Like the Mighty Wurlitzer, Blackwell pulls out all the stops.


A renovation contractor labors to restore a historic movie palace, rehome some squatters, investigate a contemporary murder, solve an 80-year-old murder, and make her new home fit for habitation.

Mel Turner, who shares ownership in Turner Construction with her dad, Bill, really does mean to set a date for her wedding to Berkeley professor Landon Demetrius, who bought her “a beautiful and rather good-sized house in Oakland” as an engagement gift. But a girl can get distracted when she has to remodel said house. And when the armoire she moves discloses a secret door. And when she opens the door to find a ghost named Hildy Hildecott, who offers her a fabulous dress with a tiny hole in it, just big enough to have been made by a knife. But she barely has time to ask vintage clothing expert Lily Ivory about the dress because Gregory Thibodeaux, who represents investors from the Xerxes Group, is in a hurry for Mel to complete the restoration of the Crockett Theatre in San Francisco’s Mission District—a restoration that can’t even begin until Mel finds another place for the band of illegal residents firmly entrenched in the Crockett. Gregory doesn’t realize the theater is also home to dozens of otherworldly inhabitants, one of whom Mel hopes can tell her more about Hildy. Before anyone can, the Crockett’s organ, the Mighty Wurlitzer, arises miraculously from the orchestra pit bearing the body of Isadora Sepety, one of the squatters. Two murders, two restorations, and a healthy dose of family drama leave Mel scant time for her fiance, who fortunately has less to say that any of the ghosts.

Like the Mighty Wurlitzer, Blackwell pulls out all the stops.

Pub Date: June 30, 2020

ISBN: 978-0-593-09793-9

Page Count: 336

Publisher: Berkley

Review Posted Online: March 30, 2020

Kirkus Reviews Issue: April 15, 2020

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A smart summer escape.


Silva’s latest Gabriel Allon novel is a bit of a throwback—in the best possible way.

One-time assassin and legendary spymaster Gabriel Allon has finally retired. After saying farewell to his friends and colleagues in Israel, he moves with his wife, Chiara, and their two young children to a piano nobile overlooking Venice’s Grand Canal. His plan is to return to the workshop where he learned to restore paintings as an employee—but only after he spends several weeks recovering from the bullet wound that left him dead for several minutes in The Cellist (2021). Of course, no one expects Gabriel to entirely withdraw from the field, and, sure enough, a call from his friend and occasional asset Julian Isherwood sends him racing around the globe on the trail of art forgers who are willing to kill to protect their extremely lucrative enterprise. Silva provides plenty of thrills and, as usual, offers a glimpse into the lifestyles of the outrageously wealthy. In the early books in this series, it was Gabriel’s work as an art restorer that set him apart from other action heroes, and his return to that world is the most rewarding part of this installment. It is true that, at this point in his storied career, Gabriel has become a nearly mythic figure. And Silva is counting on a lot of love—and willing suspension of disbelief—when Gabriel whips up four old master canvases that fool the world’s leading art experts as a lure for the syndicate selling fake paintings. That said, as Silva explains in an author’s note, the art market is rife with secrecy, subterfuge, and wishful thinking, in no small part because it is almost entirely unregulated. And, if anyone can crank out a Titian, a Tintoretto, a Gentileschi, and a Veronese in a matter of days, it’s Gabriel Allon. The author’s longtime fans may breathe a sigh of relief that this entry is relatively free of politics and the pandemic is nowhere in sight.

A smart summer escape.

Pub Date: July 19, 2022

ISBN: 978-0-06-283485-0

Page Count: 448

Publisher: Harper

Review Posted Online: July 19, 2022

Kirkus Reviews Issue: Aug. 15, 2022

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A rarity: a police procedural more deeply invested in the victims than either the killer or the police.


June 2061 is a perilous time for women in a downtown Manhattan neighborhood who happen to resemble a violent kidnapper’s mother.

The killer doesn’t seem to be trying to hide anything except his own identity. Ten days after snatching bartender Lauren Elder from the street as she walked home, he leaves her body, carefully dressed and made up, with even the gash in her throat meticulously stitched up and beribboned, where it’s sure to be found quickly, along with the chilling label “bad mommy.” When Lt. Eve Dallas and Detective Delia Peabody realize that Anna Hobe, a server at a nearby karaoke bar who disappeared a week ago under similar circumstances, was probably another victim of the same perp, the clock begins ticking down even before they learn that assistant marketing manager Mary Kate Covino has gone missing as well. Dallas, Peabody, and the helpers who’ve made Robb’s long-lived franchise even more distinctive than its futuristic setting race to find the women or identify their kidnapper before he reverts once again to the 5-year-old abandoned by his mother many years ago. The emphasis this time is on investigative procedure, forensics (beginning with the Party Girl perfume and the Toot Sweet moisturizer the murderer uses on the corpses of his victims), and the broader danger women in every generation face from men who just can’t grow up.

A rarity: a police procedural more deeply invested in the victims than either the killer or the police.

Pub Date: Feb. 8, 2022

ISBN: 978-1-2502-7821-0

Page Count: 368

Publisher: St. Martin's

Review Posted Online: Nov. 17, 2021

Kirkus Reviews Issue: Dec. 1, 2021

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