A savvy lowbrow-highbrow thriller.



A Milanese pimp with a heart of gold is drawn ever-deeper into the city’s seedy underworld.

The third bluntly titled thriller by Faletti (I Kill, 2002; I Am God, 2009) is narrated by Bravo, who lets the reader know a few important things up front. First, his penis was cut off years ago after falling afoul of the wrong people; he’s a tough but compassionate boss to the women who serve his high-priced clients; and he works hard to keep the more sordid aspects of Milan’s druggy, violent underbelly at arm’s length. The novel's plot turns on him bungling that last part badly: Not long after taking a new prostitute under his wing, he discovers that he’s been framed as part of a complicated scheme that’s left some of Italy’s prominent movers and shakers dead. Though the novel is set in 1978—the kidnapping of politician Aldo Moro plays a small role in the plot—its spirit and tone are closer to that of the ’30s and ’40s noirs of Cain, Hammett, Chandler and Goodis. Bravo is a black-humored, streetwise narrator with an appealingly flinty demeanor even when he’s in over his head, and he has an excellent femme fatale in Carla, an initially pliable woman who turns out to be much more manipulative than he expected. Faletti is particularly adept at showing how the scales slowly fall from Bravo’s eyes: First his moral certainty about his profession erodes, then his sense of personal security, then his faith in his country’s social structure. The nobody-can-be-trusted plot is familiar, and some closing revelations about Bravo’s past feel shoehorned in, but the book thrives on its fast pace—translator Antony Shugaar has taken care to keep the style pulpy yet elevated, in keeping with a hero who’s seen society at its worst but somehow finds time to enjoy the occasional word puzzle.

A savvy lowbrow-highbrow thriller.

Pub Date: July 17, 2012

ISBN: 978-0-374-23140-8

Page Count: 336

Publisher: Farrar, Straus and Giroux

Review Posted Online: July 22, 2012

Kirkus Reviews Issue: Aug. 1, 2012

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Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.


Another sweltering month in Charlotte, another boatload of mysteries past and present for overworked, overstressed forensic anthropologist Temperance Brennan.

A week after the night she chases but fails to catch a mysterious trespasser outside her town house, some unknown party texts Tempe four images of a corpse that looks as if it’s been chewed by wild hogs, because it has been. Showboat Medical Examiner Margot Heavner makes it clear that, breaking with her department’s earlier practice (The Bone Collection, 2016, etc.), she has no intention of calling in Tempe as a consultant and promptly identifies the faceless body herself as that of a young Asian man. Nettled by several errors in Heavner’s analysis, and even more by her willingness to share the gory details at a press conference, Tempe launches her own investigation, which is not so much off the books as against the books. Heavner isn’t exactly mollified when Tempe, aided by retired police detective Skinny Slidell and a host of experts, puts a name to the dead man. But the hints of other crimes Tempe’s identification uncovers, particularly crimes against children, spur her on to redouble her efforts despite the new M.E.’s splenetic outbursts. Before he died, it seems, Felix Vodyanov was linked to a passenger ferry that sank in 1994, an even earlier U.S. government project to research biological agents that could control human behavior, the hinky spiritual retreat Sparkling Waters, the dark web site DeepUnder, and the disappearances of at least four schoolchildren, two of whom have also turned up dead. And why on earth was Vodyanov carrying Tempe’s own contact information? The mounting evidence of ever more and ever worse skulduggery will pull Tempe deeper and deeper down what even she sees as a rabbit hole before she confronts a ringleader implicated in “Drugs. Fraud. Breaking and entering. Arson. Kidnapping. How does attempted murder sound?”

Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.

Pub Date: March 17, 2020

ISBN: 978-1-9821-3888-2

Page Count: 352

Publisher: Scribner

Review Posted Online: Dec. 23, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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Creepy, violent, and propulsive; a standout gothic mystery.


Lady detective Bridie Devine searches for a missing child and finds much more than she bargained for.

Bridie Devine is no stranger to the seedy underworld of Victorian London. An accomplished detective with medical training, she sometimes helps the police by examining bodies to determine the cause of death. Bridie recently failed to find a lost child, and when she’s approached about another missing child, the daughter of Sir Edmund Berwick, she isn’t enthusiastic about taking on the case. But Christabel Berwick is no ordinary child. Sir Edmund has hidden Christabel away her whole life and wants Bridie to believe this is an ordinary kidnapping. Bridie does a little digging and learns that Christabel isn’t his daughter so much as his prized specimen. Sir Edmund believes Christabel is a “merrow,” a darker and less romanticized version of a mermaid. Bridie is skeptical, but there are reports of Christabel’s sharp teeth, color-changing eyes, and ability to drown people on dry land. Given that Bridie’s new companion is a ghost who refuses to tell her why he’s haunting her, Bridie might want to open her mind a bit. There’s a lot going on in this singular novel, and none of it pretty. Bridie’s London is soaked with mud and blood, and her past is nightmarish at best. Kidd (Mr. Flood’s Last Resort, 2018, etc.) is an expert at setting a supernatural mood perfect for ghosts and merrows, but her human villains make them seem mundane by comparison. With so much detail and so many clever, Dickensian characters, readers might petition Kidd to give Bridie her own series.

Creepy, violent, and propulsive; a standout gothic mystery.

Pub Date: Feb. 4, 2020

ISBN: 978-1-9821-2128-0

Page Count: 384

Publisher: Atria

Review Posted Online: Sept. 30, 2019

Kirkus Reviews Issue: Oct. 15, 2019

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