Catch Us the Foxes
Growing up in a small town can feel suffocating, but what if you discovered that—beyond the gossiping busybodies and prying eyes—your home also harboured a deadly secret? One so shocking that it would captivate the entire nation, and change the course of your life forever?
Marlowe ‘Lo’ Robertson is a young journalist who despises the tiny coastal town she grew up in. The Indigenous meaning of the area roughly translates to “where the mountains touch the sea”, and the land’s claustrophobic geography is just one of many reasons why Lo feels trapped in the town. She’d do anything to get out of there for good.
Begrudgingly tasked with documenting the town’s annual show for the local paper, Lo is shocked to discover the mutilated corpse of the reigning showgirl (Lily Williams). Strange symbols have been carved into Lily’s back, and a large patch of her flesh haphazardly removed. But when Lo reports the finding to the town’s highest-ranked police officer (John Robertson), he makes her promise not to mention the symbols and ensures no one else will see them. Lo obliges, though it’s not like she has much of a choice—after all, the Inspector is also her father.
With the crime conveniently pinned on an innocent out-of-towner, and national interest in the murder growing by the day, Lo must decide if she wants to help keep her father’s secret or break the biggest story of her life.
Catch Us the Foxes combines a cracking pace, intricate plotting, and unexpected twists with the thrilling psychodrama and atypical narration of domestic noir novels such as An Isolated Incident and Sharp Objects. Distinctly Australian in tone, it features off-kilter humour and characters and will leave readers guessing right up to the end.
Kate Cooper manages the translation rights for Catch Us the Foxes