This week's blog post is a book review of 'The Widow', Fiona Barton's first novel. The book was published in 2016 and has achieved both Sunday Times and New York Times bestseller status. It's billed as 'the ultimate psychological thriller... a terrifically chilling exploration of the darkness at the heart of a seemingly ordinary marriage.'

Wow! When I read that, I decided this novel was right up my street, both as the kind of book I like to read and also to write.. Here's the description from Amazon:

'We've all seen him: the man - the monster - staring from the front page of every newspaper, accused of a terrible crime. But what about her: the woman who grips his arm on the courtroom stairs – the wife who stands by him? Jean Taylor’s life was blissfully ordinary. Nice house, nice husband. Glen was all she’d ever wanted: her Prince Charming. Until he became that man accused, that monster on the front page. Jean was married to a man everyone thought capable of unimaginable evil. But now Glen is dead and she’s alone for the first time, free to tell her story on her own terms. Jean Taylor is going to tell us what she knows.'

As a foil to Glen and Jeanie, the other central characters of journalist Kate Waters and DI Bob Sparkes are more crudely drawn. Sparkes is almost like a caricature of a detective inspector, and his scenes didn't come alive for me. Kate is a more convincing character, although hard to like. Ruthless in pursuit of a scoop for her newspaper, she's hard as nails despite the caring persona she projects. The descriptions of unsavoury press behaviour are hard to stomach, as they frequently descend into harassment and trial by media. Fiona Barton used to be a journalist, so the antics she depicts are presumably realistic, yet in my view they're abhorrent.
 
Those wanting thrills a minute and a high body count may be disappointed by this book. The story focuses more on Jeanie's character development rather than delivering a plot rollercoaster. There are no twists as such - the ending is fairly obvious from early on - and few startling revelations. That's not the strength of this novel. The interest lies more in the reader exploring every nook and cranny of Jeanie's mind, in understanding why she gradually turns against her husband during the course of her marriage. As a first novel, it's impressive, and I look forward to reading more from this author.
 
Fiona Barton is a former journalist who has worked for the Daily Mail, Daily Telegraph and The Mail on Sunday. In the latter role she won Reporter of the Year at the National Press Awards. She gave up her job to volunteer in Sri Lanka and has worked with exiled journalists all over the globe. The idea for 'The Widow' came from time spent during her journalistic career covering famous trials. Fiona began to wonder what the wives of the accused knew or allowed themselves to know about the crimes in question. Fiona lives with her husband in rural France and has written several other novels. You can find out more at her website: http://fionabartonauthor.com/  

As many of you know, I love Stephen King's novels. I think he's a master of the writing craft, and I'm awed by his prolific output. I'm working my way through his books, a task that will keep me occupied for quite a while! On a recent trip to a charity shop, I bagged myself seven titles I'd not yet read. All were ones that aren't so well known, such as 'Desperation' and 'Just After Sunset'. I was curious about my purchases, wondering why they hadn't achieved the success of books such as 'Carrie' or 'The Shining'. The last one I finished was 'From a Buick 8', a novel about a supernatural car. The book gets very varied reviews on Amazon, and I can see why. For me, reading it proved a mixed experience.
 
First, let's deal with the good stuff. The prose is every bit as enthralling as King's other novels. I love the way he makes magic with words, and 'From a Buick 8' didn't disappoint in that respect. I read the book pretty much in one sitting, and was never bored. After all, diehard fans like me will enjoy whatever the man writes, even if it's his laundry list! So what was the issue? How come I could understand the scathing Amazon reviews, ones such as,  'It should have been titled "nothing happened"'? Or what about: 'A car that isn't really a car pitches up in a Pennsylvania backwater... and that's it. What we don't get is a story.'  

The title, one that fits the story perfectly, comes from an American expression for police officers at the end of their working life. Those who retire permanently, or die. Which one will Bill Hodges do? He's certainly an engaging sleuth, although a somewhat stereotypical one: retired police officer, divorced, battling health problems and with a past drinking problem. He's teamed with Holly Gibney, a woman with multiple issues of her own, along with Jerome Robinson, a student and former lawn boy for Bill. Books one and three of the trilogy concentrate heavily on the evil Brady Hartsfield, a mass murderer who's also obsessed with suicide. The middle novel, 'Finders Keepers', diverts to explore one of King's favourite topics, the writing life, although it involves the Brady Hartsfield character as well. Here's the sales blurb for 'End of Watch': ​
 
'Retired Detective Bill Hodges now runs a two-person firm called Finders Keepers with his partner Holly Gibney. They met in the wake of the 'Mercedes Massacre' when a queue of people was run down by the diabolical killer Brady Hartsfield. Brady is now confined to Room 217 of the Lakes Region Traumatic Brain Injury Clinic, in an unresponsive state. But all is not what it seems: the evidence suggests that Brady is somehow awake, and in possession of deadly new powers that allow him to wreak unimaginable havoc without ever leaving his hospital room. When Bill and Holly are called to a suicide scene with ties to the Mercedes Massacre, they find themselves pulled into their most dangerous case yet, one that will put their lives at risk, as well as those of Bill's heroic young friend Jerome Robinson and his teenage sister, Barbara. Brady Hartsfield is back, and planning revenge not just on Hodges and his friends, but on an entire city. The clock is ticking in unexpected ways... Both a stand-alone novel of heart-pounding suspense and a sublimely terrifying final episode in the Hodges trilogy, 'End of Watch' takes the series into a powerful new dimension.' 

A while back, I wrote a post about novels with unusual structures (you can read it here), examining books such as B S Johnson's 'The Unfortunates', which consists of twenty-seven chapters that can be read in any order. As a novelist, I'm fascinated by examples of authors stretching the boundaries of what's possible with fiction. Last week, I picked up from the library another novel with an intriguing premise: Jeffery Deaver's 'The October List'.

What's unusual about it? Well, the story is told in reverse - sounds weird, I know! The index begins with chapter thirty-six, the story working back through time over the last two days to the first chapter. In his foreword, Deaver explains that he became captivated with the idea of reverse chronology after listening to a radio discussion about Stephen Sondheim's musical 'Merrily We Roll Along', which uses the same idea. Deaver says: 'I began to wonder if it was possible for a thriller writer to pull off a backward-told story that was filled with the cliff-hangers, surprises and twists and turns that are, to me, the epitome of good crime fiction. The task of course, is to present the twist before giving the facts that lead up to it and still make the surprise thrilling. It's like telling a joke's punch line first, yet still making the audience laugh as hard as if they'd heard the gag in its proper order.'  

So does Deaver succeed? Yes and no, and that reflects the range of reviews I've read about the book on Amazon. For the majority of the novel I wasn't that impressed. The characters lacked depth, Deaver giving only the barest details about them, and the writing failed to grab me. Along the way, there are surprises, but no major thrills or twists. In addition, the ending of the opening chapter (number thirty-six, which appears first in the book as this is a story told in reverse) would have been weak had the plot been conventionally ordered, not delivering the final punch thriller readers expect. Whoever reviewed the book for The Sunday Times appears to have the same reaction, saying: 'Even halfway through, it seems possible that Deaver has been defeated by the mind-boggling technical challenge of delivering surprises in back-to-front time.'

Towards the end, however, everything changes, and I found myself gripped by the twists that Deaver throws into the mix. So does our friend from The Sunday Times: 'After the reverse journey reaches the couple's first meeting, his (Deaver's) gamble is thoroughly vindicated by a series of twists in which he resembles a conjuror who each time seems to have performed his final trick, but then tops it.'

My reaction as well! The final two chapters are particularly gripping, delivering surprises that perhaps I should have seen coming but didn't.  By the end, the last part of the book left me thinking, 'Wow!', as well as unsure how to sum it up as a whole. 'The October List' is, by its very nature, plot-driven yet that's no excuse for poorly drawn characters or pedestrian writing. Yet I'm filled with admiration for any novelist who attempts such an ambitious task. Could you conceive of writing a novel backwards?! Deaver says in his foreword that 'The October List' was more challenging than anything he'd previously written - hardly surprising!

This time around my weekly post will be another book review - 'The Silent Twin', Caroline Mitchell's third release in the Jennifer Knight series. Caroline blends crime fiction with a dash of the supernatural, as the protagonist Jennifer Knight has a dual role in the police force. Besides her more orthodox work, part of her job is to investigate crimes with, as Mitchell puts it, 'an unearthly edge'. Sounds intriguing, and not a plot premise I've encountered before! Here's the description from the back cover:
 
Nine-year-old twins Abigail and Olivia vow never to be parted. But when Abigail goes missing from Blackwater Farm, DC Jennifer Knight must find her before it’s too late. Twin sister Olivia has been mute since Abigail’s disappearance. But when she whispers in Jennifer’s ear, Jennifer realises it is Abigail’s voice pleading to be found. A damp and decaying house set in acres of desolate scrubland, the farm is a place of secrets, old and new – and Jennifer must unravel them all in order to find the lost girl. But could Olivia’s bond with her twin hold the key to finding Abigail? And can Jennifer break through her silence in time to save her sister’s life? 

I wasn't sure how well blending a supernatural angle with a detective thriller would work. Also, as 'The Silent Twin' is the third in its series, whether it would also read well as a standalone. (I won my copy in a competition, which is why I've not yet read the first two Jennifer Knight books). My fears were unfounded. The supernatural element adds interest to the plot without becoming obtrusive or forcing the book to sit between two genres. If I'm reading crime fiction, I don't expect overtones of a Stephen King horror story, for example, but that doesn't happen in 'The Silent Twin'. First and foremost, it's a detective thriller, with the supernatural element acting to complement, not hinder, that. The reader is never allowed to forget that a child is missing, with all the horror that entails for her family.
 
Also, I was relieved to find 'The Silent Twin' works well on its own merits and prior knowledge of the first two books in the series wasn't necessary. Caroline Mitchell does a fantastic job of setting the scene when it comes to creepiness The parents of the missing child live at Blackwater Farm, a dilapidated dwelling set in a remote area and complete with a strong negative energy within its walls. As the wind howls outside, Jennifer Knight hears Abigail whispering in her ear, begging to be found. What exactly is she hearing, though? Is the child still alive and her pleas the product of Jennifer's imagination, or is there a more sinister explanation? Could Abigail be dead and is it her spirit that is desperate for resolution?
 
Her twin, Olivia, is every bit as enigmatic, refusing to speak immediately after her sister's disappearance but when she does begin to talk again, she drops hints that she knows a lot more than she's willing to tell. For example, what is the awful thing she saw, but promises her father, Nick, not to reveal? What demons is Nick wrestling with? The other characters are equally engrossing. What past traumas have scarred Joanna, the twins' mother? Why has her marriage to Nick turned sour? What part does the mysterious Radcliffe play? And who is the writer of the mysterious diary? As the action progresses, the spotlight turns on each one, revealing dark secrets, past abuses and terrible tragedy.
 
I read 'The Silent Twin' in one sitting, delighted to have discovered a new author whose books I can enjoy. If the idea of a detective thriller with a spooky twist appeals to you, I heartily recommend this novel. 

It's been a while since I wrote a book review, and 'Mr Mercedes' by Stephen King is a worthy way to resume! The novel is King's venture into straight crime thrillers, the first of a trilogy. Fans of his horror and supernatural titles won't find their familiar fare here. No clowns, no haunted hotels, no Boo'ya Moon. Instead 'Mr Mercedes' recounts the good versus evil battle of Bill Hodges, a retired police officer, and Brady Hartsfield, a computer genius with a bad Oedipal complex and an even worse loathing of humanity. The book begins with a bang, recounting the senseless slaying of eight people by Brady Hartsfield, committed by ploughing a stolen Mercedes into a crowd. Years later, retired detective Bill Hodges's failure to capture the Mercedes Killer haunts him as he drifts through his days on a diet of junk food and daytime television. Then he receives a taunting letter from Mr Mercedes, an attempt to goad him into suicide. Instead, it induces the opposite effect, Hodges is spurred into action, committed to capturing the killer before he strikes again. Let the battle commence....
 
The novel has more twists and turns than a maze, never failing to thrill. Twice in the book (I'll not say more as I don't want to give plot spoilers) the events had me yelling, 'Oh my God!' at the pages. The way King enables Hartsfield to stalk Hodges without the latter realising is creepy beyond belief. Novelists are often advised to torture their characters to excite readers. In 'Mr Mercedes', Stephen King doesn't hesitate to dispatch the modern day equivalent of the Spanish Inquisition to persecute his players. Speaking of whom, 'Mr Mercedes' introduces a trio of characters that continue through the trilogy. First Bill Hodges, the man who rediscovers his zest for life through hunting Brady Hartsfield. Jerome Robinson, the computer-savvy student, a foil for Hodges's technical ineptitude. Finally, there's Holly Gibney, a seemingly minor character whose demons seem destined to hinder Hodges, not help him. The lesser characters are equally compelling. Deborah Hartsfield, Brady's alcoholic mother, inspires empathy as we learn the reason for her drinking. At the same time, her unorthodox relationship with her disturbed son won't win her a 'Mother of the Year' award. Aunt Charlotte is a master study of a self-absorbed whiner engorged with entitlement issues. The only character I disliked (although she's one of the 'good guys') is Janelle Patterson. Her condescending attitude towards Hodges warrants a kick up the backside. She dispenses sexual favours his way as though rewarding a well-trained dog with a ham bone. Yuk.  

Unlike many straight-up crime thrillers, the novel is laced with humour. Take our introduction to Bill Hodges. He's at a point in his life when blowing his brains out holds increasing appeal. We witness his ennui via the daytime television shows with which he self-medicates. King's descriptions of a trashy reality TV programme are hilarious, yet provide a not-so-subtle commentary on modern life. His books have often been criticised for being long-winded. By comparison to some of his work ('Under the Dome', 'The Stand', etc.), 'Mr Mercedes', at 405 pages, is a short read. Yet it still contains much that critics might say could be axed without interfering with the plot. Take the description of the reality TV show. The fighting between Knockout Bods One and Two and their shared lover doesn't add to the action, reveals nothing about the book's characters. Yet somehow it works. Those passages inject humour, a counterpoint to the awfulness of Hodges's life post-retirement.
 
Yes, King is prone to lengthy prose, some of which doesn't add to his books. With a master wordsmith like him, though, it doesn't detract either. The man is probably capable of rewriting the phone book and making it thrilling. His wizardry with words ensures that, no matter what tangent he zooms off on, it'll be entertaining.
 
'Mr Mercedes' is the first in a trilogy, and the second and third books, 'Finders Keepers' and 'End of Watch', have already been published. Our heroic trio of Hodges, Robinson and Gibney continue their crime-fighting spree, this time tackling an obsessive fan whose preoccupation with a famous writer goes too far. Wait - haven't we been there before? Annie Wilkes in 'Misery'? King seems to enjoy examining the trials and tribulations of a novelist ('Misery', 'Lisey's Story', 'Bag of Bones', etc.). 'Finders Keepers', however, in King's capable hands, spins an original twist on a familiar theme. And 'End of Watch' delves into what appears to be a murder-suicide. Except that matters aren't, of course, what they seem...
 
Back to 'Mr Mercedes'. I devoured this book, loving the ride on which King takes the reader. The only part that didn't gel for me was the final scene, which I thought stretched credibility too far. On the other hand, in its own way it's oddly humorous. Given how I loved the rest of the book, it's a minor issue. And now, thanks to Messrs King and Mercedes, I know what a crush freak is. Believe me, if I could erase that particular piece of knowledge from my brain, I would! 

I've been a fan of Lee Child's Jack Reacher titles from the first one I read. Hats off to Mr Child (real name Jim Grant), who has mastered writing bestselling American thrillers, despite being British. He pens classy novels with a twist and a turn in every chapter, books that make me eager to turn to the next page. This week I'll be reviewing his novel  'Personal', published in 2014.
 
First, however, a little about the Reacher series in general. Jack Reacher is an iconic character; tall, tough, an expert fighter, he wanders his home country of America with only a toothbrush and wallet in his pocket. He even spurns carrying a change of clothes, preferring to buy fresh attire as and when he needs it. He has no home, no car, no friends, no significant other, just a desire to live life off the grid and on his own terms. Reacher explores his homeland without so much as a holdall, claiming that if he were to allow possessions into his life, it would open the door to more... and more... and more. Which might lead to acquiring a house for all those possessions, and being settled is exactly what Reacher seeks to avoid.  

​In addition, similar to Bond, Reacher always hooks up with a beautiful, beguiling female; Child's subplots are often concerned with the sexual tension that develops between the two. The epitome of machismo, Reacher is nevertheless portrayed as respectful towards women, despite his 'love 'em and leave 'em' attitude. Not that the latter matters. His cohorts aren't, on the whole, looking for a white picket fence; they're equally happy to enjoy some uncomplicated pleasure. Entertainment, pure and simple, for Jack, his women, and the reader.
 
Let's turn now to gadgets. Our hero has an encyclopaedic knowledge of  weaponry, although he's a dinosaur when it comes to technology. Despite lacking Bond's fancy gizmos, Reacher employs any guns he comes across to great effect. He knows all about ballistics and firing strategies, facts ground hard into him during his years as a military policeman, and he uses his knowledge well, explaining it to the reader in a way that's never dull. And he's also a mean opponent with his fists and feet. You wouldn't want to piss off this guy, believe me. 

On to the book review itself. Here's what Amazon says: 'Jack Reacher walks alone. Once a go-to hard man in the US military police, now he’s a drifter of no fixed abode. But the army tracks him down. Because someone has taken a long-range shot at the French president. Only one man could have done it. And Reacher is the one man who can find him. This new heart stopping, nail biting book in Lee Child’s number-one bestselling series takes Reacher across the Atlantic to Paris – and then to London. The stakes have never been higher - because this time, it’s personal.'

Number 19 in the series is one of the most entertaining Reacher novels that I've read. Whether that's because I'm British and the book is largely set in the UK, I'm not sure. It's certainly interesting to experience Lee Child, a fellow Brit, exploring our way of life through the eyes of an American, and not always reverently, which adds to the fun. Reacher doesn't hesitate to crack amusing references to the Queen, the London transport system and our police force, amongst other things, and it's hard not to smile at some of the absurdities he reveals. The novel moves along at a frantic speed, with hooks at the end of each chapter that drag the reader, metaphorically breathless, towards the next. Lines like: 'I headed towards the sound of her voice, and stepped into a room, and came face to face with myself.' Or: 'He had a gun in his hand, yet another Browning High Power, and he was pointing it straight at my head.' Who could resist turning the page after such a cliff-hanger?   

Nobody tells a story quite like Stephen King, who has rated 'Lisey's Story' (2006) his favourite novel that he's written. Before I discovered it on the library shelves, however, I'd not heard of it. No-one has yet made it into a film, and it doesn't seem as well known as other King novels such as 'Carrie', 'The Shining', etc. The novel delivers a powerful and engaging read, however, and is a typical Stephen King page-turner (all 664 of them - it's a long novel!) The plot involves three stories. One is that of Lisey herself, told in the present, interwoven with a second one, revealing her dead husband's life, as recalled by her. The third story is the one from the title, written by Scott for his wife. More about that later. Here's a brief plot summary.
 
Lisey Landon has been widowed for two years, following the sudden death of her husband, hugely successful Maine novelist Scott Landon. Although a devoted husband, Scott was a troubled man during his life, emotionally wrecked by his childhood and prone to drinking bouts. Despite the passing of time, Lisey is still unable to deal with his loss, as evidenced by her inability to clear out his study. Then an insane fan of Scott's begins to stalk her, demanding she hand over her dead husband's papers; in order to survive, Lisey has to follow the trail of clues left by her husband, who assists her in spirit form. Through Scott and Lisey we explore the fantastical world known as Boo'ya Moon, where Scott retreats during times of mental crisis. Boo'ya Moon is a magical realm of warmth, filled with hazy red light, birdsong and the scent of tropical flowers. Dangers lurk amongst the lush vegetation and bright colours, however. Monsters such as Scott's nemesis, the terrible piebald creature he dubs his 'long boy'. This 'long boy' appears to represent total insanity, something desperately feared by Scott, given his family history of mental illness. Despite its perils, however, it is Boo'ya Moon that eventually provides solutions to Lisey, in respect of her insane stalker and her grief over her husband's death. 

For me, the novel is one laden with dualities. The plot portrays many contrasts; good and evil, dark and light, night and day, safe and dangerous, madness and sanity. As for night and day, the difference between them plays an important role in Scott and Lisey's visits to Boo'ya Moon, a place that's safe during daylight hours, but in which unspeakable terrors lurk in the Fairy Forest at night. King stresses that Boo'ya Moon is not a place in which to linger too long; its beauty can be seductive and once enticed into its magic, its guests may lose all desire to leave, despite its perils. Another duality illustrated here; that of danger and safety. 
 
Good and evil are demonstrated in Sparky Landon, Scott's father, a man tormented by what Scott terms 'bad-gunky', yet who, in his lucid moments, loves his two sons and endeavours to protect them during their childhood from the rampant family insanity. He doesn't entirely succeed; nobody could endure what Scott did and emerge  mentally unscathed. Scott Landon comes from a family blighted by mental illness, which manifests itself as either the 'bad-gunky' of homicidal mania (Scott's brother and father) or as catatonia (Scott himself). Although a loving husband, the man is a dark, haunted individual in comparison with Lisey, who exudes strength and stability. Normally loquacious, Scott suffers bouts of catatonia, as does Lisey's sister, Amanda. The theme of family presents another duality, with Lisey's chaotic yet loving childhood, mostly female, a contrast to Scott's male-dominated and terror-filled one. 

A minor quibble now. For me, the title of the novel is something of a misnomer. The novel is far more concerned about Scott Landon's life rather than Lisey's; she plays a supporting role in her own story. Although we are given details of Lisey's life, throughout the book we discover much more about her husband's. Even when we finally read the story that Scott wrote for Lisey and hid for her in Boo'ya Moon, the 'Lisey's Story' of the title, we learn far more about him than we do his wife, as the missing pieces of his life slot into place. That aside, 'Lisey's Story' is a terrific fairground ride of a novel, told as only Stephen King can. Like many King offerings, it's densely plotted and, although long, it's never dull. From the stunning descriptions of Boo'ya Moon to those of Scott and Lisey's marriage, through the sub-plots of Amanda's mental illness and Lisey's stalking by the insane Jim Dooley, King sweeps us along in a epic story that enchants and intrigues. I heartily recommend this book. 

Over the years, I've come to admire Stephen King more and more, both for his prolific output and the amazing quality of his work. I've especially enjoyed his longer novels, such as '11.22.63', marvelling at how he maintains tension and interest for 700+ pages. I wasn't sure, therefore, what I'd think of King's short stories, although I suspect I could read his grocery list and find it enthralling!
 
I needn't have worried - I loved 'Full Dark, No Stars', a great collection and one that inspired me to try 'The Bazaar of Bad Dreams', published in November 2015. It's a collection of eighteen short stories and two poems. (Poetry isn't my thing - I started both poems and gave up, so perhaps I overstated my case when it comes to King's grocery list!) It's worth noting that not all the stories are new; some, such as 'Blockade Billy', have been published before, which may disappoint diehard fans expecting a completely fresh experience. They were all new to me, however, so no complaints here!
 
I love how King prefaces each story with an introduction, often revealing where he got his inspiration. As an author myself, it's fascinating to explore another wordsmith's process for transferring an idea from brain to page. 'Mile 81', for example, is a reworking of a story King wrote nearly forty years ago, resulting from his dislike of a particularly lonely stretch of road in Maine, familiar from his university days. For 'Batman and Robin Have an Altercation', he drew on a memory of a near-miss accident at a Sarasota intersection. The best introduction, however, is the one to the book itself. Here's a snippet from what King has to say: 'Here, sit down beside me. And do come a little closer, I don't bite. Except.... we've known each other for a very long time, and I suspect you know that's not entirely true.'  

So what can the reader expect from 'The Bazaar of Bad Dreams'? Some of the stories, like 'Mile 81' and 'Bad Little Kid', are quintessentially Stephen King - a demonic flesh-eating car reminiscent of his novel 'Christine' in the first, an evil child in the second. Others, like 'The Little Green God of Agony', are more personal; in King's own words, a search for closure. The story resulted from the horrific traffic accident he suffered in 1999 that resulted in years of physiotherapy and learning to walk again.

In keeping with the personal theme, his preface to 'Afterlife', an examination of what might come after death, King admits to an increasing interest in the subject as he grows older. The story reflects his preoccupation but delivered with a humorous touch. What awaits Bill Andrews after his demise is not a date with St Peter but with a man in high-waisted trousers, who's none too pleased to see him...

My favourite is, I think, 'Ur', although it's a tough choice! 'Ur' deals with, of all things, a supernatural Kindle, which proves that a good author can weave a tale out of just about anything. Talking of which, the preface to 'Mr Yummy' intrigued me. I can't imagine telling Stephen King he wouldn't have anything new to say about AIDS! A friend of his did just that, with King, of course, proving him wrong with his wonderful story of a elderly gay man approaching his death in a care home.

What else gets the King touch? Marriage, in 'Premium Harmony', 'Under the Weather' and 'Morality'; human stupidity in 'Drunken Fireworks'; and a post-apocalyptic world in 'Summer Thunder', a moving tale of a man and his dog that incorporates King's love of motorcycles. 'Blockade Billy' is centred around baseball, but with a dark twist. I loved 'The Dune', a tale of supernatural writing and a study of a deeply unpleasant man. Stephen says the story has one of his favourite endings and I agree; it's a cracker!

Wow! Yesterday I finished Alex North's best-selling novel 'The Whisper Man', and loved it. Two of the scenes towards the end of the book brought tears to my eyes. Not many books manage to do that, but it's wonderful when they do.

I had my doubts when I first picked up 'The Whisper Man', however. We're introduced early in the novel to DI Pete Willis, a man with a troubled childhood, a divorce in his rear mirror and a drinking problem. Cliché number one. Then there's the plot. A boy has gone missing, in circumstances that mirror the crimes of Frank Carter, now in prison. Is a copycat killer at work? Cliché number two. Except that 'The Whisper Man' is so beautifully written, and Alex North provides such a fresh spin on an old tale, that I couldn't help but get drawn in. I'm glad I did. The book was rated the best crime novel of the decade by Steve Cavanagh, and he's someone who knows how to craft an excellent read! Here's a taster of the plot:

If you leave a door half-open, soon you'll hear the whispers spoken . . .

Still devastated after the loss of his wife, Tom Kennedy and his young son Jake move to the sleepy village of Featherbank, looking for a much-needed fresh start.

But Featherbank has a dark past. Fifteen years ago, a twisted serial killer abducted and murdered five young boys.

Until he was finally caught, the killer was known as 'The Whisper Man'.

Of course, an old crime need not trouble Tom and Jake as they try to settle in to their new home.

Except that now another boy has gone missing. And then Jake begins acting strangely.

He says he hears a whispering at his window . . .