Friday, May 20, 2022

Bookshelf, Spring 2022

A lot of books on my shelf this quarter, although actually I’ve read most of them—and a few more besides. But they have my interview schedules on both the podcast and the blog jam-packed; they are all good reads; and they are coming out in the next month or two, so this is definitely the time to give them a shout-out. None of these are out yet, although they are all available for pre-order. I’ll supply links when I  post the follow-up interviews.

Anne Louise Bannon, Death of an Heiress (Healcroft House, 2022)
I’ve been waiting for this one after enjoying the first three Old Los Angeles mysteries. There’s something very appealing about the idea of LA as a pueblo small enough to cross on foot, and Maddie Wilcox—the intrepid doctor/winemaker/crusader for justice whose memoirs form the backbone of the series—is a perceptive and clear-eyed observer. Bannon does a good job of conveying the atmosphere of what in the 1870s is still the Wild West, with saloon keepers and brothel owners, prejudice and superstition, and a general attitude among the citizenry that women should mind their place and keep their mouths shut, not going wandering about the pueblo at all hours healing injuries and hunting murderers.

This novel opens in 1872 with an heiress whose legacy is under assault from her brother and the murder of a Native American healer, ruled an accidental death by the prejudiced judge called in to handle the inquest. The threads connecting these two events are long and twisty, but the resolution seems just right. I’ll be talking with the author after the book’s release on June 14, with a New Books in Historical Fiction (NBHF) interview to run in mid-July.

Jade Beer, The Last Dress from Paris (Berkley, 2022)
In 2017, Lucille agrees to fulfill an urgent request from her ninety-year-old grandmother, Sylvie: accept a free ticket to Paris and retrieve a dress made in the 1950s by the noted designer Christian Dior. When Lucille reaches her destination, she discovers that the one dress belongs to a set of eight, all owned by Sylvie, but was sold years ago—as her grandmother has known all along. The hunt is on to find the missing dress and see the entire set conveyed back to London.

This present-day story intertwines with chapters, each named after one of the eight Dior creations and set in the 1950s, that gradually reveal how the dresses came into Sylvie’s possession and the complicated truth that lies behind her request to Lucille. This book releases on June 21, and I’ll be hosting an NBHF interview with the author around that time.

Dianne Freeman, A Bride’s Guide to Marriage and Murder (Kensington, 2022)
The fifth in an absolutely delightful historical mystery series featuring Frances Wynn, the dowager Countess of Harleigh, set in Gilded Age Britain. The daughter of a wealthy American, Frances was sold off at eighteen to an impoverished earl, who promptly spent her fortune on wine, women, and impressing Edward, Prince of Wales—the future Edward VII. After an initial, understandable reluctance to commit herself to another husband, Frances has yielded to her attraction to her next-door neighbor George Hazelton—an English gentleman but not a nobleman, employed on slightly mysterious assignments for the Crown.

In this book, they are all set to marry, and Frances believes her only problem is her interfering mother. But the night before, she learns that two warring robber barons both plan to attend. Sure enough, the more disreputable of the pair is murdered during the wedding. The police suspect Frances’s younger brother, forcing her and George to cancel their honeymoon in the hopes of solving the crime. Meanwhile, the long-suffering Inspector Delaney does his best to keep them from meddling in his investigation, with the usual mixed results. This latest installment comes out on June 28, which leaves you plenty of time to devour the first four entries in this light-hearted and engrossing series in preparation. I’ll be hosting a written Q&A with the author here on June 24.

Louise Hare, Miss Aldridge Regrets (Berkley, 2022)
Another murder mystery with an interesting twist. Lena Aldridge is a mixed-race singer who has never known her mother. It’s 1930s London, and the Great Depression has made work difficult to find for almost everyone. After a series of theater jobs, Lena has fallen on hard times, reduced to singing in a crummy Soho bar owned by her best friend’s husband. Her father, a pianist, has died a few months before, and when the bar owner is murdered one evening, Lena accepts what seems like a too-good-to-be-true opportunity to travel all expenses paid to New York for a starring role in a Broadway show. What happens next defies her expectations in both good and bad ways.

The twist is that the first person we meet in the novel is not Lena but the murderer, who reappears from time to time throughout the novel commenting on and evaluating decisions without revealing their identity. I did eventually figure out what tied the threads together, but even then Hare managed to deliver more than one surprise at the end. This book comes out on July 5, and I’ll be hosting a written Q&A here on July 22.

Catherine Lloyd, Miss Morton and the English House Party Murder (Kensington, 2022)
I had not heard of Catherine Lloyd before her publicist sent this book my way, but a little digging turned up the fact that she has eight previous novels in a separate series, set during the Regency in the English village of Kurland St. Mary. I’ve now read most of those and enjoyed them, as well as this latest opening to a second series.

As the title suggests, the new novel features Lady Caroline Morton, whose illustrious heritage has been tarnished by the financial ruin and suicide of her father a few years earlier. We are now in early Victorian Britain, but the economic opportunities of young women—even noblewomen—are still extremely limited. Caroline’s family would support her, but life as a poor relation has its drawbacks, and she has taken a position as companion to a wealthy but less-cultured widow, Mrs. Frogerton. But when Caroline’s cousin insists on celebrating her birthday with a house party and invites Mrs. Frogerton and her daughter to attend, Miss Morton (she prefers to avoid the “Lady” as inappropriate to a woman with a job) can’t refuse. A succession of uncomfortable encounters with her past culminate in the troubling disappearance of a trusted servant, then an outright murder that hardly anyone else will admit could be anything but an accident—all taking place in a classic locked-room setting when floods prevent anyone within the house party from leaving the estate. This well-written mystery will make its debut on May 31, and I’ve timed a podcast interview with the author to run on the New Books Network in early June.

Kelly Rimmer, The German Wife (Graydon House, 2022)
Despite my frequent complaints about the ongoing avalanche of books set during World War II, they keep coming my way, and once in a while one of them catches my attention. At first, I thought this one was set in the 1950s, which is the reason I agreed to take a look—and one part of it is. But the action then is counterposed to the 1930s and 1940s, in both the United States and Germany, and the story moves seamlessly back and forth between the two countries and two points of view: Sofie Rhode as the German wife of the title and Lizzie Miller, a hard-scrabble woman from the Dust Bowl who doesn’t take kindly to German scientists showing up in her home town right after the war.

Rimmer’s portrayal of Sofie, a woman who inwardly resists Nazism yet nonetheless finds herself on the wrong side of a war she doesn’t want, is the high point of the novel—thought-provoking and compelling without pulling punches. Lizzie, too, emerges as a fully formed if troubled person, haunted by her past. You can find out more about the book, due June 28, from our written Q&A, scheduled for July 8.

Francesca Stanfill, The Falcon’s Eyes (Harper, 2022)
Another unexpected find—very long at 800+ pages but nonetheless captivating. Isabelle, a young countess living in Provence in the twelfth century, has neither looks nor fortune nor a pliant demeanor to guarantee her a husband. Her parents have reconciled themselves to keeping her at home as a drudge for the rest of her life, but an unexpected marriage proposal from Lord Gerard de Meurtaigne—who has money but not the aristocratic heritage Isabelle can provide—sends Isabelle’s life in a new direction. Her parents insist she accept, and she does, even though she has never set eyes on her prospective bridegroom. What else is a medieval woman to do?

At first, Isabelle’s marriage pleases her more than she expected, but soon elements of darkness creep in to disturb her happiness. What happens next should be experienced, not divulged, but we know from the beginning that Isabelle attends the death of Queen Eleanor of England and Aquitaine, the shining example of a twelfth-century alternative to Isabelle’s conventional upbringing. The road between those two opening scenes takes Isabelle through a lifetime of challenges, but it’s well worth following to the end. The chance to do so comes with the novel’s publication on July 5; I will be interviewing the author in July, but exactly when and in what format remains undetermined.

Friday, May 13, 2022

Interview with Connie Hertzberg Mayo

It’s New York at the turn of the twentieth century, and Lilian Dolan is living in a small apartment with her younger sister, Marie. To support them both, Lilian talks her way into a job as a nursing assistant at the New York Cancer Hospital. She wants to become a nurse, so this seems like a good opportunity for her, and she has support from her cousin Michael, if not from her mother, because of an unspecified conflict that becomes clear only toward the end of the novel. But many of the hospital nurses shun her, and although Lilian establishes a rapport with several of the patients, her yearning to find out more about medicine brings her into contact with a new head surgeon who clearly has more insidious intentions toward her than Lilian herself is prepared to face.

In addition to the details of medical care at the time, this novel manages to incorporate an astonishingly vast swath of New York city life: the gay scene in its various manifestations, race relations, sexual harassment, and the right to euthanasia all play a part without ever overwhelming the story. At its heart is Lilian—brave, alert, intelligent, na├»ve, and loving. Following her pursuit of happiness and self-worth is a journey well worth taking.

Your first novel, The Island of Worthy Boys, was set at a charity school in late 19th-century Boston. The Sharp Edge of Mercy takes place in turn-of-the-century New York. What draws you to this time period?

I love the stuffy Victorian morals of this era, especially in cities, because there is such contrast between how people “should” behave and the gritty reality of urban life. It was also a time of enormous technological change—telegraph, telephone, recorded music, electricity and so much more—which reminds me of today, just with different technology.

And what inspired this particular story?

I wanted to write a novel about medical ethics, and when I heard about the New York Cancer Hospital, which was the first cancer-only hospital in the country, I knew it would be a great setting for a story with that theme.

When we first meet Lilian Dolan, your heroine, she’s moved away from her mother and is living in a small apartment with Marie, her sister. Give us a brief overview of their situation, please, at this early point in the novel.

Lillian is pretty young herself—she’s nineteen. And like many young people, she sees the world in black and white. She has judged her mother harshly for some decisions her mother made and left with her fourteen-year-old sister Marie. Marie is blind and cognitively impaired from a bout with scarlet fever, so Lillian has taken on quite a challenge in caring for her sister while working full-time.

And how would describe Lilian, as a character? What does she want in life?

Lillian wants to be a nurse, but she is too young to start a nurse training program. She’s very smart and has a strong stomach, so she will be well suited to be a nurse someday. In a different era, she would probably become a doctor. There were some female doctors at the time, but it was not easy.

She becomes a nursing assistant at the New York Cancer Hospital. What is this job like for her?

Her job duties are menial, and although she doesn’t mind them, she just can’t stop her mind from wondering about all sorts of things related to the patients and the hospital. This doesn’t win her many friends at the hospital.

It’s clear even from the short description on your website and the back of the book that this is at its heart a novel about sexual harassment—an experience all too familiar to contemporary women as well. How does that theme play out in your novel?

When the new surgeon at the hospital takes interest in Lillian, she is enormously flattered even though in the back of her mind, she starts to see red flags. They engage in Socratic debates about all the things that Lillian has been wondering about. Of course, he is a predator that understands how much Lillian craves intellectual validation. Once Lillian understands that she is in over her head, she doesn’t know how to extricate herself. I think this is a position that a lot of smart young women find themselves today, so I hope this resonates.

This novel just came out. Do you already have another in the works?

My third novel is outlined, but I have not had any time to work on it recently. It’s set in Boston in 1958, so a departure from my usual turn-of-the-century timeframe. Boston took a brownstone neighborhood called the West End by eminent domain and completely destroyed it to put up buildings for Mass General Hospital and midrange apartment buildings that the former residents couldn’t afford. My story is about three families that live together in one of those brownstones, and each family has a reason why moving will be catastrophic for at least one family member. The story also includes a young, idealistic draftsman on the city planning board who slowly realizes what this will mean for the West End residents.

Thank you so much for answering my questions!

Thank you for the opportunity!

Connie Hertzberg Mayo is the author of The Island of Worthy Boys, which won the 2016 Gold Medal for Best Regional Fiction from the Independent Publisher Book Awards. Her latest novel, The Sharp Edge of Mercy, was published by Heliotrope Books in May 2022. Find out more about her and her writing at


Images: Interior (1880s) and exterior (1893) of the New York Cancer Hospital, today the Memorial Sloane-Kettering Cancer Center, public domain via Wikimedia Commons.

Friday, May 6, 2022

A Civil War Veteran at Scotland Yard

As I’ve mentioned elsewhere, I found this series by serendipity and read it first out of curiosity, then with increasing enthusiasm. What drew me in was the combination of complex but satisfying plots and the growing friendship between a rural English policeman and a US Civil War surgeon turned reluctant earl—each with his inner strengths and conflicts.

Lord Redmond and his buddy Daniel Haze have now reached their seventh adventure, with the eighth due for release in another month or so. They are the creation of the incredibly prolific Irina Shapiro, who graciously took an hour away from crafting their adventures to talk with me for a New Books Network interview. As you’ll hear, she has a lot of interesting insights into her characters. Read on, then listen, to find out more.

The rest of this post comes from New Books in Historical Fiction.

Jason Redmond, a US Civil War surgeon, never expected to step into his father’s shoes as the heir to an English earldom. When he first shows up to claim his inheritance, with a scrawny twelve-year-old former drummer as his ward, Jason plans to inspect the property, then return to his home in New York. But the discovery of an obviously murdered body in the local church first casts suspicion on Jason, then involves him—first in performing the postmortem and later in helping the parish constable, Daniel Haze, solve the crime. By the end, Jason has decided to stay in England for a while.

Six books and as many cases later, Haze has moved to London for reasons explained in Murder at Ardith Hall. When the corpse of Blake Upton, a renowned Egyptologist, is traced to a ship in the London Docks, it seems only natural that Daniel should involve his friend Jason in finding out who among the potential suspects had the means, motive, and opportunity to dispatch the Egyptologist to his eternal rest in the arms of Osiris. And in this variation on a locked-room mystery—the archaeologist must have been killed just before the Sea Witch docked—a surprising number of passengers and crew have something to gain from Upton’s murder. Moreover, the grisly means used to kill Upton point to someone familiar with ancient Egyptian funerary customs. Jason and Daniel have their work cut out for them if they are to find the culprit before the impatient head of Scotland Yard decides that Daniel’s first case as an inspector will also be his last.

Irina Shapiro has a gift for tricky but ultimately satisfying plots and for delving into her characters’ inner lives. Jason and Daniel have come a long way since their first appearance in Murder in the Crypt a few years ago, but  let’s hope they have many adventures yet to come.

Images: The Egyptian goddess Maat and London Streetscape, 1878, public domain via Wikimedia Commons.

Wednesday, April 27, 2022

Interview with L.C. Tyler

After two years of masking and social distancing while obsessively charting surges and death rates, encountering L. C. Tyler’s The Plague Road evokes an eerie sense of familiarity. The coincidence is not what it seems: this is the third novel in a series set in seventeenth-century England featuring one John Grey; and the series first appeared several years ago, before COVID was anywhere on the horizon. But Felony and Mayhem has decided to republish the books in the United States, and The Plague Road released earlier this week. I didn’t think about the parallels when I first heard about it; I was more struck by the somewhat unusual attention to the Stuart era. Nor do I want to misrepresent the series, the strength of which is the characters of John Grey and his childhood friend, Lady Aminta Pole. Read on to find out more.

The Plague Road is the third book of seven already published in the UK. Why did you pick Restoration England for the backdrop to this series?

At the time I decided to start the series (it was some years ago now), nobody much seemed to be writing crime novels set in the seventeenth century. I thought I might have spotted a gap in the market. Things have truly moved on. Though still not quite as crowded with fictional detectives as the Tudor period, both the English Republic and the Restoration are now receiving a lot of attention. Which, I suppose, they deserve. Particularly during the last days of Oliver Cromwell and the early years of Charles II, it was a great time for plotting and counter-plotting, with the Sealed Knot, the Action Party, the Levellers, the Fifth Monarchists, and many other subversive groups all very active and full of double agents. The Restoration also launched a period of loose morals, flamboyant clothing, political dishonesty, unnecessary wars, and unconcealed greed. All bang up to date, and more than enough to frame the plots for several series …

This book was originally published in 2016, so any echoes of the current pandemic are pure coincidence. But is there anything you’d like to say about that element of the story?

Yes, I clearly had not foreseen COVID when writing The Plague Road, though pandemics occur regularly and it should have occurred to me that we might see another major one in my lifetime. The plague was, of course, much more frightening than COVID because, if you caught it, the death rate was so very much higher and, though plenty of people sold guaranteed remedies for the plague, none of them worked. The medical infrastructure we rely on now was nonexistent. The doctors largely fled London when the Plague struck. Plague victims might be cared for at home (if any of your family were still alive) or in a “pest house,” such as the one at Tothill Fields that John Grey visits in the book. Pest houses were fairly grim places and very overcrowded. The way I describe the physician having to walk across the beds to get to patients, because there was no room to walk between the beds, is based on contemporary descriptions. On the other hand, unlike COVID, the Plague does seem to have been relatively easy to avoid if you were rich enough and weren’t obliged to live in close proximity to Plague victims. The royal court, like the doctors, simply left London. Samuel Pepys sent his wife to the country but remained at his desk, and although he had several frights such as his hackney coach driver collapsing halfway through a journey (Pepys ran off as fast as he could), he survived to tell the tale. I mean literally, in this case. The Diaries are always worth reading.

More generally, what is John Grey’s London like in 1665?

It was very different from what it would be a couple of years later, since most of the houses, churches, and civic buildings would be swept away by the Great Fire in 1666. 1665 was therefore the last year of the ancient medieval city—half-timbered houses, narrow lanes filled with rubbish of all types, all dominated by the massive nave and stumpy tower of Old St Paul’s. It would have been crowded, smelly, and noisy—side by side with the many elegant gardens and the Palace of Whitehall, there were plenty of workshops, slaughterhouses, and tanneries. London at that time possessed only one bridge—London Bridge—which had been rebuilt and patched up many times. The bridge was one of the great sights of the city and was noted for two things. First, there were rows of houses, up to seven storeys high, built on it. They encroached on the road and made the crossing a dreadful bottleneck for travelers. Second, the arches of the bridge were also very narrow and dammed back the Thames, so that at each tide water rushed through them at high speed. “Shooting the arches” in a small boat was something that you could do if you were young and drunk enough and wanted to impress the girl you were with. London Bridge was proverbially “for wise men to pass over, and fools to pass under.” If you were still alive on the far side of your chosen arch, you could celebrate by visiting one of the new restaurants (“ordinaries”) or one of the coffee houses that were just coming into fashion. The theaters had recently reopened after the ban on acting during Cromwell’s time, and for the first time ever actresses were permitted on stage. So London was crowded, smelly, and dangerous, but you could have fun.

And John Grey as a character? What can you tell us about him, as your window on the novels?

In the first book in the series (A Cruel Necessity) John Grey has just finished his studies at Cambridge University and is about to begin training as a lawyer in London, though he finds himself being dragged, partly by circumstances and partly by inclination, into the world of espionage. He is bright and personable, but still somewhat naive and a bit too trusting. The Plague Road begins some seven years later, during which time he has both become a fairly successful lawyer and has worked as a spy, first for Cromwell and then for Charles II. During those seven years he’s had to learn a lot of things and does actually have the scars to show for it. I wish I could tell you exactly what he did between books 2 and 3, but I made the decision to jump forward from Cromwell’s death to the Plague Year, and I will probably now never know what he got up to, though every now and then Grey drops hints that he was in Brussels or the West Country on a particular date. Anyway, by 1665 he has become one of spymaster Lord Arlington’s most trusted men and capable of fighting (Arlington once blackmailed a fencing master into giving Grey lessons) or of talking his way out of most things. His personal life is, however, a complete mess, as is obligatory these days for all fictional detectives—see below.

And what is Grey’s central problem in this novel?

1. That he did not marry the woman that, clearly, he was meant to marry. 2. That somebody has tried to dispose of a body in a plague pit, even though the knife sticking out of the corpse’s back suggests death by some cause other than the Plague. 3. That his boss, Lord Arlington, only ever gives him half the information that he needs.

We learn early on that the victim, Charles Fincham, is both actor and spy, which is an interesting combination. Was that common at the time?

Spies—both men and women—came from every possible walk of life. They were recruited wherever and however the government could do it. Some were professional. Some were amateurs. Some had served as soldiers during the Civil War and failed to find any other way of living during peacetime. Some accepted employment as a spy as an alternative to being hanged for some minor (or major) offense. Some spied out of conviction for a cause. Most did it to a greater or lesser extent for the money. Actors and writers do seem to have featured quite prominently, being good at impersonation and at coming up with plausible stories. The playwright Aphra Behn is one of the better known examples. She undertook at least one mission to Bruges for the government in the 1660s, for which she was probably never paid, and may have done other work for Arlington and his assistant Williamson in the following decade—like John Grey, Behn has a gap in her life history when we know little about her.

Is the plan to publish all seven John Grey novels in the US? And what are you writing now?

I suspect that whether all of the John Grey books are published in the US will depend very much on how many people buy them. (Yes, dear reader, that is a hint.) I’ve just finished writing John Grey #8, which is set in the world of the Restoration theater and the immoral and licentious court of Charles II. Prepare to be mildly shocked.
Thank you so much for answering my questions!

Excellent questions! Thank you for asking them!

L.C. Tyler is the award-winning author of the Ethelred Tressider and John Grey series, as well as the standalone novel A Very Persistent Illusion. Find out more about him and his books at

Panorama of London (1647), focused on London Bridge, public domain via Wikimedia Commons.

Friday, April 22, 2022

On the High Seas

I’ve always considered Death on the Nile—currently a blockbuster movie, following on the recent success of Murder on the Orient Express—one of my favorite Agatha Christie novels. Both stories are versions of the closed-room mystery, where the number of suspects is constrained by circumstances (a boat on the river, a train trapped in a blizzard) and tension rises as it becomes increasingly clear that anyone may be guilty and the innocent cannot escape from the killer.

As Erica Ruth Neubauer notes in my latest New Books interview, all three of her Jane Wunderley novels use this format to a degree, but none more so than Death on the Atlantic, where Jane and her love interest, Redvers, embark on a trans-Atlantic cruise. Their task is to unmask a spy, who may be either passenger or crew, but Jane soon becomes involved in helping a fellow passenger who is being, in modern parlance, “gaslighted” into believing that her missing husband never existed. Jane knows that’s not true—she saw them together—but given the fellow passenger’s reputation for elaborate pranks, what actually happened remains far from clear. What does soon become clear to Jane, though, is that even on a large boat, making enemies on a ship when there’s a killer aboard and no way off except over the side into the freezing ocean is not good for one’s health.

As usual, the rest of this post comes from New Books in Historical Fiction.


From the years leading up to and into the French Revolution, we move forward in time to 1926. Jane Wunderly, who left her home in the United States earlier in the year on a journey that took her first to Cairo, then to the English countryside, is heading back home in the company of Redvers, the enigmatic businessman she first met in Egypt. In fact, she is posing as Redvers’ wife—or should we say, he is posing as her husband, because they go by the name of Mr. and Mrs Wunderly—even though Jane has decidedly ambivalent views of matrimony, the result of bad experiences in her past.

Despite her doubts, Jane enjoys being included in Redvers’ current mission: to identify a  spy reported to be traveling on the Olympic, the magnificent sister ship of the Titanic. The settings are luxurious, the gig comes with magnificent clothes supplied by Redvers’ employer, and the biggest threat to Jane’s peace at first appears to be Miss Eloise Baumann, a loudmouthed New Yorker who dominates every conversation. But the ship has barely left port when Jane encounters an heiress who claims to have lost her husband—on board the Olympic, in the middle of the Atlantic. No one else wants to help, and even Redvers tells Jane to keep out of it and concentrate on the spy. But Jane is determined to solve both mysteries, and soon she has to wonder whether every trip to the deck will end with someone pitching her overboard

Erica Ruth Neubauer mixes a gift for creating complex and engaging mysteries with a delightful sense of humor. To avoid spoilers, I recommend starting with Murder at the Mena House and reading forward, but all three of these novels are well worth your time.

Painting of the HMS Olympic by Arthur Lismer, public domain via Wikimedia Commons.