Review by New York Times Review
WELCOME TO DEVIL'S POCKET, "a small neighborhood of 70 or so families pleated into the eastern bank of the river, a crimp of peeling clapboard rowhouses, asphalt playgrounds, small corner stores and brown brick buildings as old as the city of Philadelphia itself." Richard Montanari's elegiac tone takes the curse off shutter man (Mulholland/Little, Brown, $26), a blood-drenched thriller about a group of imperfectly domesticated boys who came from the same blighted neighborhood and grew up to become criminals and killers - and cops. Back in the day, a beloved local child was murdered, "and the world would never be the same" in Devil's Pocket. Less than a week later, Desmond Farren, the pitiable oldest son in the notoriously vicious Farren clan, was found dead, "shot once in the back of the head." Jump now to the present day and find out how those long-ago crimes still haunt the grown men whose lives were shaped by them. And pay special mind to Detective Kevin Byrne, the ethically conflicted hero of Montanari's gripping police procedurals. As one of those wild boys from the old neighborhood, Byrne would seem to have an advantage after new evidence turns up in Desmond's still unsolved murder. But when he's presented with this evidence, his impulse is to run for the hills. Meanwhile, Byrne is the lead detective on a confounding case of grotesque and seemingly random killings. From the outset, the reader knows these atrocities are actually being committed by "Billy the Wolf," one of Desmond's brothers, who has a neurological disorder that makes him unable to recognize faces. (He uses photographs to identify his targets.) While Billy sounds like a monster, he's also to be pitied. In fact, there's a lot of flawed humanity in Devil's Pocket, from that sourpuss Old Man Flagg, who owns the variety store where kids shoplift, to Angelica Leary, an exhausted, fastidious home-care nurse who "would buy breath mints before she'd buy food." Living side by side, they create a place you might call home. Or hell. WHAT'S THIS? A female cop who doesn't look like a runway model and doesn't go mano a mano with psychotic killers? Trudy Nan Boyce may be a first-time author, but she was in law enforcement for more than 30 years, which should explain why the stationhouse personnel and forensic details in OUT OF THE BLUES (Putnam, $27) feel so authentic. Her rookie homicide detective, Sarah Alt, who goes by the name of S. Alt, or Salt, is tasked with proving that Tall John, a notorious Atlanta drug dealer, sold a young bluesman named Michael Anderson the hot shot of heroin that killed him. Atlanta being a great music town, and Salt being a blues and roots fan, the narrative finds its voice when the musicians who played with Anderson in Bailey (Boss of the Blues) Brown's Old Smoke Band come to town. Like a true fan, Boyce takes us into clubs and bootleg juke joints like Sam's Chicken Shack and Blue Room and lets the music speak for itself. That high slumps when the band leaves town, but Boyce's downto-earth characters are still good company. Sadly, one of the best of them was the murdered musician, who revered the old Atlanta bluesmen and "loved, loved, loved the music." CHARLES TODD'S post-World War I mystery, no shred of evidence (Morrow/HarperCollins, $25.99), is very much about assigning blame. Who's responsible when a banker's son is severely injured in what appears to be a boating accident? A farmer who had a hand in the rescue operation accuses the four well-born young ladies in a boating party of deliberately trying to drown him. When Inspector Ian Rutledge of Scotland Yard comes down to Cornwall to investigate the charge, he finds no obvious villain - and no obvious reason for the townspeople's sense of injustice when it comes to their own personal grievances. "The war" is Rutledge's first thought when the miscreant is finally revealed. "Blame the war if you must." That makes sad sense when you consider the state of the village after its young men failed to return from France, or came back so ruined in mind and body they were unable to marry their sweethearts, tend to their farms or carry on the family business. It's that melancholy tone, the legacy of the trenches, that gives Todd's polite rural mystery such uncommon depth. AMERICANS WERE FAR from welcome in Iceland in 1979, when a young Inspector Erlendur Sveinsson was still getting the hang of homicide work. Arnaldur Indridason's introspective detective testifies to that in into OBLIVION (Thomas Dunne/Minotaur, $25.99), when he tells a colleague he disapproves of the giant military installation maintained by the United States Navy. "It doesn't belong here" is his concise verdict. But an investigation into the murder of a civilian flight mechanic takes him inside this unfriendly military zone, where as many as 6,000 Americans engaged in "hardship" duty live with their families in isolation from the rest of the country. "Isolation" proves a relative term, however, once Erlendur uncovers certain clandestine relationships, from love affairs to drug smuggling, linking servicemen and civilians. Although Indridason's descriptive scenes of Iceland's forbidding landscape are daunting, the big chill comes from the bad feelings between people who don't know one another, and don't want to.
Copyright (c) The New York Times Company [February 21, 2016]
Review by Booklist Review
Four young women stand accused of attempted murder. Scotland Yard inspector Ian Rutledge is assigned the case, and he soon discovers that one of the accused is the cousin of his former fiancée. He also discovers that most of the townspeople seem quite emphatic that they want the four girls behind bars, the total lack of evidence against them notwithstanding. What's going on in the town of Cornwall? Rutledge is forced to solve an older, much darker mystery if he's to clear the names of the accused. The Rutledge novels are always smartly written, with good historical atmosphere and intricate stories. Rutledge himself is set apart from other Scotland Yard types by an unwelcome costar: Hamish Macleod, a soldier whom Rutledge executed on a WWI battlefield for dereliction of duty but whose voice now manifests itself inside Rutledge's head. This element isn't played for fantasy but, rather, as a way of exploring Rutledge's postwar internal demons, what we would now call his post-traumatic stress. Mixing detection and psychological complexity, this is another fine entry in a long-running series.--Pitt, David Copyright 2016 Booklist
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
Were four young women trying to rescue a drowning man on a Cornish river in 1920-or to kill him? That's the intriguing puzzle bestseller Todd (the mother-son writing team of Caroline and Charles Todd) sets for Rutledge in the inspector's solid 18th outing (following 2015's A Fine Summer's Day). According to the women-one of whom, Kate Gordon, was almost Rutledge's relative by marriage-they spotted Harry Saunders in a sinking boat and tried to get him to safety. But they weren't up to the task, and Saunders would have drowned but for the intervention of a farmer, Bradford Trevose, who insists to the police that he saw the women trying to murder Saunders. Evidence of a blow to Saunders's head, which left him unconscious, supports Trevose's version of events. As Rutledge strives to reconcile the conflicting testimonies, he must also resolve some clear-cut crimes of violence. Atmospheric scenes of suspense, set in the lonely Cornish countryside, are a plus. Agent: Jane Chelius, Jane Chelius Literary Agency. (Feb.) © Copyright PWxyz, LLC. All rights reserved.
(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review
It's 1920, and Insp. Ian Rutledge (last seen in A Fine Summer's Day) has been sent to the Cornish countryside to investigate a case of attempted murder. Four gently bred young women insist they were trying to save Harry Saunders from drowning, not kill him. However, Harry's in no condition to tell what really happened, and the one witness says otherwise. Cornwall is definitely not Rutledge's favorite place, and he is painfully reminded of his past here. Nevertheless, he is determined to do his duty, especially since he has a personal connection to one of the accused women. VERDICT As always, Todd skillfully explores human emotion and motivations and is a master at creating an evocative setting. Not the strongest entry in the series but still enjoyable for fans of historical mysteries. [See Prepub Alert, 8/10/15.]-Laurel Bliss, San Diego State Univ. Lib. © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
A pleasure expedition in Cornwall turns deadly in Inspector Rutledge's 18th case. In the Cornish town of Padstow, Victoria Grenville is entertaining her neighbor Elaine St. Ives and two visitors from London for an autumn weekend. A row on the River Camel seems like a lark until they see Victoria's would-be suitor, Harry Saunders, in trouble in his own boat. What appears to be a well-intentioned rescue attempt, with the four women helped by young farmer Bradford Trevose, goes awry when Harry is hit with the oar, and Trevose accuses the young women of attempted murder. When the first detective on the case dies of heart failure, Grenville, the local magistrate, calls in Scotland Yard, which sends Inspector Ian Rutledge. Rutledge is shocked to learn that one of the accused houseguests is Kate Gordon, his ex-fiancee's cousin. Much as he admires Kate for her sense and courage under pressure, Rutledge has to be impartial, especially with Harry lying in a coma and his parents clamoring for justice. The only motives Rutledge can imagine are class resentment on Harry's side and bitterness about the victim's easy berth during World War I from the Grenville and St. Ives families, who suffered terrible losses. Even Rutledge's invisible familiarthe voice of a fallen wartime comradeis mostly silent. Then Mrs. Grenville tells Rutledge about a past tragedy that could explain why Trevose blames the young women for Harry's coma and ultimately his death. Without real evidence or the missing notes from the first detective, Rutledge's investigation is as nebulous as the rumors of a local spirit. Then a second assault takes Rutledge in a new direction and into serious danger. The haunted detective is as thorough as usual, though he's dealing with faster-moving events than in some of his previous adventures (A Fine Summer's Day, 2015, etc.). There's no peace for the man and only a teaser of romantic feelings he scarcely admits. Copyright Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
