Like Joseph Kanon and Alan Furst, Mark Mills is adept at historical espionage. His atmospheric fourth novel The House of the Hunted (Random House, digital galley via NetGalley) is set in the seemingly idyllic South of France in 1935, where ex-Britsh spy Tom Nash is enjoying the good life in a villa overlooking the sea. He’s squashed memories of his violent past and lost love Irina, but when an assassin breaks into his house in the middle of the night, Nash finds old habits die hard.
Who among his circle of close friends and entertaining expats wants him dead? Nash turns spy again, suspecting a genial hotel owner, German dissidents, exiled White Russians, local police, even as his old boss, all the while nursing a crush on the daughter of said boss and closest friend. If Mary Stewart had written the book, it would have been romantic suspense from lovely Lucy’s point of view, in love with the older man she has known since childhood. As it is, Nash does his best to protect her from the secrets of the past and save both their lives in the process. A bit slow at the start, the story accelerates nicely once Nash starts driving the twisting coastal roads with a killer on his trail and yet another waiting around the next curve.
David Baldacci’s The Innocent (Grand Central Publishing, digital galley via NetGalley) is a hunting-the-hunter tale, full of cliches and contrivances. I didn’t believe a word of it, but I couldn’t put it down.
The beginning finds lonely government hitman Will Robie taking out the bad guys, no muss, no fuss, and then waiting for his next mission. He’s the consumate, patriotic professional but with his own moral compass, so the day comes when he refuses to pull the trigger on a designated target. Then he’s on the run, and with his skill set, should be able to survive. But there’s 14-year-old Julie, who witnessed the murder of her parents. and who desperately needs his help. Aw, shucks. Chase on!
Now, you may find pet psychics and sleuthing felines to be wildly implausible, but Clea Simon has no trouble convincing me of the detecting abilities of Pru Marlow and her clever tabby Wallis. She follows up her first Pet Noir mystery, Dogs Can’t Lie, with the entertaining Cats Can’t Shoot (Poisoned Pen, paperback galley).
Horrified to be called out on a cat shooting, Pru soon discovers the white Persian isn’t the victim but the accused killer, apparently having set off an antique dueling pistol. The poor cat is so traumatized, Pru can’t tune into her thoughts, but she and Wallis trust their own instincts that there’s something fishy about the scene — and it’s not kibble.
My only quibble with Simon’s tales is the reminder of how many animals are in need of rescue and ever-after homes. But I think that’s probably a good thing.
Simon describes herself as a “recovering journalist,” which is also one of my identities, and yes, we know each other through Facebook and occasional e-mails. I don’t know Brad Parks, who describes himself as “an escaped journalist,” but I sure recognize his series sleuth, Carter Ross, an investigative reporter for a Newark, N.J., paper. You can still find cool, cocky, cynically idealistic guys like Carter in newsrooms across the country, although not in the troop strength of back-in-the-day. Look for the khakis, oxford-cloth shirt and attitude. Love ’em.
The Girl Next Door (St. Martin’s Press, digital galley through NetGalley), the third in the series, is terrific at capturing newspaper atmosphere and antics, but I wish the plot was stronger. Looking into the accidental hit-and-run death of a newspaper delivery woman for a tribute story, Carter finds evidence of foul play, perhaps dealing with the circulation department’s acrimonious labor negotiations with the tight-fisted publisher. Convinced he’s on to something despite his sexy editor Tina’s admonishments, Carter risks his career in pursuit of the story, facing such obstacles as a pretty waitress, an egghead intern built like a football player, a runaway bear, the tight squeeze of a cat door and the inside of a jail.
Carter’s snappy narration saves the day, but the interrupting scenes from the real villain’s perspective give away the killer’s identity way too soon. Too bad; this could have been a sweetheart with some rewrite.