100 books like In Broad Daylight

A Classic. I have read it three times. I would read it a fourth time. It's a beautifully crafted book. The writing is masterful. As a writer, I can’t get enough.

Set in the most beautiful places in Italy. This book transports you to another time. It’s a delicious read. If you have not read it, you must. If you have read it,  you must reread it; like a fine wine, it only becomes better. 

I was introduced to this book through Tavernier’s brilliant adaptation, Clean Slate (Coup de Torchon, 1981). Set in Texas, Thompson’s novel was published in 1964, during the Civil Rights Movement, and it offers a portrait of petty-minded racism in the continuing aftermath of slavery. Tavernier’s adaptation transposes the story to 1930s French colonial West Africa. I remain haunted by the ways the two settings illuminate each other. Tavernier’s blending of a deadly serious historical crisis with touches of comedy—slapstick even—brings both eras and the novel itself to life in enjoyable and instructive ways.

Pelecanos is the worst. Pelecanos is a bum. I hate George Pelecanos. Every time I read one of his novels I get depressed because I will never be as good as him. More modern existential hardcore PI fiction, the third novel in a triology set in DC, this one too blew me away with its vision of DC, which I had just quit for Philadelphia. But it’s not the DC you and I know of marble and monuments, posturing politicians and bright ties, bright young people, and great eateries. Shoegum Nick Stefanos prowls some very mean DC streets and alleys and slimy creeks while battling his own nature. He’s a barkeep, a drunk, a f**up. This novel showed me that thoroughly entertaining nihilistic crime fiction is alive and well. Have I mentioned I hate Pelecanos?

Graham Greene’s writing has a profound moral gravity, and I found this story–of a petty criminal leading a desperate life on the rim of poverty while manipulating the woman in his life–to be a spectacle of human cruelty I couldn’t look away from.

Rose knows her man is no good but loves him anyway, unaware that he’s courted her solely to avoid prosecution for his crimes. After his death, she goes to Confession and takes solace from the slender thread of good in him–unaware that he has left a recording behind that will reveal the truth and shatter the only happiness she has left.

As a technical matter, the novel is a master class in holding back a final twist of the knife for a book’s very last lines to leave the reader reeling.

This book shares a most harrowing and detailed story of a young slave girl, who had been bought by a much older master. The ordeals she went through and her struggles with her status created in me a lot of empathy. However, questions of justice versus mercy are raised in such a way that I was left speechless by the time I was done reading.

I’ll always read Gillian Flynn, for the simple reason that her writing style is the closest thing to Truman Capote’s In Cold Blood written by a modern writer. She’s just that good.

This book is my favorite because of how it explores taboo topics (see the theme here?) and because she creates richly complex characters that showcase the range of what people are capable of—the greatest kindness and the darkest cruelty.

In most procedurals, you root for the “bad guy” to get caught. Noelle Holten created a killer you want to see get away, stay hidden in the shadows, and continue doing the good work. The story unfolds from the perspectives of battered women, the abusers, and the detective constable (UK term for lowest-ranking detective). Telling the story from so many points of view brings a level of tension that one finds in suspense or thriller novels, which is why it’s made it on this list. As I read the violence committed against innocent women, it was impossible not to echo many characters in the book as they grapple with wanting to find the killer. It’s that waffling that makes each horrible man’s death more satisfying than the last.

Neiwert’s book focuses on the horrifying case of Shawna Forde, an anti-migration activist who ended up murdering a child on the Arizona border in an attempt to steal money to fund her activism. It’s sometimes easier to understand the politics of the borderlands by focusing on particular people who inhabit and cross the borders; Neiwert let me see the complex politics of the Arizona border, and the ways in which those politics can curdle into a murderous rage.

As a Harvard undergrad, Cooper hears a story about an anthropology professor who murdered a female graduate student with whom he was having an affair, burning her body with cigarette butts and surrounding her in red ochre.

This “macabre legend” illustrates a common critique of true crime—a victim provided no name and no identity beyond the way she was brutalized. A former New Yorker editorial staff member, Cooper performed meticulous research on the 1969 murder, debunking the affair rumor and instead exploring a more interesting story about memory, institutional power, and misogyny in academia.

She also excavates the story of the crime’s victim, 23-year-old Jane Britton. Full of twists and turns, this real-life whodunit provides an exacting portrait of who Jane was and what her loved ones lost.

In July of 1980, a beautiful violinist disappeared during a 45-minute break while the visiting ballet company used a prerecorded piece. Helen Hagnes Mintiks was a Julliard grad who had played with professionals since her teens. After the evening’s performance ended, her colleagues knew—as any musician would—that Helen would never have left the building without her violin. It took another nine hours to find her body, thrown down a ventilation shaft, hands tied with knots that stagehands used. A witness led them to the killer, who promptly confessed—a real villain, robbing the world of a kind-hearted talent out of lust. I read this book probably 30 years ago, while I was reading my way through the entire true crime section of the Cleveland Public Library.