Category: M. W. Craven

Born in a Burial Gown

by M. W. Craven
Series: Avison Fluke, #1

Paperback, 331 pg.
Constable, 2020 (revised and updated edition)

Read: March 12-16, 2021

Find out how the victim lived and you’ll find out how they died.

Here We Go Again

You may be asking yourself, is this just another instance of The Irresponsible Reader raving about a book by M. W. Craven? Yup. This is the fourth novel that I’ve read (of the five published to date), and I’m not sure there’s another acceptable response to his books.

What’s Born in a Burial Gown About?

I have no idea if that sentiment about how the victim lived would be shared by actual detectives, but it works pretty well for Detective Inspector Avison Fluke and his team—which is why Fluke keeps repeating it.

In this particular case, a homeless drug-addict sees someone burying a golf bag at the construction site that he’s using as a temporary shelter. He leaves a note for the construction manager and bugs out. When Fluke and the other police arrive, they find a woman in a golf bag, buried in a way that will soon be covered by the construction. If it hadn’t been for the unexpected witness, no one would even know there’d been a body left there.

What’s worse, she has no identification on her. Then during the autopsy, it’s discovered that she’s had major cosmetic surgery to the extent that it’s impossible to know what she really looked like. So, no ID, no reliable way to describe her to anyone who knows her, nothing to tie her to a residence or employer. Before the team can really figure out who killed her, they have to figure out who she was. Put in the terms of Fluke’s motto—they have to find out how she lived to find out who she was so they can find out how she died. No easy task.

Throw in mounting pressures from some of the things in Fluke’s life—and you have a ticking time clock on this beyond the need to close the case quickly. And almost everything they learn about this woman makes the rest of the investigation more difficult.

Meet Avison Fluke

Some detectives tried to keep things impersonal so they could maintain objectivity. For Fluke, it was the opposite. He worked at his best when he made a personal connection with the victim.

She’d been tossed away like garbage, he thought. He could feel the anger building in his stomach.

I assumed going in that I was going to like Fluke, but you never know, do you? Often a new character from an author you love just doesn’t work. But on page 16, Fluke gets a belligerent and grumbling construction manager to stop his ranting and help out by lying to him and saying they could be out of his hair and let construction resume in “maybe an hour.” Right then, I knew that I was going to like this guy.

Like your typical Detective Protagonist, Fluke has issues. Not that long ago, he was undergoing aggressive treatment for a rare form of cancer, which has taken its toll on his health and vigor. Still, he’s back to work (for his own sanity, if nothing else), even if he had to cut a corner or two to get there. The city is on the verge of kicking him out of his freshly-built house because he cut a corner to get it built. He and his Detective Chief Inspector don’t get along and don’t seem to respect each other much. Professional Standards are sniffing around him. Oh, and early on in this book, his girlfriend dumps him.

Okay, that last one isn’t an issue, it’s a blessing, really.

So, what’s on the plus side? He’s smart. He’s determined. He has a team of loyal detectives—whose skills are frequently underestimated. Fluke’s approach to interviewing suspects is pretty interesting, and I wonder how well it works in reality. As a fictional character, Craven has taken all of what I’ve enumerated, a few things I forgot to list, mixed it together, and uses it to fuel his deeply personal need to find the killer—to take that connection that he made and dodge all the obstacles that are thrown at him so he can find a target for that anger. He’s just fun to read, too. Something about the chemical reaction that Craven produces from the mixture of these elements just makes Fluke an entertaining character.

Also, he has heterochromia. Which is an odd thing to give a character. If this were SF or Fantasy, you could pretend that’s a sign of X ability. Or in a visual medium, I could see doing something like that to make an impression. But in print, I’m not sure I see the point, it doesn’t seem to be all that helpful in creating a character. Craven gets some interesting use out of it, so what do I know?

And We Shouldn’t Forget Fluke’s Team

Like any good procedural, the investigative team is vital to get right. Craven does that for sure. There’s DS Towler, Fluke’s right-hand man and close friend—he’s a little on the wild and violent side, but seems to be careful about that and uses it safely. There’s the computer expert who’s on an UK/China exchange program—brilliant and has a very strange hobby. Also, the Ph.D. student working on forensic entomology—who is vital to making a couple of early deductions (you don’t introduce a forensic entomologist and not make them pivotal). And several more, and you get an efficient and effective team—great for police work, and just quirky enough to be great for entertainment.

Throw in Fluke’s doctor and a few other people in his personal life and…it’s a perfectly winning cast.

So, what did I think about Born in a Burial Gown?

‘She was born in a burial gown,’ he said.

He didn’t expand and Fluke didn’t need him to. He was right. It was a term he’d heard once or twice in the Marines, referring to who seemed to have a death wish. Someone who relished doing the things other people were terrified of. They were the first through the door and the last one to take cover. They appeared fearless, even reckless. And maybe they were.

Born in a burial gown seems to apply to many of the characters in this novel, not just the victim. Fluke, certainly; the killer, too; at least one of the suspects seems to fit the bill, too—even Fluke’s task force, collectively speaking, seems to fit this. This quotation comes pretty late in the novel, but once I read it, the ways that this applies to so made the book’s title resonate, and helped me think about the characters and some of their actions.

In case there was much confusion after the first paragraph. I just loved this book. The prose just sings, the novel’s well-paced and cleverly put together. The characters (major and minor), the killer, the motive, the victim, the reveals (both in the way they were handled and what was revealed), the fairly satisfying (by design) ending, the sweet and then very satisfying denouement—and anything else I didn’t mention—it’s all just as good as you could hope for.

I’m clearly just a raving Craven fanboy at this point, so let me just leave it like this—go buy this. Go buy anything you see his name on—you won’t be disappointed. Born in a Burial Gown is my favorite read of the year*, and I bet it’ll rank pretty high for everyone who reads it.

* So far, anyway, it’s early enough in the year that I figure a few new upcoming releases—including Craven’s—will make a case for that spot.

One last note—if you happen to have a contact in the US publishing industry, get him a deal over here, so I don’t have to pay so much for shipping, will you?

5 Stars

The Curator by M. W. Craven: I do not have enough superlatives in my repertoire to do justice to this novel

By HCNewton

On July 6, 2020

In Authors, Fiction, M. W. Craven, Mystery/Detective Fiction/Crime Fiction/Thriller, S-Z, Washington Poe

The Curator

by M. W. Craven
Series: Washington Poe, #2

Hardcover, 372 pg.
Constable, 2020

Read: June 30-July 2, 2020

‘Sean Carroll’s a kite enthusiast,’ Bradshaw said after Nightingale had ended the call. ‘He’s not a dork.’

Poe grunted. He had a problem with ‘enthusiasts’. As far as he was concerned, on the ladder of weird interests that eventually escalated to criminal behaviour, enthusiasts were only a rung below Obsessives, and he’d seen first-hand what obsessed people were capable of…

Yup, this case is strange enough that Poe is driven to consult a kite dork—sorry, enthusiast—that’s just how desperate he is for a clue. Not only has Poe seen first-hand what obsessed people can do, he’s frequently the obsessed person in question–he can make Harry Bosh look laid-back.

What’s The Curator about?

It all starts around Christmas—two severed fingers are found in a public location with no indication how they got there. Tests show that one finger was removed from the victim while they were alive, the other after they were dead. Two more sets of fingers show up in equally public, yet hard to access places. Clearly, there is a creative, disturbed and clever killer at work. The local police waste no time in calling in Washington Poe—this is up his alley, near his home, and the replacement for Detective Superintendent Gamble knows they need his assistance. With Poe comes his DI, a very pregnant Stephanie Flynn, and Tilly, everyone’s favorite analyst.

Racing against the clock—the last thing anyone wants is another pair of fingers showing up—Poe and Tilly do all they can to figure out what the victims have in common, or what would make them a target. And what “#BSC6” could mean—it was left at each scene, and even Tilly is stumped by it.

They catch a break or two, and Poe makes the most of it. Before long, they’re able to make an arrest, Tilly is able to do things with that evidence that even Poe didn’t know she could do—solidifying the case they have against their suspect—who begins confessing to crimes no one knew about. But he won’t confess to the killing.

And then there’s a phone call from a crusading FBI Agent to Poe. And suddenly, everything that Poe thought they’d established about the killer is thrown out the window.

From that point on, I couldn’t believe what I was reading. It was surprise after surprise after surprise. The twists didn’t stop coming—I’m pretty much at a loss for words. Is there a word that means “more than intricate”? If so, I need to learn it so I can describe this novel. Craven doesn’t cheat when it comes to his twists and reveals—it’s all there in the book for you to find. But you probably won’t, because Craven’s smarter than almost all of his readers.

What about the characters?

The real draw to these books are Poe and Tilly. Everything readers liked about the before is back. Their camaraderie is as strong as ever and the reader can feel it radiating off the page, who needs a friendship of your own if you can live vicariously through theirs?

In The Puppet Show, Poe was trying to find his footing again after being reactivated. In Black Summer, he’s fighting to protect his reputation and career. Here? Poe’s just a man on a mission, with no distractions or hindrances in his way. Poe unleashed is a great thing to behold.

As much as Poe’s a local legend among Law Enforcement, it won’t be long until Tilly’s as much of a star (if not more). Watching her win over a bunch of jaded, cynical cops by being her brilliant, socially awkward self was so much fun. (her interaction with a representative from the Ministry of Defense might have been more entertaining, but not by much)

I don’t want to take away anything from DI Flynn—her role in this is pivotal, but her role in the investigation isn’t as large as it has been before, making her more of a supportive character than usual. Her condition, and Poe’s protective instincts (despite Flynn’s objections), won’t allow for anything else.

Detective Superintendent Nightengale is a no-nonsense woman. She’s clearly a good officer, a good manager. She wants to do things by the book, but she’s clever enough to give Poe and Tilly all the latitude she can for them to do a more effective job than the by-the-book route, just in case. I’m sure that eventually,, she’ll run out of the patience required to deal with this team—but that’s a plot complication for another day (and one I look forward to).

Estelle Doyle, the pathologist we met in Black Summer is back and just as wonderful. I know it’d be pushing things to have her play a larger role in these books than she does, but the few scenes we have with her are just not enough to satisfy.

Neither space or time permit me to discuss the other standout characters—on both sides of the law. I would like to talk a bit about the eponymous Curator, because the Curator is the kind of character that you want to sit around discussing for a couple of hours. Obviously, I can’t do that here.

So what did I think about The Curator?

In addition to the plot and characters, there’s real pathos, real tension, real heart—and even some real laughs. I’m not sure I breathed enough in the last seventy-five pages, it’s probably good that I wasn’t hooked up to an oximeter, the alarms that it would have sounded would’ve been really distracting. As usual, this is given to us via Craven’s crisp and compelling prose. Combine those characteristics with a top-notch mystery? And you’ve got a book that deserves all the accolades the first two books in this series has received, and then some. As good as The Puppet Show and Black Summer were (two of the best books I’ve read in the last two years), The Curator is better.

It was two days after I finished this before I could start another book—three before I could start another novel. That is rare for me. But I needed some time to recover/come down from this one. Pick an element—plot, atmosphere, character, pacing, complexity, twists—Craven nails it all. This is an exceptional work. It’s pointless for me to say anything else, why try to gild the lily?

5 Stars

Black Summer by M. W. Craven: A Good Detective Faces Off with a Brilliant Criminal for the Second Time

By HCNewton

On August 26, 2019

In Authors, Fiction, M. W. Craven, Mystery/Detective Fiction/Crime Fiction/Thriller, S-Z, Washington Poe

I’m very pleased to finally get to post about this book—I had more trouble than I’m used to getting a copy on this side of the pond, so I’m a little late to the party. If my copy of the next installment in this series is as delayed, I’ll probably start looking into emigrating.

Black Summer

by M. W. Craven
Series: Washington Poe, #2

Paperback, 388 pg.
Constable, 2019

Read: August 19 – 20, 2019

The door behind her opened and the huge frame of Edward van Zyl, Director of Intelligence, National Crime Agency, filled the space next to Flynn. His expression was as grim as a cancer diagnosis.

‘We have a problem, Poe,’ he said.

Why am I not surprised? he thought. It’s the soundtrack to my life. . .

What a horrible couple of weeks for D.S. Washington Poe. Six years ago, he began investigating a missing persons case that he changed into a homicide investigation and ended up arresting the woman’s father for murder. He was convicted and received a life sentence. But now, a young woman has come forward claiming to be the not-at-all-murdered woman with a tale of being held captive for years by a rapist she just escaped from. DNA appears to back her claim.

The question now is, why did Poe’s investigation go so wrong? Was it because of a grudge against the father? Was he lazy, or just incompetent? Poe has to wrestle with self-doubt, but he knows he did everything right with this case. Worse than not understanding what happened to get the investigation on the wrong track is the idea that if Elizabeth Keaton is actually alive, then her father, celebrity chef, Jared Keaton, will be released from prison. That thought chills Poe.

How on earth did you describe Jared Keaton to someone who didn’t know him?

Charming. Charismatic. Highly intelligent. A genius chef. No conscience whatsoever. The most dangerous man Poe had ever met. He’d taken an instant dislike to him. He was too superficial, too well groomed, too polished. He’d reminded Poe of a fake Irish pub. Pretty, but of no real substance.

Poe goes on to explain to a detective looking into the claims of the woman claiming to be Elizabeth that Jared Keaton was warm and outgoing in public/on TV, but in reality, was cold and sadistic. Not anyone he wants walking free—especially as he’ll be carrying a grudge.

Poe has mere days to prove this woman isn’t who she says she is and keep Keaton in prison (and save his career, or at least his reputation). A few days later, when Elizabeth goes missing and the evidence points to Poe doing something to her, he realizes it’s worse than all that. He’s in a fight for his freedom. He’s going to need some help, so he calls in his new friend Tilly.

She’d already appeared via videoconference, but Tilly showing up makes all the difference. I was already hooked—riveted, really—by the story, don’t get me wrong, but within half a scene or so of her showing up at Poe’s, I was enjoying the book. It’s a fine distinction, but it was something I registered at the time. Poe’s a strong character, Tilly’s delightful—but there’s something about the combination of the two of them that just really ticks all of my boxes.

Bradshaw had spent most of her working life, and a large part of her childhood, in academia undertaking research in mathematics. As brilliant as she was, until she’d joined the National Crime Agency there’d never been any need to learn the social skills that everyone else took for granted, the skills everyone began learning in the schoolyard.

And, as maths was a binary science with little room for selective interpretation, she had never grasped how to express an argument. Maths didn’t have subtlety. It didn’t need discretion and it didn’t need empathy. It was either right or wrong. Maths told the truth and therefore so did she. It would never occur to her to do anything else.

I’m not sure that Tilly’s contributions are as valuable to this case as they were in the previous novel—not that she doesn’t make many, nor that they’re not important—but the clinchers here come from putting the pieces together as Poe does. This is a Poe vs. Keaton showdown, and the big moments have to come from him.

The two jump into their investigation, reworking the original to the best of their ability, while also examining the evidence and circumstances around Elizabeth’s return and disappearance. How could Keaton be orchestrating all this? How could he be succeeding at it? What’s his end game? Yes, it has to be Poe’s working hypothesis that Keaton’s behind it all. If he starts with a position of self-doubt he’ll never get anywhere—or if he does, it’ll be too late to do any good.

Soon, Poe begins to realize that he’s asking the wrong questions as he’s looking at the pile of evidence. But what are the right questions? Once he starts asking those, we’re off to the races for a great finish. Most good mysteries—especially in the police procedural realm—have this kind of moment, but it’s rarely so self-consciously done. It’s generally the result of the ever-so-convenient new witness coming forward, a forensic test finishing at a convenient time, a piece of evidence the detective should’ve picked up on 150 pages earlier dropping out of thin air or something like that. Here, it’s Poe realizing that he’s not getting anywhere and taking steps to fix that. It’s a minor thing, but it’s this kind of minor thing that when combined all the other minor and major things going on that takes a good mystery novel and turns it into a great one.

There are some great supporting characters—D.I. Flynn isn’t in this book as much as she was The Puppet Show, but she’s still as vital to the plot. Ditto for her boss. Detective Superintendent Gamble returns, as well—as a major supporter of Poe. But the best characters (that aren’t Poe or Tilly) are a couple of new ones. The first we meet is DC Andrew Rigg, who’s the one to initially interview Poe about the original case and prosecution, the returned Elizabeth, and everything else. He’s convinced that Poe botched the initial investigation and is disgusted with him and full of righteous anger (Poe understands and assumes he’d act the same way in Rigg’s shoes), but he’s not a simple two-dimensional antagonist, he’s a good cop and that governs his actions and reactions. The second is Estelle Doyle, a forensic pathology lecturer and a pathologist extraordinaire. She’s brilliant, no mistake—but she’s got one of the darkest and strangest senses of humor, an extreme type of gallows humor. She sets Poe on edge (“incredibly sexy and utterly terrifying”), but there’s a mutual trust and affection, too.

I have to talk briefly about Poe’s springer spaniel, Edgar. I mentioned Edgar in my Favorite 2018 Fictional Dogs post, and he’s back again, bringing a little joy into this pretty dark book. The few paragraphs we get devoted to him when Poe goes to pick him up from his neighbor who was watching him might send a few readers to a breeder or a shelter before they finish the book. But Edgar does more than just bring happiness to the book—there’s a huge chunk of story that works only because of Edgar. I can’t get into it, just take my word for it. Which is just one more of the nice moves that Craven executed in the design of this novel.

You’ve got yourself a very clever mystery—or more, actually, most of it depends on how you want to count them. A fantastically creepy murderer (or is he?), some great supporting characters, and a couple of dynamite central protagonists—what more do you need? How’s about a breakneck pace and tension that doesn’t really let up? The first note I made about this book was, I’m “glad Craven gave us all of zero pages to get comfy before getting all morbid and creepifying.” It’s pretty relentless from there—right up until the last interview, which might elicit a chuckle or two from a reader enjoying watching a brilliant criminal get outsmarted.

But beyond the plot and character, Black Summer features some dynamite writing. A lot of book bloggers, myself included, focus on plot and character—or theme—and we frequently overlook the actual writing—the prose, the execution of the book, that sort of thing. I frequently get hung up on voice, style, and tone and don’t get beyond that when considering the writing. But there was something about the quality of this novel that made me pay attention. This is one of the best-written books I’ve read in 2019. A little sample (I’m restricting myself to one example, and I’m not including as much of this as I want to), from Poe and Tilly going to interview a person connected to Elizabeth’s past in a nasty, “grubby pub called the Coyote” (better known as the Dog):

Poe pushed open the door and stepped inside. His nose went into shock. The Dog smelled worse than a toilet. He didn’t want to know what the actual toilets smelled like. The air was hot and smoky and perfumed with the cloying scent of cannabis. The windows and ceiling were stained yellow with nicotine. Fat bluebottles feasted on something wet and organic on the worn, frayed carpet. Poe’s money was on blood. Probably from the bare-chested man using his own T-shirt to stem the flow coming from what looked like a recent head wound. Despite his injury, he continued to drink and chat with the man sitting next to him.

It was that kind of place.

By the time Craven’s really done describing the place (a little less than a page later), you feel like you’re in the room with them and want to hurry home to take a long shower to get the grime off and to wash your clothes to get the stench out. The first three pages of the novel are enough to elicit a visceral reaction and may make you consider a vegan diet (for at least a few days). Can I tell you exactly what it was that Craven did that others don’t? No. Maybe if I’d gotten around to getting that post-graduate degree I’d have the tools, but I don’t. Still, as Justice Stewart said, “I know it when I see it.” I see it here.

I was blown away by The Puppet Show last year, and Black Summer shows that it wasn’t a fluke. I’m already losing patience for the 2020 arrival of The Curator, and am only mollified by the repackaging/republishing of Craven’s earlier series this winter. If you’re at all inclined to Crime Fiction, you need to track down M. W. Craven’s work in general and Black Summer in particular.

—–

5 Stars

The Puppet Show by M. W. Craven: The debut of one of the best pair of characters I can think of in a truly compelling novel.

By HCNewton

On September 24, 2018

In 2018 First Reads Challenge, Authors, Fiction, M. W. Craven, Mystery/Detective Fiction/Crime Fiction/Thriller, S-Z, Washington Poe

The Puppet Show

by M. W. Craven
Series: Washington Poe, #1

Paperback, 352 pg.
Constable, 2018
Read: July 23, 2018

‘First impressions?’ Flynn asked.

He studied the slash marks again. Not including the messy number five, he counted forty-two. Forty-two wounds to spell out ‘Washington Poe’. Forty-two individual expressions of agony. ‘Other than the victim wishing I’d been called Bob, nothing.’

‘I need you to come back to work,’ she said. She looked around at the desolate fells he now called home. ‘I need you to re-join the human race.’

He stood up, all previous thoughts of resigning dismissed. There was only one thing that mattered: the Immolation Man was out there somewhere, selecting victim number four.

Washington Poe was a Detective Inspector who either made a very, very, very horrible mistake or is a DI or did a very, very, very bad thing — it depends who you ask. Either way, he’s on suspension until he either quits or the internal investigation is complete. He doesn’t quit, but he doesn’t expect to be brought back to work anytime soon.

Until his former DS, now his replacement, shows up — there’s a serial killer afoot, burning people alive — after some torture, it seems. What led to him being brought back (aside from being the kind of investigator who will be able to track this guy down) is that the last victim had Poe’s name cut into him before he was burned. This is a message to him — and possibly a threat. So, potential bad cop or not — for his own protection, he needs to get reactivated. Sure, it’ll be a little awkward, he’ll be acting as a subordinate to his former DS — but he frankly knows he was better at that anyway, so he’ll get used to it.

One of the first things he does is meet an analyst working with the police — she’s the one who developed the model to make sense of the wounds and found his name on the corpse. Tilly is a fascinating character — she’s a mathematical genius, a whiz with computers, and socially awkward. That actually is an understatement — clearly from a young age, Tilly’s mom sheltered her from the worst of society so that her genius could flourish. Now an adult, she decides to work with the police so her mathematics could see some immediate benefit to society — but she still is an outsider (and mom is determined to keep her that way).

Almost immediately upon meeting her, Poe shakes up her life. He defends her from some teasing/bullying by some police officers and then he insists that she’s coming to the field with him. Tilly’s never done anything like that before, but jumps at the chance. The two of them build a strange partnership — and a strong friendship — as they work this case, along with DI Flynn and an old friend of Poe’s, Kylian Reid) who is one of the few police officers in the country who aren’t suspicious of him.

Poe is a great character — there’s no two ways about it — you put him in a novel by himself (or with Flynn or Reid) and I’m reading it. He’s in the Bosch/Rebus kind of vein — he’s going to get the job done, and will annoy/offend whoever in the chain of command, city government, press, etc. to get the job done. This quotation describes it best:

He knew some people thought his reputation for following the evidence wherever it took him was because he felt he held some sort of moral high ground. That he had a calling to a purer version of the truth that was unattainable to other, lesser, cops. The truth was simpler — if he thought he was right, the self-destructive element to his personality took over. It frequently allowed the devil on his shoulder to shout down his better angel. And at the minute, the angel couldn’t get a word in edgeways . . .

His face turned to granite. If he didn’t do it, who would? Sometimes someone had to step up. Do the unpalatable so others didn’t have to.

That’s the kind of character I can read any time.

But what makes this book (on the character front, anyway) a must read is Tilly Bradshaw. Actually, no. It’s the combination of Tilly and Poe. Yeah, Poe largely uses her the way he’d use anyone to get the job done (see Rebus/Bosch) — but there’s some genuine affection for her at work, too. He truly seems to like her and wants to protect her — and maybe push her a little to fend for herself. Tilly clearly adores him — I should stress that this is a platonic thing for both — he protects her, treats her like an adult (something her mother doesn’t allow anyone to do), and relies on her brain (which most people do). Tilly is a character worth one’s time, no doubt about it — and I can’t imagine anyone who reads this book to not like her a lot. But the two of them together are as good a pair as you can imagine.

Now, that’s all well and good — but what about the plot? What about the killer? The plot is as intricate as you can hope for in a serial killer novel. As the police start to compile a theory of the case, a profile of the killer, it quickly becomes clear that there’s a dark root, a strong motivating factor behind the killings. At one point, I put in my notes “Okay, I’d be absolutely fine not learning anything else about the killer’s backstory. Can we just get to his arrest now, leaving the rest of the uncovering to the prosecutor’s work after the novel is over?”

Naturally, the answer to that was a resounding no. You learn more about what drove this man to kill — and frankly, it’s hard not to wonder if he’s justified. Not justified in how he goes about the killing, because that’s just horrible. But you might wonder if it’d be okay for him to get away with it. To get to that point — and to find out if Poe and Bradshaw are able to stop the killing — there’s some great twists and turns to the case, and some very compelling reveals to get through. The reader will be hooked throughout.

Not only can Craven create great characters, and tell a good story — but his writing is compelling, too (yes, there is a difference between those last two). The first description given of one of the corpses The Immolation Man left was horrific, it really made me ill. Another description that stood out was an older suspect — and her home — without giving anything else away, Craven’s description of the two together was so well done that I felt I could see them as clearly as I could see the room I was in at the time. I loved the voice, the style, his use of words — really just about everything.

Oh, yeah and when — I can’t believe I almost forgot this — when you figure out why Craven used this title, you’re going to need some help picking your jaw off the ground. There’s at least one other reveal that may require that as well, come to think of it. Any good Crime Fiction is going to have some good reveals embedded in the story — the skilled writer revealing them properly is what makes a good Crime Novel into a great one. Craven delivered the latter.

Craven’s writing, the compelling story, the fantastic characters — you put these elements together and you have an unbeatable combination and the makings of one of the best crime novels — novels, period — that I’ve read this year. I’m not really sure I read it — it was more of a semi-controlled devouring. There are few sequels I’m looking forward to as much as the next Washington Poe book. While I’m waiting for it, you should go grab The Puppet Show so you can join me in anticipating its arrival.

—–

5 Stars