Novels No. 93

 

Denise Mina. The Good Liar. USA: Mulholland Books/Little, Brown and Company, 2025.

Claudia O’Sheil is a crackerjack forensic scientist working for Sir Philip Ardmore’s company ForSci—a leading U.K. forensic service used by police, among others. Claudia’s claim to fame was the creation of the Blood Spatter Probability Scale (BSPS) that became the standard for crime scene investigators. Philip promotes her to Clinical Director of his company so he can move to chair the independent Forensic Ethics Committee. The two are presently attending an august peer function where she’s invited to speak about her successful contribution to a notorious murder case. But Claudia instead intends to drop a bomb with the truth about it; heads and reputations will roll, including her own. What the truth bomb is, is unknown to us even as partial hints are sprinkled liberally throughout recent events in Claudia’s life. Hints that can make you dizzy with the tantalizing questions they raise.

The Met police, under dubious direction by their head, Maura Langston, wavered about arresting young William Stewart for the savage murder of his father Jonathon (Jonty) and fiancée Francesca. Jonty was a friend of Philip, an aristocrat in a social circle of likeminded high-finance flyers. Available evidence may not be enough to convict William, whose inheritance has disappeared; his legal interests are undertaken pro bono by Charlie Taunton, old friend of Claudia and her solicitor husband James Atkins. It’s less than a year since James died in a mysterious accident and Claudia and her sons are still grieving. Some of the closely involved characters include Philip’s ex-wife Mary Dibden and her daughter Amelia; Claudia’s drug addicted sister Gina; Francesca’s mother Elena Emmanuel; and rival scientist Kirsty Parry. But why is Charlie searching James’ investigative files of international corporations? Had James kept dangerous secrets from Claudia?

Plot, style, and characterizations here are splendid, not to mention engaging the reader’s best instincts. Intricate subplots simmer within a network of corrupted privilege and power. Mina channels Claudia’s emotional conflicts that lean toward a potential exposé; which of her responsibilities will take priority? It’s the fourth book by Mina I’ve read this year. Such is my admiration.

Pieces

▪ Everyone that mattered in the world of contemporary forensic science was here: the court staff and lab managers, judges and lawyers, even secretarial and admin people. In amongst them were important strangers, journalists and others half recognisable from podcast thumbnails or by-line photos in annual reports of the companies they CEOd, all mini-celebs in this small world, bringing the glam, a garnish on the gathering. (63)

▪ Sensing he had lost the sympathy of his audience, William turned to the vicar, waved his sheet of paper and shouted in a cracked voice: “A bad man and a worse father.” (75)

▪ She recognised that speedy, stumbling speech pattern. Gina had taken something. (92)

▪ “But why would he think the boys weren’t safe? Was it the case he was working on?” (102)

▪ “Maura’s not one of them, that’s why she was given the job. The Met are in a crisis and she’s disposable.” (130)

▪ “William is not a likeable young man. He’s an entitled little shit actually.” (131)

▪ “Kirsty’s inclined to overreach, I think. She had an article knocked back by the Oxford Forensic Journal about the BSPS. The peer review feedback was brutal.” (152)

▪ Claudia felt her anger fizzing up from her feet to her chest. She was going to find out who did this. She’d burn the world down around her to find out. (158)

▪ “You bloody well blackballed me!” (159)

▪ “Your scale said he did it. He knew he was going to be found as guilty as fuck.” (195-6)

Joan O’Leary. A Killer Wedding. USA: William Morrow, 2025.

Family and friends gather for a wedding weekend when Dr Graham Ripton will marry Jane Murphy, meticulously arranged in Ireland’s Ballymoon Castle by a wedding planner (hmmm—entitled, overbearing rich people?). Prestigious Bespoke Weddings magazine is covering the splendid weekend events for its celeb-hungry readers, in the person of young Christine Russo (pandering, obsequious articles expected?). Meeting the groom’s extended family brings a load of unhappy or quarrelling eccentrics (uh-oh—can some tiresome stereotypes produce a credible mystery?). Plus, at least three generations are involved, descended from Gloria Beauregard, grand dame of Glo cosmetic empire. Gloria dominates her personal and business relations with an iron fist, no one ever daring to contradict her. Especially anyone she’s blackmailing.

When Gloria is messily murdered on the Friday morning, the individuals who know about it agree to suppress the news until after the wedding, justified as Gloria would not have wanted anything to spoil the occasion. So the lavish preparations, expensive decorating, tons of flowers, and extravagant food continue while background secrets start creeping out. The narrative rotates among different voices; perhaps only Christine the outsider is unnerved that a killer lurks among the guests. Gloria’s son Trey’s poor performance as Glo’s CEO incurred a lawsuit that threatens to unravel her lifetime’s work. So who was Gloria choosing for new company leadership? Trapped in the conspiracy, Christine frantically tries to keep track of old feuds, adulterous liaisons, criminal connections, and fake identities in order to protect herself.

Author O’Leary goes to town with tropes and excesses—designer brand names, opulent descriptions of everything, hidden passages in the castle, greed for money and power—so who is to say how seriously she plays farce. Still, the characters are little more than facades in a holey plot of many improbables. Yet one reads on, hoping Christine will solve it all, save a few lives, and get a job promotion.

Personae

▪ “Leave it to Gran to invite a reporter to a family dinner to put us all on edge.” Ben glowers at her. (32)

▪ Christine watches Clementine’s face contort in annoyance: not only is her son marrying a lowly, trust-fund-less schoolteacher, but to make matters worse, her mother’s loud and gauche. (32)

▪ Gloria has always been confident, funny, and whip-smart. Everything Jane is not. (60)

▪ “They make their problems disappear.” Lyle’s voice wobbles. “So don’t become a problem, okay? Become an asset.” (95)

▪ Trey always knew that he wasn’t cut out to inherit the Glo empire. Now everybody else knows it too. Including his own son, who also happens to be general counsel of Glo. (100)

▪ “I don’t want Gloria Beaufort’s money. I want to be Gloria Beaufort,” Raquel says crisply. (169)

▪ Both women turn and watch through the stained-glass window as Graham tackles Ben to the floor. Blood gushes from Ben’s nose. (215)

Atmosphere

▪ “That woman’s meaner than a wet panther. You being invited here this weekend means you are a pawn in her game.” (55)

▪ “We cannot be in the press. Especially for something like this. A murder? We’ll never recover. It would be the final nail in Gloria’s coffin ... ” (70)

▪ “ ... you need to know that the NDA you signed prior to coming here prevents you from speaking a word about what’s happened.” (75)

▪ Everyone is watching each other, making sure nobody breaks. It’s like the prisoners’ dilemma in real life: if one of them comes clean about what happened to Gloria, they’re all in trouble. (185)