THE DISTANCE BETWEEN US

A Massachusetts shore town museum director gets caught in a Byzantine murder plot in this LGBTQ+ novel.

Perched at the very end of Cape Cod, Provincetown is a haven for transplants and runaways of all stripes. It is also the location of HomePort Estate, the mansion-turned–artist colony set atop a giant sand dune. It is on the estate that the well-intentioned but friendless widow C.J. Strongue, a relative newcomer to the area, is found electrocuted in the studio of renowned local artist Mavis Chandry. A death on the property is the last thing that Helena Handbasket—the current inhabitant of the HomePort mansion, executive director of the estate, and “full-time female impersonator”—needs on her plate, especially when the scene of the crime is so unsettling: “The gaunt figures on the canvases scattered about the room looked like ghostly witnesses, while Mavis’s empty easel resembled a blood-spattered instrument of torture. Amid all this, C.J.’s straw sunhat looked glaringly out of place.” Helena is just about to open a new museum on the estate featuring an exhibition containing dozens of Mavis’ works. When the show is vandalized shortly before the grand opening, it becomes clear that someone is targeting Mavis and that poor C.J. happened to be in the wrong place at the wrong time. What’s more, Mavis is quick to accuse Helena of being the one who wants her dead—a charge that the local police are happy to indulge. Helena finds herself at the center of a murder case as strange as any the Outer Cape has ever seen: one involving stolen art, secret lovers, and some grade-A impersonating. But can Helena save everything she and her friends have built, or will it all be swept away like fishing boats in a sudden storm?

In this sequel, Burch summons Provincetown’s eclectic, art-and-barnacles ethos with an eye for detail and plenty of campy humor. (At one point, Helena explains to Det. Amy Morgan that she was wearing her “life breasts” when she fell off a boat. “ ‘Life breasts?’ Amy asked, her head tilted to one side. ‘A special set of fake boobs that double as a flotation device.’ ”) The almost-400-page book is far too long given that there’s really only enough plot for 200. It often seems as though the author couldn’t decide whether to write a genre mystery or something more literary, and the resulting story moves a bit too slowly to hold many readers’ interest. But the characters are numerous and uniformly engaging, and Burch deftly explores many of the paradoxes of Provincetown: the tensions between townies and “washashores”; the wealthy and the broke; straights and gays; and female impersonators and everybody else. Readers who make it all the way through will do so because the author has created a world worthy of hanging around in. At a certain point, the plot becomes secondary to the peculiar spell Burch weaves with Helena and her milieu.

An enthralling but messy mystery about risks and community.