Books

Lying with Strangers by James Grippando

Maxine Clarke
The Philadelphia Inquirer (MCT)

Soap opera shocks plus thriller chills.


Lying with Strangers

Publisher: HarperCollins
ISBN: 006113838X
Author: James Grippando
Price: $24.95
Length: 391
Formats: Hardcover
Amazon

James Grippando's new novel doesn't feature his series character, Miami-based lawyer Jack Swyteck, but instead introduces a woman doctor, who is beautiful, driven, ambitious and stalked by the creepy "Rudy," who has her under surveillance.

After setting this scene, Lying with Strangers immediately switches track, describing our heroine's residency at a clinic, her cool-headed treatment of a dangerously injured baby, and subsequent efficient dispatching of the assailant. Far from being applauded for this feat, however, she and her hospital are threatened with a double lawsuit.

The book races on at breakneck pace, running through so many themes that my head whirled. Eventually, in a little detective work of my own, I realized that the key to the book is in the main character's name: Peyton. Yes, I was reading a pastiche soap opera, and the heroine's name is a homage to the mother of all soaps, Grace Metalious' 1957 classic Peyton Place.

Maybe my theory isn't right, but even so, Lying with Strangers is a whistle-stop tour round many current fashions in the thriller genre. We have Peyton's creepily obsessed stalker (Thomas Harris); her high-tech, high-pressure job at the hospital (Robin Cook); her troubled marriage, with her husband jealous of her success, always away and probably unfaithful (Mary Higgins Clark); the lawsuit (John Grisham). Added to the mix are Peyton's unhappy childhood with a kind but weak father and a cold, controlling mother, who, when Peyton was a young child, mysteriously had a baby who died in the hospital before coming home. Peyton is always reminded that she is a disappointment compared with what this second child could have become.

It is practically impossible to convey all the pertinent events of the novel in a brief review. A surprise birthday party for Peyton causes her to be terrified, culminating in her being run off the road. Later, her presumed assailant is found dead in circumstances that bring suspicion on Peyton. In a moment of weakness during one of her husband's mysterious absences, she goes out for a consoling drink with an ex-boyfriend, now a nurse at the hospital, and spends the night at his place. Circumstances conspire to make it look as if this was not as innocent as Peyton claims. Then the nurse vanishes, and a mysterious person phones Peyton and Kevin (her husband), demanding a ransom. They refuse to pay. The consequences mean that Peyton ends up in court, charged with a crime she did not commit, but painted by the prosecution as a deeply unsympathetic character. The reason (more accurately, one of the reasons) for Kevin's absences is revealed, which becomes yet another plot strand that could come from another book.

I had to keep reading Lying with Strangers once I'd started it, because no sooner is one problem thrown at poor persecuted Peyton, who resiliently and capably deals with it, than another looms up to take its place. The constant cliffhangers, combined with an easy writing style, make the book slip by in no time. But the provision of so many excitements means that no one storyline is very developed, and many ideas peter out.

Although I fell for some red herrings, I did guess the identity of the person behind the malevolence: Still, the ending has real punch. But as with so many crime novels, one feels that the villain could easily have found a far simpler way to achieve certain goals than to construct such a convoluted edifice of deception.

The soap-opera format left me feeling as if I'd eaten a meal of every flavor of ice cream rather than one with a better balance of nutrients. Nothing wrong with ice cream, of course -- it is fun, escapist and, unless one eats too much of it too often, harmless. In this case, the heroine is feisty, intelligent, capable and attractive, and if she returns in another volume I might well read it. Nevertheless, I do hope that the flavor next time will be one or two scoops with a sprinkle of chocolate chips, rather than quite so comprehensively tutti frutti.

___

Maxine Clarke is an editor at the science journal Nature, and blogs at Petrona.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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