In the NYTBR, Dennis Lehane makes a surprise appearance reviewing THE SECRET SPEECH by Tom Rob Smith and Marilyn Stasio rounds up new crime fiction by Janet Evanovich, Tarquin Hall, Jim Kelly and C.J. Box. And in the NYT Magazine, Ginia Bellafante uses Jodi Picoult's novels as a means of examining the growing need for "children-in-peril" stories.
This weekend, THE NARROWS, the film adaptation of Tim McLoughlin's novel HEART OF THE OLD COUNTRY, hits theaters. As a result McLoughlin gets the interview treatment from the New York Daily News and the Brooklyn Eagle.
Oline Cogdill has her say on Lisa Unger's nervy new thriller DIE FOR YOU.
Not sure why it took so long to show up online, but David Montgomery reviewed Michael Connelly's THE SCARECROW for the Chicago Sun-Times last week. Connelly is also profiled in Monday's Washington Post by Bob Thompson.
Is Matt Hilton's Joe Hunter the next Jack Reacher? A good bet, says the Observer's Alison Flood.
Lots of crime-related reviews in the Guardian, as John O'Connell has his say on new thrillers by Dan Fesperman, Reginald Hill, David Ignatius and Rory Clements,while Steven Poole has a good time with Denis Johnson's noir caper.
The Times' Marcel Berlins looks at crime fiction by Reginald Hill, Tony Black and Andrea Camilleri.
Declan Burke interviews John Connolly about his newest Charlie Parker novel, THE LOVERS, for the Irish Herald.
Attica Locke gets some deserved ink for her amazing debut novel BLACK WATER RISING what with profiles in the Houston Chronicle and The Daily Beast and a pair of reviews by Janet Maslin and Maureen Corrigan, respectively.
Also in The Daily Beast, John Marshall profiles Alan Furst on the paperback edition of THE SPIES OF WARSAW.
SMP/PWA contest winner Keith Gilman's first PI novel, FATHER'S DAY, prompts the Philadelphia Inquirer to feature him.
Helen Oyeyemi's WHITE IS FOR WITCHING disturbs and compels Clea Simon.
Also in the Boston Globe, J. Courtney Sullivan talks about her debut novel COMMENCEMENT, which others liken to Mary McCarthy's THE GROUP but reminded me of a cross between Rona Jaffe's THE BEST OF EVERYTHING and CLASS REUNION. And since, frankly, Jaffe doesn't get nearly as much credit as she ought to (I reread THE BEST OF EVERYTHING annually) this is a good comparison indeed.
J. Robert Lennon tells the truth about writers in his essay for the LA Times: they don't actually spend a lot of time writing.
John Freeman outlines some kind of working manifesto for how he'll approach being Granta's acting editor in the Independent.
Finally, the Literary Saloon expertly tracks the publicity-seeking about-face of the Erotic Review's new owner.