PLEASE ENJOY YOUR STAY, ghastly truths emerge about a family tragedy

PLEASE ENJOY YOUR STAY
TARA GOEDJEN
Atria/Emily Bestler Books (non-affiliate Bookshop.org link)
$14.99 ebook, treorder now for delivery on 13 October 2026

Rating: 4.5* of five

The Publisher Says: After a true crime podcast reopens her cousin’s murder case, a woman must confront her past at a glamorous European castle-turned-hotel where she follows a trail of toxic family secrets and deadly lies.

When they were teenagers, Mia’s beloved cousin was murdered during their stay at an infamous castle in the Austrian Alps. As the only witness, Mia’s testimony put the killer behind bars, but it tore her life apart: the media accused her aunt, a controversial true crime author, of being involved. Now, a decade later, the murderer is appealing his conviction, and a popular true crime podcast starts covering the case, determined to exonerate him, and resurfacing lies about Mia’s family in the process.

Desperate to protect her aunt—and what she knows to be the truth—Mia returns to Austria. The castle is being revamped as a luxury hotel, and Mia gets a job as a nanny for the new owner, hiding in plain sight as she investigates, needing to set the story straight once and for all. But after someone mysteriously disappears on the property and sinister new evidence emerges regarding her cousin’s death, she realizes she might have accused the wrong man...and put her own life in danger.

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My Review: It disconcerts me when I read a debut novel this expertly crafted. I expect untacked hems, unblocked waists and armholes, some lumpy seams...none of that here. Comes the dawn...she's been busy the past ten years tending the story vines in the YA vineyard.

So why move to the adult side? I thought maybe some smexy content...not by my adult lights, but maybe for teens it would be? Nope, this isn't a bonkbuster. It's maybe a little deeper on the fragility of Mia's confidence in herself and in her judgment and memory than is good for YA stories, but that's a problem I have with YA stories aimed at girls a lot of the time. The gothic elements...crazy mother, brooding heroes with dark secrets who tell lies for genuinely good reasons, eville greedy men who want the heroine to fail...aren't too disturbing for any goth teen I've ever met.

Well, here we are. This solidly crafted mystery is a pleasure to read, the setting is so well evoked I put on my cardigan against the chills, as Mia's memories of the deeply traumatizing murder she witnessed are attacked and undermined I was frothingly furious with the liars abusing her for their own gain.

There's that half-star gone. In a truly effective gothic novel I expect to feel doubt about the heroine's perceptions. I expect I'll have to wonder id the lies aren't more evenly distributed. Never, not once, did I think so much as "...matbe she misremembered...?" Mia was victimized, and I truly got angry about it.

Author Tara doesn't deliver by-the-numbers gothic storytelling. She keeps the story moving, bending around some pretty sharp corners. Never once did she cheat on the ghostly horror front, by which I mean it was all revealed as regular ol' skulduggery seen from a particular, carefully engineered angle.

What provided the horror for this out-of-step old man was the true-crime podcasting angle, the way the search for Truth is weaponized and twisted and manipulated. Humans scare me far far more than "ghosts" or the "paranormal" ever could. Humans harm and kill each other for fun and profit...and that horrifies me more than spooky set-dressing ever could.

Uneasy reading for spooky season your jam? This story will deliver, though not for the usual reasons (IMO). Need a heroine to root for? Here she is. Need an ending you can close the book, smile, and say to yourself "okay, that's good"? I got that here almost in spite of Mia having less faith in herself than I had in her...that christawful true-crime podcast...and think most of y'all would too.

NORTHWOODS, deeper than I expected by the end of the read

NORTHWOODS
AMY PEASE
Atria/Emily Bestler Books
$27.00 hardcover, available now

Rating: 4* of five

The Publisher Says: The dark underbelly of an idyllic Midwestern resort town is revealed in the aftermath of a murder with ties to America’s opioid epidemic in this unputdownable and thrilling debut that is perfect for fans of James Lee Burke, William Kent Krueger, and Mindy Mejia.

Eli North is not okay.

His drinking is getting worse by the day, his emotional wounds after a deployment to Afghanistan are as raw as ever, his marriage and career are over, and the only job he can hold down is with the local sheriff’s department. And that’s only because the sheriff is his mother—and she’s overwhelmed with small town Shaky Lake’s dwindling budget and the fallout from the opioid epidemic. The Northwoods of Wisconsin may be a vacationer’s paradise, but amidst the fishing trips and campfires and Paul Bunyan festivals, something sinister is taking shape.

When the body of a teenage boy is found in the lake, it sets in motion an investigation that leads Eli to a wealthy enclave with a violent past, a pharmaceutical salesman, and a missing teenage girl. Soon, Eli and his mother, along with a young FBI agent, are on the hunt for more than just a killer.

If Eli solves the case, could he finally get the shot at redemption he so desperately needs? Or will answers to this dark case elude him and continue to bring destruction to the Northwoods?

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My Review: The steady erosion of the workforce in rural areas is pushing a major crisis in substance abuse to epidemic proportions. This is what underpins the story that debut mystery writer Amy Pease chooses to tell us.

Eli, our main character, is self-medicating with alcohol (the legal drug) his PTSD, his marriage ending, and the loss of his career in the US Fish and Wildlife job he's done since leaving Afghanistan. His mother Marge does what any good parent would do, scrapes him up and gives him a purpose: As sheriff in a drastically underfunded department, she hires him to be a deputy. No one can say it's only nepotism, since he was a soldier, then a game warden, and so what if he's her son? Should she overlook his attendance problems and his increasingly frequent panic attacks from his entirely self-"managed" PTSD? In reality, no. In the book, she does, and it goes pretty much unexamined. As does a lot of the painfully obvious skulduggery rampant in the town...in the name of "going along to get along."

No good deed goes unpunished.

Eli comes across a murder that will make the entire town take stock of what they all know but won't discuss. In this way it resembles "The Ones Who Walk Away from Omelas" in its exposé of complicity by silence. The silences run deep. The town's got many dirty little secrets, and Eli has the end of the thread that unravels the curtain hiding them in the murder of a teenaged boy. That it involves a local drug rehab center...for rich people...is the meat of the sandwich. There is a LOT of drug use in Shaky Lake, Wisconsin, and no one from the town gets help at that rehab...nicely done, Author Pease. There's a lot to unpick in the way this story attacks many facets of the status quo. This is, in fact, the reason I gave it four stars. If I was going solely on its literary merits, maybe three would be more like it. The pacing is slow, the way the author uses descriptions is odd...though it was the way I stumbled upon my fourth star...and the completely unprofessional behavior of Sheriff Marge towards her deputy Eli wouldn't pass the most casual law-enforcement scrutiny.

The action in the book, as in direct conflict, takes place in the last quarter or so; until then, one's got to be kept reading by the investment made in the characters. The frequency of Eli's panic attacks as he responds to the initial call for a disturbance of peace and thus discovers the dead boy became a cause of problems for me. I got jittery every time I was forewarned of another social situation that would trigger Eli. It's a state of negative arousal, so I wasn't at all sure I wanted to keep reading. His lack of proper help, at apparently any turn in his post-service life, turned out to be my dark little clue of what the author was doing. The lights came on for me when I realized the only places she was using descriptive words that were more than merely functional was when Eli was in the woods, or among the wealthy people in his resort-ridden town. The safest and most unsafe places in Eli's world were heightened, thus counterpointed.

Clever. Subtle. Make the contrast unmissable, once you've seen it. The plot's main driver becomes less the murder of that poor kid, and more the hideous disfiguring sense of entitlement that Eli smacks into as he shakily grasps the threads of motive behind the murder. After the dead kid's girlfriend disappears and the FBI gets involved...why that would occur remains hazy in my mind...even then, Eli and Marge are just kept in their place. That the resolution of the case comes at the cost of Eli's illusions about his world, and his mother, is down to the outsiders. Yet nothing is going to change, it feels like to me; the perpetrators are not let off scot-free but there's no sign of some wider awakening....

Honestly, I was in two minds about how to rate and focus on the review until I thought back on the larger exposé aspects of the story as told. Eli is a suffering everyman, a person used and discarded by the very world he's served and is still serving as being broken therefore useless. What I felt the author was doing in making Eli's panic attacks so frequent yet so pointedly timed, was a kind of human kintsugi. Much like the narrative device in A Man and a Woman, it's something that must be allowed to pervade one's sense of the story. To bring it into sharp relief would've made the author's deeper purpose, the one I perceived anyway, too on-the-nose. No exaggeration intended, it truly changed my perfectly okay read of a first mystery, possibly a series-starter, into a very pleasant read of a solidly crafted, well-aimed novel.

Good one, Author Pease.

INCENTIVE FOR DEATH: A Novel, new procedural novel from debut author Spoohour

INCENTIVE FOR DEATH: A Novel
JAMES SPOONHOUR
Oceanview Publishing
$28.95 hardcover, available now

Rating: 3.75* of five

The Publisher Says: They all sold their life insurance policies to the same company—and now they’ re all dead. Mac and Oliver are on the case.

On a beautiful spring morning in Washington, D.C., a high-profile attorney is found dead in his office. McDermott “Mac” Burke and Oliver Shaw, homicide investigators for the Metropolitan Police Department, are called to investigate. There appear to be no signs of foul play, but there is also no obvious sign of a natural cause of death.

The detectives are perplexed until the medical examiner notices a tiny pin prick on the lawyer’s neck and theorizes that the man was injected with succinylcholine—aka “sux”—which is a common horse tranquilizer that dissipates quickly in the body.

As Mac and Oliver begin to look further, they discover that the lawyer had sold his life insurance policy to a large viatical company. Then, they realize that more deaths under mysterious circumstances have occurred among those who’ve sold their policies to the same company.

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My Review: Lots of coincidences, lots of conveniently available people able and willing on no notice at all to answer the detectives' questions, and the men investigating the crimes (that might not be crimes) never follow a blind alley or take a wrong turn for long. No one in their chain of command ever questions how they got the information they have, taking their word for whatever they're saying without pushback or demands for sources.

Mac is divorced from Maggie. She lives with him still. She also breaks rules (sort of, that is if as she's hinted at being employed by A Gummint Intelligence Agency she sure as heck does) to help him out. Everyone loves these guys! They're so lovable, hell, I'd marry 'em both!

That's really the sum total of my grumbling. Oh, and the fact that they rehash basically the entire case to date whenever they talk to someone new. What works for me is their inability to set aside the essential unfairness of the viatical "services" industry, which I learned about in the 1980s during the AIDS epidemic. Lots of gay men had the kind of jobs that come with life insurance, and were definitely not going to live very long; a large number of them sold their life insurance collection rights to investors for 50% of face value so as to be able to live with some shreds of dignity until they died.

Capitalism rots.

So anyway, the detectives don't think hurrying the inevitable in order to maximize your profits is acceptable investment management, and set about proving that's what some unkind souls have done. That they succeed is inherent in the genre. The way they go about achieving that success is the fun part. I enjoyed their antics, for the most part, and will definitely read the next one in the series. Oceanview, a relatively new player on the series-mystery publishing scene, is doing a lot of books like this one...not Big Names, unconventional plots and detectives, settings one doesn't necessarily expect for the kind of mystery being told. This one, set in Washington, DC, for example...it's not race-based "urban" or rankly political, it's an interesting business crime. I am all for this publishing house keeping up the good work they're doing with worthwhile new authors like (retired? lawyer) James Spoonhour.

THE PLOTTERS, Korean alt-Seoul murderfest & DEATH ON THE PIER, debut QUILTBAG mystery set in the Golden Age

DEATH ON THE PIER
JAMIE WEST
Brabinger Publishing (non-affiliate Amazon link)
$4.52 (?!) Kindle edition, available now

Rating: 4.5* of five

The Publisher Says: A murder mystery playwright turns real-life detective when, during one of his plays, an actress is shot and killed, while an unsuspecting audience watches on.

This theatrical murder mystery debut from Jamie West introduces Bertie Carroll, one of the most successful playwrights of the 1930s, and his old school friend Chief Detective Inspector Hugh Chapman. Together they team up to see if they can solve the mystery.

During the performance, the audience watches former Hollywood star, Celia Hamilton, as she is shot onstage, unaware that a real murder is taking place. It’s only when the curtain falls that the cast realise that something has gone horribly wrong.

Did someone swap the bullets in the prop gun for real ones, without anyone noticing? The actress who fired the gun doesn't seem to have any reason for wanting her dead, but is she hiding something?

Together, Bertie and Hugh must unravel the clues as they interview their suspects. As they do, their own friendship is rekindled. But is there something from their own past that needs to be uncovered? Why did Hugh want to meet up after all these years apart?

The story is set in and around The Palace Pier Theatre in Brighton, which no longer exists. This "lost" theatre has been lovingly recreated in the pages of this book.

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My Review: I do love Golden Age mysteries. This one, a modern author's take on one of the best tropes for a murder mystery set in 1933 I know of, satisfied me in almost all ways.

The play as the scene of a crime trope is one I genuinely love. All Star Cast, a Golden-Age mystery I read via the Internet Archive, uses the same plot with a few embellishments that, frankly, this book didn't need and doesn't miss. I was enchanted by Bertie, our PoV character, being so absolutely down-to-Earth and commonsensical...I think playwrights absolutely must be both those things or they simply can not do the complex and complicated job of telling a story while moving people around the stage without feeling clanky-creaky-affected. There's so much of that delight present here, even in the descriptions of the action.

What I also loved was Hugh's evident pleasure in Bertie's company. He's a senior policeman...he knows what's at stake in dropping as many hairpins as he does for Bertie to notice! But he still does it, and he still affords Bertie's insights and insider knowledge of the play (which he wrote) and the players (with whom he's acquainted) and theater's many strange, invisible-to-outsiders customs and crotchets that explain how the murder was accomplished.

I believe with all my heart that we'll see these two together in some fashion at a later date. (Especially after Hugh engineers that swim. He clearly wanted a look!)

Why the murder was accomplished, now, that was pure Golden Age stuff. I thought there was nothing left to surprise me in Mysteryland...but there certainly was. The motive for the murder was straight out of Ngaio Marsh! I loved it, because I was reading (by that time) as though I was in 1933. It's just delightful to get that level of buy-in out of an old, tired grouch like me. And to have a real Golden Age detective who is One of Us, a Friend of Dorothy's, a queer gent...appropriately discreet but unmistakably gay, as minor character Teddy proves in his bluff, blokey-jokey way.

I so delighted in this experience. The author's evident love for theater, and his perfectly achieved evocation of a theater in Brighton long gone, came clearly through. It felt as though I was not only in that vanished theater, but in 1933, and among actors exactly like the ones in the story. Murder at the Matinee can't come early enough in 2023 for me!

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

THE PLOTTERS
KIM UN-SU (tr. Sora Kim-Russell)
Doubleday & Co.
$9.99 Kindle edition, available now

Rating: 4.5* of five

The Publisher Says: From the novelist dubbed "the Korean Henning Mankell" (The Guardian) comes a fantastical crime novel set in an alternate Seoul where assassination guilds compete for market dominance. Perfect for fans of Han Kang and Patrick deWitt.

Behind every assassination, there is an anonymous mastermind—a plotter—working in the shadows. Plotters quietly dictate the moves of the city's most dangerous criminals, but their existence is little more than legend. Just who are the plotters? And more important, what do they want?

Reseng is an assassin. Raised by a cantankerous killer named Old Raccoon in the crime headquarters "The Library," Reseng never questioned anything: where to go, who to kill, or why his home was filled with books that no one ever read. But one day, Reseng steps out of line on a job, toppling a set of carefully calibrated plans. And when he uncovers an extraordinary scheme set into motion by an eccentric trio of young women—a convenience store clerk, her wheelchair-bound sister, and a cross-eyed librarian—Reseng will have to decide if he will remain a pawn or finally take control of the plot.

Crackling with action and filled with unforgettable characters, The Plotters is a deeply entertaining thriller that soars with the soul, wit, and lyricism of real literary craft.

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My Review: Oh, you're gonna love this:

As if it wasn’t ironic enough that the country’s top assassination provider was brazenly running his business in a building owned by an international insurance company; the same assassination provider was also simultaneously managing a bodyguard firm and a security firm. But just as a vaccine company facing bankruptcy will ultimately survive not by making the world's greatest vaccine but, rather, the world's worst virus, so, too, did bodyguard and security firms need the world's most evil terrorists in order to prosper, not the greatest security experts. That was capitalism, Hanja understood how the world could curl around and bite its own tail like the uroboros serpent. And he knew how to translate that into business and extract the maximum revenue. There was no better business model than owning both the virus and the vaccine. With one hand you parceled out fear and instability, and with the other you guaranteed safety and peace. A business like that would never go under.

–and–

“People think villains like me are going to hell. But that’s not true. Villains are already in hell. Living every moment in darkness without so much as a single ray of light in your heart, that’s hell. Shivering in terror, wondering when you’ll become a target when the assassins will appear. True hell is living in a constant state of fear without even knowing that you’re in hell.”

Witty, trenchant, and true. I would go so far as to say tendentious. The wonder of meeting Reseng is that his existence is so extreme, committing murders for a living, and yet so extremely simple. Show up at this place at that time and do your job...kill. Like working at a meat-packing plant or a fish cannery. People aren't in any significant way more important than cattle or catfish. In this hypercapitalist alt-Seoul, there's little enough difference paid to any even notional difference between them, when it comes to one of the Plotters making a meticulous and scrupulously untraceable plan to off the person they're being paid to murder.

Make no mistake, these are murders, and they are violent. Author Kim does not stint on the violence. What makes it different from all those ghastly Stieg Larsson clones is that it's not sexual violence. There's a modicum of sex, and even a brief interlude where Reseng, having gotten himself in the crosshairs of nasty competing assassins because his boss (and sole parent figure since he was orphaned) is getting shoved out of the business, explores domesticity. It's...bizarre. To him as well, which is why it doesn't last.

The whole novel unfolds at the strangest pace. If you've watched Squid Game or Parasite, you'll see it here: the off-kilter way pacing is handled for us calibrated to US norms. It serves the plot in all of these cases, and it makes this story's universe really *feel* genuine, lived-in, and solid. I think that's a major plus compared to most of the violent thrillers I've read.

What caused me to give the read four stars in place of another half was, in fact, the mismatch between the violence of Reseng's profession, his philosophical musings about it (I chose one illustrating what I'm talking about above), and the cool remove of his actions and reactions. These things don't work together as well as it seems to me others believe they do. It's like watching a Godard film with a boy you want to bonk and then not getting any after you've invested unrecoverable hours trying to figure out what the hell is going on.

For all that, this here's a terrific entertaining read. Alienation, outrage, warped filial devotion, blood and gore...all present and accounted for. It's a weird trip and I'm glad I took it.