition of Mike Ripley’s “Getting Away with Murder” column for Shots includes witty remarks about Pan Macmillan’s Thin Blue Spine initiative, the proliferation of crime-novel titles featuring the word “Girl” (“American blogger Steve Donoghue ... has identified no less than 41 titles as his ‘Worst Books of 2016—Fiction’”), the coming debut of Michael Connelly’s new series protagonist (in The Late Show), and other anticipated works by Russel D. MacLean, Philip Kerr, Leonardo Padura, and Chris Brookmyre.

• I have to admit, I was not familiar with Harold Blundell (1902-1985), a British banker and crime novelist who—under the nom de plume George Bellairs—concocted a succession of books featuring Scotland Yard Detective-Inspector Thomas Littlejohn. So I was somewhat flummoxed to learn that Mysterious Press is now bringing out e-book versions of those Littlejohn yarns. The half-dozen initial releases include The Case of the Seven Whistlers (1944) and Outrage on Gallows Hill (1948). Blundell/Bellairs kept Littlejohn active through 1980, so there are plenty more stories to put back on the market, should the early ones find new interest among readers.

• Excellent news! Walter Mosley has a new novel, Down the River Unto the Sea, being readied for publication in February 2018. Entertainment Weekly reports that “the novel centers on a former New York City police detective, now working as a Brooklyn P.I., who is investigating the case of a Black civil rights activist convicted of murdering two city policemen. At the same time, he’s still trying to piece together the conspiracy that caused his own downfall at the hands of the police.”

• Having survived last year’s Independent Bookstore Day, I very much look forward to participating again in that competition to visit as many local indie bookshops as possible. This year’s competition is slated for Saturday, April 29. According to Shelf Awareness, “457 stores from around the country are participating, up from around 430 last year and 365 in 2015. Forty-eight states are represented, with only Hawaii and Arkansas missing, and a searchable map featuring the locations of all participating bookstores can be found here.”

A belated “happy fifth birthday” to Bitter Tea and Mystery!

• A few author interviews worthy of attention: Eliot Pattison answers Criminal Element’s questions about his ninth Inspector Shan Tao Yun mystery, Skeleton God; for Crime Watch, Craig Sisterson quizzes Brad Parks, whose new novel is a standalone titled Say Nothing; for Shots, Kimberley “K.J.” Howe chats with the ubiquitous Ali Karim about her debut thriller, The Freedom Broker; Dave White interrogates Alex Segura about the latter’s forthcoming novel, Dangerous Ends; meanwhile, White fields queries from S.W. Lauden about his own fresh work of fiction, Blind to Sin; John B. Valeri plumbs the life of Rhys Bowen (In Farleigh Field); and Sharon Long interviews Elaine Viets (Brain Storm) for Mystery Playground.

• From The Spy Command comes word that the TV streaming service Hulu has released a trailer for Becoming Bond, a 90-minute “documentary/narrative hybrid chronicling the stranger-than-fiction true story” of how Australian non-actor George Lazenby became British spy James Bond—at least for one movie, 1969’s On Her Majesty’s Secret Service. Den of Geek says this documentary “promise[s] a bit of everything—drama, comedy, romance, drugs, sex, twists, turns, the whole shebang.” Becoming Bond makes its Hulu debut on May 20.

• Speaking of all things 007 … Anne Billson’s Multiglom blog features a nice tribute to Eva Green, who of course played the stunning Vesper Lynd, opposite Daniel Craig, in 2006’s Casino Royale.

• Finally, because I can’t actually imagine spending many days without women (what fun would that be, really?), let me direct you to this online list—from Elle magazine—of “The 10 Best Thrillers and Crime Writing by Women” … and this lengthy rundown—from Goodreads—of the “Best Female Crime/Mystery/Thriller Writers.”

Tuesday, March 07, 2017

Spring Books Are Popping Up All Over

Back when I was a nerdy teenager, in the days before computers infiltrated business offices and found their way into everyone’s pocket, one of my favorite escapes from an inclement afternoon was to visit a nearby library and page leisurely through the latest edition of Books in Print. Those regularly updated volumes were hefty hardbacks, flush with the titles of (and useful information about) new and forthcoming works, fiction as well as non-fiction. Bookseller Amazon didn’t yet exist to help me fantasize about yarns I might like to spend my disposable income on, but Books in Print served admirably as a precursor. Launched in 1948 by R.R. Bowker—the same company that also created Publishers Weekly in 1872 and Library Journal four years later—Books in Print was the ideal source for my daydreams of one day possessing my own beautiful library.

Like so many things that once existed solely on paper, Books in Print is now available on the Web, by subscription. However, it competes there with myriad other electronic sources of bibliographical knowledge, most of which cost absolutely nothing to access. It’s been years since I paged through Books in Print, but I frequently search the Internet for news of crime novels soon to be published on both sides of the Atlantic Ocean—as I did recently, in order to compile the list below of more than 350 books of interest scheduled to reach stores between now and the close of May.

This isn’t a comprehensive catalogue, by any means. It contains works that I would personally like to digest, had I sufficient hours and energy to do so, and others penned by authors who I know are popular with critics of my acquaintance. It’s the kind of assortment I would have delighted in browsing through as a nascent bibliophile, inviting literary-minded sorts to reacquaint themselves with familiar wordsmiths and discover new ones. You’ll find here imminent releases from Greg Iles and Julia Dahl, E.S. Thomson and Denise Mina, Lori Rader-Day and Brad Parks. There are brand-new entries to series by Sara Paretsky, Stuart MacBride, Jørn Lier Horst, Susanna Gregory, and Philip Kerr, as well as standalone fiction from Andrew Taylor, Bill Pronzini, Howard Norman, and Andrew Hughes. Beyond those treats are re-releases of notable tales by the likes of Georges Simenon, Margaret Millar, and Freeman Wills Crofts, and even a few non-fiction texts—identified with asterisks (*)—that should earn the curiosity of mystery-fiction fans.

As I usually do with this sort of list, I invite Rap Sheet readers to point out (in the Comments section at the post’s end) any works of particular merit I missed. And if you need further suggestions, let me recommend The Bloodstained Bookshelf, for U.S. titles, and Euro Crime, for releases on the other side of “the pond.” The bottom line here is that you should have no trouble finding entertaining reading material to carry you through our coming sunnier season.

Anatomy of Innocence: Testimonies of the Wrongfully Convicted, edited by Laura Caldwell and Leslie S. Klinger (Liveright)*
The Ashes of London, by Andrew Taylor (HarperCollins)
The Axeman of New Orleans: The True Story, by Miriam C. Davis (Chicago Review Press)*
Bad Boy Boogie, by Thomas Pluck (Down & Out)
The Black Tortoise, by Ronald Tierney (Raven)
Blue Light Yokohama, by Nicolás Obregón (Minotaur)
Bone White, by Wendy Corsi Staub (Morrow)
Bound by Mystery: Celebrating 20 Years of Poisoned Pen Press, edited by Diane DiBiase (Poisoned Pen Press)
The Bridge, by Stuart Prebble (Mulholland)
Bum Luck, by Paul Levin (Thomas & Mercer)
Catalina Eddy: A Novel in Three Decades, by Daniel Pyne
(Blue Rider Press)
Celine, by Peter Heller (Knopf)
The Cheltenham Square Murder, by John Bude (Poisoned Pen Press)
A Climate of Fear, by Fred Vargas (Penguin)
Coney Island Avenue, by J.L. Abramo (Down & Out)
Conviction, by Julia Dahl (Minotaur)
Cruel Winter, by Sheila Connolly (Crooked Lane)
Cut, by Marc Raabe (Manila)
The Cutaway, by Christina Kovac (Atria/37 INK)
Cut to the Bone, by Alex Caan (Skyhorse)
Dead Man Switch, by Matthew Quirk (Mulholland)
A Death by Any Other Name, by Tessa Arlen (Minotaur)
The Devil’s Feast, by M.J. Carter (Putnam)
The Devil’s Triangle, by Catherine Coulter and J.T. Ellison (Gallery)
Duplicity, by Jane Haseldine (Kensington)
Dying on the Vine, by Marla Cooper (Minotaur)
The Executioner of St Paul’s, by Susanna Gregory (Sphere)
The Fall of Lisa Bellow, by Susan Perabo (Simon & Schuster)
Find Me, by J.S. Monroe (Mira)
The Forgotten Girls, by Owen Laukkanen (Putnam)
Girl in Disguise, by Greer Macallister (Sourcebooks Landmark)
Hap and Leonard: Blood and Lemonade, by Joe R. Lansdale (Tachyon)
Heretics, by Leonardo Padura (Farrar, Straus and Giroux)
Ill Will, by Dan Chaon (Ballantine)
Imperial Valley, by Johnny Shaw (Thomas & Mercer)
In Farleigh Field, by Rhys Bowen (Lake Union)
In This Grave Hour, by Jacqueline Winspear (Harper)
I Wish You Missed Me, by Bonnie Hearn Hill (Severn House)
Lenin’s Roller Coaster, by David Downing (Soho Crime)
The Logan Triad, by Nathan Walpow (Down & Out)
Lola, by Melissa Scrivner Love (Crown)
The Loving Husband, by Christobel Kent (Sarah Crichton)
Madame Maigret’s Friend, by Georges Simenon (Penguin)
Make Them Pay, by Allison Brennan (St. Martin’s Paperbacks)
Mangrove Lightning, by Randy Wayne White (Putnam)
Miguel’s Gift, by Bruce Kading (Chicago Review Press)
Mississippi Blood, by Greg Iles (Morrow)
Mister Memory, by Marcus Sedgwick (Pegasus)
Murder on the Serpentine, by Anne Perry (Ballantine)
Murder, Stage Left, by Robert Goldsborough (Mysterious Press/Open Road)
My Darling Detective, by Howard Norman (Houghton Mifflin Harcourt)
Never Let You Go, by Chevy Stevens
(St. Martin’s Press)
One by One, by Sarah Cain (Crooked Lane)
Only the Truth, by Adam Croft (Thomas & Mercer)
The Outsider, by Anthony Franze (Minotaur)
The Painted Gun, by Bradley Spinelli (Akashic)
Parallel Lines, by Steven Savile (Titan)
The Place of Refuge, by Albert Tucher (Shotgun Honey/Down & Out)
Police at the Station and They Don’t Look Friendly, by Adrian McKinty (Seventh Street)
Quicksand, by Malin Persson Giolito (Other Press)
The Road to Ithaca, by Ben Pastor (Bitter Lemon Press)
Saratoga Payback, by Stephen Dobyns (Blue Rider Press)
Say Nothing, by Brad Parks (Dutton)
The Secrets You Keep, by Kate White (Harper)
A Shattered Circle, by Kevin Egan (Forge)
Shooting Creek and Other Stories, by Scott Loring Sanders
Down & Out)
Signature Wounds, by Kirk Russell (Thomas & Mercer)
Silent Approach, by Bobby Cole (Thomas & Mercer)
A Simple Favor, by Darcey Bell (Harper)
Skeleton God, by Eliot Pattison (Minotaur)
The Surgeon’s Case, by E.G. Rodford (Titan)
The Third Squad, by V. Sanjay Kumar (Akashic)
The Trophy Child, by Paula Daly (Grove Press)
A Twist of the Knife, by Becky Masterman (Minotaur)
Unquiet Spirits, by Bonnie MacBird (Collins Crime Club)
Vicious Circle, by C.J. Box (Putnam)
The Violated, by Bill Pronzini (Bloomsbury USA)
The Wages of Sin, by Kaite Welsh (Pegasus)
Wait for Dark, by Kay Hooper (Berkley)
The Weight of This World, by David Joy (Putnam)
The Whole Art of Detection: Lost Mysteries of Sherlock Holmes, by Lyndsay Faye (Mysterious Press)
The Widow’s House, by Carol Goodman (Morrow)
The Will to Kill, by Mickey Spillane and Max Allan Collins (Titan)
Wrath, by T.R. Ragan (Thomas & Mercer)

The Adventuress, by Arthur B. Reeve (Collins Crime Club)
Arrowood, by Mick Finlay (HQ)
Bay of Martyrs, by Tony Black and Matt Neal (Freight)
Blood Tide, by Claire McGowan (Headline)
Bryant & May: Wild Chamber, by Christopher Fowler (Doubleday)
Boundary, by Andree Michaud (No Exit Press)
Butterfly on the Storm, by Walter Lucius (Michael Joseph)
A Dangerous Crossing, by Rachel Rhys (Doubleday)
Dark Asylum, by E.S. Thomson (Constable)
The Darkness Within, by Alanna Knight (Allison & Busby)
Deadly Game, by Matt Johnson (Orenda)
Dead Reckoning, by Glenis Wilson (Severn House)
Death at Melrose Hall, by David Dickinson (Constable)
Death Scene, by Jane A. Adams
(Severn House)
Ed’s Dead, by Russel D. McLean (Saraband)
Eleventh Hour, by M.J. Trow
(Creme de la Crime)
The Escape, by C.L. Taylor (Avon)
Everything but the Truth, by Gillian McAllister (Penguin)
Falling Creatures, by Katherine Stansfield (Allison & Busby)
Family Matters, by Anthony Rolls (British Library)
Follow Me Down, by Sherri Smith (Titan)
Follow My Leader, by M.J. Arlidge (Michael Joseph)
The Fourth Victim, by Mari Jungstedt (Corgi)
The G-String Murders, by Gypsy Rose Lee (Saraband)
A Handful of Ashes, by Rob McCarthy (Mulholland)
The Hidden, by Sally Spencer (Severn House)
Hoffer, by Tim Glencross (John Murray)
Inspector French and the Box Office Murders, by Freeman Wills Crofts (Collins Crime Club)
Inspector French and Sir John Magill’s Last Journey, by Freeman Wills Crofts (Collins Crime Club)
The Killer, by Susan Wilkins (Macmillan)
The Last Act of Hattie Hoffman, by Mindy Mejia (Quercus)
The Legacy, by Yrsa Sigurdardóttir (Hodder & Stoughton)
Let the Dead Speak, by Jane Casey (HarperCollins)
The Long Drop, by Denise Mina (Harvill Secker)
Parallel Lines, by Steven Savile (Titan)
The Pictures, by Guy Bolton (Oneworld)
Quieter Than Killing, by Sarah Hilary (Headline)
Raw Wounds, by Matt Hilton (Severn House)
Sherlock Holmes: A Betrayal in Blood, by Mark A. Latham (Titan)
Sherlock Holmes in Context, by Sam Naidu (Palgrave Macmillan)*
The Silence Between Breaths, by Cath Staincliffe (Constable)
Six Stories, by Matt Wesolowski (Orenda)
Sometimes I Lie, by Alice Feeney (HQ)
Still Dark, by Alex Gray (Sphere)
The Surgeon’s Case, by E.G. Rodford (Titan)
Tattletale, by Sarah J. Naughton (Trapeze)
The Venetian Game, by Philip Gwynne Jones (Constable)
When It Grows Dark, by Jørn Lier Horst (Sandstone Press)
Where I Lost Her, by T. Greenwood (Atlantic)
The Witchfinder’s Sister, by Beth Underdown (Viking)

The Agent, by Mark Dawson (Thomas & Mercer)
Alice and the Assassin, by R.J. Koreto (Crooked Lane)
All By Myself, Alone, by Mary Higgins Clark (Simon & Schuster)
Antiques Frame, by Barbara Allan (Kensington)
Bad Seeds, by Jassy Mackenzie (Soho Crime)
Before I Go, by Leena Lehtolainen (AmazonCrossing)
The Burial Hour, by Jeffery Deaver (Grand Central)
Burntown, by Jennifer McMahon (Doubleday)
Chasing the Devil’s Tail, by David Fulmer (Crescent City Books)
A Clash of Spheres, by P.F. Chisholm (Poisoned Pen Press)
Cold Earth, by Ann Cleeves (Minotaur)
A Criminal Defense, by William L. Myers Jr. (Thomas & Mercer)
Cruel Is the Night, by Karo Hämäläinen (Soho Crime)
The Curse of La Fontaine, by M.L. Longworth (Penguin)
Dangerous Ends, by Alex Segura (Polis)
Dangerous to Know, by Renee Patrick (Forge)
Date With the Executioner, by Edward Marston (Allison and Busby)
The Day I Died, by Lori Rader-Day (Morrow)
Devil’s Breath, by G.M. Malliet (Minotaur)
The Devil’s Country, by Harry Hunsicker (Thomas & Mercer)
Earthly Remains, by Donna Leon
(Atlantic Monthly Press)
Every Body on Deck, by G. A. McKevett (Kensington)
Every Night I Dream of Hell, by Malcolm Mackay (Mulholland)
Executive Order, by Max Allan Collins
with Matthew V. Clemens (Thomas & Mercer)
Fallout, by Sara Paretsky (Morrow)
Fatal Music, by Peter Morfoot (Titan)
A Fever of the Blood, by Oscar de Muriel (Pegasus)
The Finishing School, by Joanna Goodman (Harper)
The Fix, by David Baldacci (Grand Central)
Flamingo Road, by Sasscer Hill (Minotaur)
The Girl Who Was Taken, by Charlie Donlea (Kensington)
Gone Without a Trace, by Mary Torjussen (Berkley)
The Good Assassin, by Paul Vidich (Atria/Emily Bestler)
The Good Byline, by Jill Orr (Prospect Park)
Gumshoe for Two, by Rob Leininger (Oceanview)
The Hunt, by Andrew Welsh-Huggins (Swallow Press)
I Found You, by Lisa Jewell (Atria)
The Last Chance Olive Ranch, by Susan Wittig Albert (Berkley)
LAst Resort, edited by by Matt Coyle, Mary Marks, and
Patricia Smiley
(Down & Out)
Long Black Veil, by Jennifer Finney Boylan (Crown)
The Lost Order, by Steve Berry (Minotaur)
Maigret’s Memoirs, by Georges Simenon (Penguin)
Marshall’s Law, by Ben Sanders (Minotaur)
Of Books and Bagpipes, by Paige Shelton (Minotaur)
One Perfect Lie, by Lisa Scottoline (St. Martin’s Press)
The Perfect Stranger, by Megan Miranda (Simon & Schuster)
Prussian Blue, by Philip Kerr (Marian Wood/Putnam)
Ragdoll, by Daniel Cole (Ecco)
The Red Hunter, by Lisa Unger (Touchstone)
The Revolution of the Moon, by Andrea Camilleri (Europa Editions)
The Ridge, by John Rector (Thomas & Mercer)
The Scientology Murders, by William Heffernan (Akashic)
The Secrets of Gaslight Lane, by M.R.C. Kasasian (Pegasus)
A Single Spy, by William Christie (Minotaur)
Song of the Lion, by Anne Hillerman (Harper)
A Twist in Time, by Julie McElwain (Pegasus)
The Two O’Clock Boy, by Mark Hill (Sphere)
Unreliable, by Lee Irby (Doubleday)
The Watcher, by Ross Armstrong (Mira)
Water Signs, by Janet Dawson (Perseverance Press)
A Welcome Murder, by Robin Yocum (Seventh Street)
What Doesn’t Kill You, by Ed James (Thomas & Mercer)
What the Dead Leave Behind, by Rosemary Simpson (Kensington)
Where the Dead Lie, by C.S. Harris (Berkley)

The Age of Olympus, by Gavin Scott (Titan)
American Noir, by Barry Forshaw (Pocket Essentials)*
The Awkward Squad, by Sophie Hénaff (MacLehose Press)
Beyond Absolution, by Cora Harrison (Severn House)
Bright Shiny Things, by Barbara Nadel (Allison & Busby)
The Choice, by Samantha King (Piatkus)
The Contract, by J.M. Gulvin (Faber and Faber)
A Dark So Deadly, by Stuart MacBride (HarperCollins)
Dead Woman Walking, by Sharon Bolton (Bantam Press)
A Deadly Betrothal, by Fiona Buckley (Creme de la Crime)
Death Message, by Kate London (Corvus)
Die Last, by Tony Parsons (Century)
The Dog Walker, by Lesley Thomson
(Head of Zeus)
Domina, by L.S. Hilton (Zaffre)
Don’t Let Go, by Michel Bussi (Weidenfeld & Nicolson)
Don’t Look for Me, by Mason Cross (Orion)
Faithless, by Kjell Ola Dahl (Orenda)
The Fourteenth Letter, by Claire Evans (Sphere)
A Game of Ghosts, by John Connolly (Hodder & Stoughton)
Game Over, by Quintin Jardine (Headline)
Good News, Bad News, by W.H. S. McIntyre (Sandstone Press)
He Said/She Said, by Erin Kelly (Hodder & Stoughton)
Hope to Die, by David Jackson (Zaffre)
In Deep Water, by Sam Blake (Zaffre)
The Keeper, by Alastair Gunn (Penguin)
Mary Russell’s War, by Laurie R. King (Allison & Busby)
A Mask of Shadows, by Oscar de Muriel (Penguin)
Miraculous Mysteries, edited by Martin Edwards (British Library)
Night Market, by Daniel Pembrey (No Exit Press)
The Owl Always Hunts at Night, by Samuel Bjork (Doubleday)
Parting Shot, by Linwood Barclay (Orion)
Penance, by Kanae Minato (Mulholland)
The People at Number 9, by Felicity Everett (HQ)
Reservoir 13, by Jon McGregor (Fourth Estate)
The Restless Dead, by Simon Beckett (Bantam Press)
Sister Sister, by Sue Fortin (HarperImpulse)
The Sixth Window, by Rachel Abbott (Black Dot)
The Special Girls, by Isabelle Grey (Quercus)
A Traitor in the Family, by Nicholas Searle (Viking)
Treacherous Strand, by Andrea Carter (Constable)
The Trophy Taker, by Sarah Flint (Aria)
Want You Gone, by Chris Brookmyre (Little, Brown)
What Alice Knew, by T.A. Cotterell (Black Swan)\
What Goes Around, by Julie Corbin (Mulholland)
You Can Run, by Steve Mosby (Orion)

MAY (U.S.):
Aunt Dimity and the Widow’s Curse, by Nancy Atherton (Viking)
Back to Brooklyn, by Lawrence Kelter (Down & Out)
Beach Lawyer, by Avery Duff (Thomas & Mercer)
Becoming Bonnie, by Jenni L. Walsh (Forge)
Beneath a Scarlet Sky, by Mark Sullivan (Lake Union)
Black Mad Wheel, by Josh Malerman (Ecco)
The Boy in the Earth, by Fuminori Nakamura (Soho Crime)
Broken River, by J. Robert Lennon (Graywolf Press)
City of Angels, by Kristi Belcamino (Polis)
The Chalk Pit, by Elly Griffiths (Houghton Mifflin Harcourt)
The Coroner’s Daughter, by Andrew Hughes (Pegasus)
Count All Her Bones, by April Henry (Henry Holt)
Crime Song, by David Swinson (Mulholland)
Crossed Bones, by S.W. Lauden (Down & Out)
Dead Girls Dancing, by Graham Masterton (Head of Zeus)
Death Comes to Lynchester Close, by David Dickinson (Constable & Robinson)
Death in the Abstract, by Emily Barnes (Crooked Lane)
Dragon Teeth, by Michael Crichton (Harper)
The Dying Detective, by Leif G.W. Persson (Pantheon)
Edited Out, by E.J. Copperman
(Crooked Lane)
The Ends of the Earth, by Robert Goddard (Mysterious Press)
Enemy of the Good, by Matthew Palmer (Putnam)
Exit Strategy, by Steve Hamilton (Putnam)
The Fact of a Body: A Murder and a Memoir, by Alexandria Marzano-Lesnevich (Flatiron)
Full Wolf Moon, by Lincoln Child (Doubleday)
The Girl Who Knew Too Much, by Amanda Quick (Berkley)
G-Man, by Stephen Hunter (Blue Rider Press)
The Graves, by Pamela Wechsler (Minotaur)
Guiltless, by Viveca Sten (AmazonCrossing)
Hong Kong Black, by Alex Ryan (Crooked Lane)
I Am Death, by Chris Carter (Atria/Emily Bestler)
I’ll Eat When I’m Dead, by Barbara Bourland (Grand Central)
Into the Water, by Paula Hawkins (Riverhead)
Justice Delayed, by Marti Green (Thomas & Mercer)
The Killing of Julia Wallace, by Jonathan Goodman (Kent State University Press)*
The Long Drop, by Denise Mina (Little, Brown)
Marathon, by Brian Freeman (Quercus)
Maigret at Picratts, by Georges Simenon (Penguin)
Murder Between the Lines, by Radha Vatsal (Sourcebooks Landmark)
Murder in the Bowery, by Victoria Thompson (Berkley)
Murderous Mayhem at Honeychurch Hall, by Hannah Dennison (Minotaur)
My Sister and Other Liars, by Ruth Dugdall (Thomas & Mercer)
A Negro and an Ofay, by Danny Gardner (Down & Out)
The Only Child, by Andrew Pyper (Simon & Schuster)
Perish the Day, by John Farrow (Minotaur)
The Preacher: Aces & Eights, by Ted Thackrey Jr. (Brash)
Proving Ground, by Peter Blauner (Minotaur)
Rampage, by Justin Scott (Pegasus)
Random Road, by Thomas Kies (Poisoned Pen Press)
Resurrection Mall, by Dana King (Down & Out Books)
A Rising Man, by Abir Mukherjee (Pegasus)
Robert B. Parker’s Little White Lies, by Ace Atkins (Putnam)
The Scholl Case: The Deadly End of a Marriage, by Anja
Reich-Osang (Text)*
The Second Day of the Renaissance, by Timothy Williams
(Soho Crime)
Shadow Man, by Alan Drew (Random House)
Sidney Chambers and the Persistence of Love, by James Runcie (Bloomsbury USA)
Silent Rain, by Karin Salvalaggio (Minotaur)
Since We Fell, by Dennis Lehane (Ecco)
The Sixth Victim, by Tessa Harris (Kensington)
The Soak, by Patrick McLean (Brash)
Some Rise by Sin, by Philip Caputo (Henry Holt)
Sticks and Bones, by Carolyn Haines (Minotaur)
The Stranger Inside, by Jennifer Jaynes (Thomas & Mercer)
Testimony, by Scott Turow (Grand Central)
The Thirst, by Jo Nesbø (Knopf)
Too Lucky to Live, by Annie Hogsett (Poisoned Pen Press)
A Twisted Vengeance, by Candace Robb (Pegasus)
Two Lost Boys, by L.F. Robertson (Titan)
Ultimatum, by Anders de la Motte (Atria/Emily Bestler)
The Vinyl Detective: The Run-Out Groove, by Andrew Cartmel (Titan)
What My Body Remembers, by Agnete Friis (Soho Crime)
What She Saw, by Gerard Stembridge (Harper)
Where Dead Men Meet, by Mark Mills (Blackstone)
The White Road, by Sarah Lotz (Mulholland)
You Will Pay, by Lisa Jackson (Kensington)
Your Killin’ Heart, by Peggy O’Neal Peden (Minotaur)

Bad Blood, by Brian McGilloway (Corsair)
The Bowness Bequest, by Rebecca Tope (Allison & Busby)
The City of Lies, by Michael Russell (Constable)
Day of the Dead, by Mark Roberts
(Head of Zeus)
The Day She Disappeared, by Christobel Kent (Sphere)
Deadly Alibi, by Leigh Russell (No Exit Press)
Frost at Midnight, by James Henry (Bantam Press)
The Girlfriend, by Michelle Frances (Pan)
The Incredible Crime, by Lois Austen-Leigh (British Library)
Kings of America, by R.J. Ellory (Orion)
The Liar, by Steve Cavanagh (Orion)
Love Me Not, by M. J. Arlidge (Michael Joseph)
Need You Dead, by Peter James (Macmillan)
The Night Visitor, by Lucy Atkins (Quercus)
The Quiet Man, by James Carol (Faber and Faber)
Rhyming Rings, by David Gemmell (Gollancz)
Scared to Death, by Kate Medina (HarperCollins)
The Shadow District, by Arnaldur Indridason (Harvill Secker)
Shot in Southwold, by Suzette A. Hill (Allison & Busby)
The Silent Death, by Volker Kutscher (Sandstone Press)
The Strange Disappearance of a Bollywood Star, by Vaseem Khan (Mulholland)
A Talent for Murder, by Andrew Wilson (Simon & Schuster)
The White Road, by Sarah Lotz (Hodder & Stoughton)
You Don’t Know Me, by Imran Mahmood (Michael Joseph)