A whodunit that delivers an excellent gallery of characters and captivating historical tidbits.
In this third installment of a crime novel series, dioramas featuring miniature homicide scenes—which serve as teaching tools for cops—may be inspiring real murders.
Adam and Eve Castle—he’s an architect and she’s a psychologist—run Castle Training in Denver. He builds dioramas that resemble cutaway dollhouses where some little mannequins have met with bad ends. She writes the scripts: Were these really cases of murder or just unfortunate accidents? The cops have to put the visual clues together. But to everyone’s growing horror, genuine murders are occurring that seem to be inspired by these settings, including a man bludgeoned in his high-rise hot tub just as the Castles portrayed it in miniature. At the same time, Lily Sparks—an art conservator, former attorney, and the hero of this series—is trying to stabilize a Thomas Cole painting of a manor. Lily discovers, with the aid of a scruffy genius named Raf Feldman, that the work is not a genuine Cole after all. And Lily and her lover, Paul Reilly, are desultorily house hunting. (Is there a theme here?) At any rate, as in Kane’s other volumes, Lily, her insights doubted if not ridiculed, tries to expose the murderer. But this places her in danger of being killed herself. The author knows how to keep things moving swiftly, and readers get a good picture of hip society in Denver. And she always gives readers a little something extra. The Castle Training bit, for example, is based on real history. Frances Glessner Lee (1878-1962) devoted her life to making miniature dioramas and for exactly the forensic purposes readers see in the story. She became known as the “mother of forensic science.” As for the Cole, the audience learns why the depiction of houses would be anathema to the founder of the Hudson River School. That said, readers will occasionally find it hard to follow the subtleties of Lily’s deductive breakthroughs. Sometimes, the audience will just have to take it on faith that she is on the right track.
A whodunit that delivers an excellent gallery of characters and captivating historical tidbits.Pub Date: Oct. 15, 2021
ISBN: N/A
Page Count: -
Publisher: COLD HARD PRESS
Review Posted Online: Aug. 25, 2021
Kirkus Reviews Issue: Oct. 1, 2021
Review Program: Kirkus Indie
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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