Let me lie

WE'RE barreling toward summer, with long drives and leisure hours ahead. It's the time of year when friends who know I'm an audiobook nut ask for suggestions. Podcasts offer more flash and dazzle, but I still love the long arc of books "on tape" as an antidote to the shattered attention span of a Twitter-fied society. Recommendations can be tricky (unless the friend hasn't heard my recent favorite, Amor Towles's wonderful novel "A Gentleman in Moscow," read with wry sadness and perfect comic timing by Nicholas Guy Smith. You're welcome). What follows is an eclectic list of audiobooks that might provide ideas for your next summer drive. LET ME LIE, by Clare Mackintosh. Read by Gemma Whelan. (Penguin Audio; 11 hours, 56 minutes.) Ideal listener: Mystery addicts. Ideal trip: Long drives in the countryside, preferably across moors. The mystery writer Clare Mackintosh's first book, "I Let You Go," won an enthusiastic reception when it was published in 2016, and she has become known for her solid descriptions of police work, her previous profession. This third novel opens with Anna Johnson trapped in a fog of grief over the loss of her parents, who committed suicide at the same seaside cliff, months apart. But were they suicides? Is there a paranormal angle? Things are not as they seem. The twists and turns provide adequate entertainment, but Mackintosh plods until the last scenes of the book. The most satisfying thread concerns the private life of Murray Mackenzie, a retired detective who becomes involved in Anna's case, and who cares for a mentally ill wife. Their story alone would make a fine novel, even without the suicides. Or were they murders? The audiobook's narrator, Gemma Whelan (who also plays Yara Greyjoy on "Game of Thrones"), goes for an even, steady delivery that suggests the protagonist may be a bit slow on the uptake. Her measured tone further hints at her knowledge that, while this book is a mystery, it is no thriller. THE SUN DOES SHINE, by Anthony Ray Hinton. Read by Kevin R. Free. (Macmillan Audio; 9 hours, 11 minutes.) Ideal listener: Anyone interested in wrongful incarceration and racial justice. Ideal trip: To Montgomery, Ala., to see the new National Memorial for Peace and Justice. Anthony Ray Hinton spent nearly three decades behind bars for murders he did not commit, railroaded through the legal system and landing on death row. When Bryan Stevenson, the founder of the Equal Justice Initiative and the man Hinton calls "God's best lawyer," finally won his release, Hinton's tearful statement as he left the prison was, "The sun does shine." How Hinton survived those long years is a story of resilience and imagination, of faith and the support of his mother and friends. He speaks of his rage over his conviction, and of ultimately coming to forgive those who wronged him - including an inept defense lawyer and the prosecutor who locked him away even though the gun supposedly used in the crimes (which belonged to Hinton's mother) had not been fired in years, among other obvious flaws in the case. "They were a shameful lot of sad men, and I prayed for their souls." The actor Kevin R. Free performs this work with flashes of anger cast over a deep humility, and captures the sense of humor that Hinton was, incredibly, able to hold on to during his long years in solitary confinement - his affability could get even prison guards to smile. This is a story that enrages and inspires. COMMON GROUND, by Justin Trudeau. Read by Colm Feore. (Audible Studios; 8 hours, 5 minutes.) Ideal listener: All those people who said they'd move to Canada if Donald Trump was elected. Ideal trip: That drive to Prince Edward Island. Justin Trudeau published this election memoir in 2014 on his way to becoming prime minister of Canada. As such, it has many of the flaws endemic to these hardcover sales brochures. Even so, it's not every national leader who writes about his tattoos, or his time in the boxing ring, or snowboarding. A celebrity since birth - the son of a groundbreaking prime minister and a flamboyant mother who struggles with bipolar disorder - Trudeau shares an engaging life story that would be worth reading whatever his aims. But it's worth noting that "Common Ground" was written for a Canadian audience, so American listeners are going to have less familiarity with the politics of our northern neighbors; he assumes we are passionate about national issues like the 1992 Charlottetown Accord. You might Google. Or not. Trudeau reads an introduction to the book himself, but leaves the rest of the text to the capable Colm Feore, who gets across the author's essential likability and youthful energy. He seems, at times, not to know whether Trudeau's words should be performed as a political stump speech or an earnest sermon, but that is not surprising, since the prime minister's tone wobbles from one mode to the other, with a smidgen of TED Talk thrown in. FAILURE IS AN OPTION, by H. Jon Benjamin. Read by the author. (Penguin Audio; 4 hours, 58 minutes.) Ideal listener: Fans. Ideal trip: Long drives without the kids in the car. H. Jon Benjamin is best known as a voice actor in two animated series, "Archer" and "Bob's Burgers." He is, in other words, a successful purveyor of comedy. But he is also, by his own admission, a schlub. He frames this "attempted memoir" as a "polemic in favor of failure." He does not advise absolute, crushing failure, but appropriately lowered expectations that let us accept our limitations. "The task at hand is to bring failure into your life, accept it, and then find the right amount that suits you." With this facetious self-help framework in place, he runs through a string of hit-ormiss anecdotes about, for example, the sexual threesome he didn't actually end up taking part in, and the fajitas that he, a very bad waiter, could not deliver to tables while they were still sizzling. How hard you'll laugh at these stories will depend on whether you find things like colitis and diarrhea funny. I didn't think I would. I was wrong. I am ashamed to say that his entirely gross and unprintable recollection of driving from LAX Airport to Pasadena and unsuccessfully fighting off the effects of a colitis flare-up had me laughing out loud. Of course, it's that voice. SEASONS OF MY MOTHER, by Marcia Gay Harden. Read by the author. (Simon & Schuster Audio; 8 hours, 34 minutes.) Ideal listener: Fans, but also anyone with family members who suffer from dementia. Ideal trip: Solo, elegiac wanderings. Marcia Gay Harden, best known for her roles in films like "Mystic River," "Miller's Crossing" and "Pollock," opens this partmemoir, part-tribute to her mother by describing a different book the two had been collaborating on before Beverly Harden developed Alzheimer's. The book was going to be about ikebana, the Japanese art of flower arranging that became an enormous part of Beverly's life after her naval officer husband's tour of duty in Japan. The disease, and other tragedies in the women's lives, stole the project away. But flowers and their meaning run through this intergenerational story, organized around the seasons and the blooms they bring to mind, Marcia's childhood and her sometimes-spiky relationship with her parents. The description of her mother's drift into the limbo of Alzheimer's will be familiar to anyone dealing with a family member who has dementia, but the author sees through what has been lost. "When all is said and done - even without memory - what still exists is love." There is beauty here, and tragedy, though the prose can be, forgive me, flowery. But as an actor, Harden uses the persuasive strength of her voice to inhabit every line. JOHN schwartz is a climate change reporter for The Times and the author of "This Year I Put My Financial Life in Order."

*Starred Review* Anna Johnson's parents committed suicide within months of each other, diving from the same cliff near Eastbourne, England. A year later, Anna is struggling to reconcile her grief with the joys of new motherhood when she receives an anonymous letter: Suicide? Think again. It's all Anna needs to fly to the police station; she's always known that her parents weren't suicidal. Murray Mackenzie, a retired detective volunteering at the station's front desk, is unable to ignore his twitching intuition at hearing Anna's story. Technically, the note doesn't present a crime, so Murray isn't required to report it to CID. It can't hurt, however, for a seasoned detective to take another look at the suicides. Murray's hunt for the truth catches a killer's attention, and Anna is drawn into protecting newly discovered family secrets. Despite Anna's pleas, Murray can't turn away from the investigation; it's forged a connection with his wife outside of their never-ending struggles with her mental illness, as her incisive questions guide his instinct-driven detecting. Mackintosh's three bar-raising psychological thrillers (starting with I Let You Go, 2016) have proven her adept at crafting compellingly flawed, authority-bucking characters and creating twists from the ripple effects of their relationships and personal issues, including abuse, mental illness, and alcoholism. This one's perfect for Kate Atkinson and Tana French readers.--Tran, Christine Copyright 2018 Booklist

This taut, emotionally complex thriller from British author Mackintosh (I See You) centers on 26-year-old new mother Anna Johnson. Anna's father, Tom, jumped off the cliff at Beachy Head, England; seven months later, Anna's mother, Caroline, followed suit. The coroner's suicide decrees have always bothered Anna, and her doubts only deepen when, on the first anniversary of Caroline's death, someone sends a card that reads, "Suicide? Think again." Anna's partner, Mark Hemmings, dismisses the message as a cruel joke, but Anna becomes convinced that Caroline was murdered. Her theory captures the interest of Murray Mackenzie, a retired detective turned civilian desk clerk at the Lower Meads police station, but when Murray begins an unofficial investigation and Anna starts receiving anonymous threats, she must decide whether the truth means more than her baby's safety. Mackintosh cleverly subverts readers' expectations while capitalizing on the complicated nature of parent-child relationships. Shocking twists share the page with meditations on love, loss, marriage, and mental illness, and though not every revelation feels earned, the overall story amply satisfies. Author tour. Agent: Sheila Crowley, Curtis Brown (U.K.). (Mar.) © Copyright PWxyz, LLC. All rights reserved.

CHAPTER ONE Death does not suit me. I wear it like a borrowed coat; it slips off my shoulders and trails in the dirt. It is ill fitting. Uncomfortable. I want to shrug it off; to throw it in the cupboard and take back my well-tailored clothes. I didn't want to leave my old life, but I'm hopeful for my next one-hopeful I can become someone beautiful and vibrant. For now, I am trapped. Between lives. In limbo. They say sudden good-byes are easier. Less painful. They're wrong. Any pain saved from the lingering good-byes of a drawn-out illness is offset by the horror of a life stolen without notice. A life taken violently. On the day of my death I walked the tightrope between two worlds, the safety net in tatters beneath me. This way safety; that way danger. I stepped. I died. We used to joke about dying-when we were young enough, still vital enough, for death to be something that happened to other people. "Who do you think'll go first?" you said, one night when the wine had run dry and we lay by the electric fire in my rented Balham flat. An idle hand, stroking my thigh, softened your words. I was quick to answer. "You, of course." You aimed a cushion at my head. We'd been together a month; enjoying each other's bodies, talking about the future as though it belonged to someone else. No commitment, no promises-just possibilities. "Women live longer." I grinned. "It's a well-known fact. Genetic. Survival of the fittest. Men can't cope on their own." You grew serious. Cupped my face in your hand and made me look at you. Your eyes were black in the half-light; the bars of the fire reflected in your pupils. "It's true." I moved to kiss you but your fingers held me still; pressure on my chin as your thumb pushed against bone. "If anything happened to you, I don't know what I'd do." The briefest chill, despite the fierce heat from the fire. Footsteps on my grave. "Give over." "I'd die, too," you insisted. I put a stop to your youthful dramatics then, reaching to push aside your hand and free my chin. Keeping my fingers tangled with yours, so the rejection didn't sting. Kissing you, softly at first, then harder, until you rolled backward, and I was lying on top of you, my hair curtaining our faces. You would die for me. Our relationship was young; a spark that could be snuffed out as easily as coaxed into flames. I couldn't have known you'd stop loving me; that I'd stop loving you. I couldn't help but be flattered by the depth of your feeling, the intensity in your eyes. You would die for me, and in that moment, I thought I might die for you, too. I just never thought either of us would have to. CHAPTER TWO Anna Ella is eight weeks old. Her eyes are closed, long dark lashes brushing apple cheeks that move up and down as she feeds. One tiny hand splays across my breast like a starfish. I sit, pinned to the sofa, and think of all the things I could be doing while she feeds. Reading. Watching television. An online food shop. Not today. Today is not a day for the ordinary. I watch my daughter, and after a while her lashes lift and she fixes navy eyes, solemn and trusting, on me. Her pupils are deep pools of unconditional love, my reflection small but unwavering. Ella's sucking slows. We gaze at each other, and I think how motherhood is the best-kept secret: how all the books, all the films, all the advice in the world, could never prepare you for the all-consuming feeling of being everything to one tiny person. Of that person being everything to you. I perpetuate the secret, telling no one, because whom would I tell? Less than a decade after leaving school, my friends share their beds with lovers, not babies. Ella's still gazing at me, but gradually the focus in her eyes blurs, the way morning mist creeps over a view. Her lids drop once, twice, then fall closed. Her sucking-always so ferocious at first, and then rhythmic, relaxed-slows, until several seconds elapse between mouthfuls, and she stops. I lift my hand and gently press my index finger onto my breast, breaking the seal between my nipple and Ella's lips, then pull my nursing bra back into place. Ella's mouth continues to move for a while; then sleep takes her, her lips frozen into a perfect O. I should put her down. Make the most of however long she will sleep. Ten minutes? An hour? We are a long way from any kind of routine. Routine. The watchword of the new mother; the single topic of conversation at the postnatal coffee mornings my health visitor bullies me into attending. Is she sleeping through yet? You should try controlled crying. Have you read Gina Ford? I nod and smile and say, I'll check it out; then I gravitate toward one of the other new mums. Someone different. Someone less rigid. Because I don't care about routine. I don't want to leave Ella crying while I sit downstairs and post on Facebook about my "parenting nightmare!" It hurts to cry for a mother who isn't coming back. Ella doesn't need to know that yet. She stirs in her sleep, and the ever-present lump in my throat swells. Awake, Ella is my daughter. When friends point out her similarities to me, or say how like Mark she is, I can never see it. I look at Ella, and I simply see Ella. But asleep . . . when Ella's asleep I see my mother. There is a heart-shaped face hiding beneath those baby-plump cheeks, and the shape of their hairlines is so alike I know that, in years to come, my daughter will spend hours in front of a mirror, attempting to tame the one tiny section that grows differently from the rest. Do babies dream? What can they dream of, with so little experience of the world? I envy Ella her sleep, not only because I am tired in a way I never experienced before having a baby, but also because when sleep comes, it comes with nightmares. My dreams show me what I can't possibly know. Supposition from police reports and coroner's court. I see my parents, their faces bloated and disfigured from the water. I see fear on their faces as they fall from the cliff. I hear their screams. Sometimes my subconscious is kind to me. I don't always see my parents fall; sometimes I see them fly. I see them stepping into nothing and spreading their arms and swooping low above a blue sea that sends spray into their laughing faces. I wake gently then, a smile lingering on my face until I open my eyes and realize that everything is just the way it was when I closed them. Nineteen months ago, my father took a car-the newest and most expensive-from the forecourt of his own business. He drove the ten minutes from Eastbourne to Beachy Head, where he parked in the car park, left the door unlocked, and walked toward the cliff top. Along the way he collected rocks to weigh himself down. Then, when the tide was at its highest, he threw himself off the cliff. Seven months later, consumed with grief, my mother followed him, with such devastating accuracy the local paper reported it as a "copycat suicide." I know all these facts because on two separate occasions I heard the coroner take us through them, step by step. My parents died seven months apart, but their linked deaths meant their inquests were held the same week. I sat with Uncle Billy as we listened to the gentle but painfully thorough account of two failed coastal rescue missions. I stared at my lap while experts proffered views on tides, survival rates, death statistics. And I closed my eyes while the coroner recorded the verdict of suicide. I learned lots of things on those two days, but not the only thing that mattered. Why they did it. Assuming they did do it. The facts are inarguable. Except that my parents were not suicidal. They were not depressed, anxious, fearful. They were the last people you would expect to give up on life. "Mental illness isn't always obvious," Mark says when I raise this point, his voice giving no hint of impatience that the conversation is, once again, circling back to this. "The most capable, the most upbeat, people can have depression." Over the past year I've learned to keep my theories to myself; not to give voice to the doubts that lie beneath the surface of my grief. No one else has doubts. No one else feels unease. But then, maybe no one else knew my parents the way I did. The phone rings. I let the answerphone pick up but the caller doesn't leave a message. Immediately I feel my mobile vibrate in my pocket, and I know even before I look that it's Mark calling. "Under a sleeping baby, by any chance?" "However did you guess?" "How is she?" "Feeding every half an hour. I keep trying to start dinner and not getting anywhere." "Leave it-I can do it when I get home. How are you feeling?" There's a subtle change of tone that no one else would notice. A subtext. How are you feeling today, of all days? "I'm okay." "I can come home-" "I'm fine. Really." Mark would hate to leave his course halfway through. He collects qualifications the way other people collect beer mats or foreign coins; so many letters they no longer fit after his name. Every few months he prints new business cards, and the least important letters fall off the end into oblivion. Today's course is The Value of Empathy in the Client-Counselor Relationship. He doesn't need it; his empathy was evident the second I walked through his door. He let me cry. Pushed a box of tissues toward me and told me to take my time. To begin when I was ready, and not before. And when I stopped crying but still couldn't find the words, he told me about the stages of grief-denial, anger, bargaining, depression, acceptance-and I realized I hadn't moved past first base. We were four sessions in when Mark took a deep breath and told me he couldn't treat me anymore, and I asked if it was me, and he said there was a conflict of interest and this was terribly unprofessional but would I like to have dinner sometime? He was older than me-closer to my mum's age than my own-with a confidence at odds with the nerves I now saw hovering beneath the surface. I didn't hesitate. "I'd love to." Afterward he said he felt guiltier about interrupting my counseling than about the ethics of dating a patient. Former patient, I pointed out. He still feels uncomfortable about it. People meet in all sorts of places, I remind him. My parents met in a London nightclub; his met in the frozen food section at Marks & Spencer. And he and I met in a seventh-floor apartment in Putney, in a consultation room with leather chairs and soft woolen throws, and a sign on the door that read Mark Hemmings, Counselor. By Appointment Only. "If you're sure. Give Ella-bella a kiss from me." "Bye." I hang up first, and I know he has the handset pressed against his lips, the way he does when he's deep in thought. He'll have gone outside to make the call, forgoing coffee, or networking, or whatever thirty counselors do when they're released from the classroom. In a moment he'll rejoin the others, and he'll be lost to me for the next few hours, as he works on his empathy for a made-up problem. Pretend anxiety. A fictional bereavement. He'd like to work on mine. I don't let him. I stopped seeing a therapist when I realized all the talking in the world wasn't going to bring back my parents. You reach a point where the pain you feel inside is simply sadness. And there's no cure for that. Grief is complicated. It ebbs and flows and is so multifaceted that unpacking it makes my head hurt. I can go for days without crying, then barely be able to breathe for the sobs that rack my body. One moment I'll be laughing with Uncle Billy about something stupid Dad once did; the next I'll be filled with rage for his selfishness. If Dad hadn't killed himself, Mum wouldn't have done, either. The anger is the worst part of all of this. The white-hot fury, and the guilt that inevitably follows. Why did they do it? I've gone over the days preceding my dad's death a million times; asked myself if we could have done anything to prevent it. Your dad's missing. I'd frowned at the text, looking for the punch line. I lived with my parents, but I was away overnight at a conference in Oxford, chatting over morning coffee with a colleague from London. I excused myself to call her. "What do you mean, missing?" Mum wasn't making sense. The words came slowly, as though she was dredging them up. They'd had an argument the night before; Dad had stormed off to the pub. So far, so normal. I had long since accepted the storminess of my parents' relationship; the squalls that would pass over as quickly as they blew in. Except this time Dad hadn't come home. "I thought he might have slept at Bill's," she said, "but I'm at work now and Bill hasn't seen him. I'm out of my mind, Anna!" I left the conference straightaway. Not because I was worried about Dad, but because I was worried about Mum. They were careful to keep the causes of their arguments from me, but I'd picked up the aftermath too many times. Dad would disappear-off to work, or to the golf course, or to the pub. Mum would hide in the house, pretending to me she hadn't been crying. It was all over by the time I got home. Police in the kitchen, their hats in their hands. Mum shaking so violently they'd called a paramedic to treat her for shock. Uncle Billy, white with grief. Laura, Mum's goddaughter, making tea and forgetting to add milk. None of us noticing. I read the text Dad had sent. I can't do this anymore. The world will be a better place without me in it. "Your father took a car from work." The policeman was about Dad's age, and I wondered if he had children. If they took him for granted. "The cameras show it heading toward Beachy Head late last night." My mother let out a stifled cry. I saw Laura move to comfort her, but I couldn't do the same. I was frozen. Not wanting to hear but compelled to listen all the same. Excerpted from Let Me Lie by Clare Mackintosh All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.