Pile by the Bed reviews The Devil Aspect – the new stand alone gothic serial killer thriller by Craig Russell

Pile by the Bed reviews To Kill the Truth, the latest thriller from Sam Bourne.

Pile by the Bed reviews The Woman in Darkness, the latest thriller by Charlie Donlea.

Pile by the Bed reviews Hunter by Jack Heath, Timothy Blake #2 -“another compulsive page turner”

Pile by the Bed reviews Out of the Dark by Gregg Hurwitz, the fourth Orphan X thriller.

Pile by the Bed reviews The Flower Girls by Alice Clark-Platts

Pile by the Bed reviews Twisted, the new stand alone thriller by Steve Cavanagh

Pile by the Bed reviews Flight Risk by Michael McGuire

Pile by the Bed reviews Someone Like Me by M R Carey

The Anomaly is an old school adventure story, if your school is action movies of the 1980s and 1990s. A cross between Indiana Jones, the works of Dan Brown and the X-Files, The Anomaly follows a group of documentary makers in search of the unknown who, never thinking they will actually find it, stumble on an ancient mystery. What follows is a thriller that ticks all of the haunted house boxes. Nolan Moore is a washed up screenwriter who is scraping by making a web-based TV series called The Anomaly Files. In the show he pursues hidden secrets, myths and conspiracies. He never actually finds any but he tells a good story. In this case he is planning to tell the story of a mysterious cave found in the depths of the Grand Canyon by some explorers in the 19th Century. Bankrolled by a new sponsor, Nolan sets off with his crew and a journalist, to see if he can locate the cave. But when he actually manages to find it and is trapped inside with his crew, an ancient mechanism is triggered and all hell breaks loose. Michael Rutger (pen name of British novelist Michael Marshall Smith) is, according…

Thriller writer Andrew Gross dips into his own family history for inspiration for his latest book The Last Brother. While there is plenty of action and a little suspense this is down the line historical fiction exploring the growth of the rag trade in New York in the early twentieth century and the organised crime that grew up around it. The Last Brother opens with a tragedy. One child of a Jewish immigrant family of six children dies in an accident putting Harry, the twin of the boy who died, on a different course to his siblings. Sol, the oldest son goes on to study accounting while the youngest brother Morris at thirteen goes to work for a coat maker and his wife. The narrative proper starts years later when Morris and Sol are running a successful business and Harry is running with some petty criminals. Morris and Sol are under pressure from the unions who are backed by the local mob and when one of his fellow coat makers is attacked and his stock destroyed Morris takes it on himself to see the mob boss Buchalter. It turns out that Morris and Buchalter have a long history, which Gross…

In her first “literary fiction” novel, Australian author Tiffany Tsao angles for the most shocking and engaging opening line this year: When your sister murders three hundred people, you can’t help but wonder why – especially if you were one of the intended victims. Told from her comatose state after barely surviving the poisoning, Gwendolyn delves into the past to try and unravel why her sister Estella would commit such a heinous act. And so begins an exploration of the lives of the super wealthy Chinese in modern day Indonesia, a society in which the two were deeply embedded. Under Your Wings is a generational family saga told from the perspective of the extremely privileged third generation. While there may have been some hard work and grind for their grandparents, Gwendolyn and Estella and their peers live the high life while being expected to keep the family businesses going. So that when Gwendolyn wants to start her own business she is bankrolled by the family and when Estella is looking for work she is put in charge of one of the family subsidiaries. A marriage between Estella and Leonard is seen a dynastic union of two powerful families but for…

The Boy at the Keyhole screams gothic from its opening pages. A nine year old boy is being both nursed and chastised by the housekeeper in the kitchen of a rambling English house in Cornwall. The year is 1961 and Samuel Wade, whose father has died, is being cared for by the housekeeper Ruth while his mother is in America trying to rescue the family fortune. The house itself is full of secrets and is fertile ground for Samuel’s imagination to run wild particularly when his best friend Joseph suggests that perhaps his mother is not actually away but has been killed by Ruth. Australian author Stephen Giles has previously written books for children (the equally gothic Ivy Pocket series written under the pseudonym Caleb Krisp). The Boy at the Keyhole is his first book for adults but very much locates itself in a child’s point of view. While this is not a first person narrative, everything the reader knows or sees is from Samuel’s perspective. And this is important as it makes it possible to see how he misinterprets everything around him to fit within his point of view. Samuel’s is a point of view that is clearly influenced…

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…

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,…

In 2010, Irish author Julian Gough created a stir when he called out the Irish writing establishment for not writing about anything contemporary. In 2018 he apologised to the likes of Colm Tóibín and John Banville. As he said in a recent interview with the Irish Times:  ‘… like a big eejit I projected that on to other people and said, why aren’t they writing the novel I want to see. Of course, I have to write the book I want to see.’ And now he has. Connect is a big-ideas technothriller with a strong central relationship, but also with roots in cyberpunk, biopunk and Terminator-style crazy artificial-intelligence science fiction. Connect opens in the not too distant future. Naomi Chiang and her 18-year-old son, Colt, live on the fringes of Las Vegas. Nancy is a bioresearcher with some startling ideas about cellular regrowth. Although never directly stated, Colt is somewhere on the autism/Asperger’s spectrum and spends most of his life in a virtual reality that he and other gamers have collaboratively built. This is not a dystopia but a slightly more connected future with intelligent appliances, self-driving cars and more immersive virtual technology. A believable and achievable day after tomorrow:…

Anthony Horowitz, famous for a bunch of properties including Midsomer Murders and Folye’s War as well as the YA Alex Rider series, has already dipped his toe into the James Bond world. In 2015, with the blessing of the Ian Fleming estate, he released Trigger Mortis, a Fleming-style, era-specific, Bond set after the events in Goldfinger. Trigger Mortis was fun and clearly won the approval of the Fleming estate as they commissioned Horowitz again, this time looking a little earlier in Bond’s career. Forever and a Day is the story of James Bond Pre-Casino Royale. It is, in effect, a James Bond origin story. In the age of prequels, it is perhaps unsurprising that Horowitz has taken this route. But the question has to be asked whether fans really need to know why Bond takes his martini shaken not stirred. But the challenges of prequel writing are not the biggest issue for Horowitz. The hard part for a book of this kind is navigating Fleming’s 1960s views while still delivering something that does not feel hopelessly dated. Once the preliminaries are dispensed with this is a typical Bond thriller. All of the elements are in place – wealthy setting in…

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….