The Last Devil to Die

I’ll admit: I approached *The Last Devil to Die* worried Osman might be phoning it in by Book Four. Instead, he’s doubled down on what makes this series sing—the *people*. This isn’t a puzzle-box mystery (though the plot’s intricate enough to satisfy); it’s a character study disguised as a thriller. The club’s dynamic evolves here: Elizabeth’s health scare isn’t just a subplot, it’s the emotional core, forcing her to confront her own limits while the others rally around her. Meanwhile, the villain—a chillingly competent foe with a personal vendetta—feels like Osman’s most formidable yet, not because of over-the-top evil, but because their motives are *relatable*. That’s the book’s genius: it makes you root for both the hunters and the hunted, at least until the bodies start dropping. Fiona Shaw’s performance is *the* reason to choose audio. She doesn’t just read; she *inhabits*. Her Joyce’s rambling asides sound like your favorite aunt’s, while her Ibrahim’s quiet intensity could cut glass. The pacing, though, is where opinions might divide. The first act meanders—Osman lingers on domestic scenes (a *lot* of tea and biscuit chatter) before the plot kicks into gear. And while the finale’s twists are satisfying, one reveal relies on a character withholding information in a way that feels unearned. Still, the audiobook’s production elevates even the slower stretches: Shaw’s timing turns exposition into comedy gold, and the subtle use of ambient sound (a distant police siren, a creaking floorboard) keeps the atmosphere immersive. If you love mysteries with heart, wit, and a side of existential musings—*and* a narrator who could make a grocery list compelling—this is your next listen.