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Most of us will never have to deal with psychotic bank robbers threatening our families, but symbolically, this is the story of life's true super heroes; it's the story of how people react and adapt to life's sick sense of humor. It made me laugh, it made me cry and it made me tell everyone they need to read it.

I approach each new Robert Crais book with trepidation. My biggest fear is the book that loses momentum in the Elvis Cole/Joe Pike series. THE SENTRY is not that book. The plot is explosive out of the gate; it kept me engaged for the entire 300 pages. Half of me wanted to turn the pages quickly; the plot demanded it of me. And the other half of me wanted to savor each page as Joe Pike's layers continued to be peeled away and his relationship to Elvis Cole took on new depth and meaning. Raymond Chandler is quoted as saying, "When a book, any sort of book, reaches a certain intensity of artistic performance it becomes literature. That intensity may be a matter of style, situation, character, emotional tone, or idea, or half a dozen other things. It may also be a perfection of control over the movement of a story similar to the control a great pitcher has over the ball.” THE SENTRY is evidence that Crais has surpassed that level of intensity

The plot of THE BODY AND THE BLOOD is probably among Lister's strongest. He doles out clues and the reader will recognize that they are clues but he's equally as generous with his red herrings. And the clues often lead the reader in a direction other than the solution. Reading this book is akin to looking at an Escher piece. It works, but how? The BODY AND THE BLOOD is another great effort in the John Jordan Mystery series from Micheal Lister. This is a series I look forward to and Lister continues to deliver.

If you can read this book without laughing until your sides hurt, I do believe you were born without a funny bone. Schreck is an absolute genius: he reels the reader in with irresistible humor and endearing characters then slips in a plot comprised of multiple social issues the reader can't help but latch on to. If mixed together incorrectly, this combination has the potential to be a lethal concoction, but Schreck's recipe stirs in just the right amount of each ingredient for a delicious read.

Atlantic City is a new setting for the Ceepak/Boyle duo. Grabenstein makes use of this new setting working in a number of pop culture references to Monopoly. Combine the references with Danny's sarcasm in the narration, and you have the recipe for Grabenstein's signature humor, which contributes to the inertia that drives these books up, down and around on the thrill rides. I was dizzy from all the spinning and smoke and mirrors and illusions Grabenstein created that challenged my brain in this plot. The symbiotic relationship between Danny and Ceepak is what makes the series work so well. In every book they have progressively learned from each other, but in none as blatantly and effectively as in Mind Scrambler. It is a genius use of characterization to view Ceepak through Danny’s eyes; Ceepak is, after all, his hero. So when Ceepak stumbles, the effect of seeing that mis-step through Danny makes it exponentially more powerful. When a crime fiction novel makes me laugh, tugs at my heart strings, moves me to cheer for the hero(s) and challenges me to think, I know I've found a top-notch work of art! Mind Scrambler is all those things and so much more.

BAD TRAFFIC is a complex novel populated by complex characters dealing with complex themes. And just when you think it can't possibly get any darker, it does. This gritty, action-packed thriller keeps the reader mesmerized page after page. While the novel takes place in rural England, it could be placed in almost any developed nation in the world, as illegal immigration and class distinction are common issues around the globe. I found every aspect of this novel gripping, but I was most taken with the characters. There are no white hats in this book. The lack of white hats contributes to the severe darkness of the tone. The complexity of the characters and their relationships to one another challenged me as a reader to see all their dimensions. Lewis did an outstanding job developing them.

Frank Temple III grew up never having to wonder if his dad loved him. His father, Frank Temple II, was supportive and present and loving. The only problem: he was also a hit man, a murderer for hire. When the FBI finally cornered Frank II, he committed suicide, leaving behind the younger Frank, conflicted and lost. Frank III was only seventeen and society had deemed his father a monster. Frank knew his father to be different, but then how do you reconcile the father with the hit man? Especially when you're seventeen? Frank knew his father had done bad things, but he still vowed that, given the chance, he would kill Devin Matteson, the man responsible for turning in his father to the authorities. Seven years later when he receives a call from Ezra Ballard announcing Devin's return to Wisconsin, Frank packs up his few belongings and heads for the lake house that contains all his cherished family memories. Koryta has done it again. Each time I pick up a new work penned by this master, I'm amazed that it's possible to outdo the last one. He somehow manages to accomplish that fete. I enjoyed the way the limited view changed, allowing for some insightful thoughts to be revealed from various characters. It also helped to heighten the theme of the novel, life is mostly an area of gray - very rarely is it ever as easy as black and white. That theme comes through in EVERY character. Koryta has a gift with characterization and that gift seems to heighten with every novel. One factor I always look for in "great" characters is depth. One who has flaws like the rest of the human race; one who has doubts and concerns and conflictions. Those are the characters you see in Koryta's novels. Frank Temple II is a prime example of this. A lot of times it is easier on a reader for the character to be flat. Then you aren't faced, like Frank, with the confliction of feelings that are elicited. It's easy to completely hate or completely love a character. But Koryta doesn't let you off that easy. He evokes an array of emotion in his reader from every angle. Koryta did a bang-up job with the characters in this novel, and plot just drove the book home. This book was full of twists and turns. By this, Koryta's fourth book, I should know better than to think I can figure out the ending mid-way through. Koryta had me chasing my tail on this one. While I couldn't believe he'd be blatant about what the outcome was, it seemed like there was no other possibility - WRONG! And just when you think you've got the plot down, he throws another twist in the mix. I was up until 2 in the morning because I certainly could NOT put the book down in the midst of the action and suspense. How could I have possibly fallen asleep not knowing what was going to happen? Having a great plot to immerse yourself in is a treat in and of itself. But Koryta always adds that something extra special in his mastery of the English language. There are devices and phrases and descriptions threaded throughout the entire novel that just make me stop and reread. I just want to hear them over in my head because they are so effective. Not a word is wasted in Envy the Night. Everything has a place and a meaning. This is definitely a book to be reread. I'm sure I'll pick up even more on the next pass through, and it isn't likely to lose any of the magic. And of course, a work by Koryta wouldn't be complete without some humor thrown in to lighten the mood. Magnificent!

In a Strange City is the sixth Tess Monaghan mystery from Laura Lippman. In this installment, Lippman makes use of a long-standing Baltimore tradition, the Poe Toaster or Visitor. If by some chance you aren't familiar with the Poe Toaster, he's the individual who shows up at Poe's grave on January 19th each year to leave roses and cognac. Only this year, there's a murder at Poe's grave when the Toaster is supposed to arrive. Tess is not actually employed by anyone, but she begins to investigate who exactly the murder victim is and why he was murdered at Poe's grave site. The plot of this caper was fantastic. I'm especially drawn to plots that weave in the classics. The Poe connection in Entombed was actually what got me started reading Linda Fairstein. Poe is a fascinating person from history, and Lippman did an excellent job of taking advantage of that Baltimore connection in this novel. And there is also the connection to Crow, who's real name is Edgar, and who's nickname evolved from Poe's The Raven poem. And of course, I loved Lippman's treatment of the magic of this Baltimore ritual. The magic that almost mirrors that of Santa Claus. Everyone has the right to enjoy this ritual. And that belief sharply contrasts the covetous antagonists in the novel. You have to pay attention in this novel because there is an intricate weaving of villains, but the investment is well worth it when the woven web catches it prey. The plot is fun, the characters are true to form - with a few new additions, and there's always a smattering of chuckles throughout.