BLACK LIES, RED BLOOD

Police inspector Ann Lindell tackles an investigation that's painfully close to home.

Love comes unexpectedly to workaholic Swede Ann in the person of Anders Brant, who is emotional, loving and utterly unlike the brooding, unavailable men she usually falls for. He even seems to understand her commitment to her work. But she's not used to such turbulent and unsteady feelings, which dog her on the job. Her current case, the disappearance of teenager Klara Lovisa several months ago, is frustratingly, bafflingly cold. As Ann sets about the tedious task of interviewing friends and family members again, the murder of Bosse Gransberg, a homeless sometime handyman, is also under investigation. The detectives on this case, Ola Haver and Beatrice Andersson, face unusual hostility and resistance from members of the community. Thoughts of Brant provide Ann a much-needed respite during her grim task. But when Brant goes missing, her emotions get a tumultuous workout. Worse, Brant's phone number is found on Bosse's person. Fortunately for her, Ann has not shared any details of her new relationship with colleagues. Inconveniently, Brant happens to be in Brazil. Unable to defend himself, he emerges as the prime suspect. What else can Ann do but solve the crime in order to save him?

Eriksson (The Hand that Trembles, 2011, etc.) adds each piece of his complex murder puzzle to the picture with masterly control, and the heroine at the center of it all is compelling.