Scottish Crime Fiction With Art/Heart, THE GOLDENACRE by Philip Miller

In a collaboration with Penguin, Soho Crime has now brought out an American printing of THE GOLDENACRE, a deeply mournful novel of art crime and greed, set in today's Edinburgh, Scotland. Denise Mina, the doyen of "tartan noir," calls the book a riveting, brutal journey into the high stakes world of inherited art and wealth, and it can certainly be read that way. But if your season allows time to enter Philip Miller's novel slowly, there is a wealth of literary depth to savor as well.

Two principal points of view dominate: that of sardonic reporter Shona Sandison, seeing her lifelong career at the Edinburgh Post melting away as digital platforms take over the news business, and that of the rather ineffective Thomas Tallis, designated to authenticate the provenance of a work of art called "The Goldenacre." The painting, fabulously valuable, is being donated to the Scottish government in lieu of back taxes owed by the mansion-rich, cash-poor family that owns it. Thomas needs to verify that it's really "the last precious work of Charles Rennie Mackintosh, the artist and architect" -- and sign off on the deal.

But Thomas is hesitant, uncertain, a weak reed in many ways. Which makes him almost the total opposite of his father, Sir Raymond T. Tallis, former deputy director of MI6. 

Thomas Tallis hasn't had much of his father's attention, and he's not getting family support right now, either. In fact, despite a small son in common, his wife seems to be divorcing him and taking the boy, and Thomas is doing nothing about it, despite enormous pain and grief. Slowly this comes into focus as a parallel to the wistfulness of the painting -- which portrays a pastoral area of Edinburgh still known as the Goldenacre. So when a hint of impropriety reaches him about the painting, this too is something he fails to take much action on.

Shona Sandison, though, is already linking the pieces, including the death (murder?) of a local artist, and the mysterious circumstances behind Thomas's recent change of jobs.

And then poor Thomas receives a very threatening message in the form of a human body part.

His collapse comes amid shimmering descriptions of Edinburgh, where he'd lived as a child. When he finds himself needing a drink, he knows to abandon the modern commercial part of the city:

There had been a place he had gone to as a boy. He would go there: the bend in the river. In the town where he had been sent to school, there were woods that followed the river up to its source A mile outside the town, the river—wide and slow—slowly turned. There was a beach on the slow side of the bend, and a broken viaduct. There, the shadows of the trees plunged into moving water and oaks grew. There was cool shade in the summer, and in winter the river ran swollen, and covered the shingle beach. He dreamt of it often.

Stepping back into his dreams, Thomas loses his grasp on the threats around him, and what to do about them. It's just as well, considering what takes place when the paired movements of this art investigator and the investigative journalist put pressure onto the major crime being organized around them.

There are several strands to the book's conclusion, and one might quibble with the forcing of some aspects. Yet it's undeniably a powerful and enjoyable read, and places Miller among the must-read authors who bind the tragedy of their crimes to Scotland's cities and feudal history.

PS: Looking for more mystery reviews, from cozy to very dark? Browse the Kingdom Books mysteries review blog here.

Art Heist Thriller from Neil Olson, THE BLACK PAINTING

People still obsess about America's most well-known art heist: The one that took place at Boston's Isabella Stewart Gardner Museum in 1990 has not been solved and is often described as "must be connected to the Mob." Or some other massive underworld structure.

Other noted thefts involved the "Mona Lisa" (lost for two years) and two thefts of Edvard Munch's "The Scream." Two Renoirs and a Rembrandt left a Swedish museum and were recovered. And then of course there's the noted and extensive art plundering done by Nazi forces in Europe.

So when Neil Olson's new thriller THE BLACK PAINTING (Jan. 9 release) begins with a death in a coastal New England family, and coalesces around a missing painting by Francisco Goya, the tension increased with each twist of plot -- and we readers know something of what's at stake. Not only is there a dead grandfather (manipulative even after his lifetime) and an art heist ... there's obsession, with all its dark shadows and complicities.

Goya's art at its most intense depicted the "Disasters of War" -- dark, disturbing paintings that remind viewers of the horrors of the battlefields, which for him focused on the 1802 Peninsular War. But consensus is that the painter struggled with intense mental illness as well, and his final noted 14-image series, the "Black Paintings" (for both their appearance and topics), gives us a phenomenal view of terror within the soul.

Olson, whose first blockbuster novel The Icon also involved art theft (his early education was as an art historian), seizes the despair and fear involved in the Black Paintings to become the center of this new novel -- and invents a fifteenth painting that has found its way, perhaps illegally, to the home of the Morse family. Now the painting is gone, and the family patriarch's death creates further chaos among especially his grown grandchildren, each fragile in a separate way, and each still under the older man's thumb.

The thriller -- which is an intense page-turner -- comes to us through the eyes of the apparently most broken and frail of the cousins, Teresa, whose Spanish father, long gone, once connected deeply with the painting and its fierce owner. As the art historian in the family, she's also the one who understands the painting itself. She explains to her cousins:

"There's a painting in a private collection in New York which a few historians think is that lost one."

"But we know it's not," James insisted, "because Grandpa had it."

"Maybe they're both real," Teresa replied, not liking his agitation. "Maybe neither. I never saw the portrait. The point is ..." ...

"You haven't answered his question," Audrey pressed. "How did this demon get from Goya into the painting."

Fear not, this is far from a paranormal thread. As Teresa quickly answers, "You're being too literal. The demon is a metaphor for the trouble in his life."

And for their grandfather himself, no doubt. As the cousins struggle to escape the old man's domination, their own demons become increasingly evident. Can Teresa push past her physical ailments, her uncertain memories, and her confused understandings of her cousins, to find the answers she needs? Will she risk her life in doing so?

Acutely probing the damage of generations of manipulation and domination, Olson's mystery/thriller resonates more deeply than many in a similar genre, including such line-crossers as The Da Vinci Code -- at heart, this is a book about the demons within a family ... and whether they can be faced, or ever exorcised.

Quick comment about the cover art: Ignore it. It's got nothing to do with the story, and it's silly. The publisher, by the way, is Hanover Square Press -- yet another focused imprint of Harlequin and HarperCollins.

PS:  Looking for more mystery reviews, from cozy to very dark? Browse the Kingdom Books mysteries review blog here.

New Sharpe & Donovan Mystery from Carla Neggers: LIAR'S KEY

I look forward all year to each new mystery from Carla Neggers -- and sometimes there are even two of them, as she's currently writing two series at a time. Art sleuth Emma Sharpe and her fellow FBI investigator (and fiancé) Colin Donovan are my favorites. I'm also a fan of their family members and friends, whom Neggers weaves in and out of the series, sometimes focused on one, sometimes on another, and usually combining scenes in both Ireland and Maine, where the warm welcomes of small inns and dinner spots provides a charming contrast to the rocks, fogs, rutted back roads, and sometimes boats and excursions into, say, Dublin or London.

LIAR'S KEY is a delight -- a traditional mystery with reliably smart sleuths and just enough danger to season the development of Emma and Colin's sturdy romance. Actually as the book opens, their wedding is mere weeks away, and Colin's struggling to decompress from his most recent undercover work while also setting up a honeymoon location. But it's Emma whose skills must cut forward first, when former FBI legend Gordy Wheelock turns up on her turf. Gordy's supposed to be retired, making a civilian life with his wife in the South. But when he lands in Emma's Boston office, he's sniffing for details of a presumed art crime, a heist of a mosaic. The part that has him back on the trail of a crime -- when he shouldn't be! -- is that he caught word of the theft during a London party that involved way too many memorable people: Emma's parents, for instance, and her wily grandfather, as well as the sophisticated and probably criminally minded Oliver York. Plus an agent from Britain's MI5, complicating the gathering to a level of suspense and intensity that Gordy just can't resist.

His attempt to probe Emma for news of the crime or of her noted family members, owners of Sharpe Fine Art Recovery, falls flat. But Emma has to work hard to make sure that's the case:

Gordy started past her but stopped abruptly. "I hoped you'd level with me, Emma."

"That's a two-way street, Gordy."

"I always believed there were no secrets between us. I should have known better. You're a Sharpe, after all."

"Sorry the fishing expedition didn't work out for you."

He laughed. "I had that coming. You're tougher than you used to be."

Emma needs to be tough, for the perils of her job on the HIT (High-Impact Target) team of the FBI, "focusing on criminals with virtually unlimited resources." Readers of the series will recall her risky efforts in Ireland to nail the brilliant Oliver York for art theft ... and will enjoy York's abrupt reentry into her casework. But this isn't the moment she wants to be on the job, with her wedding so close and the need to create a safe harbor in Maine for Colin's return.

As in the earlier books in the Sharpe & Donovan series, there are budding romances here, blossoming around the passion and joy that the engaged couple share with their community of sleuths and family members. Count on some intriguing scenes with Father Fin Bracken, too. Most importantly, the challenge of figuring out whether there's actually been a mosaic theft, and why it might affect Emma's hometown, is central to the investigating that Emma pursues. The twists are clever, the pace relentless, and the clock's ticking toward the wedding -- if all the wedding party can arrive at that point, alive, healthy, and ready.

Why the title, LIAR'S KEY? Neggers doesn't reveal that until nearly the end of the mystery -- but from the start there is at least one consistent liar on scene, and several who doggedly mislead. Emma Sharpe's task is to figure out the danger -- before it can spoil her big celebration ahead.

The book's now on sale (August 30 release date); although Neggers has few events scheduled for signings (see http://www.carlaneggers.com), she's highly accessible through the website, where other 2016 releases are also described. Let me know if you, too, get hooked on her neat plots, warm and sensible sleuths, and gorgeous backdrops. Good storytelling, from MIRA Books.

Superb Hollywood Crime Caper, in KING MAYBE, Junior Bender

To me, there's only one king of the caper novel in crime fiction: the late, great Donald Westlake. Sure, Dave Zeltserman tied up the modern "noir" caper a few years ago. Rory Flynn's carving out Boston space for his, if not quite so cheerfully. And there are regional gems like Carl Hiassen's Florida titles and the Texas ones by Kinky Friedman.

But Westlake's gift was a combination of exquisite timing (the kind a good comedian has to have) and a willingness to show that criminals can be ordinary dumb bunnies like the guy next door. Beyond that aspect of his caper novels, Westlake also revealed, in a short early series of his under the pen name Tucker Coe, that he understood heartbreak, male style, and could write it with precision and a sharp blade of a pen (or typewriter key). Even though he ended that series before his career soared, the revelation insisted on slipping into his hard-working and often-failing criminals in the rest of his work.

Timothy Hallinan hasn't used the same sort of sleight of hand. His Bangkok series featuring Poke Rafferty rose steadily into a portrait of how a "family of choice" can form and be nurtured; the biggest risks Poke takes, he takes for the sake of the people he cares about.

So when Hallinan segued into the Junior Bender series (which despite the character's name is emphatically NOT "young adult"), he took that emotional dynamic directly into the life of his exquisitely skilled, art-expert, house burglar in Hollywood, Junior Bender. Bender is in many ways clueless about how relationships work -- but he chooses phenomenal women who, if he can manage to let them, not only put up with his gaffes but also teach him how to treat a smart, wise, savvy woman ... like his ex-wife, his teenage daughter, and his current girlfriend, who's so careful not to fully trust him that he's not even sure he knows her real name.

Good thing Junior stumbled into those liaisons, because the heist he's attempting at the opening of KING MAYBE (Junior Bender #5, from Soho Crime) goes wrong so fast and so hard that he'd be a bloody battered corpse, were it not for the rapid response of his ladyfriend (and getaway driver) Ronnie. And it's only Ronnie who can keep calm enough to sort out what's pushing the disasters into place, as Junior holds an incredibly valuable postage stamp in his hands while at least three people try to kill him. Even Stinky, who hired him:

Stinky ... settled his weight farther back in the seat, which made the car dip. "As you should know from recent experience, Junior, when I want to kill you, I'll hire someone to shoot you."

"Like that other man just did," Ronnie said.

Stinky said, "What other man?"

I said, "Never mind."

"And you thought," Ronnie said serenely to Stinky, "that they caught Junior in the act, as people say, and he told them you sent him, and they said, 'Well, all right, then, thanks, here you go,' and gave him the stamp as a reward and came after you."

"Well," Stinky said, "when you put it that  way -- "

"I said the exact same thing," I told him. "When she reacted to my theory. Word for word."

... "Both of you," she said. "You're hopeless."

Hallinan braids a very believable sort of triple betrayal into the plot, while at the same time leaving it to Junior and his two tech-genius teen crime associates (who aren't supposed to be doing that any more) to figure out how to salvage his own daughter's dating life and upcoming birthday party.

I laughed my way through this enjoyable adventure, and if only crime could be this rewarding (in the long run), I might have suggested it to a few other people looking for themselves, like Junior has been. But then again, Junior Bender's Hollywood career is just fiction. ... I think!

Thanks, Tim Hallinan, for great entertainment and the best of twists and conclusions. And PS -- I wish Donald Westlake could be reading your books now.

Brief Mention of KEEPER'S REACH, Carla Neggers

There are so many subgenres of "mysteries" now -- with the most familiar being the endpoints of "cozy" (a traditional amateur-sleuth version with most violence taking place offstage and little specific description of any injuries or deaths), and hard-boiled (drenched in grim determination to solve the crime and bring the perpetrator to justice -- which may or may not involve actual court proceedings, and is likely to include a sturdy dose of depression and substance abuse).

I enjoy and appreciate the full spectrum, including its modern international versions and the related but differently paced espionage and "young adult" sleuth fiction.

One area I don't read a lot of, though, is romantic mysteries. Still, I read at least one every year, because I so much enjoy the New England and Ireland settings and complex, maturing characters provided by Carla Neggers. Her newest in the Sharpe and Donovan series came out in August: KEEPER'S REACH, set in Maine, and in the Cotwolds of England. I saved my copy for relaxing, and enjoyed it earlier this weekend.

Emma Sharpe, an art crimes expert, is happily moving toward her scheduled marriage to Colin Donovan, and the couple are learning how to share some secrets and protect others in their dual roles as FBI agents. The art thief they've pursued through the four earlier books is very much at the center of KEEPER'S REACH -- and so are the Donovan brothers, especially Mike this time. Add in winter, transatlantic investigations, and a shadow from Mike's military past, and the plot quickly grows complex. Watch for plenty of appearances by Father Finian Bracken, too.

St. Brigid's cross plays a role in KEEPER'S REACH.

I enjoyed all the interactions in the book, particularly the way Neggers handles gender differences in people committed to fast-paced and dangerous work. I didn't see the final twist coming -- maybe I missed a clue or two? -- but I'm satisfied that the complications of modern crime-solving, seasoned with romance, could indeed work out to the situations in this book. It's a good read, easy to enjoy, and full of memorable scenes -- and that, of course, forms the ultimate combination of a book well worth recommending. I'll be putting this title onto the gift list for a couple of my friends at the end of the year!

PS - For extra fun, check out the author blog for Carla Neggers, here.

French Art Mystery, THE COLLECTOR, Anne-Laure Thiéblemont

"Paris had a way of making even gray beautiful." That's Marion Spicer's observation, as she steps out of a mansion after examining a phenomenal art collection that could someday belong to her, and into a classy neighborhood from which she can head toward Paris's "Golden Triangle: Avenue Montaigne, with Dior, Chanel, Nina Ricci, wealthy clients, and prestigious auctions."

That neighborhood, and Spicer's profession as art examiner to detect forged or stolen work at exalted value levels, are alluring invitations into a newly released investigative novel, THE COLLECTOR, the debut by Algerian-born Anne-Laure Thiéblemont. Thiéblemont, a journalist, magazine editor, and art historian, grew up in Madagascar, Lyon, Paris, and Bogota. The South American slant appears immediately in the book, as Marion Spicer's challenges all connect to items of Pre-Columbian art from one of the continent's most inaccessible mountain villages. The art was collected by Edward Magni, whose recent death also became the announcement to Marion, at last, of who her father really was. 

Except ... who was Magni, really? His sneering and manipulative assistant Gaudin seems unlikely to help Marion track down the three other art items that she must locate in order to claim her inheritance -- three that Magni personally sold, even though he "never" sold his collected items. Moreover, they are clearly of excessive value, laden with extraordinary gems, as well as cultural significance.

It turns out that the Golden Triangle of Paris also represents top-level manipulation of the art market and its afficionados. Soon Marion, directed blindly by her dead father's specifications, is dealing with the dark underside of the greed and art lust of the global network of collectors and their nexus in Paris. 

All this makes THE COLLECTOR a must for a shelf of art-related mysteries, or French ones, or those featuring strong women, or, best of all, the wide scope of today's translated crime fiction. Le French Book brought out THE COLLECTOR this week, adding to its rapid expansion in translated mysteries with "French accents." This one, translated by Sophie Weiner, reads fluidly, and satisfies the traditions of a fast-paced international crime novel, with enough twists and red herrings to keep the pages flipping. 

I would have liked a bit more of a "French accent" to the dialogue, which lacks the zing of some other translations -- and the occasional misstep in slang (a career woman referring to another professional as a "dude"? I don't think so) can be a bit jarring. I would have enjoyed a more quirky ending, too, with Marion Spicer speaking out better from her expertise and experience. But I enjoyed the ride of action and investigation. Thiéblemont is a skilled storyteller, and the suggestion of a series ahead is good news -- this journalist's move into crime fiction is a fruitful one, and I already expect that she'll bring more French-speaking locales into the Marion Spicer art-action books to come.

Classic Mystery Puzzle With Dash of Romance: HARBOR ISLAND, Carla Neggers

The new Sharpe and Donovan mystery from Carla Neggers, HARBOR ISLAND, came out just as the garden demanded harvesting and pickling, but I managed to stay up extra late and keep reading -- because Neggers is a storyteller who constantly nudges the next "and then ..." into place.

FBI Agent Emma Sharpe's new status as fiancée of another FBI agent, Colin Donovan, hasn't yet been announced to her family, and there's always a fresh conflict of interest for her on the job: Which is more her core, her agent status or her family's profession in solving art crimes? Added to that, Colin's still wondering how she'll handle the engagement, considering that her past includes a season in Maine as a postulant -- not quite a nun, but to Colin and his brothers, there's not much difference.

True to classic Neggers style, the author juggles Emma and Colin's uncertainties with the way each of them is called to step into danger to chase the art thief they've hunted for in Ireland in a preceding book. And now the thief seems to have followed them home to New England and may be turning violent -- a sudden death by gunshot of an informant can't be a coincidence, can it?

HARBOR ISLAND is also a traditional puzzle mystery, as it sets up a small cast of characters and moves the question around the group: Motive? Means? Opportunity? Will it be Emma or Colin who finally cracks the case?

A big part of the charm of this series is its settings, from Boston to Maine to Ireland and back again. Count on each clue holding some meaning, neat twist of plot, and tidbits about Irish whiskey tucked in often. This isn't quite a "cozy" mystery, as the sleuths are professionals, not amateurs, but between the romance and the landscapes, it's a gentle read, ideal for unwinding by an autumn woodstove with a cup of tea and a cat. Or something even sweeeter.