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I haven’t read all that many E. Phillips Oppenheim books, but I’ve read The Great Impersonation three times. I worry that no other Oppenheim book will measure up to it, but if none does, that’s okay. I enjoy rereading it even though I know exactly what happens.

Two men meet in German East Africa in, oh, 1912, maybe? One is Sir Everard Dominey, self-exiled from England and steadily drinking himself to death during and in between a succession of hunting expeditions. Then there’s Leopold von Ragastein, exiled to Africa by the Kaiser after killing his lover’s husband, but doing his best to make himself useful to his country while he’s there. And he knows another assignment is coming to him soon. Dominey and von Ragastein are lookalikes, which offers von Ragastein the perfect opportunity to establish himself in England, as he’s been instructed to do.

The Sir Everard Dominey who arrives in London some months later has no real trouble establishing himself and claiming his property — even his meetings with his half-insane wife go more smoothly than anticipated. But there are also questions, and it’s interesting to watch him deal with people having a hard time recognizing him, or commenting on how much he’s changed. And then he’s got his instructions from his German handler, and the Hungarian princess who insists on recognizing him as von Ragastein.

The spy plot is given approximately the same amount of weight as the romance plot, which revolves around Dominey’s wife and the guy Dominey may or may not have killed before he left for Africa. There’s a sort of Mrs. Danvers-ish character, and Lady Dominey herself is delightful, although the number of times she was described as childlike made me a little uncomfortable.

So, you know. There’s a lot going on. And pretty much all of it is great. Also, I can’t think of any plot threads that are left hanging. I just really, really like this book, for whatever reason. I don’t even care that Oppenheim doesn’t have a sense of humor.

Eighteen-year-old Brie O’Mara has so much going for her: a loving family in the sidelines, an heiress for a roommate, and dreams that might just come true. Big dreams–of going to acting school, finishing college and making a name for herself. She is about to be the envy of everyone she knew. What more could she hope for? Except her dreams are about to lead her down the road to nightmares. Nightmares that could turn into a deadly reality.

Book Title: Dead Dreams, Book 1, a young adult contemporary psychological thriller and mystery

Print Length: 170 pages

Publisher: Right House Books; 2013 First edition

(August 26, 2013)

Format: Kindle

ASIN: B00ESVEVBQ

Purchase at Amazon!

Music video at http://www.youtube.com/watch?v=uM7MI_3vqyo

Emma Right is a happy wife and Christian homeschool mother of five living in the Pacific West Coast of the USA. Besides running a busy home, and looking after their five pets, which includes two cats, a bunny and a Long-haired dachshund, she also writes stories for her children. She loves the Lord and when she doesn’t have her nose in a book, she is telling her kids to get theirs in one.

Right worked as a copywriter for two major advertising agencies and won several awards, including the prestigious Clio Award for her ads, before she settled down to have children.

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Author: Richard Burton
Publisher: Arcade Publishing
Genre: Thriller
ISBN: 978-1-61145-706-3
Pages: 464
Price; $24.95

Author’s website
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When Kate finds herself pregnant, her immediate thought is, “How can that be? I’ve had no relations with a man.” Confirmation from the angel, Gabriel, lets her know she’s carrying God’s son – the second son. Based on Mark 8:38, which states that the Son of Man will come in the glory of his Father with the holy angels, this is interpreted to mean that her son, Ethan, is the second son of God.

It’s a lot harder to announce yourself as the son of God in today’s technologically advanced society, especially when there are those who would like to see you perish quickly. Caught in the crossfire between the Congregation – a modern version of the Inquisition by the Catholic Church, and Conversatio – a group eagerly awaiting the second son, Ethan is forced to rely on his great-grandfather, Papa Jim, for protection. But Papa Jim is not the man he pretends to be, and he is more concerned about himself than Ethan. Using a whirlwind tour around the country and podcasts from his website, Ethan proclaims his message to the world. But what really is his message? Filled with compassion for the hurting people he encounters, he struggles with his desire to help, while also allowing them free will.

As a devout Catholic, I was really disappointed with this book. First, I don’t interpret this Bible verse in the way the author did. But more importantly, I felt that there was a wonderful opportunity to reinforce and uphold traditional Christian values through Ethan, but instead he chose to lean toward a much more liberal interpretation of morality. Ethan actually has the audacity to say that God was wrong, and that he had made mistakes! And he rejected, for all of humanity, the ultimate gift Jesus gave us, in offering Himself as the sacrifice for our sins.

Reviewer: Alice Berger

We love listening to Chris Crutcher. He always has the most interesting things to say. Luckily his new novel, PERIOD 8, is full of things to talk about!

Watch Chris Crutcher discuss the truth and when to tell it, what it means to live a good life, and PERIOD 8. Make sure you stick around until the end for a special message to teachers and librarians!

Download the PERIOD 8 discussion guide and get talking . . .

New Libri Press announces publication of the second Street Stories suspense novel, Bend Me, Shape Me, by author Debra R. Borys, available in ebook with trade paperback to follow. Contact Stasa Fritz (above) with review or interview requests.

www.BendMeShapeMe.net

Bend Me, Shape Me is the second novel in the Street Stories suspense series and tells the story of Snow Ramirez, a bi-polar street kid about to turn 18. She’s convinced that psychiatrist Mordechai Levinson is responsible for one kid’s suicide, and may be targeting her brother Alley as his next victim. Once again, reporter Jo Sullivan finds herself the only person willing to listen to one of Chicago’s throwaway youth.

Snow Ramirez hasn’t trusted anyone in a very long time, not even herself. Memories of her childhood on Washington’s Yakama Reservation haunt her even on the streets of Chicago.

When her squat mate Blitz slits his own throat in front of her, she knows it’s time to convince someone to trust her instincts. Blitz may have been diagnosed bi-polar, like Snow herself, but no way would he have offed himself like that if the shrink he’d been seeing hadn’t bent his mind completely out of shape.

Normally she wouldn’t care. Who wasn’t crazy in one way or another in this messed up world? After all, she’d gotten out from under the doctor’s thumb weeks ago and it was too late for Blitz now, wasn’t it? Snow’s little brother Alley, though, there might still be time to save him. If only she can get reporter Jo Sullivan to believe her story before Snow loses her own mind.

EXCERPT:

Squatting with her arms tight around her legs and forehead pressed to her knees, Snow rocked on the balls of her feet. To the south, the hum of traffic along the Eisenhower Expressway. Nearer, beneath the dumpster, the scurry of rats looking for supper. That feeling in her center, the one she couldn’t describe except to say when she was a kid she thought it meant she was going to die, tightened her chest, filled her mouth, made it hard to breathe. “You must learn to trust,” the shrink had told her. “You must learn who to trust. Your brother is learning that, even if you can’t.”

AUTHOR BIO

Debra R. Borys is the author of the STREET STORIES suspense novels.The first book in the series, Painted Black, was published by New Libri Press in 2012. A freelance writer and editor, she spent four years volunteering with Emmaus Ministries and the Night Ministry in Chicago, and eight years doing similar work at Teen Feed, New Horizons and Street Links in Seattle. The STREET STORIES series reflects the reality of throw away youth striving to survive. Her publication credits include short fiction in Red Herring Mystery Magazine, Downstate Story and City Slab.

[email protected]
www.debra-r-borys.com/

Praise for PAINTED BLACK

“Painted Black is about the young faces we see on the streets, covered in dirt, wearing worn out clothes, shrouded in looks of hate, pride, and fear…. There isn’t a part of this book you don’t feel, it reaches into your core…. There are many enjoyable books out there, but there aren’t many that make you feel, make you think, make you sit back and contemplate the uglier side of life we try so hard to ignore its existence. This was a very well written book on all accounts.”
—Darian Wilk, author of Love Unfinished and Reinventing Claire

“Painted Black has a Silence of the Lamb’s feeling about it…..there’s something dark and ominous going on here.…. Fiction can be a great vehicle for exposing the darker side of the human experience in ways that are both important and meaningful and I think that Painted Black fits into this category.”
—Quinn Barrett, Wise Bear Books All Things Digital Media interviewer

“Borys gives us a glimpse into the vagaries of street life for teens without wallowing in sentimentality or false compassion. The mystery here is not who did it, but how finding the truth will change the life of a street kid we’ve come to care about.”
—Latham Shinder, author of The Graffiti Sculptor and professional memoir ghostwriter

New Libri Press | http://www.NewLibri.com

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Terror Keep might be my favorite of Edgar Wallace’s books featuring J.G. Reeder, but I can’t help feeling that it’s all wrong.

J.G. Reeder is the kind of character one doesn’t associate with thrillers. He’s thin, shabby and middle-aged, with side-whiskers and a diffident manner. He also sort of knows everything, and claims his high success rate in tracking down crooks — mostly bank robbers and forgers — is due to his “criminal mind,” which sees evil motives in everything. He provides everything one should really require in a hero: moral rectitude and endless competence. But he’s not a romantic hero, and he’s not an action hero. At least, not at the beginning of Terror Keep.

Some of the earlier Reeder stories — the ones in The Mind of Mr. J.G. Reeder, I think — feature Miss Margaret Belman, a young woman who lives on the same street as Reeder, and, after they become friends, is often a target for those who want revenge on Reeder (about half of all J.G. Reeder stories revolve around people he’s put in prison wanting to get back at him).

In the earlier stories featuring Margaret Belman, Wallace skirts the issue of whether Reeder’s interest in her is romantic, and vice versa, but right at the beginning of Terror Keep she’s upset with him because he’s not more upset at the idea of her moving out of town, and later she picks a fight with him after he refuses to shave off his side-whiskers. It’s sort of cute, on one hand, but on the other it’s just undignified. But hey, that’s only the beginning of J.G. Reeder’s transformation into a vaguely appropriate object for Margaret’s affections.

Margaret is leaving town to take a job as secretary at a fancy country estate/boarding house called Larmes Keep. The proprietor, Mr. Davers, is funny looking and mysterious, and the three boarders are just mysterious. Meanwhile, an insane elderly crook named John Flack has just escaped from Broadmoor and is — surprise! — looking to get revenge on J.G. Reeder. This being an Edgar Wallace book, these two plot-lines are connected. And, this being a book where J.G. Reeder has to step up his game in order to be worthy of the girl, he gets increasingly action-y in response to the various attempts on his life.

Also there are caves and tunnels. Lots of caves and tunnels. Edgar Wallace understands the appeal of these things, so you’re never going to get just one cave, conveniently placed for smugglers. It’s always going to be a vast network of caves, with multiple entrances and stairs and ladders and furnished apartments. Oh, and it could collapse at any time.

I like Terror Keep so much, mostly for the same reasons I like Edgar Wallace’s books in general: It’s exciting, there’s just enough mystery to leaven the action, the characters are incredibly appealing without any apparent cause, and you never lose sight of Wallace’s sense of humor. And because I enjoy the book so much, it’s hard to complain about it, but there’s something that’s not right here. The great thing about J.G. Reeder as a character is that he’s not action-y or romantic. He just…knows everything. Or almost everything. What he doesn’t know he can figure out with the assistance of his criminal mind. I still like J.G. Reeder in Terror Keep, and I enjoy it when he fights off criminals and shaves off his side-whiskers, but I also have a nagging feeling that he shouldn’t have to do any of these things.

Actually, I’m reminded of how I felt after seeing Skyfall, the most recent James Bond movie: I thought the things they chose to do were executed well, but I kind of wish they’d chosen to do other things instead.

Allie Kim suffers from Xeroderma Pigmentosum: a fatal allergy to sunlight that confines her and her two best friends, Rob and Juliet, to the night. When freewheeling Juliet takes up Parkour—the stunt-sport of scaling and leaping off tall buildings—Allie and Rob have no choice but to join her, if only to protect her. Though potentially deadly, Parkour after dark makes Allie feel truly alive, and for the first time equal to the “daytimers.” On a random summer night, the trio catches a glimpse of what appears to be murder. Allie alone takes it upon herself to investigate, and the truth comes at an unthinkable price. Navigating the shadowy world of specialized XP care, extreme sports, and forbidden love, Allie ultimately uncovers a secret that upends everything she believes about the people she trusts the most.

Larry Constantine is  a professional member of the Science Fiction and Fantasy Writers of America and the author of a number of science fiction short stories. He writes thrillers under the pen name, Lior Samson.

Please tell everyone a bit about yourself.

The older you get, the harder it is to be brief, to condense the lifetime journey into a paragraph or two in a biographical sketch. In your twenties, you pad the resume; by your forties, the thing stands on its own; by the time you are looking back at your sixties, radical compression and redaction are in order. What’s important, what irrelevant? What’s of interest? What is a boring distraction? I tell my students at the university where I teach that I am not a real professor but that I am a real industrial designer. Both parts are true — in part. What they reveal is a complexity hidden behind brevity. I have been a pioneer in software engineering, in family therapy, and in interaction design. I divide my time between Europe and the US. I am deeply entrenched in academia and in industry and fully belong in neither. I am a novelist. I write under a pen name, but my official identity is no secret. I do most of my writing evenings and weekends in my apartment near the University of Madeira. My loving wife and kids put up with my long absences. I love to cook. I am a composer and would write more music if I were not so busy writing novels.

When did the writing bug bite, and in what genre(s)?

I have been writing professionally all my adult life, but nearly all of that was technical non-fiction. I was good at it — even won awards — but I can’t say I enjoyed it all that much. I really started writing with passion and pleasure when I began work on my first novel, Bashert. I have never been one to color within the lines, so, although my novels are nominally in the thriller genre, they frequently break out of the boundaries of genre conventions. My forays into fiction actually began decades earlier with science fiction short stories and a couple of novellas. Those earlier works have been republished in Requisite Variety, which takes its title from my last published SF short. My recent novel, The Rosen Singularity, might nominally be called near-future science fiction, but it violates the terms of engagement that SF readers expect and is probably more literary thriller than SF.

Is there a message you want readers to grasp?

If I had wanted to be a preacher or rabbi, a long-form journalist or a self-help guru with a message, I would have taken a different path. So, no, I don’t have a message for readers. But I do have a mission. I want to challenge my readers, to get them thinking, to leave behind semantic seeds that grow into fresh inspiration and insight. Thoughtful thrillers, provocative page-turners, intelligent intrigue—these are among the phrases that have been used to describe my novels. I want to raise questions more than offer answers. What is the nature of extremism and its connection with terrorism? Who are the good guys and who the bad in a world of shadow and deception? What are the unintended consequences of medical advances? And I want readers to have a great time and a grand ride on the road to the last page.

Briefly tell us about your latest book. Is it part of a series or stand-alone?

My most recent novel is Chipset, which is both part of The Homeland Connection series and can be read on its own. Readers who missed the first three novels — Bashert, The Dome, and Web Game — will not be lost, but those who go back and catch up will be doubly rewarded.

Like its predecessors, the story turns on a real threat, in this case malicious computer code actually embedded in the very hardware on which the entire world now depends. Like the other novels, it centers on ordinary people thrust into extraordinary circumstances, not superheroes or larger-than-life figures, but people you could know dealing with outsized challenges. Let’s just say that Karl Lustig, an American technology journalist, and his British-Israeli wife, Shira Markham, a jewelry designer and all around smart lady, are in for an adventurous holiday when Karl uncovers a secret within the computer chipsets he is delivering to colleagues at the University of Madeira.

Who’s the most unusual/most likeable character?

I really like all my characters, even the bad guys and walk-on players are lovingly crafted. In Chipset, I have to admit to having developed a special affection for Karl’s mother, whose story-within-a-story in a packet of letters takes Karl back to World War II Poland, Germany, Portugal, and England. She was an amazingly resourceful lady, as Karl finds out.

Do you have specific techniques to help you maintain the course of the plot?

Perhaps it is the influence of my career as a designer, but I write much as a portrait artist paints, moving from one place in the canvas to another, filling in details here, sketching broadly there, painting over something that doesn’t look right one place, adding an element for balance someplace else. I make lots of notes but do not work from a strict outline. Instead, just as the painter steps back from the canvas, I keep going back and approaching the work as a whole, as a reader, taking on the perspective of the reader’s experience. Does it hang together? Is the pace and rhythm satisfying and engaging? Are there holes or is too much given away or at the wrong time? Then I go back and rewrite. And revise. And rewrite.

Do you have a specific writing style? Preferred POV?

Every writer, even those who mimic others, has a writing style. In my case, I confess to writing in a fashion that echoes not some particular writer or writers but broadly fits the sort of writing I like to read. I enjoy reading rich description, insightful exposition, and colorful, clever narrative. I like hearing the voice of the writer as well as of the characters. I enjoy the poetry of language, the music of well-crafted sentences, and the rhythm of flowing paragraphs. These are the things I aspire to. Others will judge how well I reach those aspirations. In any case, I strive for something more classical than contemporary, despite the thematic currency of my thrillers.

And while we are on the subject of style, if I read one more self-appointed expert blogger cajoling modern writers to “show not tell,” I am likely to reach violently through the screen with malicious intent. It’s called storytelling for a reason. The language has adjectives and adverbs for good reason. The passive voice is useful. I see it as the writer’s job to master and use it all.

I have always favored third-person POV because of its flexibility, but I have no religious orthodoxy about acceptable incursions into the inner thoughts of characters. I am more interested in spinning a good story than purity of viewpoint. I try not to throw readers for a loop as I take them around curves and through twists, but I am not writing to please some professor of creative writing. I am telling stories.

How does your environment/upbringing color your writing?

My environment and upbringing are as different as land and sea, but I suppose both have colored my writing. From my growing up, I would have to credit my mother, a newspaper columnist and editor, for instilling in me a love of words and a healthy respect for the craft of writing, in which it has taken me a lifetime to develop some craftsmanship. But my environment, which spans the globe and washes me with life’s complexities, is far the more direct influence. I often use familiar places to anchor my fiction. The Rosen Singularity is centered in the North Shore communities of Massachusetts near my home, but also in London and outside Moscow, where I have worked and visited numerous times. Chipset is largely set in Madeira, my second home. But I also go far afield, as far as the wholly invented African country of Busanyu, where the long lived dictator Edgar Jabari Mbutsu rules with brutal efficiency and plays a pivotal role in The Rosen Singularity.

Share the best review (or a portion) that you’ve ever had.

“Few thriller writers can match Samson’s ability to deliver a gripping story. In previous reviews, I have compared him to John le Carré and Tom Clancy. As an Indie writer, he probably doesn’t have the same name recognition or sales, but he is equal to or better than both those authors. His work deserves to be on the New York Times Seller list.” That from mystery writer James A. Anderson.  More than I deserve, I am sure, but to soar in such celebrated company, even for a paragraph, is delicious.

What are your current projects?

I like that you end this question with a plural, because I have two novels in progress. I imagine that writers are not supposed to do that, but there it is, the confessed truth. I am just not ready to commit fully to one or the other. Both are quite daring, in a sense, and each represents an entirely new literary direction for me. The one that has the tightest grip on me at the moment is my first murder mystery, although, as with my other works, it jumps the genre gaps and might be thought of as a love story except … Well, it’s still in progress, so exactly what it is remains an open question. Literary fiction? The other novel, which is also well under way but temporarily simmering on a back burner, is a work of quiet terror. So maybe it’s horror, except… These novels are quite experimental, stories that defy expectations and take the reader in new directions. I am excited. And scared.

Where can folks learn more about your books and events?

My author page at Amazon.com/Amazon.co.uk is the best jumping off point. And it makes it easy to purchase the books with One-Click!

I am all set to go on an Edgar Wallace kick. It will actually be a delayed-onset Edgar Wallace kick. Thursday last week I was hunting around for something to read and found myself wishing I owned more Edgar Wallace. I eventually settled for one of Peter O’Donnell’s Modesty Blaise books — and then three more — but the yen for Edgar Wallace was still there and last night I went over to Project Gutenberg Australia (is it illegal for me to download post-1923 books from there? I don’t think I want to know) and read Room 13, featuring Wallace’s series detective J.G. Reeder.

So, here’s the thing about Edgar Wallace — I’ve talked about it before — every time I try to write about one of his books in particular I end up taking about his books in general. It’s like most authors’ books are individual objects, which can be discussed and compared, but Edgar Wallace’s fiction is a fairly homogenous substance to be measured out in page-lengths. I’m going to pretend for a moment that it’s not, though, and that Room 13 stands alone and has nothing to do with any other book. And when I am done, I will have described a pretty typical Edgar Wallace thriller.

Room 13 opens in Dartmoor Prison, where Johnny Gray is serving out a sentence of a couple of years for something to do with horse racing. There’s lots of fairly self-consciously used thieves’ cant — a “screw” is a warder, forged banknotes are “slush” — and a clear picture of what the world of professional criminals in England looks like (I mean, what it looks like in this book. The connection to reality is probably pretty tenuous). There’s a sense that everyone who lives by breaking the law is acquainted with all the others, if only by reputation, and that a stretch in jail is an accepted part of their way of life. [redacted for rambling about Edgar Wallace].

There’s also a fair amount of gossip, which introduces us to old lag Emanuel Legge, who was in Dartmoor when Johnny’s sentence began, and to his son, Jeff, who is responsible for Johnny’s imprisonment. Jeff has never been in jail, and has rarely been seen, but he’s known by some to be the Big Printer, whose counterfeit notes are so good that even the police can’t tell them from the real thing.

We also hear about Peter Kane, another criminal — or former criminal — who is a friend of Johnny’s. He has a daughter, Marney, who Johnny’s in love with, but Peter would prefer that she marry someone respectable. The night before he’s released from prison, Johnny receives a letter from Peter, letting him know that Marney is engaged to be married to a Canadian, Major Floyd.

Johnny’s independently wealthy, so when he’s released from prison, his luxurious apartment and valet are waiting for him. Marney, on the other hand, isn’t — although he heads straight to the Kanes’ home the day after his release, she’s already married to Major Floyd. And Major Floyd, when Johnny comes face to face with him, is none other than Jeff Legge, impersonating a respectable Canadian in order to help his father get revenge on Peter Kane.

That sets most of the plot threads in motion. There’s the question of Jeff and Marney’s marriage — is it bigamous? — the mystery of the Big Printer — can anyone actually get proof that it’s Jeff? and where are the notes printed? — the bad blood between Peter Kane and Emanuel Legge, and the question of why a wealthy, well-educated young man like Johnny would get involved in crime anyway. Not to mention all the smaller questions that come up (who shot Jeff Legge?). [redacted for rambling about Edgar Wallace]. Having all of these different things going on at once means there’s no slow, investigative section of the book. Aside from the occasional appearance of the unassuming, middle-aged J.G. Reeder, knowing much more than anyone thinks he ought and making the most delightful insinuations, the pace is pretty breathless. Something is always happening, and it usually involves guns. [redacted for rambling about Edgar Wallace].

“Action-packed” isn’t always a recommendation, especially if you’ve passed your fourteenth birthday, and it’s not enough to make a book enjoyable all by itself. Humor is. Engaging characters are. Twists that you don’t see coming right alongside ones that you do probably aren’t, but they are pretty fun. And Room 13 has all of the above. We’re exclusively concerned with archetypes, obviously, but they’re archetypes with charm, or a sinister fascination, or an innate trustworthiness. You can see the strings above the puppets, but that doesn’t stop you from liking the characters you’re meant to like and hating the characters you’re meant to hate. And puppets are all that’s called for, really.

Room 13 doesn’t particularly want to do anything but entertain, and it does that very well. And it does it without being a half-coherent mess, which by all rights it should be. [redacted for rambling about Edgar Wallace]. Instead, every time the plot does something twisty, you can pinpoint the clues that led up to it. It’s great.

So, yeah. That’s what Edgar Wallace is like. As a writer, anyway. As a person he seems to have been pretty unpleasant. But he’s been dead a long time, so you can read his books with a clear conscience.

• Consuela's husband has Parkinson's. Will the young pill help him?
• Ezekial suffers from E.D. Will the pill cure his curse?
• Police officer, Mike, has let himself go. His physical is coming up. Maybe the pill will help.
• Dee Dee wonders if her husband is cheating. Will the pill make her more attractive? 
• Sherri's washed out as a model. Can the pill re-ignite her career?

Morgan Mandel