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Amber Garza

Sixty seconds with Amber Garza...

Amber Garza has had a passion for the written word since she was a child making books out of notebook paper and staples. Her hobbies include reading and singing. Coffee and wine are her drinks of choice (not necessarily in that order). She writes while blaring music, and talks about her characters like they're real people. She lives with her husband and two kids in Folsom, California, which is also home to another Amber Garza.



RTE: Describe yourself in a sentence?

Garza: Talks a lot, laughs often and loves deeply.

RTE: What's the one record you'd take to a desert island?

Garza: Barton Hollow - The Civil Wars

RTE: What did you want to be when you were growing up?

Garza: A famous author and singer

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August 25, 2021


Scorching July 2021 was the hottest month since dependable meteorological record-keeping began 142 years ago. Thank you, global warming. Several mysteries published this August courageously confront other contemporary horrors, as well as notable historical tragedies and their present-day reverberations. 

One such book is Marcia Muller's ICE AND STONE: A SHARON MCCONE MYSTERY. Our new reviewer Alison Gates was won over by Shoshone detective McCone's latest adventure, which "shines a light upon quite a few under-reported crises within the Native American community without exploiting the victims." This summer, marred by the discovery at the sites of Residential Schools of the unmarked graves of hundreds of Indigenous children, ICE AND STONE is an essential read. 

So is Naomi Hirohara's CLARK AND DIVISION. According to reviewer Tracy Fernandez-Rysavy, Hirohara's "lyrical writing, engrossing mystery, and emotion-driven scenes make CLARK AND DIVISION a deeply moving, unputdownable work." Alan Parks' THE APRIL DEAD, set in 1970s Glasgow, explores right-wing terrorism along with the Glaswegian world of organized crime. RTE Co-editor Yvonne Klein recommends it.

Gates also enjoyed Seraphina Nova Glass' SUCH A GOOD WIFE, with its focus on the "double-edged sword" of privilege. Not a return to Stepford, Glass' skewering of suburban American uxorial expectations is far more chilling. 

Anne Corey finds Daniel Silva's THE CELLIST attuned to "the critical issues of the world political situation," especially terrorism, as does Ben Coes's newest, engrossing Dewey Andreas mystery THE ISLAND. Sharon Mensing is deeply impressed by Peter Heller's world-building in THE GUIDE.  

Need some lighter material? Jim Napier approves mightily of Mike Ripley's MR CAMPION'S COVEN, a "madcap" adventure featuring Albert Campion, the Golden Age detective originally created by Margery Allingham. Carol J. Perry’s BE MY GHOST, the first of a new series, exudes cozy spectral humor; PJ Coldren looks forward to future outings.

Dianne Freeman gives Georgette Heyer some competition with A FIANCEE'S GUIDE TO FIRST WIVES AND MURDER, the latest in her Countess of Harleigh series. PJ Coldren greatly enjoyed this mock-historical romp of a murder mystery. She was less impressed by Sheila Connolly's THE SECRET STAIRCASE. There is some darker humor in Mark Billingham’s RABBIT HOLE, an experiment in unreliable narratordom reviewed by Yvonne Klein. Ruth Castleberry was fascinated by another iconic detective mystery, Lynda LaPlante's UNHOLY MURDER, featuring Jane Tennison.

Love cats? There’s a cat named Whiskers in Gabby Allan's MUCH ADO ABOUT NAUTICALING, a promising book according to Ruth Castleberry. More cat-centric is Cate Conte's CLAWS FOR ALARM, which takes place at a cat café—a public coffee shop where rescued cats hang out, angling for adoption. We ought to have more of these institutions and delightful media representations of them can only help to achieve that goal. (My two cats, both rescues, agree.) Ruth Castleberry finds CLAWS FOR ALARM "riveting."

Our guest in the Sixty Seconds With...spot this week is Amber Garza. Look over to your left to see what she has to say for herself.

Our friends across the sea have been busy keeping up with what is going on in British crime. You can find out what they thought of it at CRIMEREVIEW.


And that's about that for August. We will be back in September with more reports from the world of fictional crime, so please come back. In the meantime, please drop us a note if you have a comment or a question or anything you want us to know and email either Yvonne or me. We look forward to hearing from you.

Best,

Rebecca

Editors:

Rebecca Nesvet

nesvetr@uwgb.edu

Yvonne Klein

ymk@reviewingtheevidence.com
 
nesvet@uwgb.edu

ymk@reviewingtheevidence.com




P.S. If you wish to submit a book for review, please check here before contacting us. Please note that we do not review self-published books.


Our mascot and masthead is Smokey the Cat. Smokey the cat went to the great playground in the sky on April 29, 2008, at 3:30 p.m. He was about 13 years old, had diabetes and only 11 teeth left. He is much happier now. He will remain as our masthead and mascot.


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Since RTE first appeared, some twelve years ago, the business of books has changed out of all recognition. Then, books were reviewed in the print media for the most part, though Amazon was encouraging readers to post their reviews of the books they read. Now, newspapers across North America have reduced or eliminated the space they allot to books and, with certain notable exceptions, only best-selling authors are likely to get noticed. As a result, electronic reviewing has become increasingly important and, due to the somewhat slippery question of online authorship, occasionally problematic.

For this reason and in view of a recent article in the NY Times detailing a reviews-for-hire enterprise, it's probably wise for RTE to reiterate its position on reviewing. While our reviewers receive galleys, ARCs, or finished copies of books for review, they are otherwise unpaid. Furthermore, they are asked to disclose any special interest they might have in a book or an author they are reviewing. No one, including the editors, receives any compensation for the work they do. All our reviewers are encouraged to express their honest opinions, whether positive or negative, about the books they are reviewing. None of our reviewers uses a pseudonym and all are who they say they are. Nor do we employ rating systems (stars, grades, "highly recommended," or the like) in the belief that our reviews deserve to be read in their entirety. Since RTE does not review self-published or digital-only releases, we are perhaps less vulnerable to offers to pay for reviews, but it seems a good idea to make our policy clear. Finally, in the years that I've been editing RTE, I have never once been approached by a press or a publicist to violate this principle in any way.









Contact: Yvonne Klein (ymk@reviewingtheevidence.com)


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