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THE OBITUARY MURDER

A solid mystery that would benefit from a little less talk and a lot more action.

An arsonist, a probable illegal gambling ring, and a suspected serial killer compete for a Tennessee sheriff’s attention.

Hester’s (The House of Cards Murder, 2014, etc.) sixth installment of a mystery series finds lawman Jonas Lauer pulled in different directions professionally and personally. A firebug has been torching buildings in the area, and Jonas sees an escalation in the arsonist’s activity. The sheriff also thinks an abandoned factory with “a smorgasbord of shoe impressions” on its dusty floor, freshly emptied beer bottles, and a telltale poker chip points to an illegal gambling ring. But this worrisome case begins when Jonas’ mother smells something putrid coming from an elderly neighbor’s house. The stench turns out to be the neighbor himself, who’s in an advanced state of decay. The widower’s bloated body reclines in the center of his bed. After surveying the scene, Jonas does “not believe for one instant that Olen Peterson died from natural causes.” Jonas finds hidden in the dead man’s desk obituaries of elderly people whose apparent deaths by “natural causes” went unnoticed for quite some time. Patterns in the deaths indicate a serial killer may be targeting the elderly, particularly ones cut off from society. Jonas fears his own parents may be targeted. The sheriff’s other concerns stretch into the afterlife, as he is haunted by the ghost of a criminal who died in his arms, and into his domestic life, as he helps his fiancee, Lydia Corbett, finalize wedding plans. In this series entry, language can sound unnatural, as when Jonas admits to “allowing the pinwheels of my mind, to oscillate in silence for a few seconds.” Often, descriptions of characters are too similar—for example, six have “square faces.” Although getting into Jonas’ head adds richness to the character, the tale suffers from too much reminiscing and recapping. A lighter subplot, a series feature up to now, is absent from this volume, which laments the opioid epidemic, youth-obsessed culture, and the annihilation “of the local trade” by big-box stores. Still, Jonas shines as a likable, thoughtful character—“one of the good ones” according to Lydia—in this folksy and engaging series with a distinct Southern feel. 

A solid mystery that would benefit from a little less talk and a lot more action.

Pub Date: Sept. 17, 2019

ISBN: 978-1-69338-696-1

Page Count: 454

Publisher: Self

Review Posted Online: Nov. 19, 2019

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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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DISTANT SHORES

Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her...

Another middle-aged mom in a muddle.

After years of false starts and big hopes, Elizabeth’s ruggedly handsome husband Jack, a former football star, just landed a spot as a sportscaster on national news. He still loves her, even though much younger women are giving him come-hither looks. Heck, he doesn’t want to betray the love of his life after she helped him kick drugs and stuck by him even when he was a struggling has-been. And won’t it seem hypocritical if he fools around with his sexy assistant while he does in-depth reporting on a rape case involving a famous basketball center? Well, he fools around anyway. Elizabeth, nicknamed Birdie, knows nothing of this, but she withdraws from Jack when her hard-drinking, salt-of-the-earth father has a stroke and dies. Now no one will call her “sugar beet” ever again. Time to return home to Tennessee and contend with Anita, the sort-of-evil stepmother so trashy she wears pink puffy slippers all day long. Naturally, it turns out that Anita actually has a heart of gold and knows a few things about Birdie’s dead mother that were hushed up for years. Mom was an artist, just like Birdie, and an old scandal comes to light as Anita unrolls a vibrant canvas that portrays her secret lover. Perhaps, Birdie muses, her mother died of heartbreak, never having followed her true love or developed her talent. Has she, too, compromised everything she holds dear? Hoping to find out, Birdie joins a support group that promises to reconnect confused women with their passion. She and Jack separate, prompting a how-dare-you fit from their grown daughters. Will Birdie fly her empty nest? Will she go back to college for a degree in art? Will her brooding watercolors ever sell?

Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her previous tales (Summer Island, 2001, etc.).

Pub Date: July 1, 2002

ISBN: 0-345-45071-X

Page Count: 352

Publisher: Ballantine

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 2002

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