Category: Books

The best man at a wedding tells Elizabeth that someone is out to kill him. Emerging from the rut of her grief, Elizabeth’s interest is piqued, and piques further when, the day afterwards, the best man disappears. The Thursday Murder Club bands together to figure out, with the help of their increasingly wide network of criminal accomplices, precisely what the best man knew, while also taking turns babysitting Ron’s grandson, Kendrick.

It’s all perfectly serviceable, not infrequently affecting, and often funny. But The Impossible Fortune isn’t particularly well structured: Joanna becomes a major character, which is fine, while the police are largely sidelined. Osman has become almost more enamoured with his various crims — even the freshly introduced ones — than with his established oldies. 

The character work doesn’t make up for the story, which Osman doesn’t weave together or really get off the ground. There’s dynamism to the Ron B plot (which is really the A plot) but, rather like the smug utility of AI in 2024’s We Solve Murders, the titular impossible fortune is a lame duck that is too trendy for its own good. By the end it’s not even clear if it’s really strong enough to be considered a MacGuffin.

And the character work isn’t always Everyone seems particularly bumbly, and not in a way that seems to be a cunning ruse. It often beggars belief; towards the end Joyce is unable to locate the pause button on her remote control, which Joanna informs her is the “button with two parallel lines on it.” Joyce is an eighty year old woman in 2025 with no evidence of cognitive decline (we’ve already done four books of that), the pause button was invented in Sweden in the 1960s, and there is no way, in between tapes, cassettes, videos, CDs, DVDs, and all of human history, that Joyce has not encountered it for a full three quarters of her life. If you’re going to pick a “old people don’t understand remotes” joke, don’t use a universal symbol, Osman. You are smarter than this and so are your readers.

There are also parts in here about the characters growing more frail as they age, but it still feels that Osman isn’t yet strong enough to face the concept. The groundwork is laid, but only barely. It feels like Osman is trying hard not to advance his characters too far (he is going to live longer than they can, realistically), so this is far more timid than his usual work — and one of the solutions is risible.

The Impossible Fortune is going to make a lot of people happy, and that’s fine. But we know that Richard Osman can do more than fine, even if the tone is more often than not “aw shucks” amused and the characters’ moral codes are divorced from the petty morality of the real world. This one doesn’t amount to much and, due to his publishing schedule, it will be 2027 before you see these old folks again. If it tides people over, that’s good, but readers deserve more than a faint smile. There’s no blood in this water.

And let’s face it: the movie was wrong.

The Australian crime boom continues apace, but not everyone is happy to keep their crime restricted to regional Australia or the big cities. Some, like Dervla McTiernan or Adrian McKinty, expats who found themselves on the island’s shores, became hooked on writing about their Irish homeland before branching out to America with mixed success.

Laura McCluskey has done something slightly different: she’s Melbourne (or Naarm) based and presumably Australian born, but she has Scottish grandparents. The Wolf Tree, her debut novel, is set on a remote island off the Scottish coast. It bears the lack of specificity that you can get away with from such a setting, and it promises the sort of insularity you get when everyone knows everyone else and there’s only one way off … or two, if you count the reason the police are there in the first place.

Months after sustaining a catastrophic injury on the job, George Lennox is trying to get back into police business. She and her partner, Richie Stewart, are eased back into it by investigating the seemingly open and shut suicide of an eighteen year old on the island of Eilean Eadar. The locals, under the thumb of the priest Father Ross, are not keen to talk, and while George battles her own demons she starts to almost believe the island is haunted by wolves. If George can last five days on the island and rule the death a suicide, perhaps she can make it out alive.

Crime novels often come down to the strength of their lead characters, and George Lennox is not the most sympathetic person. Eilean Eadar is the sort of place that has its own authority, which means that you have to come at it from a soft power angle; unsurprisingly, George has none of that to offer. She is a blunt instrument that isn’t even tempered with a preternatural talent for policing, with a primary talent for baseline rudeness.

The strongest element of George comes from without, in the form of her foil. Richie’s levelheaded veteran officer who does a special line in not being mad, but disappointed, doesn’t break any new ground, but he’s a nice contrast whose solidity helps to make The Wolf Tree not entirely by the numbers.

Partially inspired by the Flannan Isles Lighthouse mystery of 1900, the wisest choice in the construction of this book is that it sticks to a single timeline. Not for these readers alternating chapters 125 years apart, but rather flavour and texture that give a homeopathic tinge of history to the proceedings. It only sort of ties in to the book as a whole — one character keeps asking George “have you read the lighthouse keepers’ logs yet?” — but it informs it never the less.

Eilean Eidar is a more interesting locale than McCluskey strictly gives it credit for, and George’s bluntness acts as a smokescreen for their insularity. McCluskey briefly touches on the idea that children can be sinister, but doesn’t take it very far. She is more interested in the concept that people who reject the other have in fact othered themselves; this late revelation that George possesses an empathy that many of the citizens of Eilean Eadar are incapable of are really what seals the fate of the book, and prevents it from the delicate tipping point of policing as an act of colonisation.

Obviously it was never going to be a clearcut case of suicide (it is only on the odd occasion that you get the double blind of an open and shut case actually being open and shut despite the investigators’ attempts to convolute it), but quite how far McCluskey chooses to take it is something to boggle at.

There has to be a degree of suspension of disbelief at play here, because the outcome will have you wondering how the police could ever hope to prosecute any of it. Even if you’re not in law enforcement, you’d be glad this case isn’t yours.

The Wolf Tree is a confident, if semi-anonymous, debut novel. George Lennox is interchangeable with many other tortured detectives, with the added bonus of a mentor that she intermittently chooses to listen to. Despite the scale of the conclusion, the book isn’t neat. It is unclear whether George can return — although it would be pretty funny if she got assigned a new beat investigating murders on a series of lonely islands — but if she does, there’s enough here to bring readers back.

The Wolf Tree released in the US on February 11, 2025, and is set for release in Australia on February 28, 2025.

An ARC of The Wolf Tree was provided by HarperCollins Publishers Australia in exchange for review.

I don’t think we’re allowed to call Molly the Maid “autistic”, or “neurodivergent” or even “autistic coded” – she’s just another in a long line of protagonists with undiagnosed brain chemistry, something that became excessively popular when a certain sitcom that shall remain nameless inexplicably took over the world.

But I can call The Mistletoe Mystery cruel. Which it is. After the strong showing of The Maid, Nita Prose has treated her heroine as a plaything to be batted around, written as if by a child. Nobody dies, so the mystery is in Molly’s head, and every reader can see what the solution is before she even begins to get suspicious.

In the lead up to Christmas, the dearly departed Gran’s favourite time of year, Molly becomes increasingly suspicious of Juan, who is uncharacteristically keeping a secret from her, is running around at all hours, and asks her questions about her stance on diamond rings.

Of course Molly takes all this the wrong way, and her coworkers try to convince her to ignore the evidence of her own eyes. It doesn’t take much for the not-particularly-eagle-eyed reader to piece it together, but the onus is not on Molly for her misunderstanding; but on everyone in her life who knows her intimately, who knows how her brain works and how she takes everything literally and doesn’t cope well with subterfuge, for putting her through this.

There are some unexamined factors in play here, like the fact that Molly and Juan are apparently not really paid a living wage by the Regency Grand, and that they live in penury. Prose’s prose pays special attention to the squalor and tatters that her protagonists find themselves living in, shakes it out of its head, and carries on to studiously ignore it.

The one legitimately hilarious element of this is Molly’s run-ins with her nemesis who she chose not to have fired in The Mystery Guest. A regret that she was entirely within her power to prevent, and no reader would have protested. Sometimes you don’t have to be nice for niceness’ sake.

In all honesty, this review already feels longer than The Mistletoe Mystery itself did. It is understandable what Prose wanted to achieve, but there was almost certainly a way to reach the final result while having Molly investigate a different non-mystery that it is not so distressing to her and offensive to all that she stands for.

The Mistletoe Mystery is for die-hards and completists. There is no real way to justify its Australian price tag, and it puts the “stuffed” in stocking stuffer. If The Mystery Guest already put a sour taste in your mouth, this will not help in the slightest.

Personal story time, and it’s not about when I spent the summer hanging out in a nature reserve in the deluded hope it would endear myself to my absentee father. All I saw was sky for forever … 

No. The story is about how, several years ago, I decided to almost completely cut YA fiction out of my diet. I wouldn’t say my life improved immeasurably, but my general well-being did. I still read all sorts of things, but not that many of them are about the minutia of teenagers’ lives. 

Dear Evan Hansen, a hit Broadway show and a failed movie starring Kyle Derin from Marge vs the Monorail, was also a New York Times bestselling novel. And it embodies all of the worst excesses of the genre: Evan Hansen is a solipsistic goober and the depiction of his various mental illnesses is not exactly empathetic. 

It’s hard to say if writers still have origin stories. TJ Newman wrote Falling, the jingoistic thriller about getting blackmailed into terrorism that almost displayed cognisance of the USA’s complicity in the shambolic state of the modern political atmosphere, in the downtime on long haul flights as a flight attendant. A variation of this was cribbed for the insulting fictional story for “Elly Conway”, who “wrote” Argylle between waiting tables. (I will fully admit that I spend a lot more time thinking about Argylle than most people, especially Matthew Vaughan)

Falling was a success in a time when no one was flying anywhere, let alone attempting to crash their plane into America’s beating heart. Two years later, Newman returned with Drowning: The Rescue of Flight 1421, a different aviation disaster: a plane sinking into the ocean and the people racing against time to save the few passengers who remained aboard. Frankly, it’s a budget version of The Poseidon Adventure for people who either haven’t seen or can’t remember anything about it (there was a song; Shelley Winters was there). It’s the sort of book that you maybe don’t regret reading, but you also can’t bring yourself to think that it was very good. And it’s awfully convenient.

We’re only two Bosch novels in and already the man finds himself fighting a bull. It’s difficult not to think “we’re at this point already?” For a policeman who is supposed to be grounded in his approach to the law, Bosch finds himself caught up in multiple flights of fancy in The Black Ice. It’s hard to say whether he does more or less bad police work than in his previous outing, but he’s still a fun guy to hang around.

From the mid-noughts to the mid-tens, Jennette McCurdy played the breakout character in a Nickelodeon sitcom, which got her a degree of fame and fortune (allegedly garnished due to a bureaucratic failure). Then she kind of faded away. Her memoir, I’m Glad My Mom Died, has generated a lot of buzz, which seems unusual to an outsider to the Nickelodeon ecosystem. iCarly was watched by millions, but as McCurdy herself says, it was the dead-end fame of child acting, an ecosystem that can be near impossible to escape.

Internationally, at least, it could be said that McCurdy is now more famous for this book than she ever was for iCarly or Sam & Cat. The 65 weeks on the New York Times hardcover best seller list certainly isn’t hurting her, but it’s also proof that her success isn’t entirely down to her notoriety: a combination of good publicity and a compelling story have allowed her to escape the walled garden of childhood fame for literary stardom and a potential new career.