The Secret Lives of the Amir Sisters – Nadiya Hussain

The Secret Lives of the Amir Sisters tells the story of Fatima, Farah, Bubblee and Mae. All of the sisters assume the others are happy, but each of them is facing their own problems. Fatima has always felt that she doesn’t fit in; Farah is desperate to be a mother; Bubblee is trying to break away from family tradition and make it as an artist in London; and Mae is navigating social media stardom with a following of 11,000 subscribers on YouTube. When tragedy hits the family, the sisters have to pull together to get through, and they find out a lot about each other – and themselves – at the same time.

I really liked Nadiya Hussain on the Great British Bake Off, but I honestly didn’t know what to expect from this book. When I saw that Ayisha Malik acted as a consultant, I knew I had to read it, as I loved her novel Sofia Khan is Not Obliged. I’m so glad I gave it a try, as I really enjoyed it. The story is told from the viewpoints of all four sisters, swapping between them chapter-by-chapter. Their narratives weren’t really distinct enough to be distinguishable without the prompt at the beginning of the chapter, but this didn’t matter much. All of the sisters had positives and negatives, and because the reader is looking either through their eyes, or the eyes of their siblings, it fosters a real familiarity.

This book had such warmth and humour that I can’t wait to revisit the Amir family and get stuck into the sequel, The Fall and Rise of the Amir Sisters.

5 stars out of 5


The Red Address Book – Sofia Lundberg

Thanks to NetGalley and HarperCollins UK for the ARC of The Red Address Book by Sofia Lundberg.

Doris is 96 and lives alone in Stockholm. In between weekly Skype calls with her only living relative, her great-niece Jenny, she reflects back over her life. In her red address book, she has recorded the name of everyone she has met, and she uses this as a starting point to capture her memories, starting with her childhood in Sweden, and travelling to France, the US, and England. Switching between the present day and Doris’ written memories, we learn her life story.

I found this story a little slow to begin with, and I considered not finishing it, but I’m so glad that I persisted because it turned into such a beautiful book. Doris’ present situation is heartbreaking but there are also hints of humour from her. But it is her memories that really bring the story alive, especially from when she arrives in Paris. There are so many interesting characters in this book, but I found Allan to be the character who made me want to keep reading. The ending of the book was perhaps a little overly sentimental, but it was in-keeping with the personalities of the characters.

This is a great debut from Sofia Lundberg, and I look forward to reading more from her in the future.

4 stars out of 5

The Red Address Book will be published on 24 January 2019.

The Couple on Cedar Close – Anna-Lou Weatherley

Thanks to NetGalley and Bookouture for the ARC of The Couple on Cedar Close by Anna-Lou Weatherley.

Laurie and Robert Mills have moved to Cedar Close for a fresh start. One sunny afternoon, as the neighbours throw their annual barbecue, Laurie discovers that Robert is having an affair. When Robert is discovered dead, Laurie seems to be the obvious suspect. But she claims she doesn’t remember anything from the previous few hours, and certainly doesn’t remember committing murder. It’s down to DI Dan Riley to piece together exactly what has happened.

This is the second story featuring DI Riley, following on from Black Heart. While the stories themselves are totally independent, it is definitely worth reading Black Heart first, as it lays down a lot of information about the lead character, his colleagues, and his private life which is then built upon in The Couple on Cedar Close.

Like Black Heart, this story jumps between first and third person, but this time across three different viewpoints. It was still always clear what was happening and which set of characters we were following at any one time.

Although I guessed who the murderer was and what the motive was quite early in this book, this didn’t affect how much I enjoyed it.

There was also a little cliff-hanger at the end of the book that has made me look forward to the next installment!

4 stars out of 5

The Couple on Cedar Close will be published on 18 January 2019.

Black Heart – Anna-Lou Weatherley

Black Heart is the first story in a series featuring DI Dan Riley.

When a man is found with his wrists slashed, the initial assumption is that he has committed suicide. However, the post mortem results point instead to murder, and DI Riley is tasked with uncovering what has happened.

A woman calling herself Goldilocks seems to be acting out a twisted version of the fairytale on which she has based her name – and she has found her Daddy Bear. But can the police catch her before she kills again?

The interesting thing about this thriller is that, as the reader, you know who the murderer is from the start, and this adds to the tension. I felt like I was watching something horrible unfold, armed with the necessary knowledge to stop it, but totally powerless to do so.

Switching between first and third person narrative made it very easy to know which character each section was focussed on without the author having to explicitly state it, and I liked this.

I’m looking forward to reading The Couple on Cedar Close, the second book featuring DI Dan Riley.

4 stars out of 5

Tell Me a Secret – Jane Fallon

Thanks to NetGalley and Penguin UK – Michael Joseph for the ARC of Tell Me a Secret by Jane Fallon.

Roz is Holly’s best friend at work. So when Holly gets promoted, she can’t wait to celebrate with Roz, who has been there every step of the way, encouraging Holly and helping her with her application. After all, Roz has no desire to progress at work given that has a super-rich husband who works in PR for the rich and famous, so she spends all of her spare time at fabulous parties and events rubbing shoulders with anyone who is anyone. However, when Holly starts encountering problems at work, she starts to think maybe she can’t trust Roz as much as she had thought.

This is the first of Jane Fallon’s novels that I have read, although I am a big fan of some tv shows that she has worked on, so I had high hopes for this book. I found the characters very well-written and I enjoyed getting to know them. The story was pacey and well-constructed. I felt like I was seeing the inner workings of a real tv show, which I found really interesting, and the author’s knowledge of tv production was a real bonus here. I did guess a few of the twists in advance, but it didn’t at all take away any of my enjoyment of the story.

5 stars out of 5

Tell Me a Secret will be published on 10 January 2019.

Blog Tour: Death in Vermilion – Barbara Elle


To get ready for the 2019 release of book 2 in The Cape Mysteries, today I’m sharing Death in Vermilion, the book that started it all. I dare you to read the first chapter and not download a copy today!

39863595Death in Vermilion

Publication Date: 16 April 2018

Genre: Mystery/ Thriller/ Suspense

KWL Cover Contest of 2018, Mystery Category Nominee!

A psychological thriller about murder among friends … and enemies.

Who do you trust?

Leila Goodfriend is laying down the bones of a painting. Interrupted by Iris, the noisy, unlikeable artist in the studio upstairs, Leila becomes distracted and annoyed.

When she discovers the racket was actually Iris’ dead body hitting the floor, Leila becomes obsessed: Who murdered Iris?

The other Red Barn Cooperative artists—competitive, jealous and hypocritical—are prime suspects. They all hated Iris. “An artist owes his life to his art,” Iris said.

Iris was good for a laugh. But no one is laughing now.

In this gripping mystery, new author Barbara Elle paints a clever and twisted picture of women and sisters, whose lives are entwined by a brutal murder in a charming Cape Cod town.

Alibis fall apart. Plot twists multiply. And Leila comes to a dangerous conclusion.

Add to Goodreads



Chapter 1

Bellies and Strips

There was no glance more cutting or cruel. The narrowing of unsympathetic eyes a shade of cool, blue slate, like Dylan’s on the cover of Highway 61 Revisited. The imperceptible flare of nostrils, followed by a slow yoga exhalation in Savasana, the corpse. It wasn’t going well.

Leila Goodfriend was laying down the bones of a painting. She took a step back from her easel. A no-name clam shack clung fearlessly as a barnacle to the edge of the old East End pier. A forlorn wooden structure, barely bigger than a Punch & Judy puppet stage, had withstood the fierce winds whipping off the water in the dead of winter. The pier was deserted. Anyone could paint a sunny day.

After outlining the shack in ghostly charcoal strokes, she stood, hand on hip, poised with a palette loaded with ultramarine and cobalt blues for the sky, sap green for foliage, a transparent manganese blue hue for waves in the water, Van Dyck brown for the pier’s planks and Naples Yellow Hue for sunlight. Flake white blobs dabbed in the foreground could be gulls, or children, or discarded clam containers. She hadn’t decided which. Leila loved that shack, the rough pier, and the view of dotted Race Point Lighthouse off the distance. Painting was all about execution, feeling a connection to the subject, the composition, the angles of light. Though local artists mostly painted popular summer scenes of boats and beaches.

That’s what the summer birds, vacationers who nested in the Cape Cod dunes from June until the end of August, bought. Her husband Joe dubbed them the dorks of summer. Leila didn’t care what unflattering name Joe had for them, or whether the summer birds cared as much about this place she called home as she did. She wanted to sell them a painting capturing what she loved about this place.

If she was lucky, and painting was largely a matter of luck, random strokes on the canvas would become a painting, At the Clam Bar: Succulent Bellies and Strips. If one of the summer birds bought her painting, she’d be happy. Even the most dedicated of artists needs affirmation sometimes.

A loud whacking thump overhead jarred Leila rudely from her thoughts; the thud traveled like a jolt of electricity down her spine Immediately, Leila knew the disturbance, of course, was Iris. Iris again. Always Iris. Of the six other artists who called the Red Barn home, her studio had to be, unfortunately, overhead.

And inevitably, as Iris worked, the creaking old floorboards quaked under her relentless assault with her flapping Birkenstock sandals.

Leila complained about Iris to Joe more than once, actually almost every day. It was impossible for someone who barely grazed five feet could make so much noise. Iris could be quiet if she tried, she’d say. She was inconsiderate. She was pompous. “Art,” Iris would say, “has a life of its own and an artist owes his life to his art.” Quoting Iris was good for a laugh.

If Iris bothered her so much, Joe would say, why keep talking about it? Why not rent a different studio? That would make sense, except Leila loved her space, had been there for nearly five years, and was lucky to have found it in this touristy town. Besides, she hated giving in to her own annoyance; she’d learn to ignore Iris if it killed her. Maybe, someday, Iris would just float away like a child’s birthday balloon. No such luck; gravity worked overtime with every tread Iris inflicted in her flapping Birkenstock sandals. Leila fought her first instinct, which was to grab the long, telescoping pole by the casement window, stand on a stool and bang her weapon of choice sharply on the lofty ceiling, twice. It wouldn’t work. It never did. Iris would ignore her.

Instead, Leila turned up NPR on the radio. She could drown out Iris with the sound of undemanding human voices on the radio. NPR was excellent company and, when necessary, excellent white noise. The hourly news, a lengthy interview, a personal piece affected in that breathless NPR accent was the perfect antidote for distraction. And the distraction was usually Iris.

Iris McNeil Thornton was a fellow member of the Red Barn Art Cooperative at Castle Road, which was housed in the happily dilapidated Red Barn Studio. It was high on a hill, overlooking Pamet Marsh, close enough to spy the flights of blue herons and egrets wheeling through the Aliziran Crimson sky, the sun an orb of Cadmium Yellow falling into the salt marshes from her window.

Among the Red Barn’s many charms were the old building’s quirky twists and turns, the sizeable studio spaces with high ceilings from its former life as the Southwind Bros. Button and Snap factory. Leila loved the patina on the old, uneven oak floorboards, the room secreted under the stairwell, doors that jammed and staircases that creaked.

But it was the heady mix of gesso, turp, linseed, pigments, primer, developers and emulsions, the fat smell of oil layered with acrylic resin and a faint dash of watercolor, an acrid, chemical concoction heady in the nasal passages, smells as familiar as the scent of a baby, that made it home.

Not that the Red Barn was without its problems. The daily irritations of artistry and intimacy meant the Red Barn artists were often less than happy. And when the Red Barn artists were less than happy, which occurred as frequently as the tides, they would reach for anything on hand ⎯ brooms, clogs, slammed doors, sighs in the hallways, post-it notes on the bulletin board, giggles behind a back, and any combination thereof ⎯ to convey their displeasure. Under other circumstances such communications might be considered rude, but the Red Barn operated by its own set of rules.

It wasn’t that the Red Barn, a collective space of otherwise solitary individuals, didn’t have its share of fellowship and communal spirit. Sometimes it was nice to see a friendly face.

But, recently, their friendships had been called into question by a series of items gone missing, small stuff, seemingly at random, from their studios, Daklon paintbrush, a can of gesso, and unused tube of paint and a half-used tube of paint. A box of plastic gloves was now empty; which Leila was sure had been half-full. No one said theft, not at first. It was more like, did I leave this in your studio? Did you find this in the bathroom? I must be a little crazy because I was sure I had it, but as the missing items mounted, minor though they were, so did whispering, suspicion, and an uneasy sense someone, maybe one of them, was a thief.

It made Leila uneasy; maybe someone was invading her studio, without her knowing. She debated whether, like Iris, she should lock her door at the end of the day. But she shook it off as unnecessary paranoia and decided to ignore it.

Leila took a deep breath, brushed back her unruly, graying curls, squinting at her canvas. When she painted, the circling steps of the heavy woman upstairs receded from consciousness, and time was suspended.

The wood planks of the pier were muddied. The perspective wasn’t quite right. The colors weren’t right. Leila waggled the end of her paintbrush like a cigar between her lips. It was a messy habit. She looked down at the black-and-white photo of the shack, not that she had any intention of painting the snapshot, any more than a musician only plays the notes.

Leila picked up her palette knife. Shaped like a small trowel for digging in the dirt, its usefulness came from its versatility in blending colors, creating textural effects, or scraping across the surface of a painting to obliterate an offense. Artists can be rough on their work; Leila was her own toughest critic.

The pier had to go. Leila wielded the knife, scraping hard until she hit the tooth of the canvas. She preferred working on a good, tightly woven cotton duck. It wasn’t an inert surface, so it recovered quickly after Leila’s brief attack. She dabbed a rag soaked in turpentine on the wound. The reconstruction of the pier could wait until tomorrow.

What time was it? Leila lost track of time as she worked. She never wore a watch in the studio.

But if she left too late, Joe would be annoyed his port wine reduction for the seared tuna had broken. It wasn’t the sauce—he could revive with a quick whisk of butter on a low heat—it was her spending more and more time at the studio and coming home later. The sky over Cape Cod Bay was a wistful grey heading into night.

Leila put down her palette knife, turned down her radio, and listened. There was quiet, finally quiet, blissful silence.

Now, at the end of the day, Leila had to steel herself for the most infuriating moment of the day: Iris leaving. The torrential thumps of Iris’ flapping Birkenstocks as she gathered up her belongings, slammed the window, searched for her purse, and slammed her door. The old oak boards were punished as as Iris clomped overhead.

The stomp was followed by the slam. Iris was incapable of doing anything quietly. There was some relief in the slam—it meant Iris was no longer overhead. The Red Barn artists never said good night, pretending not to notice each other’s comings and goings. So Leila didn’t expect Iris to poke her head in, or wave when she passed by. However, the daily drama of the swirling clamor that was Iris, like a performer doing a star turn on the stage, made it impossible not to notice her entrances and exits.

Leila walked to the window. The light of an Indian summer day was fading. Sailboats moored in the bay listed drunkenly. Had the final thump earlier signaled Iris’ departure? Leila walked back to her canvas. She recognized this as the same solitary circling as that of her neighbor overhead. It was ironic, but that didn’t stop Iris from being an annoyance.

She put her tools on her workbench. She should rinse them in turpentine and water in the bathroom at the end of the hall—the brushes would be tackier and difficult to clean after drying overnight. Oh well, she’d deal with that in the morning. Grabbing her backpack, she turned out the lights and closed her door. The hallway was silent. The other studio doors on her floor were closed. No Philomena, no Dové.

But something in the quality of the jarring loud noise earlier somehow made the quiet louder.

The stairs were poorly lit, even after Leila switched on the bare bulb dangling overhead. The whole damn place was a fire hazard. She climbed to the second floor. No Liz, no Gretchen. Later, she couldn’t quite explain why hadn’t she gone home.

The crap fixture in the upstairs hall, that never worked right, was out, as usual. The damn, dusty moose head Iris had mounted above her door stared down dolefully through its blind, button eyes. Its antlers wore a fine coat of dust.

Iris’ door was open a crack, which surprised Leila. Iris worked behind closed, locked doors, all day, every day. The other Red Barn artists left their doors open at least a smidgen, not exactly an invitation, but not a deliberately antisocial act. Iris had no such compunctions.

Leila knocked. Silence. She hesitated. Should she leave Iris alone? She took a few steps back toward the stairs, but turned around. What harm was it peeking inside? “Iris, its only me, Leila.” No answer. “Iris, are you there?”

Leila stared through the crack in the door. At first, she thought the room was empty, but as her eyes adjusted, Leila made out a shape, or maybe a shadow, in the center of the studio.

The value of the only available light source, through the far window, made it difficult to see. Iris refused to use artificial light. She insisted on painting ‘as the Old Masters had’, that is, only by natural light. For a time, she had painted by candlelight, until the Red Barn got wind of it, banning burning candles before Iris burned the place down.

Leila stared at the shape. It didn’t move. Iris never left her door unlocked. Maybe she’d left something behind and would come back for it. Leila pushed the door open further, venturing into the silent studio, under the disapproving gaze of the mildewed moose, inching towards the shadow.

Iris, who incurred the Red Barn artists’ collective ire by deprecating the work of her fellow artists, neglecting to lock the front door, leaving puddles around communal hall sink, and far worse, as the prime suspect in the ongoing war of toilet squatting accusations, that same annoying Iris, was splayed on the floor, eyes wide open, inert as a tube of sepia.

It was a body. Iris’ body. Later, Leila recalled the body like a dead deer, abandoned on the side of the road after an accident. She remembered noting the color of Iris’ skin, like the underpainting of flesh in a neutral shade—what artists called grisaille, or dead coloring.

Ironically, under the circumstances, the scene is not unlike Iris’ own brooding assemblages: the carnage of death, overripe fruit in silver bowls, bird carcasses on platters, and game animals, fresh and bloodied, trophies of the hunt hung in the background, rendered in the style of the Old Masters.

And later, Leila was vaguely ashamed of her observations, her detachment. But, she thought defensively, isn’t observation was a habit developed over a lifetime?

Tentatively, Leila inched forward, reaching out her hand to touch the body. She yanked it back as if it was submerged in a shark tank. Iris was surprisingly warm, alive warm.

As her eyes adjusted to the low light, Leila saw Iris’ blood was a seeping stain from her flowing blue dress onto the floorboards. The red was the red every paint manufacturer had tried, but failed, to capture in a tube. Brilliant, blood red. But the eyes were dead, even if the heart was beating. Leila’s heart dropped a beat. Fear crept up her throat. Leila had to look away; she couldn’t look at those eyes. Should she call out? Is anyone here? But it was better she was alone, even if it was with a dead body. But, Iris wasn’t alone.

A small figure stood—as if on guard—over the body. Leila bent down to look at it: it was a wooden artist’s mannequin, no bigger than a child’s toy, standing guard over Iris. She recognized him immediately.

Jesus, it was Fred, fucking Fred— Leila, in a fanciful mood, had painted the figure to be anatomically correct, as well as well-endowed—who had gone missing from her studio months ago.

But poor Fred, as an eyewitness to a crime, could have nothing to say. There was no doubt he was Fred, and that he belonged to her. Bending down to pick up her missing mannequin, Leila gazed into his dead eyes. What to do?

In truth, she was both embarrassed by her handiwork, and concerned his presence could be construed as evidence at the scene of the crime; she pocketed Fred and in a sleight of hand he disappeared.

Leila didn’t need Fred to paint the picture. Iris prone. The blood. The burnished wood handle of a knife stuck in an ample left breast. Iris had been murdered. Leila didn’t scream. Leila wasn’t a screamer.


I found Death in Vermilion to be an intriguing story. Leila’s obsession with finding out who murdered Iris leads her to suspect all of the other artists who work at the Red Barn so, as a reader, you feel as vulnerable as Leila, not knowing who to trust. Sections of the book are sinister, and there is also some humour thrown in to lighten the mood. There were some unexpected twists, and although I had a suspicion of what was coming, there were a lot of red herrings to throw me off, so I wasn’t totally confident of the outcome until it was there in front of me. There are a lot of art references throughout, as well as references to painting techniques, so this novel will appeal to anyone who is an art-lover as well as murder mystery fans. I’m looking forward to reading the next book in this series.

Available on Amazon & Kobo

About the Author


In her stunning debut thriller, author Barbara Elle paints a clever and twisted picture of women and sisters, whose lives are entwined by a brutal murder in a charming Cape Cod town. Death In Vermilion asks: Who can you trust?

After falling love with books and writing at a young age, she honed her writing chops as a copywriter at Macmillan, Doubleday Books and other publishers. She reported on local events, news and personalities working as a freelance journalist.

She grew up in Boston, but as an adult became a New Yorker. However, her writing draws on people and places she remembers, so Death In Vermilion is set on Cape Cod, a place of memories.

Barbara continues collecting characters and plots, often traveling the world with her touring musician husband, exploring Buddhist temples in Beijing, crypts in Vienna or Kabuki Theater in Tokyo. She always packs a notebook and a laptop.

She is currently working on the second book in The Cape Mysteries, Death in Smoke, due for publication in 2019.

Facebook | Goodreads | @barbaraelleauth (Twitter)

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The Hopes and Dreams of Lucy Baker – Jenni Keer

Thanks to NetGalley and Avon Books for the ARC of The Hopes and Dreams of Lucy Baker by Jenni Keer.

Lucy isn’t a typical 25-year-old. Happiest at home with her romance novels and her knitting, she has a close friendship with Brenda, her 79-year-old neighbour. When George moves into their street, Lucy isn’t impressed with him. Brenda, however, has hopes for his future with Lucy, and so gifts her with a locket that previously helped Brenda herself find her true love. A new boss and Brenda’s deteriorating health start to shake Lucy’s world, and she hopes that the locket can help with more than just her love life.

What a lovely, lovely book this is. Lucy is the ultimate girl-next-door heroine. I found myself willing her on at every turn, cringing with her when she got herself into scrapes (and there were a LOT of scrapes!), and commiserating with her when things went wrong. Brenda is the neighbour I wish I had. A lady who has a cure for every ill, her magic is obvious to those around her and her personality leaps off the page. Her dementia diagnosis was handled beautifully by the author, and it’s fantastic to see some light being shone on this awful disease. The friendship between these two ladies was perfect, and the addition of George made for some funny conversations between them. I also enjoyed the sections of the book focussed on Lucy’s job and her work life, and her sometimes complicated relationship with her family. Perfectly paced and brilliantly edited, there wasn’t one page of this book that I didn’t enjoy.

So accomplished is this work that I found it hard to believe that this was Jenni Keer’s first novel. She is going straight onto my list of favourite authors and I already can’t wait for her next book.

5 stars out of 5

The Hopes and Dreams of Lucy Baker will be published on 10 January 2019.