Today, we explore No Smoke Without Fire: A Harlequin Town Western Mystery, the inaugural book in a new series by Gary Diamond and D.O. Michael and published by Dusty Saddle Publishing. The cover reads, “with Special Guest Culpepper, Texas Bounty Hunter,” a nod to a character who also struts his stuff in the Culpepper: Texas Bounty Hunter series by Diamond and Paul L. Thompson.

Set against the dusty backdrop of Harlequin, Texas, the story revolves around Sheriff Matt Carson, a devoted family man navigating life in a tight-knit community. Just as the town’s annual dance kicks off, a brutal murder sends shockwaves through what was supposed to be a night of revelry. Sheriff Carson is faced with a web of suspects, each harboring secrets that could unravel the fabric of their close-knit town. As the investigation unravels, the Carson family finds themselves ensnared in the very heart of the mystery, with danger lurking at every turn. And then there’s Culpepper, the bounty hunter, who rides into Harlequin on the trail of a dangerous fugitive. Are these killings somehow intertwined, or is there a more sinister threat hiding in plain sight? Who can Sheriff Carson trust amidst this chaos?

Once upon a time, I never thought I’d find myself jumping headfirst into the world of WWII nonfiction. It’s not that I harbor any aversion to history; rather, my childhood was steeped in tales of the Civil War, with my nose buried in every book within reach. Who knew that the barrage of documentaries I was subjected to in history class would dull my appetite for anything related to WWII? Yet here I am today, contemplating Michael Benson’s Hollywood vs. Nazis: How the Movie Studios Took on Nazis Infiltrating Los Angeles, published by Citadel Press, which is set to grace bookstore shelves tomorrow, March 31, 2026. An unsolicited ARC found its way into my hands several weeks ago, and I have to admit, nestled among my growing collection of nonfiction, it sparked a flicker of excitement, even if the subject matter revolved around WWII.

The book unfolds with All Quiet on the Western Front, an Academy Award-winning classic that sent shockwaves through the Third Reich with its potent anti-war message. In their anger, the Nazis crafted a sinister plan to seize the most influential propaganda machine on Earth: Hollywood. What could be more tantalizing than to turn the land of golden dreams into a glorified mouthpiece for their vile ideology?

Hollywood vs. Nazis is a riveting account of corruption, censorship, and the hubristic ambitions of a dictatorial madman hell-bent on global domination. Michael Benson, an author with a rich background in chronicling organized crime, weaves together the intricate history of WWII with the glamour and grit of Los Angeles’s movie industry. He paints a picture of how passionate figures within Hollywood, bolstered by tenacious lawyers, legendary moguls, and unsung patriots, succeeded in unearthing and dismantling the creeping menace of organized Nazism in Los Angeles and beyond.

Today, I’m reviewing the audiobook The Widowmaker: Invitation to a Hanging ^[*], penned by the late Robert J. Randisi, who authored The Gunsmith series under the pseudonym J.R. Roberts. Invitation to a Hanging marks the inaugural entry in The Widowmaker series, first published by Pocket Star Books in December 2003. I do own the second installment, Turnback Creek, which followed in 2004, in paperback. A third volume, Dead Weight, teased within the pages of the second book, remains shrouded in mystery—never to see the light of day, likely due to the tepid sales of its predecessors. Was Dead Weight merely a concept, or was it fully drafted? The truth eludes me.

The audiobook adaptation, released in 2005 on CD and later available on Audible by Recorded Books, is brought to life by the late Richard Ferrone, with a runtime of 6 hours and 16 minutes.

The narrative unfurls around John Locke, a man molded by the trials of his past as a lawman, bounty hunter, and gun-for-hire. Now, he's attempting to carve out an existence by taking on perilous odd jobs that only someone of his notorious reputation could manage. His newest journey leads him to Fredericksburg, Texas, where he assumes the role of bastonero, essentially the Master of Ceremonies, for the hanging of the infamous Ignacio Delgado, a man painted in shades of both villainy and martyrdom. In the beginning, Locke finds himself fending off Delgado’s loyalists, who view their leader as part saint, part Robin Hood. Yet, as tension mounts, Locke's perspective shifts; respect for Delgado begins to seep into his philosophies, even as he unravels the sheriff’s ulterior motives behind the hanging—a classic standoff brewing like storm clouds on the horizon.

Here’s a mystery to unravel: although I have a profound aversion to medical dramas across all forms of media, be it films, television, streaming, or books, I've harbored a surprising affection for Robin Cook's fictitious medical thrillers since childhood. It’s curious, isn’t it? Perhaps the haunting covers from the '80s and '90s, which were a staple of my formative years, drew me into his world. Or maybe it's simply Cook's talent as a writer that keeps me coming back for more. As I prepared to pen this review, I discovered he's turning eighty-five this year, a fact that astonished me. Many literary giants, such as Stephen King, R.L. Stine, and Dean Koontz, are gracefully aging, and with each read, I find myself appreciating their works even more deeply.

Now, on to the main event—my review of Robin Cook's latest thriller, Spasm ^[*], which hit the shelves courtesy of G.P. Putnam's Sons in December 2025. This thrilling tale marks the fifteenth installment in the Jack Stapleton & Laurie Montgomery series, which began its intriguing journey with Blindsight ^[*] in 1992.

The narrative of Spasm ^[*] unfolds with as Laurie Montgomery stepping steps back from her role as Chief Medical Examiner, leading allowing her and Jack to enjoy a rare moment of freedom for a couple of weeks. They receive a distressing call from Jack's old medical school pal, Robert Neilson, the lone family physician in Essex Falls, a picturesque town nestled in New York State’s serene Adirondack Mountains. While also serving as the coroner for Hamilton County, Dr. Neilson finds himself in the deep end, grappling with the inexplicable death of a young, vibrant pest control worker and an alarming surge of Alzheimer's-like cases. He reaches out, pleading for Jack and Laurie’s expertise, and unable to resist both a tantalizing mystery and a much-needed getaway, they agree to help and head upstate.

Writing introductions has always felt like navigating a maze blindfolded, especially when it comes to reviews. You always hear that the first few words should grip the reader, but what can you do when you’re faced with a blank page and a foggy mind? So, let’s jump straight in: Today, I’m discussing the mystery thriller The Garbage Man ^[*], penned by Tessa Pacelli and published by Zero Day Books. I snagged a digital copy on NetGalley last year and have taken my sweet time organizing my thoughts. Life has a way of throwing distractions my way: changes in reading routines, unexpected obligations—you name it. Now, let's unwrap this book.

The story begins with Kayla Mousavi, fresh out of Harvard Business School and stepping into what she believes is her dream job at General Recycling, a tech company touted as the future of clean energy. Kayla is thrilled to work under the elusive CEO, Frederick Douglass Monahan, and is convinced that her role is pivotal in saving the planet. With GR’s revolutionary bacteria designed to eat trash, she’s not just chasing corporate success; she’s aiming to be one of the youngest stars in an eco-conscious world.

However, beneath the gleaming surface of innovation lies an ominous truth.

When Kayla stumbles upon discrepancies in the data and uncovers a horrifying secret lurking in the company’s labs, she quickly finds herself in peril. As she inches closer to the truth, the stakes skyrocket, and she becomes the target of a professional hit—a hit intended for her. What she once viewed as a benevolent company is now shrouded in a darker reality involving more than just financial deception.

In the realm of literary exploration, I found myself at a curious crossroads with The Women of Wild Hill ^[*]. What initially drew me in? Perhaps it was the vibrant cover, reminiscent of an otherworldly spell. Or maybe it was the echoes of witchy horror whispering from my past. The author, Kirsten Miller, was a name I recognized but had never yet explored. So, despite it collecting dust on my shelf since October, a product of life’s unexpected detours—I finally opened its pages.

The novel unfolds against the backdrop of Wild Hill, a mystical slice of Long Island where nature's raw powers converge. Here, girls are gifted with extraordinary abilities—some so dark they wrestle with the fear of their own potential. Miller weaves a tale steeped in magic and familial legacy, beginning with the ghost of a witch wronged by the colonizers whose presence lingers over the land. Sadie Duncan, a young Scottish woman with unique gifts, was permitted to stay, and thus began a lineage of powerful women known as the Duncans. This lineage is one that has seen generations grapple with their gifts, but tragedy strikes, and the last of the Duncans, foreseen to be the mightiest, flees.

As the weekend rolls in, I find myself drawn into the vivid landscapes of the Wild West through the lens of Stephen Hunter's latest novel, The Gun Man Jackson Swagger ^[*]. For those unfamiliar, Hunter is a lauded figure in the literary realm, a Pulitzer Prize winner for Criticism and the former chief film critic of The Washington Post. Known for his non-fiction work, American Gunfighter, and an impressive collection of novels collectively known as the "Swaggerverse," he is a master storyteller. While I've long been aware of his work and origins from Missouri, I must admit that I hadn’t yet ventured into his fiction until I serendipitously stumbled upon his newest offering at the library.

Set against the sun-bleached backdrop of a drought-stricken 1890s Southwest, The Gun Man Jackson Swagger introduces us to Jack, an aging yet formidable gunman seeking employment at the thriving Callahan ranch. With a weathered exterior and the sharp instincts of a seasoned fighter, Jack presents his extraordinary skills with one of Winchester’s latest models to the skeptical foreman. Clearly, a sharpshooter is a valuable asset for both Colonel Callahan and head gunman Tom Voth.

However, Jack’s motives veil a deeper mystery. Upon discovering the mysterious death of a young cowboy on the ranch, his instincts compel him to investigate, unraveling a web of dark conspiracies tightly woven with the Callahan fortune. It’s a tale of survival and justice, where six-guns and quick draw reign supreme amidst the treachery of the Old West.

Welcome back, fellow lovers of the Wild West. Today, I want to delve into Cabin Gulch ^[*] by Zane Grey, a mesmerizing nearly five-hour audiobook ^[*] from GraphicAudio. Originally penned in 1915, this tale likely graced the pages of a Pulp magazine in serialized format—though I must admit, I couldn't track down the specifics of its initial publication. If anyone has that information, please share it in the comments. It was subsequently retitled The Border Legion and published in book form in 1916 by Harper & Row. Remarkably, the story has been adapted into film five times, the most-famous being The Last Round-Up in 1934, starring Randolph Scott.

As with many Westerns that started their lives in magazines, Cabin Gulch underwent various changes in its transformation to The Border Legion. Thankfully, GraphicAudio chose to adapt the original 1915 text, giving us an uncensored version of Grey's gripping story.

At the heart of Cabin Gulch ^[*] is Joan Randle, a young woman driven by anger who sends Jim Cleve into the lawless mining frontier of Idaho Territory to test his courage. But when she regrets their quarrel, she sets off to bring him back, only to fall prey to the infamous bandit Jack Kells.

Kells is a character drenched in menace, willing to kill—not hesitating even against his own men—to possess Joan. The plot thickens with a burgeoning gold strike at Alder Creek, enticing Kells and his gang to descend upon the miners with malicious intent. The intensifying emotional landscape for Joan is the crushing realization that Jim has allied himself with Kells's nefarious crew. Grey weaves a powerful tapestry of tragedy, romance, historical detail, and flickers of hope that resonate even today.

R.L. Stine, the master of horror and suspense for young readers, returns with a thrilling new release titled Nightmare on Nightmare Street ^[*], published by Blackstone Publishing. At eighty-two, Stine continues to defy the passage of time, typing away using just one finger. This persistence has allowed him to produce an array of Goosebumps spinoffs and Stinetinglers, catering to both young readers and the nostalgic adults who grew up devouring his tales in the 1990s. In the book’s introduction, Stine describes Nightmare on Nightmare Street as an "Everything story for Everyone," aiming to be a nightmarish experience for middle-graders and their parents alike. He fondly notes, "A book for adults who read my books when they were kids!"

The story revolves around twelve-year-old Joe Ferber, his sister Sadie, and their parents, who have just moved into a house that screams horror movie tropes: tombstones tucked away in the basement, a creepy doll that seems to have a life of its own, and eerie noises echoing through the walls. On his first night in this unsettling abode, Joe's nightlight flickers, morphing into a spectrum of colors, and the doll seemingly finds its way into his bed. But just as he begins to grapple with these bizarre occurrences, he awakes to find himself in a different reality. Shawn Hannigan, also twelve, shares a similar unsettling experience with his little sister, Addie. Their new school, however, takes the strange to an entirely different level, with teachers donned in animal masks and a principal’s office shrouded in darkness and chaos. By the end of their first day, a mysterious woman claiming to be Shawn's mother asserts that he doesn’t even have a sister. As increasingly odd events unfold around both boys, they must navigate the blurred lines between reality and nightmare.

The newest installment in the First Mountain Man series, titled Preacher's Hell, arrives with a mix of excitement and disappointment. This installment marks a significant departure, being the first in the series not to grace the mass-market paperback format, a casualty of publishing trends that seem designed to cater to shifting reader preferences and, frankly, confound loyal audiences. In an odd twist, the new paperback dimensions—5.47 x 8.21 inches—are now the industry standard, forcing Pinnacle to reassess its entire line of Johnstone Westerns. Gone are the days of two or three releases per month; this fully embraces a slower pace, with new titles emerging every other month starting in March 2026. The price hike to $15.99 for each paperback also stings, though a glimmer of hope lies in preordering discounts, as I discovered on Amazon ^[*]. Yet the landscape for Westerns feels as barren as the dry plains they depict. My local Walmart, once a treasure trove for Johnstone fans, now offers nothing but the latest watered-down YA fantasies, the kind that languish on shelves, untouched and unloved. Despite an employee's dismissal of Westerns as outdated, I can’t help but recall that the new titles are always sold out quickly in my neck of the woods—the genre is far from dead.

Preacher's Hell ^[*] begins at a desolate trading post nestled in the Bitterroot Mountains. At first, it offers the warmth of friendship with familiar faces, Audie and Nighthawk. But tranquility is short-lived. A brutal gang of thieves descends upon a young Indian woman and her grandfather, igniting a chain reaction of violence that shatters the moment. In the aftermath, with chaos swirling, the gang's leader, a sinister figure named Mack Ozark, slips through their fingers, leaving behind grief and a haunting charge. Before the woman dies, she entrusts Preacher with a mysterious bundle, revealing two blond-haired, blue-eyed infants—twins, undeniably precious, yet not her own.

Hollywood is in a slow fade, and the reasons are as varied as they are troubling. Perhaps it’s the dominance of streaming platforms, or the rise of anxiety surrounding AI. Maybe it’s the political correctness that seems to permeate every script, or the disheartening lack of originality plaguing contemporary cinema. Whatever the cause, the younger generations appear indifferent to the once-glorious lights of Hollywood; they'd rather lose themselves in the fleeting entertainments of TikTok and YouTube. I might not be young anymore, but my passion for film, especially the classic Hollywood of yesteryear or the golden age untainted by CGI excess, remains strong. The current trend, where studios expect to recoup their lavish budgets during the opening weekend or risk relegation to a quiet home streaming release, makes it no wonder theater ticket prices are skyrocketing; who wants to shell out their hard-earned cash for a product that feels so out of touch?

This rant is fueled by my recent encounter with The Last Kings of Hollywood: Coppola, Lucas, Spielberg―and the Battle for the Soul of American Cinema ^[*] by Paul Fischer, the same author who brought us A Kim Jong-Il Production. As I write this, I realize I have a copy of the latter sitting unread on my shelf, a testament to my own chaotic reading habits. You may be wondering who these "last kings of Hollywood" are. They’re none other than the legendary trio: Francis Ford Coppola, George Lucas, and Steven Spielberg.

In the summer of 1967, as the old Hollywood studio system crumbled, a determined young film school graduate named George Lucas began his first day on the Warner Bros. lot as an assistant to the then-largely unknown Francis Ford Coppola, a boisterous father of two with a creative fire. Simultaneously, on the Universal Studios lot, a film-obsessed twenty-year-old named Steven Spielberg yearned to break free from his apprentice shackles and carve his own path as a director.

I have a complex relationship with Louis L'Amour—a blend of admiration and exasperation that reflects the dual nature of his legacy. My adopted paternal grandfather was a devoted fan, and our family would eagerly gift him his latest works for birthdays, Father’s Day, and Christmas, until declining eyesight curtailed his reading. After he passed, I found myself the custodian of not just his collection, but also a few titles from my late maternal grandmother. Over the years, I’ve amassed my own collection of L'Amour works, filling my shelves with almost every title he published. That’s the love part, or perhaps more accurately, the appreciation. Then comes the hate part: I believe Louis L'Amour is overrated. His books were omnipresent during my childhood, squeezing out shelf space in bookstores where other Western authors could have thrived. I understand the marketplace—demand shapes inventory—but it still frustrates me to see L'Amour’s name dominate as if no one else in the genre could compete. Sure, he crafted some notable stories, but to my mind, he was a master of the “pulp” short story. His talents shine brightest in shorter forms; as a novelist, he ranks merely above average. I respect his contributions and recognize his place in literary history, but I'd argue that Zane Grey is the true giant of Western fiction—that’s just my opinion. With that in mind, I'm returning to L'Amour's books, starting with Trouble Shooter.

Most L'Amour aficionados already know this, but for anyone who doesn’t: like many writers in this genre, L'Amour began his career crafting short stories for pulp magazines. By 1950, he earned recognition that led him to write new Hopalong Cassidy adventures for Hopalong Cassidy's Western Magazine, which eventually transitioned into published hardcovers. Initially, he based his first two books on the style of Clarence Mulford, the original author of Hopalong. However, when the magazine folded after just two issues, L'Amour had to overhaul these titles to align more closely with the sanitized cinematic version that dominated television and film at the time. He continued this adaptation for the subsequent books, ultimately publishing four volumes in total.

After much anticipation, I’m finally ready to share my thoughts on the mystery thriller Empty Boxes, penned by Robin Action and brought to life by Blank Slate Press, an indie publisher based right here in Missouri. I owe the publisher a heartfelt apology for my delay in reading and reviewing this book. While I can’t pinpoint the exact date I received it—sometime last year, I believe—I can’t ignore that it was indeed a long wait. I showcased the book in a Friday 56 post last October, and you might be wondering what took so long. Well, it’s been a tumultuous time for me; my mother had several ER visits and underwent surgery last November, which understandably pulled my focus away from blogging. In my suitcase of distractions, I even packed this book, but it ended up left behind while I opted for movies on my Fire Tablet instead. Eventually, I stumbled upon it again just last week, much to my relief.

Empty Boxes ^[*] is the second installment in the Rita Locke series, and fortunately for me, it can stand alone, as I hadn’t yet dipped into the first book. The narrative follows Pittsburgh crime reporter Rita Locke as she investigates the murder of a funeral director, only to discover a chilling truth—he had been burying empty coffins. As she digs deeper into his secrets, she unravels a sinister plot spanning international borders, leading her from the familiar streets of western Pennsylvania to an offshore Caribbean medical school. Here, she finds herself ensnared in a web of deceit that threatens her very life.

What is it about real-life murders that captivates us? I'm speaking of the small, twisted cadre of true crime aficionados. Yes, I’m talking about the YouTubers who reduce complex cases into palatable, clickbait summaries, often disregarding vital details, pointing fingers erroneously, and displaying a blatant ignorance of the facts—all in the pursuit of fleeting views. You may have noticed that this is my second true crime review this month, and some of you might wonder if I'm steering this blog in a different direction. The answer, for now, is no. But I do intend to challenge myself as a reader, and that may lead me toward more nonfiction.

This brings us to today’s focus: In Cold Blood ^[*] by Truman Capote. A peculiar figure in American literature, Capote was not only a gifted writer but also a childhood neighbor and friend to Harper Lee, author of To Kill a Mockingbird. Although many of you may not have cracked open Capote’s “nonfiction novel,” you’ve likely encountered it through discussions or the acclaimed 2005 film Capote, in which Philip Seymour Hoffman portrayed the author. This film beautifully captures Capote's journey alongside Harper Lee as they traveled to Holcomb, Kansas, fueled by an article about the 1959 Clutter family murders he read in The New York Times. Capote became so engrossed in the case that he set out to write what would become In Cold Blood. With Capote’s flamboyant style often viewed as off-putting by locals, Lee took on the role of interviewer, taking reams of notes that would go largely unacknowledged. Over the years, Capote formed a complex relationship with the killers, Perry Edward Smith and Richard "Dick" Hickock, visiting them in prison, corresponding through letters, and eventually witnessing their executions in 1965. He was also the subject of the 2006 film Infamous, and In Cold Blood has been adapted into both a 1967 feature film and a 1996 miniseries.

Welcome back, dear readers. It feels like I’m welcoming myself back to my Gunsmoke & Grit series, which has been collecting dust in the corner while I navigated the fog of burnout over the last few months. But here I am with a review of Clint: The Man and the Movies ^[*], published by Marnier in 2025 and written by Shawn Levy—not to be confused with the director. Now, I know this isn’t Western fiction, but let’s face it: Rowdy Yates graces the half-jacket, which made it impossible for me to resist featuring it in my Gunsmoke & Grit reviews.

Somehow, this book slipped under my radar when it was released last summer. It wasn't until I unwrapped it as a Christmas present that I discovered its existence. I cracked it open on January 5th and savored every page until I finished it on January 13th. Yes, I took my time, but that was intentional—I wanted to relish every word and fact about my favorite actor, Clint Eastwood.

Here’s my take on the blurb: From Shawn Levy, an acclaimed film critic and New York Times bestselling biographer known for his work on Paul Newman, this definitive biography of Clint Eastwood offers a revelatory glimpse into the life of a Hollywood titan. For more than sixty years, Clint has dominated the silver screen as one of the most prolific and versatile actors and directors in cinema history, embodying the very essence of American culture.

C-L-I-N-T. This single, sharp syllable has become a symbol of American manhood, morality, and a fierce, unyielding spirit—both on-screen and off—for over six decades. Whether he’s confronting villains in a dusty Western (Old West or new, it makes no difference) or commanding the director’s chair, Clint’s presence is as raw, honest, and solid as his name suggests. He’s not just another star of the old-school variety; he’s one of the most accomplished actor-directors of his time; a man forged from rock and iron—a relentless force named Clint.

I found myself plunging into a maelstrom of thoughts that kept me awake for days, questioning my own grip on sanity while reading William J. Mann's riveting nonfiction release, Black Dahlia: Murder, Monsters, and Madness in Midcentury Hollywood ^[*]. I lost track of time, crossing the threshold of late-night hours, a period traditionally reserved for the likes of vampires, witches, and serial killers. Even when I finally set the book down and placed a trusty bookmark to mark my place, sleep eluded me. My mind raced back to Elizabeth Short, known to the world as the Black Dahlia. I found myself time-traveling to January 1947, imagining the last moments of her life as she stepped out of the Biltmore Hotel. Where had she gone? Who had she encountered? What secrets lay buried in the six days before her lifeless body was discovered on the morning of January 15, 1947, cruelly severed at the waist, drained of blood, and left in a vacant lot in Leimert Park, Los Angeles, her mouth twisted into an eerie Glasgow smile? The identity of her killer or killers remains a haunting enigma after nearly eight decades, their anonymity a cruel twist in a tragic tale. Many have claimed to unravel the mystery—detectives, amateur sleuths, and researchers peddling the thrill of their theories for a quick profit. Yet I refuse to buy into the claims tying the Zodiac Killer or George Hodel to her tragic demise. What we have here is an unsolved murder, and the darkness it casts lingers still to this day.

Elizabeth Short has been unjustly painted as nothing more than a wayward wannabe actress or a wandering prostitute—a stereotypical femme fatale in a film noir flick deserving of her fate. Mann shatters these misconceptions with his extensive research, revealing her as a spirited young woman of curiosity and resolve, daring to push against the confines of a postwar society that expected women to settle down, marry, and raise children. It’s high time we reexamine the woman beneath the Black Dahlia moniker. Through a modern lens, Mann intricately weaves Short’s narrative into the fabric of a nation grappling with shifting ideals, demographics, and the ghosts of old fears masquerading as new ones. Only by situating her story in this tumultuous landscape can we grasp the tragedy of her existence.

Changing our perspective over time can reshape our attitudes toward the authors we've previously dismissed. It’s an intriguing phenomenon, reminiscent of the adage that a person evolves every seven years. Perhaps this evolving mindset explains my renewed appreciation for the works of Joyce Carol Oates, an author I had once cast aside. My initial dismissal stemmed from a rather unfortunate experience: I had read her 1995 horror novella Zombie, inspired by the notorious Jeffrey Dahmer, for an eighth-grade book report. Despite my passion for horror movies, the novella sickened me profoundly, causing me to overlook Oates's works for nearly two decades. However, with the passage of time and a broader literary palate, I've revisited her writing and found value in much of it, even though I don't always connect with her narratives on a personal level.

Oates is a prolific author known for her explorative and often dark storytelling, and like many writers, she has adopted various pen names throughout her career, notably Rosamond Smith. Her latest work, Double Trouble, published by Hard Case Crime, is set to be released tomorrow in hardcover ^[*], paperback ^[*], Kindle ^[*], and other eBook formats. This collection features two previously released complete novels, Starr Bright Will Be With You Soon and Soul/Mate, alongside two rare short stories, The Murderess and An Unsolved Crime. 

Starr Bright Will Be With You Soon, the seventh novel under the Rosamond Smith pseudonym, is a noir-infused crime thriller first published in 1999. It delves into the life of Lily Merrick, a seemingly devoted housewife and mother in upstate New York, who teaches pottery classes. When her estranged twin sister Sharon reappears after fifteen years, seeking refuge from her life as a Las Vegas stripper, the family initially welcomes her with open arms. However, Sharon, under the alias of Starr Bright, harbors a sinister secret—she’s the most wanted female serial killer in the country. 

It’s all too easy for intriguing titles to slip beneath the radar, often eclipsed by more prominent releases or overlooked due to lackluster cover art. This brings us to Paper Cut ^[*], a thriller by debut author Rachel Taff, published by William Morrow. I might never have read it had I not received a heads-up in a press release and an eGalley to review. The cover, while it transports me back to a vague late '90s aesthetic, lacks the punch to compel casual browsers. As for Rachel Taff, her name was new to me, though I later discovered her background in television production.

Paper Cut centers on Lucy Golden, a true-crime celebrity forever marked by the brutality of a murder she committed while escaping a California cult two decades ago. In the ever-watchful public eye of Los Angeles, Lucy is haunted by the specter of fading notoriety. As she grapples with the perils of fame—from an obsessive stalker to a simmering feud between her mother, a celebrated photographer, and her rock-star sister—she finds herself in a precarious balance between the past and present. Online trolls are rehashing the dark details of her infamous crime, amplifying the anxiety that’s already woven into her existence.

When a brash documentarian approaches her about making a film that centers on her case, Lucy perceives a golden opportunity to reclaim her narrative and quell the swirling doubts about her past. However, this venture demands a return to the California desert, where her history is as thick and deceptive as the sands themselves. Unraveling buried secrets amidst present-day perils, she must fight to protect the story she has long sold to the world. 

The heart of this book lies in the tension between public perception and personal truth—a dance between the various layers of identity, all while examining the obsessive fascination with the true-crime phenomenon itself.

Well, here I am again, riding back into the world of Westerns. Now, some of you might have thought I’d hung up my spurs and ridden off into the sunset, abandoning the Western genre entirely. Fear not! Life sometimes pulls me in different directions, but I assure you, I’m still firmly planted in the saddle. This week, I’m tackling The Gunsmith: The Jingle Bell Trail ^[*], a “Special Christmas Edition” adventure published in 2020. And yes, I hear your thoughts: "Isn’t Christmas over?" Technically, yes, the tinsel has been packed away. I planned to read this under the glow of twinkling lights, but fate had other designs. I finally got around to it between January 1st and 2nd—about a month ago now, so my recollection may be a bit dusty, but let’s give it a shot!

As the holiday season approaches, our rugged hero, Clint Adams, rides into Buckley, North Dakota—a town that appears to have been pulled right out of a snow globe—festooned with garlands draping from light posts and adorning the windows and balconies of every building like a Christmas card come to life. But before Clint can even hang his hat at the local hotel, he’s intercepted by Sheriff Owens from neighboring Goodwill, who is desperate for assistance in tracking down three cold-blooded killers. The sheriff's wish? To get home to his young boy in time for Christmas. Clint, ever the good Samaritan, agrees to lend a hand. But as fate would have it, things take a dark turn, thrusting our gunslinger into a treacherous journey along the Jingle Bell Trail. The stakes? Not just saving one little boy’s Christmas, but also rescuing an entire town that teeters on the brink of a fatal holiday.

Let's take a moment to explore a thought-provoking question: What motivates an author or a team of authors to create a prequel for a long-running series? Is it merely a cash grab? A clever marketing strategy? A signal that they’ve run out of fresh ideas? Or perhaps it’s a story they’ve long been eager to share with the world? No matter the reason, Pendergast: The Beginning by Douglas Preston and Lincoln Child is set to hit both physical and digital bookstores on January 27th, courtesy of Grand Central Publishing. This marks the 23rd installment in the Agent Pendergast series and the first prequel, a journey that began in 1995 with the enthralling Relic.

The pequel kicks off with a brief prologue set in 1989, but the bulk of the story unfolds in August 1994. The plot centers around Special Agent Dwight Chambers, whose life has shattered into pieces in just six short months. First, he loses his partner in the line of duty, and then the cruel grip of fate snatches away his wife. As he returns to the New Orleans Field Office, Chambers finds himself burdened with the unenviable task of mentoring a fresh-faced FBI agent—one A.X.L. Pendergast. As Chambers grapples with his personal demons, Pendergast's enigmatic and often infuriating personality does not make things easier. He quickly finds himself drawn into a reckless stunt that costs them both their jobs.