Stephen King’s new “Joyland” mixes chills with amusement park thrills. An amusement park and murder figure into a coming-of-age tale in this miniature thriller with a hint of the supernatural.
Like its predecessor, “The Colorado Kid” (2005), this is a mystery lodged deep in the seam of folksily sinister Americana that King has made his own in bigger, better-structured novels than this one. Stephen King’s new novel is full of acute observations.
Richard Lange upends the thriller in his beautifully paced, deftly written book about moral compromise, in which we have empathy for everyone (or almost everyone) and no one at once.
Taylor Stevens, the widely acclaimed author of “The Informationist,” “The Innocent” and now “The Doll,” doesn’t get it when people find her special.
When William McIlvanney wrote “Laidlaw,” back in the late 1970s, Scotland was not well-known for its crime fiction — something he was to change singlehandedly. Tony Black talked with him.
Dans les années 2040 les choses n’ont pas trop changé. Les rivalités entre États continuent et l’Onu s’est effondrée, remplacée par une Assemblée de Gouvernance Globale. Qui est le représentant des États-Unis à cette organisation?
Just as the Sex Pistols invigorated a hidebound rock establishment, so contemporary noir could wake up literary novels to a wider world.
He had one of the bleakest worldviews ever committed to paper, was racist – and could be a terrible writer. So why is HP Lovecraft more popular than ever?
Should novelists keep their inky hands off real-life tragedies? One answer is that the word “should” has no business intruding on art. Another is that on this evidence, absolutely not: the mingling can produce work that’s both beautiful and important.
When it comes to Alexander Soderberg’s first thriller, “The Andalucian Friend,” certain comparisons are probably inevitable. In a blurb on the back cover, bestselling author Brad Thor calls it “ ‘The Girl With the Dragon Tattoo’ meets ‘The Sopranos.’
Benjamin Percy is not unlike the characters in his new novel, “Red Moon”. His voice is a deep baritone growl. Sideburns run down his cheekbones. But the feared werewolves in “Red Moon” are (mostly) misunderstood creatures.
Novelist Alan Glynn chuckles to himself as he reveals the secret of his success. In his soft Dublin accent, he recalls W. Somerset Maugham’s advice. “There are three rules for writing a novel,” Maugham famously declared. “Unfortunately, no one knows what they are.”
Next month sees the release of Guillermo Del Toro’s new film “Pacific Rim”. It pits the world against Kaiju monsters rising up out of the sea and the heroes that fight them in their giant robots, known as Jaegers.
Britain’s most glamorous agent: The true story of a Polish countess turned courier and resistance fighter is better than any James Bond novel. The book is likely as substantial a biography as can be written about the woman who began life as Krystyna Skarbek.
Marilyn Stasio reviews John Glatt’s “The Prince of Paradise”, Deborah Coonts’ “Lucky Bastard”, Pieter Aspe’s “The Square of Revenge”, Katherine Hall Page’s “The Body in the Piazza” and M. L. Longworth’s “Dead in the Vines”.
The author of the Easy Rawlins novels, most recently, “Little Green,” says that in a great mystery, “the crime being investigated reveals a deeper rot … If the mystery writer gives us a good mystery without a good novel to back it up, then she, or he, has failed.”
The melodramatic aspects of the story are great fun, but the real strength stems from King’s ability to connect with his characters. It’s that emotional bond that marks the difference between books that merely entertain and books that matter in a fundamental way.
“Caught” is an outstanding novel, combining the complexity of the best literary fiction with the page-turning compulsive readability of a thriller. Some of the most interesting writing of our time takes place at the intersection between genre and literature.
“Angel Baby”: a thriller that makes its own terms: Richard Lange upends the thriller in his beautifully paced, deftly written book about moral compromise, in which we have empathy for everyone (or almost everyone) and no one at once.
It’s the darker side of Brighton that inspires the crime writer. Suzi Feay met him in sinister Sussex to talk about his latest thriller “Dead Man’s Time”. As they stride through the narrow streets, he peppers her with facts and figures about his beloved home town.