It was, of course, with unparallelled excitement that I started reading Tana French's latest mystery, The Trespasser. I was so absorbed that, despite being on vacation in the very beautiful city of Lisbon, I was often thinking about getting back to my book. Per French's conceit for the Dublin Murder Squad series, the main character is a secondary character from a previous book, although, in this case, someone we got to know pretty well in The Secret Place: Antoinette Conway. She and her partner, Stephen Moran, are the newest detectives on the team and are working the worst shift, when a murder is thrown their way. "...the real reason everyone hates night shift is that nothing good ever comes in. The high-profile murders with complex backstories and fascinating motives might happen at night, sometimes, but they don't get discovered til morning." It seems simple enough, even boring, but Conway and Moran keep pushing for answers, mostly because their colleague and their boss seem too interested in them closing the case quickly.
As the only woman and only person of color on the team, Conway is acutely aware of being treated differently by her squad. Although they claim that they're treating her with the same teasing and pranking that any new member would receive, Conway feels attacked but doesn't directly confront the behavior. As a result, the reader is left wondering if she's merely paranoid (maybe that is how all new recruits are treated, for all I know) or if they really are ganging up on her. She even doubts her extremely likeable partner, who is so eager to get along he mostly tells people just what they want to hear. Antoinette's voice is hard, and her attitude makes sense when explained: "I can't tell if this is batshit paranoia or the bleeding obvious slapping me in the face. Two years of watching my back, watching every step and every word, in fight mode all day every day: my instincts are fried to smoking wisps." She's desperate to avoid looking weak and letting anyone else have any power over her. Asking for help is the hardest thing she ever does. French does an amazing job capturing the unique voices of her characters, but especially the complexity of the detectives - and they're all amazingly good at their jobs. Despite Conway's intense distrust of nearly everyone, she puts that aside when interviewing witnesses or suspects. Like an actress, she and her colleagues use a library of well-rehearsed scripts to find the truth.
The murder victim in this case is a woman so bland and the case so seemingly-open-and-shut that Conway and Moran often wonder if they really should just close the case with the obvious perpetrator. As a reader, you also get pulled into the idea that their theories are wildly off-target.
Without giving anything away, most of the characters of this book are trespassers in one way or another - Conway feels like an uninvited guest in her department, her estranged father has weaseled his way into her life and the suspects have inserted themselves into the life of the victim. As usual, French continues to be one of our best mystery writers and now I'll go back to watching the clock 'til her next book comes out.