Today is another double bill!

Steve Cavanagh's Eddie Flynn series is fast becoming one of my 'can't miss' reads, and these two latest entries have raised the already high bar he set with his previous books even more. The books have won numerous awards and are quite rightly bestsellers.

For those unfamiliar with the set-up, Flynn is a New York-based con-artist turned defence lawyer. He only represents those that he knows are innocent; unfortunately his shady past and successful reputation have sometimes made him the 'go to advocate' for some decidedly unsavoury characters, who will make him an 'offer he cannot refuse', leaving Flynn with the unenviable task of trying to balance his own, ethical standards with the demands of his employers.

The books are legal thrillers in the vein of Michael Connelly's Micky Haller (Lincoln Lawyer) series, with a mixture of courtroom drama and outside thrills. Both aspects of the story are equally exciting. Remarkably, Cavanagh is a Belfast-born lawyer in real-life, who has never practised in the state of New York, yet his stories are filled with authentic detail and procedure, often with a very clever twist that demonstrates his deep understanding of the NY legal system.

The series started with a bang in 2015's The Defence and a very tasty short story The Cross, before continuing with The Plea and The Liar.
The subjects of this post are the two latest, Thirteen and Fifty-Fifty.

Thirteen has, in my opinion, the most gripping tag-line in recent years.
'The serial killer isn't on trial. He's on the jury.'
I mean, seriously, how can you not pick that off the shelf?
The premise for the book is summed up in that tag-line. The question, of course, is why? Why is he so desperate to get onto that jury? The serial killer is named on the novel's jacket blurb - an audacious move that tells you immediately that you can trust nothing in this book. Of course, Eddie Flynn doesn't take what he is presented with at first glance, and whilst the reader is shown glimpses of the killer that Flynn is not privvy to, you are chasing clues alongside Flynn throughout the book.

Fifty-Fifty is another high-concept thriller, that lives up to the standard set by the previous book. The book opens in characteristic style - full-on, straight into the action, setting up the premise immediately. No slow-burn here!
A man has been murdered in his own home. The 911 dispatch operator is called by a terrified young woman who claims that the killer is still in the house and the murderer is her sister. Moments later another call is received. Same house, same murder, different sister - and she's pointing the finger at the sibling who made the first call...
It's a high-profile case and when both are charged, Flynn fights for the right to represent the sister that he is convinced is innocent. The other sister is represented by a young, inexperienced lawyer, and she is equally convinced of her client's innocence.
As in Thirteen, we are shown extensive glimpses of the killer covering their tracks. But again, Cavanagh skilfully hides their identity. As the story unfolded, I found myself convinced that I knew who the killer must be - before having my mind changed. Repeatedly. The book is a masterclass in plotting and the art of the precisely placed reveal, and most importantly - a thumping good read!

I can't recommend these two books highly enough. And whilst I've known Steve personally for several years, as always his books are featured here on their own (considerable) merits.

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This was a wonderfully refreshing read. Feted by reviewers and readers alike as 'a literary sensation', this really stands out, and is another that I have gifted as a Christmas present (shhh...).

Told in the first person, it relates the story of Korede, a nurse whose wayward sister has a rather awkward habit of killing her boyfriends 'in self defence'. Self-centred, a bit useless and frankly sociopathic, Ayoola's first thought after each of these mishaps is to call her older sibling to come and clean up her mess. Literally.

The book is fast-paced, gloriously daft, and tremendous fun. I found myself laughing out loud, both at the witty prose and the sheer audaciousness of the characters. It also provides a glimpse into modern, upperclass Nigerian society, which is as obsessed with social class as any episode of Downton Abbey. 

The chapters are short, which helps maintain the book's rapid pace. Braithwaite is a poet, and you can see that influence in her careful attention to word choice. She also peppers the dialogue with Yaruba phrases, skillfully balancing the addition of a language perhaps unfamiliar to many of her readers to add flavour, without making it inaccessible. It is a great example of what the author Leye Adenle refers to as 'Sunshine Noir'.

As a bonus, there is also a short interview with the writer at the end of the paperback (I'm afraid I can't comment on whether it is in the electronic version). I don't know what Braithwaite's future plans are, but I fully recommend this book and will be keen to see what she produces next!