Ambrose Parry is the pen name of multi-award winning Scottish crime writer Chris Brookmyre and his wife Marisa Haetzman. It was Haetzman’s research into medical practice in Edinburgh in the 1850s that put the two down the track of collaborating on a novel set in the period. Being a crime novel, The Way of All Flesh opens with a death – a prostitute named Evie, found by one of her regular clients, but also friend, Will Raven. Raven runs from the scene, straight into the arms of the debt collectors looking for repayment of the money he had borrowed to help Evie out. Raven is hoping that his new apprenticeship with famous “male midewife” (aka obstetrician) James Simpson, will help him earn the money that he needs. In Simpson’s house, which also serves as his clinic, is housemaid Sarah who has the capacity to be more and yearns for something better. It takes some time for the murder mystery to come into focus. Some news about other deaths slowly builds in both Raven and Sarah a suspicion that something strange is afoot. They form a loose partnership as they tentatively investigate. Both characters are engaging and distinctive enough to avoid…

Restoration is the third in what Angela Slatter describes as “the first Verity Fassbinder trilogy”. For fans of this series this means that, firstly, some hanging plot elements are likely to be resolved. But secondly, that there are likely to be more Verity Fassbinder books after this one. And that can only be a good thing. This noir-infused, wryly observational urban fantasy series about an investigator/enforcer for the Weyrd community of Brisbane has been a bright spot on the fantasy scene for the last few years. Restoration opens with Verity at a low point. At the end of Corpselight she made a deal with the self-styled ‘Guardian of the Underworld’ for the return of her mother. She had to give up her family and her position and work with Joyce, a kitsune (were-fox) assassin who has an axe to grind, to find a “grail and a tyrant”. But Joyce is only one of a long line of people who are seeking revenge on Verity. At the same time, the police still call on Verity to help them solve a string of strange deaths and there is a coup in the offing in the Weyrd society of Brisbane. While it takes…

The rise of the popularity of true crime podcasts and tv shows has not gone unnoticed in the fictional world. The fact that journalists or entertainers are reviewing settled court decisions and, through their interpretation of the evidence, putting pressure on lawmakers to reconsider these cases is a situation ripe for drama. This year already we have had Charlie Donlea’s Don’t Believe It and now we have Benjamin Stevenson’s debut Greenlight. In both cases, a documentary maker exploring a cold case becomes a little too close to their subject. Greenlight opens with an intriguing cold open, cheekily headed “Cold Open” (in fact the chapter structure and names are taken from the fictional series, including a final, twisty “Mid-Credits Sequence”). A woman called Eliza has been held in a cellar of some kind for an indeterminate length of time when something strange starts to happen and walls of her cell appear to start bleeding. Cut to the present where producer Jack Quick is wrapping up the last episode of his TV series which casts doubt on the conviction of Curtis Wade, accused of murdering Eliza whose body was found on his vineyard. When Curtis is released and his defence laywer dies…

Flynn Berry burst on the crime thriller scene with her page-turning debut Under the Harrow, a book with a female narrator who may have been a little unhinged but was not unreliable. And so to A Double Life which boasts a similar, reliable, if not particularly stable main character. Only Claire has reason to be as she is – a trauma early in her life which she and her brother are still trying, in their own ways and unsuccessfully, to outrun. A Double Life is loosely based on the very famous Lord Lucan affair, although transposed to a more modern frame. In 1974, Lord Lucan, killed his childrens’ nanny, Sandra Rivett, and then attacked his wife. His wife identified him as the assailant but he was never found. All that was found was his car, abandoned, covered in blood stains. On the way to that point he had stopped at a friend’s house. But he was defended by his friends and no one admitted to helping him. While an inquest and later the coroner brought down a finding that Lucan had killed Rivett, he was never found and has since been declared dead. In A Double Life, Berry uses these…

Move over Scandi-crime and possibly even Aussie-crime – the next wave of page-turning, gut wrenching, crime fiction might well be coming out of Korea. Although this is probably something the Koreans already knew given that Un Su Kim’s novel The Plotters, his first to be translated into English, was released in Korea in 2010. The Plotters is a pitch black look at a world of assassins and assassinations but it is much more than this, as Kim delves into the lives of not only the main character but those around them. Kim’s text has been skilfully translated by Sora Kim-Russell who has also translated the works of celebrated Korean author Hwang Sok-yong. When the book opens assassin Reseng is on a mountainside, watching his next victim through the scope on his rifle, deciding whether or not to pull the trigger. He doesn’t and ends up spending the night drinking with the old ex-general, hearing a long, shaggy story about a whale hunter. This opening sets the tone for the whole book, bleakly fatalistic leavened with moments of profound character revelations. Reseng, it turns out was abandoned as a baby and raised in an old library by an assassin runner called Old…

Rural seems to be the new black in Australian crime fiction. Far from the gritty Melbourne backstreets or white collar crime of Sydney. And rural crime is definitely getting some recognition. From books like Jane Harper’s multi-award winning The Dry and Garry Disher’s Bitterwash Road through to two of this year’s Ned Kelly Award Best First Crime shortlist nominees – Wimmera and The Dark Lake. Into the fray comes Chris Hammer’s first fiction outing Scrublands, much like The Dry, a book that announces itself by its title as reflecting a part of Australia that most Australians have never seen but would like to feel a connection to. And Hammer has the chops – a long time journalist, he has set his debut fiction outing during a lengthy drought in southeastern Australia, a milieu that he investigated in his non-fiction first book The River. Scrublands opens with a shocking crime. One Sunday morning, out of the blue, the local priest in the small Riverina town of Riversend opens up with a rifle and kills five of his parishioners before himself being killed by the local policeman. Rumours of child sexual abuse lead to the crime being written off by the world as “perverted…

It has been another great year for Australian crime debuts and Derval McTiernan’s The Rùin continues this run. Much like Adrian McKinty, McTiernan sets her first Cormac Reilly novel in the old country, aka Ireland. But her take, while still procedural, is more contemporary and less overtly political. The book opens twenty years before the main action. Reilly, a fresh faced rookie policeman, is driving down a dark country road looking for the source of a call about a domestic. He does not expect what he finds – Maud, a self-possessed fifteen year old girl, her five year old brother Jack and their single mother, dead of a heroin overdose. Reilly takes the children to a local hospital where Maud disappears and Jack goes into the care system. Twenty years later, now detective Reilly moves back to Galway from Dublin where, for his sins, he is put on cold cases. After the apparent suicide of now twenty-five year old Jack and the reappearance of his sister Maud, Reilly is handed their mother’s cold case to reinvestigate. The narrative follows not only Reilly but Aishling, Jack’s pregnant girlfriend. Aishling believes the original theory that Jack may have committed suicide but is…

Lynne Vincent McCarthy’s debut novel Lonely Girl is a thriller with a bit of a gender swap. Gone is the femjep woman kept in a basement. Instead, McCarthy turns the tables on this tired trope and in this psychological thriller puts the woman in charge. But like many books and plays of this type, the interest is not in the kidnapping itself but in the mind games that are played between the captive and captor.  But before she gets to that, with the exception of some short tantalising POV sections about a dangerous affair, McCarthy spends some time setting up Ana, her protagonist. And this groundwork is really important to give some credence to how the plot later plays out. Ana lives on her own in a small house in a secluded valley some distance from the Tasmanian capital of Hobart. Her only companion is River, a dog she has had since she was twelve. But she is now twenty-seven and River is dying and she has decided that when he dies she too will take her own life as no one will miss her.  One night she witnesses a couple having sex in a van outside a local bar. For readers, this gels with the hints of…

Steve Cavanagh’s Eddie Flynn legal thrillers have been one of the best thing to happen to the courtroom drama in a long time. Part of the reason is that Cavanagh is continually trying to work out how to top himself in terms of upping the tension on his protagonist. And when the first book, The Defence, started with Flynn being strapped into an explosive vest and having his daughter kidnapped, the bar has always been pretty high. The premise of the fourth Eddie Flynn novel is irresistible. Joshua Kane is a high functioning, socially disconnected serial killer who does not feel pain. And he has a plan. But while Kane’s story is very much part of the narrative, his connection to the high profile case that Flynn has been brought in on only emerges slowly. Flynn has been hired by high flying lawyer Rudy Carp to second chair on the defence of movie star Bobby Solomon, accused of murdering his wife and their security guard. Flynn, with his radar for guilt and innocence, believes that Bobby is innocent and takes the case. Before long Kane’s roll in this affair becomes clear as he is not only the actual killer but…

Michael Robotham admits in his Afterward that he never expected his Joe O’Loughlin series to go as long as it has. But the character continues to surprise and engage and in The Other Wife, Robotham gets to dig deep into O’Loughlin’s childhood and the experiences which shaped O’Loughlin as a character. Fresh off his stand alone thriller The Secrets She Keeps it is perhaps not a surprise that the latest O’Loughlin thriller could also be described as domestic noir, if categorization was your thing. It begins with O’Loughlin being told that his father is in hospital having fallen down the stairs of a London house. He is also told that his mother has given the hospital his number but when he arrives he finds not his mother but another woman who claims that she too has been married to Joe’s father for the past twenty years. From here the plot spins out into a range of family secrets and revelations which shake O’Loughlin’s image of his father and forces him to reconsider their relationship. At the same time he is dealing with the aftermath of his own wife’s death and the effect that has had not only on himself but…

Sarah Bailey follows up her successful debut The Dark Lake with another procedural focused around detective Gemma Woodstock. Into the Night is, in some ways, a more traditional procedural. Having moved Gemma from her home town of Smithson to the bright lights of Melbourne, Bailey does not need to rely on the personal backstory (and clear conflict of interest) that drove much of the action in her debut. Into the Night opens with a murder. A homeless man is found stabbed to death and detective Gemma Woodstock is first on the scene. Despite this, her commanding officer gives the case to another detective to run. Soon this murder is well and truly overshadowed by the murder of a movie star on set during filming. This death, also a stabbing, took place on camera but in a zombie crowd scene which makes it impossible to identify the assailant. This case is handed to Woodstock and her alpha male partner Fleet to run and before long they are confronted by a mass of suspects and red herrings while also running the media gauntlet. Gemma’s voice is once again the centre of Bailey’s narrative. In the move to Melbourne she has left her…

Megan Goldin follows up her domestic noir unreliable narrator debut The Girl in Keller’s Way with something completely different. The Escape Room does what a good thriller should do. It takes something new and faddish, in this case escape room games, and makes it sinister. At the same time, Goldin takes square aim at corporate greed-is-good culture. And with new studies showing it is environment as much as personality that makes financial workers corrupt, this is a very timely thriller. After a bloody cold open, Goldin winds the clock back 36 hours. Four corporate high fliers – team leader Vincent and his team – Sam, Jules and Sylvie – are invited to an escape room challenge. Despite reservations they go, because when the company calls, they respond. Only they quickly find out that this is no ordinary team building challenge. Stuck in an elevator (lift for those in the colonies) with no mobile reception and a series of increasingly obscure clues, the four start to turn on each other. The first clue refers to Sara Hall, neophyte financial analyst who joined their team many years before and is quickly socialised into the greed mentality of the firm. And Sara’s story,…

The Victorian Premier’s Unpublished Manuscript Award has been discovering some of Australia’s favourite authors. Some recent recipients include Jane Harper’s The Dry and Graeme Simsion’s The Rosie Project. So when Christian White’s manuscript titled Decay Theory picked up the award in 2017, publishers sat up and took notice. And for good reason. Now renamed the more catchy The Nowhere Child, White’s novel is an assured crime thriller with a well constructed mystery at its heart. The hook for The Nowhere Child comes early and hits hard and sustains any bumps in the narrative. In Melbourne, 30 year-old photography teacher Kim Leamy is approached by an American stranger. He tells her that she is actually Sammy Went, abducted as a two-year old from her home in the small town on Manson, Kentucky 28 years before. This mystery of how a two year old American girl ended up in suburban Melbourne in 1990, living a seemingly normal, well adjusted life, unravels slowly in chapters alternating between 1990 and the present day. Kim’s mother died four years before, taking her secrets with her and her stepfather, who had come on the scene after she was born, knows something but is not talking. Kim…

John Scalzi’s 2014 science fiction/crime mash up Lock-In posited a world in which survivors of a worldwide flu epidemic were struck with what is called Haden’s syndrome, in which they have fully functioning brains in bodies that do not otherwise function. To counter this disability, neural interfaces have been developed that allow Haden sufferers to interact with each other in a virtual space called the Agora and to get around using either android bodies, known colloquially as ‘threeps’ (think C3-PO), or through specially wired humans known as Intefacers.  In Head On, the protagonist of Lock-In, famous Haden and FBI agent Chris Shane and his partner Agent Vann are back. This time they are investigating the first death during a game of the Haden-centric sport of Hilketa. In Hilketa specially designed threeps compete on field to rip off and score with the head of a randomly selected member of the opposing team. Shane and Vann’s investigation into the death of player Duane Chapman blows out from the original crime to take in corruption, money laundering, murky corporate shenanigans and Haden rights. As with the previous book, much of the plot is driven by the US Government’s previous disability support for Hadens and its decision to stop that support.  Lock-In is worth catching up with in its own right, but despite the obvious connections Head On works fine as a standalone. Scalzi manages to bring his usual verve and humour to the plot, the characters and their interactions and has a deep understanding…

South Korean literature has been slowly finding its way in translation. The Good Son, is the first English translation of You-Jeong Jeong’s and sits very snuggly in the mainstream psychological thriller realm. It has everything readers are looking for in the genre – a twisty tale, an unreliable, then too reliable narrator and plenty of violence. The Good Son opens in a clichéd enough way. The protagonist, Yu-jin wakes in his bedroom covered in dried blood. He has gone off his medication a few days before and has only flashes of memory of the previous night, certainly not enough to explain his bloody state. When he finally leaves his room he finds his mother, dead in the kitchen downstairs. And just when the reader starts to get comfortable, with some idea where this is going, his memory returns and the narrative goes in a completely different (and much darker) direction. Yu-jin is not an easy character to spend time with. It is tempting to try and be compassionate but once his memory starts returning this becomes more and more difficult. At this point the twists, which are based within his behaviour and memories start to become a little more predictable….

Crime novelists have always found fertile ground in closed communities. Small towns or complexes where everybody knows everybody else, much of the tension coming from crimes (usually murder) that causes those relationships to fray. Adam Sternbergh takes this idea and plays with it, throwing in a further, science fictional premise, to up the stakes just a little further.  The town of Ceasura, known by its residents as “The Blinds” is a completely closed community. It is a fenced-in, self-contained compound built in the middle of Texas, at least one hundred miles from the nearest town. The Blinds is an experiment in what might be termed restorative justice. The residents of the town either committed unspeakable crimes or have given evidence and are on the run from some bad people. As part of the experiment they have agreed to have relevant memories wiped so they have no idea what crimes they committed or whether, indeed, they are a criminal or an innocent. The sheriff of the town, Calvin Cooper, has been hired to keep watch but even this is more of an honorary position, his star is a fake and he too is hiding from his life. Calvin is supported by two deputies, both of whom are also employed to work in The Blinds.  Murder comes into this…

Charlie Donlea turns his attention to true crime in his latest stand alone thriller Don’t Believe It. He takes the public’s fascination with podcasts and tv series that forensically investigate old crimes and often reveal problems with the prosecution and turns it into a page turning story of crime and possible redemption. Along the way the narrative asks readers to consider how much of these series are as much a construction of the facts to make a particular case as the original prosecution might have been.   In 2007 someone killed Julian Crist on the Caribbean holiday island of St Lucia. Julian had been there with his girlfriend as part of the wedding party for old friends Charlotte and Daniel. Suspicion immediately fell on his girlfriend Grace Sebold who was arrested, convicted and sent to prison on the basis of forensic evidence. Ten years later, Sidney Ryan has produced three series in which she cast serious doubt on the convictions of long term prisoners. She agrees to take up Grace’s case and pitches a “live” TV series to the network she is working with. The idea is that the series will be aired week to week and the audience will learn the information simultaneously with the production crew. After four episodes, as problems with the original evidence begin to pile up, the show becomes a monster hit. But Sidney…

How do you follow up a globally celebrated, multi-award winning debut like Jane Harper’s The Dry? Well, if you are Jane Harper you do it by trying not to do the same again. She follows her main character, Aaron Falk, from The Dry, but she puts him in the middle of a situation that could not be more different and in doing so draws on another Australian literary archetype – the lost bushwalker. Aaron Falk works for the financial crimes section of the Australian Federal Police. But he is drawn into the search for a lost bushwalker as she happens to be his prime informant in a money laundering case the police are building against an establishment family firm. The woman, Alice Russell, was on a corporate team building exercise with a group of other women from the firm including the sister of the CEO. The women get lost and Alice separates from them, seeking her own way out. But Harper makes clear right from the opening paragraph that Alice was not liked (or missed) by any of the other women. Harper intercuts Falk and his partner’s investigation with the story of what really happened on that ill-fated bushwalk. This…

Just in time for the release of the German-made Netflix series of the same name is the translation of the first of Volker Kutscher’s crime fiction series set in Berlin in late 1920s on which the series is loosely based.  Both series, are based around the exploits of homicide policeman Gereon Rath, who in this first volume has recently been moved to Berlin after an incident in his home town of Cologne. After a cold open involving torture and suicide, the story moves to Rath’s work with the Vice Squad. While he was homicide detective in Cologne, his move to Berlin has resulted in a bit of a demotion and he is keen to get himself back investigating murders. His break comes when it turns out that an unidentifiable body fished out of a canal is the same Russian who came to his door, looking for the man who used to live in his rooms. Rather than sharing this information with his colleagues, Rath decides to investigate himself, hoping to use this investigation to leverage himself into homicide. In the process he starts a relationship with Charlotte, the stenographer of one of lead homicide investigators, who is studying law at…

John Fairfax is a pen name of William Broderick, a crime novelist who won a Golden Dagger for his first novel The Sixth Lamentation, the first of his Father Anselm crime fiction series. Whether to differentiate that series from his new one or just because he could, Broderick has taken a pen name for his new series, the first of which was Summary Justice. That book started the story of William Benson, imprisoned for murder, now released and at the English bar, defending murderers in the Old Bailey. Blind Defence opens a couple of years after Summary Justice. Benson’s practice has not flourished since his first case. Even Tess de Vere, the solicitor who briefed him and, as a law student, encouraged him in prison to study law, has been pressured by her firm not to send him cases. But then comes a case where the accused asks for Benson by name and he has a chance to try and defend his second murder. Diane Heybridge was found hanging in her flat. All of the evidence points to her ex-boyfriend Brent Stainsby but Stainsby is maintaining his innocence. Neither Benson not Tess like Stainsby but they are committed to the…