My latest column for the Los Angeles Review of Books was published last week. The article was called, "The Criminal Kind: Voyeuristic Pleasures." Here are the books I reviewed:
Kings of Midnight by Wallace Stroby
"At their best, crime novels provide more than the voyeuristic pleasure of looking in on a lifestyle that us law-abiding citizens will never know first-hand: they offer a refractive glance back on our own world. In her own way, Crissa Stone is a modern-day hero for an America still recovering from the economic collapse. There’s an honesty and integrity to her work ethic that separates her from the fold."
And She Was by Alison Gaylin
"A moody, densely layered mystery whose emotional notes are as affecting as the plot points are enthralling. Gaylin excels at getting us into her protagonist’s complex (and crowded) mind."
Edge of Dark Water by Joe R. Lansdale
"Imagine the literary love child of Carson McCullers and William Faulkner, but way more twisted, with a penchant for dismemberment, and a hell of a lot funnier. That’s Joe R. Lansdale’s Edge of Dark Water in a nutshell."
The Next One to Fall by Hilary Davidson
"Don’t let the exotic Peruvian backdrop fool you: this is in no way a picturesque walk in the park — or through the Incan ruins, as the case may be. From its doom-laden opening line (“Standing at the edge of the mountain, I imagined what it would feel like to let go”) to its unexpectedly savage finale, The Next One to Fall is driven by the noir impulse towards oblivion."
Dead Harvest by Chris F. Holm
"Dead Harvest is a wild and unpredictable ride that only gets more bold as the narrative unfurls, and now that the foundation for the series is set, I’m excited to see what hurdles Holm has set for Thornton in the sequel, The Wrong Goodbye, already slated for October 2012."
Blood on the Mink by Robert Silverberg
"What saves the book from becoming an orgy of excess, however, is Silverberg’s stylistic restraint, and his attention to detail and craft. Blood on the Mink is by no means as extreme as something by Mickey Spillane. Silverberg’s style, at least here, is more reminiscent of the cool precision of a Peter Rabe. When it comes to action, there’s a remarkable balance of clarity and brute force to his choreography"
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