The assumption among French fanatics is that once you’ve read one Tana French book, you have to read the rest of them, and then you have to rank them, best to slightly-less-best. įrench’s fandom is a cult, passionately devoted and completist in its attention. Now, Starz has adapted her first two books, In the Woods and The Likeness, into the new TV show Dublin Murders. And because she also writes the kind of genuinely propulsive thrillers that you can stay up all night reading, she has a commercial appeal that has consistently landed her on the New York Times’s bestseller list. Her literary bona fides have allowed her to appear on the New York Times’s best books of the year lists and in glowing New Yorker essays. Every page is full of exquisitely telling detail, the kind of character notes that should charm your socks off - the detective who buys himself good suits a year in advance before he makes Dublin’s Murder squad because he just can’t wait to get there the undercover officer who eats chicken tikka and tiramisu the night before she goes into the field - but you’re never able to shake the foreboding sense that there is something lurking in the shadows, and it is watching you.įrench writes what are usually called literary thrillers, meaning they are less trope-driven than the kind of commercial thrillers her books are sometimes shelved next to - a little bit more Gillian Flynn than James Patterson. Reading a Tana French novel is like walking into a vast and abandoned house: Manderley, say, or Thornfield Hall after Bertha Rochester burns it to ashes.
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