Set amid the tumult of 1970 Montreal, this is “an extremely good crime novel [with] a seriously compelling mystery.” — Booklist
A superb police procedural and a compelling page-turner for readers of Dennis Lehane
The police in Montreal have their hands full as FLQ, a militant separatist group, continue a campaign of violence. Bombs explode at the stock exchange and at McGill University. Riots break out at a parade. Diplomat James Cross and government minister Pierre Laporte are kidnapped — and the Canadian army moves into the streets. Against this dramatic backdrop, the “Vampire Killer” has murdered three women and a fourth is missing.
As the bulk of the police force focuses on the FLQ crisis, a young beat cop finds himself virtually alone as he hunts the serial killer. Constable Eddie Dougherty, the son of a French mother and an Irish Canadian father, is determined to take matters into his own hands before another victim dies …
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John McFetridge, author of the Toronto Series, which includes Dirty Sweet and Everybody Knows This Is Nowhere, has co-written a short story collection, Below the Line, and wrote afor CTV’s TV series The Bridge. He was born in Montreal and now lives in Toronto with his family. Visit him online at johnmcfetridge.blogspot.ca.
Published: May 2014
Dimensions: 5 x 7.75 in.
“Canadian author/screenwriter McFetridge has earned critical praise for Everybody Knows This Is Nowhere (2008) and other previous works, but is still looking for a ‘breakout book.’ With its well-etched family drama and dynamic historical background, Black Rock might finally be the one.” — Kirkus Reviews
“[An] excellent historical procedure … Well done history and a really good plot line.” — Globe and Mail
“Spellbinding franglais dialogue and a superb police procedural are set against the backdrop of a seminal period in Canadian history.” — Winnipeg Free Press
“This is an extremely good crime novel, brimming with historical verisimilitude … with a richly detailed protagonist and a seriously compelling mystery.” — Booklist
“[McFetridge]’s prose remains stripped back and forceful, the action propelled by laconic dialogue and the likeable Eddie Dougherty’s refusal to allow politics to interfere with his personal pursuit of justice … It’s a fascinating backdrop, too.” — The Irish Times