Find You in the Dark, by Nathan Ripley*****

Findyouinthedark4.5 rounded up. What a way to make a debut!  Ripley’s creepy new thriller will have you locking your windows and looking under the bed at night. Thanks go to Atria Books for the review copy, which I received free of charge. I didn’t ask for it, didn’t expect it, but once I flipped it open and began reading, there was no question that I would finish it. You’ll feel the same.

The story is told in the first person by Martin Reese, a wealthy entrepreneur who took early retirement. He explains to us that he is on the way home from one of his digs, and he has to get back in time to pick up his daughter, Kylie from swim practice. Martin regards himself as a family centered man, and so at first I assume this is true. Is the guy an archaeologist?  Is he a cop? He isn’t either of these. So the digs are…?

Alternately we read a second narrative, told in the third person, about Detective Sandra Whittal.  She’s nobody’s fool, and the anonymous calls she receives that lead her to the graves of women long presumed dead at the hands of serial killer Jason Shurn set off all sorts of bells and whistles. Whittal doesn’t think this caller is the clever public servant he claims to be. She regards him as a murderer in the making, a man building toward a killing spree of his own.

The pacing here is strong, building toward the can’t-stop-now climax, but it’s the tone, the phrasing of Martin’s narrative that is disquieting.  His conversational tone tells us that he genuinely considers himself to be one of the good guys, but there are little cues here and there that that make me lean in, because something is wrong, very wrong here. Martin tells us that his wife and daughter are his whole world, but he spends very little time in their company. He tells us that he is searching for Ellen’s missing sister, a presumed victim of the serial killer whose remains haven’t been found, but a dozen small signals tell us that he’s never going to stop doing this. As the story unfolds, the dread and tension increase without ever letting up.

Contributing to my foreboding is the way Martin talks about and to his wife. Ellen suffers from anxiety and depression related to her sister’s death, but she functions in the real world, holding down a position of responsibility at a credit union. Though Martin tells us that everything he does is for her and Kylie, there are little cracks in the surface that show anger and resentment toward her. He doesn’t treat her as his equal; he is patronizing toward her, treating her and Kylie as if they are one another’s peers. Conversely, he confides an unusual amount to his fourteen-year-old daughter, and is the final arbiter of disagreements between his wife and daughter. I expect this sick dynamic to factor into the story’s denouement, but although his inattentiveness is a factor in some of the surprising results, the bizarre relationship isn’t fully addressed or resolved, and it is here that half of a star comes off.

This story is a page-turner. I read it quickly and if it hadn’t been quite so sinister, I would’ve torn through it in a weekend, but I gave myself an evening curfew where this book is concerned. I didn’t want it in my dreams. I didn’t even want it in my bedroom. As a younger woman, I am sure it wouldn’t have impacted me this way, so it may not disturb you quite as completely as it did me.

If you enjoy a book that conveys the emotional impact of Thomas Harris or Truman Capote, here you go. But plan to sleep with the light on while you’re reading it.

The Woman in the Woods, by John Connolly****

thewomaninthewoodsConnolly is one of a handful of writers whose names I search when I go to Net Galley. He’s consistently brilliant, and so I am grateful to Atria Books and Net Galley for the review copy. This book is for sale now.

This is number sixteen in the popular Charlie Parker series, which began as detective fiction with mystic overtones reminiscent of James Lee Burke, and in the last volume moved into the horror genre outright. Either way it’s a compelling series. One of my favorite aspects of this series is the author’s incorporation of social justice themes. Here we find a sadistic butcher hot on the trail of the shelter volunteers that assisted Karis Lamb in escaping the father of her child, and a magical book she took with her.  Karis died in childbirth and is buried in the woods, and there are nightmarish individuals—human and not—trying to find her child so they can get the book. His adoptive mother and grandfather are determined to protect Daniel at all costs.

“Tell me the special story,” Daniel said. “The story of the woman in the woods.” 

Karis’s body is dead, but her spirit is not at rest. She is looking for her boy, and a particularly chilling detail is the repeated use of Daniel’s toy phone to call him from beyond the grave. 

At the same time, Angel, one of Parker’s two assistants who is also his close friend, is lying in a hospital bed following cancer treatment, and his partner, Louis, whose impulse control is never tiptop and is now strained to the breaking point, becomes enraged when he sees a vehicle bearing a Confederate flag parked near the hospital, and so he blows up the truck. As events unfold, our supernatural villains and the Backers—sinister characters whose lives hold no joy, and whose fate is eternal damnation—are joined in their pursuit of the Atlas, the child, and now also Parker by some local white supremacists seeking vengeance on behalf of the van’s owner.

As always, Connolly juggles a large number of characters and a complex plot without ever permitting the pace to flag, and he keeps the chapters short and the details distinct so that the reader isn’t lost in the shuffle.

This will be a five star read for most of Connolly’s readers.  Rating horror stories is immensely subjective, because some readers may find this book too horrible to be fun, whereas others will appreciate the way Connolly continues to turn up the creepiness and the gore. As for me, I had a rough time getting through the first half. I didn’t want it in my head at bedtime, and the graphic torture scenes prevented me from reading while I was eating. The result is that I had to read much more slowly than I usually would do; there were too many times I just couldn’t face it, and there were other times when I could read a short amount, then had to put it down for awhile. I suspect I am a more sensitive horror reader than most, but there will be some besides me that began reading when this was a detective series, and that may find it too grisly now.

None of this will prevent me from jumping forward when the next in the series comes around.

Highly recommended to those that love excellent fiction, and that can withstand a lot of horror and a lot of gore.

Us Against You, by Fredrik Backman****

“The first time Peter realized that the tiny person was sleeping soundly in his arms. What are we prepared to do for our children at that moment? What aren’t we prepared to do?”

UsAgainstYouUs Against You is the second in book in the Beartown trilogy. My thanks go to Net Galley and Atria for the invitation to read and review. This book will be available to the public tomorrow.

Beartown is in crisis. The hockey team has been undone by the arrest of their star player for rape, and Maya, his victim, has been harassed endlessly as if she were the perpetrator. Resentments simmer. There are anonymous callers. A new coach is hired, not only a woman—but a lesbian. Chins wag. New owners roll into town, friendly and treacherous, generous and oily. Violence hums beneath the surface as the town polarizes between the hometown hockey team and that in the neighboring town, to which some Beartown citizens have decamped.

Fredrik Backman, who is possibly the finest male feminist novelist in the world, is on a roll here. It’s interesting to note that although the hockey players in this story are men and boys, the best developed, most complex characters are the women. I like reading about Peter, Leo, Amat, Benji, and Teemu, but the characters that keep me coming back are Kira and Maya, Ana and Ramona. More than anything I want Kira to pack her bags and seize the opportunities presented to her, with or without Peter. Just go, woman, go. But it’s always easy to suggest that someone else should leave a troubled marriage behind, and the way that she deals with this problem—and the role that her daughter plays in the decision—is thought-provoking.

Meanwhile there are about a dozen other small threads here, and again, Backman is among the best writers when it comes to developing a large cast of town members without dropping anyone’s story or letting the pace flag. His use of repetition as figurative language is brilliant, and he is unquestionably the king of the literary head fake. If I taught creative writing to adults, I would assign my students to read his work.

I have some relatively minor quibbles here, although I know so little of Swedish culture that they may or may not be valid within that framework. I would dial the sentimentality and drama down twenty to twenty-five percent; clearly most readers love this aspect of these novels, but I would argue for a smidge more subtlety. There are occasional exaggerations that remind me that the characters are fictional. When the entire town is economically depressed, and yet everyone shows support for something by showing up in matching jackets, and when a preposterous amount of spare change goes begging in the kitty at the local bar, I wince. But then I am quickly drawn back in by the complex, compelling characterizations.

If you’re a fan of Backman’s, you won’t be disappointed. If you have never read his work before, don’t start here. Read one of his excellent stand-alone novels, or begin with Beartown, the first in this series. Recommended to those that love fiction that features excellent, complex characters, particularly female characters.