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Irish novelist and theatrical actress Tana French’s new novel THE TRESPASSER (Dublin Murder Squad #6) returns with the two previous young detectives from the Dublin Murder Squad, Antoinette Conway and Stephen Moran, who solved the prep-school murder in The Secret Place (2014).

Having read The Secret Place Moran and Conway, is an interesting and dynamic team—where Moran longed for wealth and Conway was resentful of it, as they go back and forth with their sarcastic banter while developing a bond, and solving a murder.

In THE TRESPASSER they pick up after knowing one another for a while and partnering for four months, while still testing one another.

Presently, Conway and Moran are assigned to investigate the murder of a 26-year old Aislinn Murray, a young woman found dead in her Dublin home. Her boyfriend is the initial suspect, which leaves the two less than thrilled to have the case because it looks like a routine domestic killing without a lot of work or effort. Something is not right.

A good-looking young woman blonde and beautiful (Barbie-like), Aislinn Murray is found dead in her beautiful meticulous home from a punch to the face and a smack on the fireplace hearth. The table is set for two, for a special dinner. The dinner cooking.

She appeared to have a date with a bookstore owner named Rory Fallon, and she evidently died from a blow to the head.

She and her partner begin to look at other suspects; however, they are getting pressure to make an arrest and the boyfriend is the most likely choice. However, there could be something here still is not adding up. Could it be something right in front of them?

Are they the stooges, set up to close a case, without any real investigation?

With some politics, corruption, lies, and personal dynamics, we turn to Conway, the only woman on the Murder Squad. She suffers from sexist, abusive, and continuous harassment. Bad jokes. This has been going on so long, and it is wearing her down to the point considering quitting. However, she loves her job. She does not want a simple domestic case, she wants serial killers.

Not only is she the only woman on the squad; she also is mixed race. A constant struggle. She comes across as very defensive, paranoid, at times; coming unglued from her tough exterior. She is determined to solve this case.

As Conway and Moran get closer to the truth, seems something is getting in their way. Secrets will be exposed. Someone in the department seems to be steering the Murray investigation in a particular direction. But why the setup? Is the entire squad a conspiracy?

Antoinette is bothered by the murder, during the investigation as she views her own history. Both women were abandoned by their fathers. Was there more behind her beauty?

As always, French delivers an absorbing well-written read crime/literary suspense thriller. However, when comparing to The Secret, not quite as intense. Still, there is a nice balance of literary and crime, where we see the beauty of her writing with some strong interrogations scenes.

I liked this observation of French's work The New Yorker

“In her books, the search for the killer becomes entangled with a search for self. In most crime fiction, the central mystery is: Who is the murderer? In French’s novels, it’s: Who is the detective?”

If you are a fan you will most likely agree, this is what truly separates French from other crime writers. In this installment, this was especially the case. The novel shifts to Conway.

As recently mentioned in the The Washington Post

“French’s books have achieved this success because they’re unfailingly intelligent and beautifully written and because they are never lurid — there’s little sex or gratuitous gore in them.

Their magic lies less in the crimes themselves than in the distinct new worlds French creates to showcase each of them. Readers understand and embrace her work; it’s time for more of the people who review books and award prizes to rethink the cliches about genres and recognize the excellence — the literary excellence — of her work.”

"I’ve never been much for the artificial divide between ‘literary’ fiction and ‘genre’ fiction,” she said in a recent interview. “I’ve never seen why audiences should be expected to be satisfied with either gripping plots or good writing. Why shouldn’t they be offered both at once?”

I listened to the audiobook, performed by Hilda Fay and was not overly fond of the narrator. Would recommend reading in book format. Would love for the author to narrate her own books, further enhancing the overall "French" experience.

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