SHUTTER

Emerson’s striking debut follows a Navajo police photographer almost literally to hell and back.

Rita Todacheene sees dead people. Since most of her attempts to talk to someone about her special power while she was growing up on the reservation ended in disaster, she’s tried to keep it to herself during her five years with the Albuquerque Police Department. Her precarious peace is shattered by the death of Erma Singleton, manager of a bar owned by Matias Romero, her common-law husband. Although lazy Detective Martin Garcia has ruled that Erma fell from a highway bridge, her body shattered by the truck that hit her on the roadway below, Erma insists that she was pushed from the bridge. “Help me get back to my baby,” she tells Rita, “or I’ll make your life a living hell.” Since Rita, a civilian employee, has few resources for an investigation, Erma opens a portal that unleashes scores of ghosts on her, all clamoring for justice or mercy or a few words with the loved ones they left behind. The nightmare that propels Rita forward, from snapping photos of Judge Harrison Winters and his wife and children and dog, all shot dead in what Garcia calls a murder-suicide, to revelations that link both these deaths and Erma’s to the drug business of the Sinaloa cartel, is interleaved with repeated flashbacks that show the misfit Rita’s early years on her Navajo reservation and in her Catholic grade school as she struggles to come to terms with a gift that feels more like a curse. The appeal of the case as a series kickoff is matched by the challenges Emerson will face in pulling off any sequels.

A whodunit upstaged at every point by the unforgettably febrile intensity of the heroine’s first-person narrative.