When You Wish Upon A Star, by Colin Cotterill

"When You Wish Upon A Star," by Colin Cotterill, in Sunshine Noir, edited by Annamaria Alfieri and Michael Stanley, White Sun Books, 2016.

This book ends on a high note with its third appearance in this column.  

Our protagonist is a former crime reporter, now reduced to covering social events for the local weekly in the area she moved to for family reasons.  When a well-off woman dies in a  bizarre car accident - crashing off an unfinished bridge over a river - the reporter suspects that the death was no accident.

Nice setting but what really made it for me was the motive, which is an utterly modern get-rich scheme I have never seen in crime fiction before.

Someone's Moved the Sun, by Jeffrey Siger

"Someone's Moved the Sun," by Jeffrey Siger, in Sunshine Noir, edited by Annamaria Alfieri and Michael Stanley, White Sun Books, 2016.

Toni plays piano in a gay bar on an island in Greece.  To pay the bills he (I assume Toni is a he. As near as I can tell, it is not specified) is also an unlicensed private eye.  That means he helps tourists and others get stolen property back.

This time his client is a wealthy man named Kleftis who seems to have lost a backpack. What was in it?  Cash, certainly.  Black market jewelry, very likely.  Perhaps something more sinister than that?

 Toni thinks he knows who may have done it but there are dangers in proceeding:

Perhaps I could entice one of their local gang members into making a side deal, but that ran the very real risk of someone ending up buried alongside the backpack.  Correction: Make that someone me.

A nice modern variation of the classic P.I. tale.

The Assassination, by Leye Adenle

"The Assassination," by Leye Adenle, in Sunshine Noir, edited by Annamaria Alfieri and Michael Stanley, White Sun Books, 2016.

I can't tell which African country this is taking place.  Probably just ignorance on my part.  Otunba is a big businessman and all-around creep.  Such a creep, in fact, that someone (maybe many someones) want him dead.

We watch as the net tightens around him, but he doesn't see it.  And he just keeps making the world a little worse as he goes his merry way.

This story made my week because of the neat twist ending, which I enjoyed a lot.

Pandora's Bluff by Gilbert M. Stack.

"Pandora's Bluff," by Gilbert M. Stack, in Alfred Hitchcock's Mystery Magazine, October 2016.

I am very fond of Stack's Western stories about an unlikely trilogy of travelers.  Corey is a professional bare fist boxer, brave and strong and kind.  Patrick is his manager, more likely to cause trouble than solve it.  Neither of them is very bright but the difference is Corey knows it.  Their companion is Miss Pandora Parsons,  a professional gambler, and she is the brains of the outfit. 

This story begins  with Miss Parson deep in a poker game somewhere in Idaho.   Also playing is a doctor and a banker who wants some land the doctor owns.  It's pretty clear what's going to happen, but can Pandora straighten out the mess that follows?

Well, of course she can.  The plot is no big puzzle, although her quick-thinking provides a nice twist.  The real pleasure of this series is running into these old friends again.

One Last Job, by Warren Bull

"One Last Job," by Warren Bull, in No Happy Endings, 2016.

This is Bull's second appearance in this blog.

Our hero is a private eye.  He survived World War II and has survivor's guilt about that, but he may not have it much longer, because cancer is killing him.  A friend offers him one last job: track down a beautiful woman who has gone missing.

He does, but the reason she is being hunted is not any of the reasons you might expect.  And before he can decide what to do about that something happens which he actually did expect: a bank robbery.  And he and the young woman both have to decide what to do about that. 

Snappy dialog between the two main characters.  Nice surprise (but not a twist) ending.

last job

The Way They Do It In Boston, by Linda Barnes

"The Way They Do It In Boston," by Linda Barnes, in Ellery Queen's Mystery Magazine, September/October 2016.

Heightened language.  What does that mean?

To me it means the words in the story do something more than get the story from the beginning to the end.  They tell you something about the characters or the nature of the universe in which they find themselves.

Here is Barnes' omniscient third-person narrator describing the main character's dog:

Gid got his name in the army.  the shredded ear is courtesy of the service as well.  the shelter dude said the dog left the service early because he lost his sense of mission, basically went AWOL and played catch with Afghan kids. As soon as she heard that Drew felt a sense of kinship with the dog, a bond.  She got blown up and put back together in Iraq.  Lost her sense of mission, too, in the desert near Fallujah.  The shrapnel in her left leg sets off screaming alarms in airports.

Yeah.  Heightened writing.

Drew wants to be a cop in Boston but it's hard to make the resident-for-a-year requirement when you are living in your car with your only friend, a beat-up ex-army dog.

So she's working night security on a tow service parking lot, down by the river.  One night a crate of assault weapons washes up on the shore.  Something bad is going on.  Does it involve the lot?  Can she survive long eonough to find out?

Good stuff.