"The Secret Keeper of Jaipur" by Alka Joshi starts when a much-hyped theater watches its balcony collapse, and we then move backward to experience the back story. Luckily, the author provides a cast of characters like a glossary since those with limited attention spans will need constant reminders about whom they are reading.
The author takes a calculated risk by introducing its catastrophe and then revealing the set-up through the eyes of 3 key characters. TV drama has used this technique to death, but it works here for character development. Joshi pulls enough plot strings to make the reader question how they will come together with all three narrators. Nimmi, Malik, and Lakshmi have a connection, but each focuses on the story.
Historical fiction is the favorite genre among hardcore readers, but many zero in on a specific time and place. India attracts many people due to the glamour associated with it. Here, we get that along with a criminal underbelly. Unlike most crime fiction, however, we know very little about the criminals or the depth of the deceit until beyond the halfway point. If you appreciate a "slow burn," you will understand the deliberate pace.
Once we realize that we have a whodunit on our hands, we need to return to the glossary of personalities to keep all connections straight. You could easily predict the blame but not the resolution. The investigation requires a lot of knowledge about construction and materials, so I applaud the author for her attention to detail. However, I would struggle to provide accuracy while not losing the average reader.
Pacing sets this work apart from its peers. The protagonists solve the crime carefully and methodically so that the reader does not see the ending. We like and hate so many characters that we can see them on a small screen. Since "Pulp Fiction" entered the public consciousness, I have loved seeing multiple plots fall into place, and the ending of "The Secret Keeper of Jaipur" more than satisfies me.

"The Secret Keeper of Jaipur" by Alka Joshi starts when a much-hyped theater watches its balcony collapse, and we then move backward to experience the back story. Luckily, the author provides a cast of characters like a glossary since those with limited attention spans will need constant reminders about whom they are reading.
The author takes a calculated risk by introducing its catastrophe and then revealing the set-up through the eyes of 3 key characters. TV drama has used this technique to death, but it works here for character development. Joshi pulls enough plot strings to make the reader question how they will come together with all three narrators. Nimmi, Malik, and Lakshmi have a connection, but each focuses on the story.
Historical fiction is the favorite genre among hardcore readers, but many zero in on a specific time and place. India attracts many people due to the glamour associated with it. Here, we get that along with a criminal underbelly. Unlike most crime fiction, however, we know very little about the criminals or the depth of the deceit until beyond the halfway point. If you appreciate a "slow burn," you will understand the deliberate pace.
Once we realize that we have a whodunit on our hands, we need to return to the glossary of personalities to keep all connections straight. You could easily predict the blame but not the resolution. The investigation requires a lot of knowledge about construction and materials, so I applaud the author for her attention to detail. However, I would struggle to provide accuracy while not losing the average reader.
Pacing sets this work apart from its peers. The protagonists solve the crime carefully and methodically so that the reader does not see the ending. We like and hate so many characters that we can see them on a small screen. Since "Pulp Fiction" entered the public consciousness, I have loved seeing multiple plots fall into place, and the ending of "The Secret Keeper of Jaipur" more than satisfies me.

“Lightning Strike” by William Kent Krueger has outstanding storytelling and suffers only from our knowledge of other similar novels: if Native American elder Big John’s death is a suicide, we would have no story. Instead, we get meditation and explore a culture’s opinion of the Afterlife and what mystical beings believe about someone who ends their life. A father and son investigate, turning up more questions than answers.
As an SVU addict, I loved the way that this unfolded. Liam, the patriarch, tries to collect evidence while his son also involves himself. Since this is a prequel to novels involving Cork O’Connor, part of the adventure lies with a kid learning the craft. A good murder mystery involves just the correct number of characters so that we have enough suspects to keep it exciting but not so many that we do not know the perpetrator. We love and hate enough people here to make it work.

The brains of murder-mystery fans could serve as an exciting study. Novels like this must introduce facts and evidence slowly and efficiently to keep you interested without giving too much away. We have two apparent villains and the suicide explanation, but we anxiously await a few more details. The true sign of a successful whodunit is when you speculate about the guilty parties after putting down the book.

I “cast” the film version of books I read and have a few in mind for young Cork, his father, Liam, and his grandmother, Dilsey. Think Meryl Streep, Ethan Hawke, and Asher Angel. The villains would require more nuance. When the narrative changes based on a shocking murder, Krueger takes this from a murder mystery to a much deeper piece about social justice, prejudice, and history that will make you sad.

The 12-year-old lens frames the conflict nicely. Yes, we know from the previous novels that Cork will grow up to become a famous investigator, but he has trouble keeping evidence to himself or understanding why he must do so. When we arrive at the truth, we are sad, but the racism and prejudice we encounter along the way do the damage. The ending is satisfying, as in realistic, but disheartening, nonetheless.

Colm Toibin's "The Magician", may target a more intelligent or informed audience than yours truly. It takes kernels of truth from the life of German novelist Thomas Mann and tells fictionalized tales from 1881-1950.

For many reasons, Germany was a tumultuous place to be at several times during this day. Few speak as much about their role in World War I, for example, but Toibin does not gloss over the experience.
Mann's family is huge, which makes character development problematic as we often talk about them and forget what they have done. Three major characters also bear the name of Klaus and you may get lost.
Still, I admire the way Toibin explores the Hitler Era in ways that would burden homosexuals, writers, and refugees. When you flee Hitler's Germany, how could you maintain your heritage while seeking safer pastures?

Those with greater knowledge of Mann's work and scholars who study German history would have more to say. Still, Toibin succeeds in finding out what Mann would have said, done, and felt. What a setting this must have been.

"The Phone Booth at the Edge of the World" by Laura Imai Messina tells a fictional story about a real place. In Japan, someone set up a "wind phone," an unhooked device designed to communicate with lost loved ones after the tsunami.

The main character, Yui, often brings herself to the garden, but it takes her a long while to gather up the courage to communicate with her departed daughter and mother. Finally, she meets Takeshi, a doctor who lost his wife and whose daughter has refused to speak since her mother's passing.

Grief, as we all know, is a journey and the author makes it a point to show how that path differs for everyone. Yui's journey is the stuff of the novel. Could she accept someone new in her life after having her peace ripped away?

After readings tons of books like this, I should have expected romance to become a factor. At first, you fight it as predictable but then realize that allowing someone else in is an inevitable part of the process.
In the shortest 400 pages I read, I felt like I was experiencing Yui and Takeshi's pain. The hardest thing for an author is to find hope in tragedy, and Messina leaves you feeling able to confront any hardship.

"Project Hail Mary" by Andy Weir only suffers from comparisons to other books of its genre. If you have recently seen "Arrival" or "The Shape of Water," you expect a much different story.
Unlike most book flaps, this reveals very little to the reader before they enjoy it. It stated that a man wakes up on a spaceship, unaware of how he got there. That will contact you to about page 50. After that, you have much more to discover, and I think Weir wants you to do that on your own.

However, the novel excels in pontificating about our responsibility to save humanity, our ability to coexist with other lifeforms, and the scientific, and moral difficulties that a space traveler would face. It makes you think.
Your knowledge of physics and engineering will significantly influence how you read. Some will try to solve the problems, while others (read: me) will thank Weir for thinking for them. Astrophysics is no joke.

Usually, I get nervous when Hollywood gets a hold of a great novel, but I cannot wait to see these visuals on film. Of course, science fiction can exist as action capers, but the best work also has philosophical leanings. This adds up to the best novel I have read this year.

“Bewilderment” by Richard Powers only has one flaw: it is not “The Overstory," his sweeping epic combined stories about trees to meditate on the importance of all living things. Instead, an astrobiologist must raise a son, who may be on the Spectrum, on his own and appreciate his quirks, resulting in many moments that appreciate nature.

Powers has a knowledge of science and the world that few authors have; however, he paints his protagonist, Theo, with such a familiar brush that you relate to him even if his studies escape you and you need to Google a few things. Hearing about tales from the cosmos and his mother’s environmental studies through the lens of neurodiversity makes it thought-provoking.

When you use a university as a backdrop and throw in the elements of psychology associated with a highly diagnosed son, you work your readers’ minds without necessarily trying to influence them. The real action takes place in Robin’s mind, where you see an emergency as he does, and you admire the boy’s dedication to tasks that seem too large for us to make a difference.

The author made a unique choice, and I am obsessed with its meaning: he writes Robin’s, Theo’s son’s, statements in italics with no quotation marks while keeping the declarations of others in the traditional grammatical structure. I did not understand it for a while, but it shows how empathic his thoughts are and how intense they seem to typically-developing minds. You hang on to Robin’s every word as a result.

The finished product relates to a chorus of single parenthood, science fiction, astrobiology (I had no idea that career existed, but it does), environmental consciousness, and child psychology. Part of it may go over your head if you do not “know” science, but you relate to the characters enough to go along for the ride. I enjoyed what it made me think about as much as it had to say. Powers is a genius, in case his first book did not convince you as much as it did me.
(Note: the ending is a doozy. Please read it and discuss it with me. I am writing this while still processing it. )