Don't Turn Around by Harry Dolan

Published by Atlantic Monthly Press on April 2, 2024

Eleven-year-old Kate Summerlin snuck out of her bedroom window at night, took a stroll in the woods, and came upon the body of a young woman named Melissa. Her killer had written the work Merkury on her body. The killer had planned to hang Melissa's body in a tree, but Kate came along while he was retrieving the rope. He told her not to turn around. Then they had a little chat that Kate has always kept to herself. The reader won’t learn the full details of that encounter until the final pages. I’m not sure it is worth the wait.

Kate is now in her late 20s. She supports herself by writing true crime stories. Merkury went on to become a serial killer. He has racked up nearly a dozen victims when the story resumes.

As an adult, Kate’s a bit of a mess. She likes to have rough sex, but only when she is the rough one. The guy needs to be gentle and follow her instructions. Unfortunately, that’s the only character trait that makes Kate interesting, and she doesn’t have enough sex to sustain a reader’s interest in her kinkiness.

Kate is now living rent-free at a relative’s home in rural Ohio. She receives a visit from Vera Landen from Alexander, New York, where Kate lived with her father when she found the body. Vera bothers Kate periodically, hoping she will reveal a new detail that will help her catch Merkury. This time she tells Kate that Merkury, who has killed people across the country, has returned to Alexander.

Bryan Cayhill’s body was found by a film student, Lavana Khatri, as well as two other students who were helping her make an extremely low-budget horror film. Kate’s agent convinces her that her career as a true-crime writer isn’t going anywhere and that she can only give it a boost by writing about Merkury. Kate returns to Alexander, where she plans to interview the students who found Bryan’s body. Lee Tennick, who has a true-crime podcast, is there ahead of her.

Clay McKellar, one of the actors who found the body, seems to be freaked out by the experience. Tennick befriends Clay, perhaps to induce Clay to appear on his podcast, but becomes concerned when Clay disappears. Did Merkury do away with him?

Shortly after Kate arrives in town, Sam Wyler asks her to look into the disappearance of his 19-year-old daughter Jenny. Since Kate isn’t a detective, the request makes little sense (neither does Kate’s agreement to investigate), but Harry Dolan needed to send the story in a new direction so there you have it. Perhaps Jenny ran away from her controlling father and, if so, she should have done it when she turned 18, but perhaps she’s been abducted, car and all. Naturally, Jenny’s disappearance will connect with one of the murders because that’s how crime novels work.

Who is Merkury? Could it be Sam Wyler? Could it be Devin Falko, a therapist who turned up at Kate’s book signing and became her on-again, off-again lover? Could it be Lee Tennick?  Could it be Travis Pollard, a seemingly creepy guy who played the killer in Lavana’s movie? Could it be Kate’s father? More death ensues before the reader’s questions are answered. A bit more than midway into the novel, Kate kills someone, more or less in self-defense, and learns how it feels to form the intent to take a human life. It doesn’t seem to bother her much.

When the puzzle seems to be solved with a hundred pages remaining, the reader knows that the solution is either partial or false. The unfolding truth becomes a bit convoluted and is not remotely credible — Kate knows a shocking number of people who harbor a murderous intent — but such is the way of the modern thriller. Implausible stories might still be enjoyable, but I never warmed up to Kate and the other characters tend to be lifeless, even before they’re murdered.

Most of the story proceeds at a steady pace, although it drags a bit as it nears its final revelation. The story ends with some decent action scenes. They aren’t particularly suspenseful, but Dolan at least makes an effort to satisfy the thriller reader’s appetite for thrills. A couple of suspense-building tricks are cheesy — someone we think is dead miraculously turns out to be not dead — but some readers find dramatic cheese to be tasty. The story hinges on a final reveal, the big mystery that defines Kate’s life. That plot detail is too contrived for my taste but again, some mystery fans might think it is sufficiently shocking to make it worth the wait.

I’ve enjoyed other Dolan novels more than this one, but the story does just enough to earn a recommendation for mystery fans who have finished all the top-shelf novels on their reading list. On a five-star system, I would give it 3.5, a half star above a Recommended with Reservations rating.

RECOMMENDED

Glorious Exploits by Ferdia Lennon

Published by Henry Holt and Co. on March 26, 2024

I never tire of reading, but I do get tired of reading the same plots in book after book. Readers who think (in the words of Monty Python) it’s time “for something completely different” might want to check out Glorious Exploits. The novel is funny, surprising, and poignant.

The story is set in Syracuse early in 4th century BC. Syracuse at that point was populated by Greeks, but the prose is 21st century British (“Still a gobshite, I see.”).

Toward the end of the 5th century BC, Syracuse was invaded by Athens. With the help of Sparta, Syracuse defeated the Athenians. The story begins with captured Athenians imprisoned in a quarry, where they are visited by Lampo and Gelon, two unemployed potters. Like most Greeks in Syracuse, Lampo and Gelon are fans of Athenian theater. They are convinced that nobody does Euripides like the Athenians. On a visit to the quarry, Gelon gets it into his head to put on a production of Medea using the Athenians to act out the play. He finds a few who have acting experience and who know the parts. Lampo is taken with a green-eyed Athenian who he believes will be perfect for the part of Jason.

Lampo is even more taken with Lyra, a slave from Lydia (a kingdom that once existed on land that is now in Turkey). Lyra is owned by the proprietor of a tavern that Lampo often visits. Lampo falls in love with Lyra and promises to one day buy her freedom. That will be a difficult promise for an unemployed potter to keep, although it gives Lampo a resolve and purpose that he previously lacked.

Equal parts comedy and tragedy, the story follows Lampo as he works with Gelon to produce Medea. The captive Athenians are slowly starving to death, but the actors are incentivized by bread and wine. As Gelon and Lampo are casting the roles, they find an Athenian who not only knows Medea, but has acted in Euripides newest play, Trojan Women. Gelon believes that Athens is doomed and decides they must save the new play by bringing it to life. To that end, they plan to produce both plays.

Their plans come to the attention of a wealthy businessman named Tuireann who is passing through Syracuse. He provides the gold that Gelon and Lempo need to purchase sets and costumes to stage the play correctly. Yet not all Syracusans are pleased that the Athenians who killed their family members during a siege of the city are being treated so well. Will the plays ever be produced in the face of such hostility?

Glorious Exploits is in equal parts a comedy and a tragedy. Euripides (we are told at the end) “was ever in love with misfortune and believed the world a wounded thing that can only be healed by story.” Most of the story in Glorious Exploits unfolds between the invasion of Syracuse by Athens and its invasion by Carthage. During the years when Syracuse is free from invaders, Gelon and Lampo contrive to heal their wounded city with stories told by Euripides. Misfortune does indeed seem to be the human condition, particularly for slaves and captured soldiers who are starving to death in a pit. Some of them, at least, might be healed before the story ends.

The story told by Ferdia Lennon also has healing value. It is a story about the redemptive power of love and a story of the enduring power of Lampo’s rocky friendship with Gelon, but it is also the story of an unlikely friendship between Lampo and a conquered Athenian. The novel eventually becomes a story of how we should treat our enemies and whether we should think of other humans as enemies at all — at least in moments when we are not trying to kill each other.

Glorious Exploits has everything this reader could want: silliness, drama, excitement, unexpected twists, a story worth telling and lessons worth learning. The story is told in pitch-perfect prose that restores ancient Syracuse to its momentary glory. The year is young, but this is the best book I’ve read so far in 2024.

HIGHLY RECOMMENDED

Kill for Me, Kill for You by Steve Cavanagh

Published by Atria Books on March 19, 2024

One of the main characters in Kill for Me, Kill for You is a violent crime victim. Two others are mothers of murder victims. The last key character is an older cop named Farrow. Farrow “closed cases that nobody else could.” Farrow is the stereotype of a dedicated cop who fights through back pain and never married because he devotes all his time to catching bad guys. He is, in a word, boring.

Ruth was stabbed multiple times by a serial killer with blue eyes who breaks into houses and kills women. The cops call the serial killer “Mr. Blue Eyes” based on the description that Ruth, as the only survivor of his murder spree, was able to provide. A siren spooked Mr. Blue Eyes so he fled before he could finish stabbing Ruth to death. Now Ruth is too paranoid to leave her home (which is a bit irrational since she was stabbed in her home) and counts on her dutiful husband Scott to protect her.

Scott bulked up after being bullied as a teen. He’s a former prosecutor who loved to put bad guys away, making him another boring character but a suitable shield to whom Ruth is Velcroed. Steve Cavanagh tells us over and over that Scott is a perfect husband who will always protect his wife. When the plot takes its first twist, this trait turns out to be unfortunate for Scott.

Amanda and Naomi are mothers whose kids were murdered. Amanda’s six-year-old was found in a dumpster (naturally, because Cavanagh wants to horrify the reader without being overly graphic about the crime details). Her husband killed himself a week later.

Amanda believes her daughter was killed by Wallace Crone, a wealthy stockbroker, because a camera caught an image of someone who looks like Crone walking with a girl who looks like the daughter. The reader is presumably meant to share Amanda’s outrage that the legal system won’t put Crone behind bars based on suspicions about his guilt. Amanda has been stalking Crone (she plans to shoot him when she gets the chance) and, reasonably enough, he’s suing her for harassment. The reader is apparently meant to be outraged by that, as well.

Naomi’s daughter was found dead in a vacant lot. The daughter’s diary indicated that she’d been having sex with her teacher, Frank Quinn. Naomi believes Quinn killed Naomi to protect himself. Her suspicion goes nowhere because it’s unsupported by evidence.

Naomi and Amanda meet in a support group for traumatized mothers. The group requires its members to identify themselves by fictitious names. Amanda and Naomi become friends. They soon discover a mutual frustration that the legal system won’t convict people of crimes in the absence of clear evidence. Naomi proposes a scheme that she has taken from the Hitchcock film, Strangers on a Train. If Amanda kills Quinn and Naomi kills Crone, Naomi explains that the murders will go unsolved. Neither woman has a motive to kill her victim, while the woman who does have a motive will be surrounded by witnesses who can establish her alibi for the moment of the murder.

With that setup, Cavanagh needed to tweak the Strangers on a Train plot to avoid the perception that he was stealing the story outright. To avoid spoilers, I’ll avoid revealing the tweaks. Suffice it to say that, as in Strangers on a Train, a murder ensues. In fact, Cavanagh adds more murders before the novel ends. And as in Strangers on a Train, the dual murder scheme does not proceed as planned. I imagine that most readers will see that coming. As the reader will anticipate, the dual murder plot involving Amanda and Naomi will eventually tie into the story involving Ruth and her fear of the blue-eyed serial killer.

With the possible exception of Farrow, who is just too dull to care about, none of the characters deserve the reader’s sympathy. It’s one thing to be a crime victim. It’s quite another to think that your status as a victim entitles you to seek revenge. Cavanagh makes heroic efforts to seduce the reader into viewing Amanda as a relatable human being, but a person whose life is driven by the desire for revenge isn’t a person anyone should want to know.

The story builds toward a conclusion that is meant to be suspenseful. By that point, I had given up on caring about the outcome. The plot acquires energy in the closing chapters — another murder is imminent — but the intended victim isn’t a character in whom a reader will have made an emotional investment. The penultimate dramatic scene is so contrived that it left me laughing. A bad guy babbles away, explaining the plot from his perspective like a Bond villain, giving good guys the time they need to thwart him. Really?

While the story earns points for following an unexpected course, the plot isn’t remotely believable. Apart from a psychopath whose behavior is consistent with mental illness, the story depends on characters behaving stupidly. People are certainly capable of stupid behavior, but these are supposedly intelligent characters. A forced plot, combined with a manipulative effort to create sympathy for characters who deserve none, prevents me from giving the book a wholehearted recommendation. A reader’s time might be better spent reading Patricia Highsmith’s Strangers on a Train or watching Hitchcock’s masterful adaptation of a great novel.

RECOMMENDED WITH RESERVATIONS

The Morningside by Téa Obreht

Published by ‎ Random House on March 19, 2024

Téa Obreht writes allegorical novels. The Morningside is the story of people who feel the need to keep silent about their past to survive in the present. The key characters, Sylvia and her mother, represent everyone who has fled from a difficult circumstance and who fears being judged (or condemned, or killed) if they reveal the truth of their history.

For reasons that are only vaguely explained, Silvia and her mother left their home country as refugees. (All cities and countries in the book have fictional names. In keeping with the book's allegorical nature, they represent many places.) Silvia and her mother seem to have fled both a war and an environmental disaster that bears the signs (fires and floods) of global warming. Their passage was perilous. Along the way they joined a refugee camp. A war criminal was eventually placed in charge of clearing out the camp. His methods were unsound.

Sylvia’s mother taught her to hide her nationality so people will not make assumptions about what side she was on during the war or why she left. “It’s always dangerous to give people a way to tell themselves stories about you before they get to know you.” Yet Sylvia’s mother hides her past even from Sylvia, leaving her daughter to guess at the details of her homeland and the life her mother once lived.

Silvia and her mother now live in Island City, a place that might be a flooded Manhattan. The southern end of the island is underwater when the tides are in. The rules that govern residents include the consumption of government-supplied food rations and a prohibition against eating meat, although the rules don’t seem to apply to the wealthier island residents. A pirate radio station run by the Dispatcher gives a voice to less fortunate Island City residents.

Silvia and her mother are supposedly beneficiaries of the Repopulation Program. They were “recruited from abroad to move in and sway the balance against total urban abandonment.” Program beneficiaries have been promised better housing and newly constructed schools in the southern end of the island when the flooding recedes. The program is corrupt and the promises seem hollow. They give false hope to the relocated refugees. False hope might be better than none.

In the meantime, Silvia and her mother have been installed in Morningside, a large apartment building that was once elegant. Sylvia’s mother is employed as its superintendent. Many residents of Morningside have retained their wealth, including Bezi Duras, a mysterious woman who lives in the penthouse with her three large dogs.

Silvia lives a friendless, isolated life. She does chores in the Morningside, argues with her mother, and listens to the Dispatcher. When a new family moves into the Morningside, Silvia thinks she might finally have a friend in a girl named Mila, but the rude and bossy girl seems intent on getting into trouble and dragging timid Silvia along with her.

Silvia draws conclusions about her worlds that are rooted in the supernatural. She places objects (an empty perfume bottle, broken scissors) in places where they will support a spell of protection to keep her mother safe. A belief in the supernatural was instilled in Silvia by Ena, a now-deceased aunt (her mother’s or hers or just an aunt in general) who is the only relative other than her mother Silvia has ever known. Silvia believes Bezi Duras is a Vila (sort of a malignant fairy) and that her dogs are actually men who take canine form. Silvia’s beliefs are probably the imaginings of a young girl that were encouraged by Ena, but who knows? Obreht has a talent for making the supernatural seem natural.

Perhaps, as Silvia’s mother argues, a belief in magic prevents believers from having “a sense of true consequences.” Substitute “religion” for “magic” and Obreht might be weighing in on the reality of a benevolent god who allows refugees to endure enormous suffering at the hands of war criminals. Yet even in adulthood, Silvia will not surrender her belief that magic is real. She has always lived with the guilt that she saved her mother’s life by asking the Vila to take another person in her mother’s place at a time when her mother’s life was in danger. Whether that person was taken, what actually happened to her, is one of the novel’s unresolved ambiguities.

By the novel’s end, Silvia’s place of birth no longer exists. Events have forced Silvia, her mother, and the Dispatcher to remake their lives outside of Island City. The journey from an arbitrary birthplace to a place that feels like home is the story of refugees throughout history — at least, it is the story of refugees who manage to survive their ordeal. As Silvia’s mother observes, they are searching for light and its comforting illusion of warmth. Perhaps they can find it somewhere.

Obreht is a pleasure to read. Her first novel was a masterpiece. The two that have followed, while less stunning, continue the theme of finding lessons and hope in the hardships and mysteries of life. Obreht's reliance on folklore and mythology illuminates the darkness of modern times. As always, Obreht’s prose is both precise and evocative. The Morningside is a novel of allegorical truth that bears rereading.

RECOMMENDED

The Havana Run by Ace Atkins

Published by Amazon Original Stories on March 12, 2024

George and Jay are retired journalists living in Florida. An old man named Navarro offers them $10,000 to travel to Cuba and recover “family valuables” that have been hidden away since the Revolution. They fly to Havanna, where Navarro has arranged for Carmen to act as their guide. Carmen drives them to a hotel and assures them that a driver will take them to Santa Clara on the following day. Whether Carmen is trustworthy may be questionable. Sure, she drives off with their luggage, but maybe she was in a hurry.

Later that day, George and Jay are in fact met by a man named Armando who agrees to drive them to Santa Clara in the morning. Armando tells the men not to trust Carmen. In the hotel bar, George meets an American who tells him not to trust Nararro. They soon learn that they cannot trust Armando. The trip to Santa Clara turns out to be perilous.

In Santa Clara, George and Jay search for the contacts Navarro provided, Rosa and Safia. The two women are widely believed to be witches, but they put George and Jay in touch with a very old man. When George shows the man a map that Navarro made, he knows exactly where to find the valuables. Recovering them, however, will be a hairy experience.

Ace Atkins is high on my list of favorite thriller writers. This story earns points for avoiding the usual thriller themes. George and Jay aren’t tough guys. They don’t have guns. They don’t use their wits to accomplish their mission. Instead, employing journalistic persistence, they muddle their way forward until they get what they came for.

George and Jay have little choice but to place their faith in unsavory characters who routinely betray them. Yet they took the job and they doggedly perform it. Reflecting their uncertainty about their journey, the nature of the “family valuables” Navarro asked them to recover turns out to be ambiguous.

“The Havana Run” is driven by Cuba’s revolutionary history and post-revolutionary corruption. The medium-length story doesn’t waste a word. Atkins tells an offbeat tale at a good pace, creates atmosphere, populates the story with colorful characters, and grounds a plausible plot in an interesting history lesson.

RECOMMENDED