An entertaining procedural that skillfully blends police work and personal relationships.


From the State Detective Special Forces series , Vol. 1

Detectives in two U.S. states pursue a serial killer who sees himself as a savior of domestically abused children in this thriller.

Detroit resident Rita Rose has good reason to avoid a romantic relationship. Her ex-fiance, Dr. Zeke Fazul, after committing vehicular homicide, tried to frame Rita by putting her unconscious body behind the wheel. Cleared of official charges, she’s now slowly recovering, thanks in part to her best friend, Detective Jacqueline McSween. Jaq helps Rita find a job as a medical examiner’s assistant and encourages her friend to date again. Soon, Rita meets an airline pilot, Nick Archer, and the two hit it off. Unfortunately, readers know the relationship is already doomed as Nick is a murderer. With access to children’s letters to Santa, Nick zeros in on the kids who write about some form of abuse. He targets individuals responsible for tormenting loved ones, and his M.O.—victims left with broken necks and handmade rosaries—quickly alerts Jaq and her partner, David Maxwell, to a serial killer in the area. At the same time, Nick’s flights frequently take him to Sarasota, Florida, where he tracks down other abusers. The investigating Sarasota detectives, Abel Mendoza and Ronald “Rabbit” Randall, likewise spot similarities among the murders. The two detective teams aren’t initially aware of each other. Meanwhile, an exuberant Rita grows closer to Nick. But his unsavory side gradually emerges, as he’s controlling and prone to reciting biblical passages at odd times. With luck, Rita will uncover more about Nick before it’s too late.  Aquilina (Feel No Evil, 2003), a Michigan circuit court judge, aptly establishes her story as a procedural. For example, the detectives’ periodic discussions at crime scenes or the medical examiner’s table ultimately help them form a profile of the killer. The author also uses these procedural elements for consistent character development. Jaq and David, for example, are hiding an intimate relationship that violates department policy while ME Dr. Towers is a mentor and father figure to Rita. Accordingly, Aquilina’s prose is a solid fusion of police/medical jargon and banter among co-workers and friends. But even with meticulous murder investigations, the ongoing cases aren’t always enlightening. Jaq has a running theory that the killer is inspired by the 10 plagues of Egypt (for example, killing a firstborn or putting lice on a victim). But this ultimately provides no further insights, as the premise involves some earlier murders and suggests ritualistic and religious aspects that the handmade rosaries have already implied. Regardless, Nick and Rita prove to be intriguing characters on their own as well as together. Though Nick is offing bad people (whom not all family members are sad to see go), he’s unmistakably disturbed. Knowing he’s a killer makes his scenes with Rita relentlessly tense, especially when his domineering manner crops up. Rita’s decision to stay with Nick, despite her increasing wariness, is believable: her behavior is akin to that of a battered woman. Indeed, Nick’s treatment of her is psychological abuse. Notwithstanding readers’ knowledge of the killer’s identity, there’s an effective twist near the end.

An entertaining procedural that skillfully blends police work and personal relationships.

Pub Date: Feb. 15, 2019

ISBN: 978-1-73369-640-1

Page Count: 455

Publisher: Bowker

Review Posted Online: July 15, 2019

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Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in White society, is shedding her fur coat. Jude, so Black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her White persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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