DUST OFF THE BONES by Paul Howarth

McCall, cool and self-possessed, is quick to befriend Nella, echoing her frustrations with the never-spoken racial politics of their office, encouraging her to speak up. But it doesn’t take long for Nella to realize there’s something off about Hazel, even if she can’t quite put her finger on it. There’s something weird about how easily she fits in among the higher-ups at Wagner, about the way she’s instantly and universally beloved by top editors, the way her story—born in Harlem, daughter of civil rights activists, a grandfather who died protesting—exactly matches their ideas about Blackness in a way that Nella’s middle-class suburban childhood never will. And then, shortly after Hazel’s arrival, the first anonymous note arrives on Nella’s desk: “Leave Wagner Now.” Hazel? And if not Hazel, then who? Nella begins searching for answers—and in the process, finds herself at the center of a dangerous conspiracy that runs far deeper than she ever could have known. If it sounds like a moralistic sledgehammer of a novel—well, it would be if Harris were any less good. In her hands, though, it’s a nuanced page-turner, as sharp as it is fun.

A biting social satire–cum-thriller; dark, playful, and brimming with life.

DUST OFF THE BONES

Howarth, Paul Harper/HarperCollins (368 pp.) $26.99 | Jun. 8, 2021 978-0-06-307-600-6

A tale of violence and redemption in the Australian Outback. In this sequel to Only Killers and Thieves (2018), Howarth carries the story of brothers Billy and Tommy McBride forward following their involvement as teenagers in the unprovoked massacre of members of an Aboriginal tribe after the murders of their parents and sister. Billy has married and become a prosperous Queensland cattle rancher while the younger and more sensitive Tommy assumes a new identity and roams Australia’s vast open spaces on perilous cattle drives. Haunting both men are memories of their role in the mass slaughter, conducted at the direction of Edmund Noone, the brutal commander of the Native Police, an organization notorious in Australian history for carrying out genocidal

attacks, euphemistically referred to as “dispersals,” against Indigenous peoples. Noone has successfully suppressed the evidence of his blood-soaked past while rising to respectability as Brisbane’s police commissioner. When ambitious young lawyer Henry Wells, threatened by the risk of disclosure of his own secret, embarks on a single-handed effort to prompt a full government inquest into the long-ago incident, the McBrides and Noone must weigh the risks of exposure against the demands of conscience. In settings that range from the harsh beauty of the Australian countryside, “a place that [couldn’t] be tamed,” to the tension of a packed small-town courtroom, their starkly differing responses provide the energy of the novel’s often violent but far from predictable second half. Fast-paced and brimming with colorful, realistic detail, it also paints a vivid portrait of colonial Australia in the midst of its transition to independence as the 20th century begins while posing disturbing questions about the country’s historic cruelty to its Native inhabitants.

A classic cowboy saga is transformed into a complex, sophisticated morality play.

LESSON IN RED

Hummel, Maria Counterpoint (320 pp.) $27.00 | Jun. 1, 2021 978-1-64009-431-4

The untimely demise of a provocative young filmmaker consumes a museum copy editor in this sequel to Still Lives (2018). After spending the summer in Vermont recovering from a run-in with a murderer, Rocque Museum copy editor Maggie Richter is ready to tell her friends and colleagues in Los Angeles that she isn’t coming back. Then her boss, Janis Rocque, emails with a tantalizing proposition. Several months ago, Brenae Brasil—a grad student at the prestigious Los Angeles Art College—shot herself. Janis claims she has inside knowledge that Brenae’s death was “more complicated than it seemed” and is willing to handsomely compensate Maggie—a former journalist—if she’ll investigate the school’s culture and use discretion in publishing her findings. Maggie returns to California, where she learns that Brenae sent Janis a copy of an unreleased movie titled Lesson in Red, which shows Brenae having coerced sex with an unidentified man. According to authorities, the work is one of two deleted from Brenae’s computer after she died but before her body was discovered. Determined to uncover the truth, Maggie infiltrates Brenae’s social circle and, with the help of special agent Ray Hendricks, starts digging. This novel might occasionally lose readers unfamiliar with the plot and key players from Still Lives. The story feels overstuffed and the denouement relies too heavily on coincidence, but Hummel delivers a searing indictment of the artistic community’s bias toward White men and the exploitations that follow.

A thoughtful thriller that shines a light into the art world’s dark corners.

THE SKELETON TREE

Janes, Diane Severn House (224 pp.) $28.99 | Jun. 1, 2021 978-0-7278-5019-5

A dream house turns into a nightmare. Wendy and Bruce Thornton realize that their house in Jasmine Close is too small for them. Tara, Wendy’s teenage daughter from her unhappy first marriage, and Katie and Jamie, their two active grade schoolers, find little room to spread out stamp collections or ride their bikes, much less entertain friends. Still, when The Ashes, a gracious old home facing onto Green Lane, comes onto the market, Wendy doesn’t take seriously the possibility that they might actually buy the house she’s always yearned for. A brief inspection at an open house confirms both her guesses: The house is indeed spacious, airy, and welcoming.

It’s also badly neglected. Mrs. Duncan, the elderly widow who lived there, had neither the means nor the skills to repair the ancient plumbing or fix the collapsing roofs of the outbuildings. The sad state of the property is a mixed blessing: The price will certainly reflect the need for repairs, but those repairs will be costly. All Wendy’s calculations are rendered moot when a distant cousin dies and leaves her a legacy that will amply cover the purchase and remodeling. Bruce and the children gradually warm to the idea. Tara dreams of an extra room to entertain friends, and Jamie relishes the thought of riding his bike up and down the long driveway. Once they move into The Ashes, though, things go downhill. One of the cheerful workers who helps with the remodel is accused of murder. The children start to hear things that go bump in the night. Wendy and Bruce start to bicker. It’s hard to see what the moral is here: Since Wendy does nothing to deserve either her good fortune or bad, the only takeaway is don’t ever want anything.

A grim read.

SLIPPING

Kheir, Mohamed Trans. by Moeser, Robin Two Lines Press (260 pp.) $16.95 paper | Jun. 8, 2021 978-1-949641-16-5

Contemporary Egyptian life glimpsed through a magical realist lens. At the heart of Kheir’s first novel translated into English are the meanderings of young journalist Seif and his subject, Bahr, an enigmatic collector of stories who has returned from several years in Europe to the Egypt he dismisses as a “shithouse of a country” in the wake of the revolution. As the pair visit Alexandria, where they engage in a daredevil game with passing streetcars and cross the Nile River on foot, Bahr spins out tales that blend concrete detail with fanciful elements, offering bits of his melancholy perspective on life along the way. Among them are the account of his arrest and brutal treatment after a street demonstration and an oddly charming parable involving a bureaucrat named Yehyia who becomes part of a government effort to waste citizens’ time on purpose. Spirits and voices are recurring elements. There is the story of Ahmed, who is called upon to communicate with his late father to help his impoverished fellow villagers make a collective decision about whether to abandon their homes. Seif’s girlfriend, Alya, possesses an unusual talent for recreating any imaginable sound while Salaam, a young man with a persistent stutter, can only overcome it when he sings. Some of these fragmentary, dreamlike anecdotes are loosely connected, but those links are elusive at best. Then there are promising premises—like the one involving Ashraf, the young doctor recruited as a member of a medical staff at a private clinic whose work involves caring for a single patient, a wealthy businessman who has “resolved not to die”—that are introduced, never to be revived. For a Western audience lacking Kheir’s cultural context, it’s likely that many of these episodes will prove more puzzling than resonant.

Despite a handful of evocative moments, a novel that fails to cohere into a meaningful whole.

FUTURE FEELING

Lake, Joss Soft Skull Press (304 pp.) $16.95 paper | Jun. 1, 2021 978-1-59376-688-7

A trans man armed with the power of self-reflection embarks on a hero’s journey. This debut novel begins in a vaguely futuristic New York City with our hero, Penfield R. Henderson, scrolling through the Gram, a sort of evolved Instagram with holographic capabilities. The object of Pen’s attention is Aiden Chase, a fellow trans