Crimes of the past lurk beneath the stories in Ian Weir's Will Starling and Linden MacIntyre's Punishment and the main characters lurch towards and stumble into confrontations and altercations with life-long repercussions. Goose Lane Editions, 2014 These are both dark tales, but Ian Weir's novel is literally and figuratively so: "And
Debra Komar creates a narrative which manages to straddle the line between scholarly analysis and page-turner, relying upon court records, newspapers, and other historical documentation to gather evidence surrounding the murder of 14-year-old Annie Kempton in Bear River, Nova Scotia in 1896. Goose Lane Editions, 2014 “This book
Random House, 2013 The slippery question of time is often posed on the page. And with books, it’s different. In music, listeners are engaged at a pace dictated by the composer’s notation, beats counted as the bars pass, the audience arriving synchronously at the end of the piece.
Who is Agnes? Little, Brown and Company, 2013 "Criminal. The word hangs in the air. Heavy, unmoved by the bluster of the wind. I want to shake my head. That word does not belong to me, I want to say. It doesn’t fit me or who I am.
Take Tanis Rideout's Above All Things or Mary Novik's Muse: history is stuffed with stories begging to be retold. "Fiction and nonfiction both have to be true, but nonfiction has to be fact-checkable as well." So says Phllip Gourevitch. Indu Sundaresan's The Mountain of Light might not be fact-checkable, but
