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THIS NEVER HAPPENED

A CALL GIRL IN D.C.

Entertainingly lurid but tonally adrift, this romp gets lost somewhere between satire and spectacle.

Heckenlively’s erotic novel blends sex, political intrigue, and spy-thriller action.

Mixing fiction with the appearance of reality from the start, the author frames his story as having been written by a woman he met at his mother-in-law’s retirement community who mysteriously disappeared. He then launches into the tale of Heidi Scherzinger, who realized her unique ability to manipulate men from a young age. By the early 1970s, when Heidi is only 23, she’s become a formidable madame in Chicago, drawing the attention of a mob boss who connects her with the Central Agency for Intelligence, or CAI (one of many slight adjustments Heckenlively makes to real-world organizations and characters), in order to set up a call-girl service that will gather dirt on politicians. Heidi changes her name to Catherine Darling and begins meeting with shadowy, high-level officials around Washington, D.C. “Honey, this town runs on sex,” one woman at the State Department tells her. “Always has, always will.” Among the dangerous men Heidi—now Catherine—must liaise with is Dr. Sidney Gottshalk, a scientist experimenting with hallucinogenic drugs, and the handsome surveillance expert Milton Greenbaum. Heidi begins recruiting from D.C. universities, promising money and adventure to young, disillusioned women. (“All of this ‘equality’ seemed to be leading to a lot less sex,” Heidi tells them in her pitch.) Heidi starts to feel comfortable with her level of power and influence in D.C. when orders come down from President Dixon to obtain leverage over Democrats staying at the Waterford Hotel (a very thinly veiled reference to the infamous Watergate scandal). The resulting series of double crosses, legal maneuverings, and potential assassination attempts plunge Heidi and Milton into one difficult situation after another, each with higher stakes. The pair eventually hatch a spy-thriller-like plan worthy of an Ian Fleming novel in the hope of escaping Washington’s underbelly unscathed.

Heckenlively doesn’t hold back in depicting his self-proclaimed “proud hedonist” heroine. The novel is filled with outrageous and scintillating sex scenes, from encounters with gangsters in the White House to wild LSD trips that veer into S&M. The 1970s setting lends itself to some sharp reflections on gender and power, like Heidi’s observation that the complex housing the Agency “was designed so men could pretend to be James Bond.” Throughout her many titillating sex-capades, Heidi ultimately comes off as a tough but cliched femme fatale. The outlandish, sex-crazed vision of D.C. delivers some genuinely fun and funny moments, but it does feel at times as though the author can’t decide if Heidi’s story is a wild political thriller or an outright farce. The multiple slight name changes—President Nixon becoming President Dixon, the CIA becoming the CAI, LSD becoming “LDS”—register as the hallmarks of parody, while many of the dramatic scenes, such as Heidi’s morally fraught interactions with Senator Fitzgerald, feel rooted in traditional political-thriller territory, creating tonal whiplash. Heckenlively keeps the pages turning with brisk pacing and clever spins on hard-boiled dialogue, but the novel ultimately feels more episodic than incisive, never fully committing to either political critique or full-tilt farce.

Entertainingly lurid but tonally adrift, this romp gets lost somewhere between satire and spectacle.

Pub Date: June 23, 2026

ISBN: 9781970844337

Page Count: 406

Publisher: Manhattan Book Group

Review Posted Online: March 24, 2026

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THE DIVORCE

Trust no one in this over-the-top tale of deception and revenge.

Dead bodies turn up in the first sentence of the prologue in McFadden’s latest domestic thriller.

The mystery of who died is at the pulsating heart of this propulsive tale. As Chapter 1 begins, Naomi arrives home to find the locks changed on the front door of the gorgeous home she shares with her husband, Jeremy, and their 5-year-old son, Teddy. Jeremy steps out the front door and convinces Naomi to move out while he has their home renovated, a plan Naomi knows nothing about. It’s all a ruse, though, as the next day Jeremy tells her he wants a divorce. Naomi is shellshocked and soon discovers that Jeremy is having an affair with Veronica, a beautiful younger woman. What seems at first like a stereotypical story about a man who leaves his wife turns into something else when Naomi decides she’ll do anything to get Veronica away from Jeremy and Teddy, and Veronica decides to fight for what she thinks she deserves. Fans of stalker novels will cringe with delight as creepy things start to happen. Teddy’s stuffed elephant, a gift from Veronica, is found impaled on a kitchen knife; Naomi suspects Jeremy is gaslighting her and that Veronica tried to poison her. A weird confrontation among Jeremy, Veronica, and Naomi at Teddy’s birthday party, to which Naomi shows up uninvited, is priceless. There are three main characters, and any or all of them may be unreliable narrators. Packing the plot with dark, gasp-inducing twists, McFadden outdoes herself in a story about how highly emotional people engage in risky behavior to get what they want—but in this novel, for better or worse, not everyone will survive.

Trust no one in this over-the-top tale of deception and revenge.

Pub Date: May 26, 2026

ISBN: 9781464249631

Page Count: 368

Publisher: Poisoned Pen

Review Posted Online: April 20, 2026

Kirkus Reviews Issue: May 15, 2026

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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

Awards & Accolades

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A woman accused of shooting her husband six times in the face refuses to speak.

"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.

Amateurish, with a twist savvy readers will see coming from a mile away.

Pub Date: Feb. 5, 2019

ISBN: 978-1-250-30169-7

Page Count: 304

Publisher: Celadon Books

Review Posted Online: Nov. 3, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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