Saint of the Narrows Street

Author William Boyle On Tour
As an Italian American family's decades-old secret begins to unravel, they will have to bear the consequences—and face each other—in this thrilling south Brooklyn-set tragic opera of the highest caliber from crime fiction luminary William Boyle.

William Boyle is the master of Brooklyn-set crime fiction and Saint of the Narrows Street is his magnum opus. For fans of The Sopranos, Jonathan Lethem, and Dennis Lehane.


Gravesend, Brooklyn, 1986: Risa Franzone lives in a ground-floor apartment on Saint of the Narrows Street with her bad-seed husband, Saverio, and their eight-month-old baby, Fabrizio. On the night Risa’s younger sister, Giulia, moves in to recover from a bad breakup, a fateful accident occurs: Risa, boiled over with anger and fear, strikes a drunk, erratic Sav with a cast-iron pan, killing him on
the spot.

The sisters are left with a choice: notify the authorities and make a case for self-defense, or bury the man’s body and go on with their lives as best they can. In a moment of panic, in the late hours of the night, they call upon Sav’s childhood friend—the sweet, loyal Christopher “Chooch” Gardini—to help them, hoping they can trust him to carry a secret like this.

Over the vast expanse of the next eighteen years, life goes on in the working-class Italian neighborhood of Gravesend as Risa, Giulia, Chooch, and eventually Fabrizio grapple with what happened that night. A standout work of character-driven crime fiction from a celebrated author of the form, Saint of the Narrows Street is a searing and richly drawn novel about the choices we make and how they shape our lives.
1.
Risa’s in the kitchen, crying into a gravy-stained dish towel as she heats up the remaining chicken cutlets on the stove in her cast-iron pan. Her hands are clammy. Sweat beads her hairline. Her purple T-shirt has dusky little circles on it from the popping oil.
     Her sister, Giulia, is sitting at the dining room table, holding eight-month-old Fab.
     At twenty-eight, a new mother, Risa feels old and worn out already. Giulia’s four years younger than her, and she still seems so full of life, like the world can break her and she’ll bounce back no problem. She’s lithe, tan, looks chic in the acid-wash jeans and blue Oxford shirt she’s wearing. Fab’s squirming around, playing with the buttons on her shirt, blowing raspberries against her sleeve. Giulia’s come over with her own heartbreak—having split with her latest boyfriend, Richie, moved out of their apartment, and shown up here with a suitcase and nowhere else to go—but she hasn’t noticed yet that it’s Risa who’s in tears. Of all nights.
     Not that there’d be any good nights with Sav still around. He’s out now, thankfully. Probably at that heavy metal club he goes to, L’Amour.
     “He’s getting big,” Giulia says, her focus wholly on cooing Fab. “He’s about the cutest baby I’ve ever seen. I could take a bite out of his little apple cheeks.”
     “It all happens so fast,” Risa says. “I feel like I took him home from the hospital yesterday.”
     “You really don’t have to heat those cutlets up. I’m not that hungry.”
     “You’ve got to eat.”
     “I can’t remember the last time I had a home-cooked meal.”
     “I’m glad you’re here. Fab’s glad.” A break in Risa’s voice. The tears apparent in her words.
     “What is it, sweetie?” Giulia says. She stands, Fab in her arms, and walks over to Risa at the stove, holding Fab to her chest with one arm, while reaching out with her other and touching Risa on the shoulder.
     “You came here because you need help, not to help me,” Risa says.
     “I’m fine. It’s nothing, really. It was just time to move on. What’s happening?”
     Risa uses a dish towel to dry her eyes and attempts to compose herself. “Sit down and eat,” she says. “Please. I’m gonna make you a plate.”
     Giulia nods and takes Fab back to the table.
     Risa met Sav in the summer of 1983 on the beach in Coney Island. Only three years ago, but it feels like another lifetime. She was twenty-five and mostly happy. Sav approached her and her friends Marta, Lily, and Grace on the sand not far from the boardwalk that day. What did she see in him? He was a year younger than her. Wiry. He seemed a little dangerous, the kind of guy her father had warned her about, and she liked that. She thought he looked like Ralph Macchio in The Outsiders, which she’d just seen at the movies—she’d read the book in high school, and Johnny was her favorite then. She liked Sav’s voice, sticky with the syrup of the neighborhood, part concrete and part muscle car. She liked his laugh, the way it flattened everything in front of it. They’d gotten married fast and moved into this walk-in apartment on Saint of the Narrows Street between Bath Avenue and Benson Avenue in a three-family house that Sav’s parents, Frank and Arlene Franzone, still own. The Franzones lived in the house until Sav was in high school, then they bought a new place on Eighty-Second Street and started renting this one out as three separate apartments. Sav’s older brother, Roberto, occupied this unit for a while until he robbed Jimmy Tomasullo’s trophy shop and split town for greener pastures with Jimmy’s wife, Susie. Roberto was a neighborhood legend in his time—smarmy and charming in his way, a guitarist in a few bands that played at L’Amour, prone to breaking rules and laws—and Sav always seems like he’s aching to be his brother.
     Sav had revealed himself as a bad man soon after they were married, but it’d been worse since Fab was born and tonight had been the worst of all. The things he’d say and wouldn’t say to her, the way he wouldn’t meet her eyes, his quiet menace, the way he’d slap her and toss her around—all of it just a boiling prelude to what had happened a short time ago at the very table where Giulia’s now sitting with Fab. Sav’s friend Double Stevie was there and so was Chooch, Sav’s oldest friend from across the street. Sav took out a gun he’d bought on the sly at the Crisscross Cocktail Lounge and was showing it to Double Stevie. Risa told him to get out. He pointed the gun at her and Fab, smiling, and pulled the trigger on an empty chamber. She’d nearly puked up her heart. Her body’s still buzzing. Thank God Fab doesn’t understand what his father’s done.
     At the table now, Risa gets Fab situated in his high chair and then sets Giulia up with a plate of cutlets and some semolina bread. To drink, there’s wine or water and not much else. Giulia opts for wine, a tall glass filled to the brim. Risa says that the wine’s from their former neighbor a few doors down, Mr. Evangelista, who died recently. She says it’s strange to have a bunch of wine bottled by a man who’s dead. Giulia agrees but drinks it down. “It’s good,” she says. “And the cutlets are great. They remind me of Mama’s.”
     Risa thinks of their mother’s kitchen, oil bubbling on the stove, Mama’s hands covered in breadcrumbs and eggs, the apron she always wore. She remembers piping hot cutlets on pink plates. Savoring each bite. She remembers helping Mama. Learning. She has was always been interested in the ways of the kitchen. She kept all their mother’s and grandmothers’ recipes on index cards in a tin. Things were easier when they were kids at that table with their pink plates. She didn’t yet know the sad terrors of the world.
     Giulia reaches out and tweaks Fab’s cheek. He smiles at her, one of those sweet baby smiles. The way he beams with his whole face. His eyes. Such light.
     Risa picks up a napkin from the table. She looks at Giulia and then at Fab and then looks away, at the wall, at the kitchen, at anything other than them. She’s on the verge of tears again. She uses the napkin to blot her eyes. She’s turned to the side, faced away from Fab, as if she doesn’t want him to see her.
     “It’s okay,” Giulia says. “You let it out.” She gets up and comes over to Risa, squatting at her side and placing a hand on her back, palm flat against her spine at first, eventually falling into a rhythm of patting her gently.
     Risa can smell the cutlets all over herself. “I don’t know if I’m ready to talk about it,” she says.
     Giulia looks like she wants to say something, but she hesitates and holds back. “Whenever you want to tell me what that bastard did, I’m here,” she says.
     Risa leans into Giulia, putting her head on her shoulder, sobbing steadily now.
     Giulia pulls her into another hug. Fab’s watching them, smooshing his thumbs against the tray on his high chair, delighted. “We’re gonna take care of each other,” Giulia says. “That’s what we’re gonna do.”

As a girl, Risa had daydreamed about being a nun, about helping the sick and poor, about finding real meaning in life. She imagined herself dabbing the heads of dying patients with a wet washcloth, saying not to worry because God was with them. She imagined everyone calling her Sister Risa, which had a nice ring to it. She imagined keeping all her thoughts about God and the world in a journal, all her doubts and fears, everything beautiful and frightening, and she’d write it all down by candlelight in this simple marble notebook with a freshly sharpened pencil. She could have lived a “meditative life of purpose,” as her favorite nun ever, Sister Antonella from Our Lady of Perpetual Surrender, would have said.
     That dream faded. After high school at Lafayette, where she’d gone instead of Bishop Kearney because her folks couldn’t afford the tuition there, she’d attended Staten Island College, getting mostly Bs and Cs in general studies classes, but decided not to go back for her junior year and to forget about her degree. After dropping out, she worked at Villabate Alba for a few years—her father was friends with the owner. It was tough, especially on Sundays and holidays, early mornings and very long lines, people anxious for their cannoli and sfogliatelle and every other beautiful thing behind the gleaming glass in those display cases. If she’d been smarter sooner, perhaps she could have gone down a different road—nurse, social worker, law clerk—but she’d allowed herself to drift until she met Sav that day on the beach. She’d had boyfriends before him but nothing serious, so she didn’t know the pitfalls and the signs of serious trouble. She liked that he liked her. If she’d never met Sav, she’s not sure where she’d be—maybe still living at home with her folks—but she’d be better off in many ways.
     In the last seven months, since watching the Challenger blow up on television while home alone with Fab, she’s fallen into crying fits daily. Thinking about that poor teacher. Christa McAuliffe. A mother herself. The squiggle of smoke the spaceship made in the Florida sky. Fab was only a few weeks old at the time, but she’d shielded his eyes from the disaster. Maybe they’d happened before, these crying fits, but something about the Challenger really set her off. The impermanence of existence. The realization that nothing’s promised. Thinking about the tragedy’s impact on her makes her feel guilty, but she can’t help it.
     She’s tried so hard to figure out how she and Fab can leave Sav, but every scenario ends badly for them. Alone, tired, with no help. Her father saying it’s her duty to stay with her husband, no matter that she’d chosen the wrong guy. The problem, he’d say, was back when she was doing the choosing and not now when she has no choice. He’s very old-school, her father. Look at how he’s handled Giulia, disowning her when she was seventeen after he walked in on her having sex with her high school boyfriend, Marco LaRocca. One less daughter, no biggie. He’d be angry at Risa for talking to Giulia, let alone knowing she’s given her black sheep sister a place to stay. Risa doesn’t understand her father. His version of God seems to have nothing to do with love and everything to do with shutting the door.
     Risa again looks at Giulia holding Fab. Playing with him. She’s such a sweetheart. It’s brought her comfort to have her sister’s company for this bit of time. It’d be nice if it could be this way all the time. The three of them. Some joy in the room. None of Sav’s poison.
Praise for Saint of the Narrows Street

A CrimeReads Most Anticipated Crime Book of 2025
Publishers Weekly
’s Spring 2025 Preview Top 10 Mysteries & Thrillers


“Boyle continues filling out the Gravesend neighborhood of Brooklyn with powerful, emotionally complex crime stories. In Saint of the Narrows Street, two sisters arrange for a terrible secret to be hidden, reverberating across the generations. Boyle’s work is always traced with melancholy and never shies away from the tough moral predicaments his characters face.”
—CrimeReads

“The stunning Saint of the Narrows Street is William Boyle’s best novel yet, a vibrant, operatic tale of two resilient, big-hearted sisters and the fateful night that sets their life on a path they never intended. Not since Richard Price has a writer brought New York to such vivid, spectacular life, and Boyle’s southern Brooklyn is all his own: a neighborhood pulsing with hard-earned humor, dive-bar pleasures and thunderous heartbreak.”
—Megan Abbott, New York Times bestselling author of Beware the Woman

“No one can make the everyday vagaries of life feel like Greek tragedies the way William Boyle can. He effortlessly maps the path of desire that moves through the human heart like burning chrome.”
—S.A. Cosby, New York Times bestselling author of All the Sinners Bleed

“You don’t read a William Boyle novel as much as you inhabit his intricately drawn world. Saint of the Narrows Street is on par with the best of Pete Dexter, Richard Price, and William Kennedy. This is a tour de force, knockout book; an immediate classic that will stay with you long after you finish the last perfect chapter.”
—Ace Atkins, New York Times bestselling author of Don’t Let the Devil Ride and The Heathens

Saint of the Narrows Street is a hundred-proof shot of tragic love. Nobody writes like William Boyle. Every character has a huge thumping heart. You can smell the skeevy bars and taste the home-cooked lasagna. Boyle deals in details, but this is a big, epic novel, and it’s his best yet.”
—Eli Cranor, Edgar Award-winning author of Don’t Know Tough

“A new William Boyle novel is always cause for celebration, and Saint of the Narrows Street might be his best work yet. A novel brilliant in structure and in its study of the long-term effects of a single violent crime. Ambitious in scope and impossible to put down. Boyle is that rare writer who is able to walk the line of social commentary and crime thriller.”
—Willy Vlautin, author of The Horse

“With Saint of the Narrows Street, a magnum opus of family and crime, blood both shared and spilled, William Boyle proves himself once more the poet laureate of Brooklyn, and a writer of true craft and depth. He shows once more how the crime novel can peer as deep into the human heart as any other artform. William Boyle is the real thing. I don’t know how else to say it.”
—Jordan Harper, author of Everybody Knows

"With its rich setting, compelling plot and an unforgettable cast of characters—flawed and fascinating and heartbreakingly real—Saint of the Narrows Street will stay with you long after you turn the last page. A classic noir page-turner, it's also a deeply moving story about the dreams that keep us alive—and what happens when those dreams inevitably shatter."
—Alison Gaylin, Edgar Award–winning author of We Are Watching

Saint of the Narrows Street contains all of Bill’s trademarks: a knowing and vivid picture of his native Brooklyn; a kaleidoscope of rich and fascinating characters; and beautifully crafted prose and dialogue. It’s noir that never forgets its heart, and Bill gives each wonderfully-named character a wellspring of humanity that makes you root for their meager wins, and ache for them even more in their tragic losses.”
—James D.F. Hannah, Shamus Award-winning author of the Henry Malone series

“William Boyle’s Saint of the Narrows Street is incisive, beautiful, brutal—a book that examines what happens in a small world when big secrets are held down. Set in a neighborhood you will smell and feel as if it’s your own, this novel presents a cast of characters you’ll swear you’ve known or known about for years, and yet they’ll find a way to surprise you. Death echoes, rumors kill, and the living are cursed on Saint of the Narrows Street.”
—Henry Wise, author of Holy City

"William Boyle’s Saint of the Narrows Street drew me in and wrecked me. A powerful story about the ripple effect of violent acts on the lives of good people. Everyone needs to read this book."
—Nikki Dolson, author of All Things Violent

“I’m serious, Saint of the Narrows Street will be one of the most talked about books of 2025. Bank on it.”
—Frank Reardon, BULL Magazine

“William Boyle is the best author far too many have never read. His ability to create distinctive characters, taut plots and striking moods and atmosphere is matched by few and he sets them all in locations that actually become another character through his descriptive prose. Two sisters in a Brooklyn neighborhood live in a culture circumscribed by class, ethnic identity, religion, family ties and loyalty. While trying to withhold a huge secret from being exposed they learn those values that can protect a group can also become a prison, especially when threatened by guilt and remorse. First time readers will discover a superb author, one they will want to share with others.”
—Bill Cusumano, Square Books (Oxford, MS)

“This might sound like a bit of an oxymoron, but nobody does dysfunctional family crime like William Boyle. And this is a perfect example of that. One moment in time, a fatal reaction, that festers like a boil for decades until it bursts leaving more lives ruined because of that one hidden act. Brooklyn noir at its best!”
Pete Mock, McIntyre's Books (Pittsboro, NC)

“A shocking, surprising, and thought-provoking tale that will likely stay with readers long after they turn the final page.”
Mystery & Suspense Magazine

“Boyle is a smart, gritty, funny writer, and this is his best yet.”
—Blood & Whiskey

“If you’re in Brooklyn and want to grab a slice of pizza, you go to Totonno’s or L&B Spumoni Gardens. If you’re not in Brooklyn and want to grab a slice of life there, reach for William Boyle’s
seventh novel, Saint of the Narrows Street . . . Boyle, who grew up in the neighborhood he depicts, has a pointillist’s eye for detail, with every image meticulously crafted in a way that seems effortless. You can smell the cigarette smoke and desperation wafting from the dive bar, the freezer lasagna being reheated when the priest drops by uninvited, the moist earth covering a grave whose secrets can’t be buried nearly deep enough. Fans of Dennis Lehane or George Pelecanos will find Saint of the Narrows Street as authentic and satisfying as Spumoni Garden’s Sicilian pie, but unlike their menu, there’s no hero in sight.”
BookPage, Starred Review

“Boyle structures the sprawling tale like a Greek tragedy, mining potent themes of legacy and class with such force and empathy that readers may come to think of him as the Balzac of Brooklyn. It’s a stunning achievement.”
—Publishers Weekly, Starred Review

“An established noir master, Boyle outdoes himself in crafting a novel of deep dimensions marked by intergenerational trauma, family strife, and failed religion . . . A great, gravely unsettling novel that welcomes repeated readings.”
—Kirkus Reviews, Starred Review


Praise for William Boyle

“Boyle studies his neighbors with a mixture of affection and despair worthy of a Bruce Springsteen song. He has a real thing for working-class folks. People like this, they need people like Boyle.”
The New York Times Book Review

“[Boyle] knows the music of the Italian American voices, from punk to bar stool to operatic, like nobody else: Mob goons, college dropouts, melancholy widows and pink-haired rockers mix it up in this deliciously convoluted tale that reads like a fresh new season of The Sopranos.”
—The Washington Post

“A funny, gritty, touching narrative about the strength of three New York women caught in a world of abusive men, broken families, and mob violence. Crime fiction usually stays within the confines of the genre, but Boyle breaks away from those restrictions.”
―NPR

"As wildly funny and sweet as it is frenetic and harrowing, William Boyle’s new novel is full of dark splendor. Imagine Martin Scorsese and David O. Russell collaborating with Gena Rowlands and Ellen Burstyn and making magic.”
—Megan Abbott, New York Times bestselling author of You Will Know Me


“William Boyle’s stark and turbulent crime thriller boasts an endlessly fascinating and empathetic cast of characters. Hailing from Brooklyn himself, Boyle imbues the setting with an air of authenticity and stark realism as his characters leap from the page. Readers can only grasp at the slimmest of hopes in this grim, modern-day noir, but the determination of Boyle's characters defies expectations.”
BookPage, Starred Review

“Boyle’s novels always deliver, and they always work on different levels: as noir and crime, as character studies, as working-class social commentaries. They’re also impossible to put down and stay with you long after you’ve finished them.”
Southwest Review

“Masterly literary noir. This mature, nuanced work is a must for George Pelecanos fans.”
Publishers Weekly, Starred Review

“Boyle emerges not just as a consummate crime writer but as a poet of the underclass, unwaveringly portraying lives gone wrong but still finding a little moonlight ‘spilling its light on the cracks in the sidewalks and all the cracked hearts.’”
Booklist, Starred Review
William Boyle is the author of eight books set in the southern Brooklyn neighborhood where he was born and raised, including his debut, Gravesend; the story collection Death Don’t Have No Mercy; The Lonely Witness, nominated for the Hammett Prize; A Friend Is a Gift You Give Yourself, an Amazon Best Book of 2019; City of Margins, a Washington Post Best Thriller and Mystery Book of 2020; and Shoot the Moonlight Out, listed by CrimeReads as one of the ten best noir novels of 2021. He currently lives in Oxford, Mississippi.

About

As an Italian American family's decades-old secret begins to unravel, they will have to bear the consequences—and face each other—in this thrilling south Brooklyn-set tragic opera of the highest caliber from crime fiction luminary William Boyle.

William Boyle is the master of Brooklyn-set crime fiction and Saint of the Narrows Street is his magnum opus. For fans of The Sopranos, Jonathan Lethem, and Dennis Lehane.


Gravesend, Brooklyn, 1986: Risa Franzone lives in a ground-floor apartment on Saint of the Narrows Street with her bad-seed husband, Saverio, and their eight-month-old baby, Fabrizio. On the night Risa’s younger sister, Giulia, moves in to recover from a bad breakup, a fateful accident occurs: Risa, boiled over with anger and fear, strikes a drunk, erratic Sav with a cast-iron pan, killing him on
the spot.

The sisters are left with a choice: notify the authorities and make a case for self-defense, or bury the man’s body and go on with their lives as best they can. In a moment of panic, in the late hours of the night, they call upon Sav’s childhood friend—the sweet, loyal Christopher “Chooch” Gardini—to help them, hoping they can trust him to carry a secret like this.

Over the vast expanse of the next eighteen years, life goes on in the working-class Italian neighborhood of Gravesend as Risa, Giulia, Chooch, and eventually Fabrizio grapple with what happened that night. A standout work of character-driven crime fiction from a celebrated author of the form, Saint of the Narrows Street is a searing and richly drawn novel about the choices we make and how they shape our lives.

Excerpt

1.
Risa’s in the kitchen, crying into a gravy-stained dish towel as she heats up the remaining chicken cutlets on the stove in her cast-iron pan. Her hands are clammy. Sweat beads her hairline. Her purple T-shirt has dusky little circles on it from the popping oil.
     Her sister, Giulia, is sitting at the dining room table, holding eight-month-old Fab.
     At twenty-eight, a new mother, Risa feels old and worn out already. Giulia’s four years younger than her, and she still seems so full of life, like the world can break her and she’ll bounce back no problem. She’s lithe, tan, looks chic in the acid-wash jeans and blue Oxford shirt she’s wearing. Fab’s squirming around, playing with the buttons on her shirt, blowing raspberries against her sleeve. Giulia’s come over with her own heartbreak—having split with her latest boyfriend, Richie, moved out of their apartment, and shown up here with a suitcase and nowhere else to go—but she hasn’t noticed yet that it’s Risa who’s in tears. Of all nights.
     Not that there’d be any good nights with Sav still around. He’s out now, thankfully. Probably at that heavy metal club he goes to, L’Amour.
     “He’s getting big,” Giulia says, her focus wholly on cooing Fab. “He’s about the cutest baby I’ve ever seen. I could take a bite out of his little apple cheeks.”
     “It all happens so fast,” Risa says. “I feel like I took him home from the hospital yesterday.”
     “You really don’t have to heat those cutlets up. I’m not that hungry.”
     “You’ve got to eat.”
     “I can’t remember the last time I had a home-cooked meal.”
     “I’m glad you’re here. Fab’s glad.” A break in Risa’s voice. The tears apparent in her words.
     “What is it, sweetie?” Giulia says. She stands, Fab in her arms, and walks over to Risa at the stove, holding Fab to her chest with one arm, while reaching out with her other and touching Risa on the shoulder.
     “You came here because you need help, not to help me,” Risa says.
     “I’m fine. It’s nothing, really. It was just time to move on. What’s happening?”
     Risa uses a dish towel to dry her eyes and attempts to compose herself. “Sit down and eat,” she says. “Please. I’m gonna make you a plate.”
     Giulia nods and takes Fab back to the table.
     Risa met Sav in the summer of 1983 on the beach in Coney Island. Only three years ago, but it feels like another lifetime. She was twenty-five and mostly happy. Sav approached her and her friends Marta, Lily, and Grace on the sand not far from the boardwalk that day. What did she see in him? He was a year younger than her. Wiry. He seemed a little dangerous, the kind of guy her father had warned her about, and she liked that. She thought he looked like Ralph Macchio in The Outsiders, which she’d just seen at the movies—she’d read the book in high school, and Johnny was her favorite then. She liked Sav’s voice, sticky with the syrup of the neighborhood, part concrete and part muscle car. She liked his laugh, the way it flattened everything in front of it. They’d gotten married fast and moved into this walk-in apartment on Saint of the Narrows Street between Bath Avenue and Benson Avenue in a three-family house that Sav’s parents, Frank and Arlene Franzone, still own. The Franzones lived in the house until Sav was in high school, then they bought a new place on Eighty-Second Street and started renting this one out as three separate apartments. Sav’s older brother, Roberto, occupied this unit for a while until he robbed Jimmy Tomasullo’s trophy shop and split town for greener pastures with Jimmy’s wife, Susie. Roberto was a neighborhood legend in his time—smarmy and charming in his way, a guitarist in a few bands that played at L’Amour, prone to breaking rules and laws—and Sav always seems like he’s aching to be his brother.
     Sav had revealed himself as a bad man soon after they were married, but it’d been worse since Fab was born and tonight had been the worst of all. The things he’d say and wouldn’t say to her, the way he wouldn’t meet her eyes, his quiet menace, the way he’d slap her and toss her around—all of it just a boiling prelude to what had happened a short time ago at the very table where Giulia’s now sitting with Fab. Sav’s friend Double Stevie was there and so was Chooch, Sav’s oldest friend from across the street. Sav took out a gun he’d bought on the sly at the Crisscross Cocktail Lounge and was showing it to Double Stevie. Risa told him to get out. He pointed the gun at her and Fab, smiling, and pulled the trigger on an empty chamber. She’d nearly puked up her heart. Her body’s still buzzing. Thank God Fab doesn’t understand what his father’s done.
     At the table now, Risa gets Fab situated in his high chair and then sets Giulia up with a plate of cutlets and some semolina bread. To drink, there’s wine or water and not much else. Giulia opts for wine, a tall glass filled to the brim. Risa says that the wine’s from their former neighbor a few doors down, Mr. Evangelista, who died recently. She says it’s strange to have a bunch of wine bottled by a man who’s dead. Giulia agrees but drinks it down. “It’s good,” she says. “And the cutlets are great. They remind me of Mama’s.”
     Risa thinks of their mother’s kitchen, oil bubbling on the stove, Mama’s hands covered in breadcrumbs and eggs, the apron she always wore. She remembers piping hot cutlets on pink plates. Savoring each bite. She remembers helping Mama. Learning. She has was always been interested in the ways of the kitchen. She kept all their mother’s and grandmothers’ recipes on index cards in a tin. Things were easier when they were kids at that table with their pink plates. She didn’t yet know the sad terrors of the world.
     Giulia reaches out and tweaks Fab’s cheek. He smiles at her, one of those sweet baby smiles. The way he beams with his whole face. His eyes. Such light.
     Risa picks up a napkin from the table. She looks at Giulia and then at Fab and then looks away, at the wall, at the kitchen, at anything other than them. She’s on the verge of tears again. She uses the napkin to blot her eyes. She’s turned to the side, faced away from Fab, as if she doesn’t want him to see her.
     “It’s okay,” Giulia says. “You let it out.” She gets up and comes over to Risa, squatting at her side and placing a hand on her back, palm flat against her spine at first, eventually falling into a rhythm of patting her gently.
     Risa can smell the cutlets all over herself. “I don’t know if I’m ready to talk about it,” she says.
     Giulia looks like she wants to say something, but she hesitates and holds back. “Whenever you want to tell me what that bastard did, I’m here,” she says.
     Risa leans into Giulia, putting her head on her shoulder, sobbing steadily now.
     Giulia pulls her into another hug. Fab’s watching them, smooshing his thumbs against the tray on his high chair, delighted. “We’re gonna take care of each other,” Giulia says. “That’s what we’re gonna do.”

As a girl, Risa had daydreamed about being a nun, about helping the sick and poor, about finding real meaning in life. She imagined herself dabbing the heads of dying patients with a wet washcloth, saying not to worry because God was with them. She imagined everyone calling her Sister Risa, which had a nice ring to it. She imagined keeping all her thoughts about God and the world in a journal, all her doubts and fears, everything beautiful and frightening, and she’d write it all down by candlelight in this simple marble notebook with a freshly sharpened pencil. She could have lived a “meditative life of purpose,” as her favorite nun ever, Sister Antonella from Our Lady of Perpetual Surrender, would have said.
     That dream faded. After high school at Lafayette, where she’d gone instead of Bishop Kearney because her folks couldn’t afford the tuition there, she’d attended Staten Island College, getting mostly Bs and Cs in general studies classes, but decided not to go back for her junior year and to forget about her degree. After dropping out, she worked at Villabate Alba for a few years—her father was friends with the owner. It was tough, especially on Sundays and holidays, early mornings and very long lines, people anxious for their cannoli and sfogliatelle and every other beautiful thing behind the gleaming glass in those display cases. If she’d been smarter sooner, perhaps she could have gone down a different road—nurse, social worker, law clerk—but she’d allowed herself to drift until she met Sav that day on the beach. She’d had boyfriends before him but nothing serious, so she didn’t know the pitfalls and the signs of serious trouble. She liked that he liked her. If she’d never met Sav, she’s not sure where she’d be—maybe still living at home with her folks—but she’d be better off in many ways.
     In the last seven months, since watching the Challenger blow up on television while home alone with Fab, she’s fallen into crying fits daily. Thinking about that poor teacher. Christa McAuliffe. A mother herself. The squiggle of smoke the spaceship made in the Florida sky. Fab was only a few weeks old at the time, but she’d shielded his eyes from the disaster. Maybe they’d happened before, these crying fits, but something about the Challenger really set her off. The impermanence of existence. The realization that nothing’s promised. Thinking about the tragedy’s impact on her makes her feel guilty, but she can’t help it.
     She’s tried so hard to figure out how she and Fab can leave Sav, but every scenario ends badly for them. Alone, tired, with no help. Her father saying it’s her duty to stay with her husband, no matter that she’d chosen the wrong guy. The problem, he’d say, was back when she was doing the choosing and not now when she has no choice. He’s very old-school, her father. Look at how he’s handled Giulia, disowning her when she was seventeen after he walked in on her having sex with her high school boyfriend, Marco LaRocca. One less daughter, no biggie. He’d be angry at Risa for talking to Giulia, let alone knowing she’s given her black sheep sister a place to stay. Risa doesn’t understand her father. His version of God seems to have nothing to do with love and everything to do with shutting the door.
     Risa again looks at Giulia holding Fab. Playing with him. She’s such a sweetheart. It’s brought her comfort to have her sister’s company for this bit of time. It’d be nice if it could be this way all the time. The three of them. Some joy in the room. None of Sav’s poison.

Reviews

Praise for Saint of the Narrows Street

A CrimeReads Most Anticipated Crime Book of 2025
Publishers Weekly
’s Spring 2025 Preview Top 10 Mysteries & Thrillers


“Boyle continues filling out the Gravesend neighborhood of Brooklyn with powerful, emotionally complex crime stories. In Saint of the Narrows Street, two sisters arrange for a terrible secret to be hidden, reverberating across the generations. Boyle’s work is always traced with melancholy and never shies away from the tough moral predicaments his characters face.”
—CrimeReads

“The stunning Saint of the Narrows Street is William Boyle’s best novel yet, a vibrant, operatic tale of two resilient, big-hearted sisters and the fateful night that sets their life on a path they never intended. Not since Richard Price has a writer brought New York to such vivid, spectacular life, and Boyle’s southern Brooklyn is all his own: a neighborhood pulsing with hard-earned humor, dive-bar pleasures and thunderous heartbreak.”
—Megan Abbott, New York Times bestselling author of Beware the Woman

“No one can make the everyday vagaries of life feel like Greek tragedies the way William Boyle can. He effortlessly maps the path of desire that moves through the human heart like burning chrome.”
—S.A. Cosby, New York Times bestselling author of All the Sinners Bleed

“You don’t read a William Boyle novel as much as you inhabit his intricately drawn world. Saint of the Narrows Street is on par with the best of Pete Dexter, Richard Price, and William Kennedy. This is a tour de force, knockout book; an immediate classic that will stay with you long after you finish the last perfect chapter.”
—Ace Atkins, New York Times bestselling author of Don’t Let the Devil Ride and The Heathens

Saint of the Narrows Street is a hundred-proof shot of tragic love. Nobody writes like William Boyle. Every character has a huge thumping heart. You can smell the skeevy bars and taste the home-cooked lasagna. Boyle deals in details, but this is a big, epic novel, and it’s his best yet.”
—Eli Cranor, Edgar Award-winning author of Don’t Know Tough

“A new William Boyle novel is always cause for celebration, and Saint of the Narrows Street might be his best work yet. A novel brilliant in structure and in its study of the long-term effects of a single violent crime. Ambitious in scope and impossible to put down. Boyle is that rare writer who is able to walk the line of social commentary and crime thriller.”
—Willy Vlautin, author of The Horse

“With Saint of the Narrows Street, a magnum opus of family and crime, blood both shared and spilled, William Boyle proves himself once more the poet laureate of Brooklyn, and a writer of true craft and depth. He shows once more how the crime novel can peer as deep into the human heart as any other artform. William Boyle is the real thing. I don’t know how else to say it.”
—Jordan Harper, author of Everybody Knows

"With its rich setting, compelling plot and an unforgettable cast of characters—flawed and fascinating and heartbreakingly real—Saint of the Narrows Street will stay with you long after you turn the last page. A classic noir page-turner, it's also a deeply moving story about the dreams that keep us alive—and what happens when those dreams inevitably shatter."
—Alison Gaylin, Edgar Award–winning author of We Are Watching

Saint of the Narrows Street contains all of Bill’s trademarks: a knowing and vivid picture of his native Brooklyn; a kaleidoscope of rich and fascinating characters; and beautifully crafted prose and dialogue. It’s noir that never forgets its heart, and Bill gives each wonderfully-named character a wellspring of humanity that makes you root for their meager wins, and ache for them even more in their tragic losses.”
—James D.F. Hannah, Shamus Award-winning author of the Henry Malone series

“William Boyle’s Saint of the Narrows Street is incisive, beautiful, brutal—a book that examines what happens in a small world when big secrets are held down. Set in a neighborhood you will smell and feel as if it’s your own, this novel presents a cast of characters you’ll swear you’ve known or known about for years, and yet they’ll find a way to surprise you. Death echoes, rumors kill, and the living are cursed on Saint of the Narrows Street.”
—Henry Wise, author of Holy City

"William Boyle’s Saint of the Narrows Street drew me in and wrecked me. A powerful story about the ripple effect of violent acts on the lives of good people. Everyone needs to read this book."
—Nikki Dolson, author of All Things Violent

“I’m serious, Saint of the Narrows Street will be one of the most talked about books of 2025. Bank on it.”
—Frank Reardon, BULL Magazine

“William Boyle is the best author far too many have never read. His ability to create distinctive characters, taut plots and striking moods and atmosphere is matched by few and he sets them all in locations that actually become another character through his descriptive prose. Two sisters in a Brooklyn neighborhood live in a culture circumscribed by class, ethnic identity, religion, family ties and loyalty. While trying to withhold a huge secret from being exposed they learn those values that can protect a group can also become a prison, especially when threatened by guilt and remorse. First time readers will discover a superb author, one they will want to share with others.”
—Bill Cusumano, Square Books (Oxford, MS)

“This might sound like a bit of an oxymoron, but nobody does dysfunctional family crime like William Boyle. And this is a perfect example of that. One moment in time, a fatal reaction, that festers like a boil for decades until it bursts leaving more lives ruined because of that one hidden act. Brooklyn noir at its best!”
Pete Mock, McIntyre's Books (Pittsboro, NC)

“A shocking, surprising, and thought-provoking tale that will likely stay with readers long after they turn the final page.”
Mystery & Suspense Magazine

“Boyle is a smart, gritty, funny writer, and this is his best yet.”
—Blood & Whiskey

“If you’re in Brooklyn and want to grab a slice of pizza, you go to Totonno’s or L&B Spumoni Gardens. If you’re not in Brooklyn and want to grab a slice of life there, reach for William Boyle’s
seventh novel, Saint of the Narrows Street . . . Boyle, who grew up in the neighborhood he depicts, has a pointillist’s eye for detail, with every image meticulously crafted in a way that seems effortless. You can smell the cigarette smoke and desperation wafting from the dive bar, the freezer lasagna being reheated when the priest drops by uninvited, the moist earth covering a grave whose secrets can’t be buried nearly deep enough. Fans of Dennis Lehane or George Pelecanos will find Saint of the Narrows Street as authentic and satisfying as Spumoni Garden’s Sicilian pie, but unlike their menu, there’s no hero in sight.”
BookPage, Starred Review

“Boyle structures the sprawling tale like a Greek tragedy, mining potent themes of legacy and class with such force and empathy that readers may come to think of him as the Balzac of Brooklyn. It’s a stunning achievement.”
—Publishers Weekly, Starred Review

“An established noir master, Boyle outdoes himself in crafting a novel of deep dimensions marked by intergenerational trauma, family strife, and failed religion . . . A great, gravely unsettling novel that welcomes repeated readings.”
—Kirkus Reviews, Starred Review


Praise for William Boyle

“Boyle studies his neighbors with a mixture of affection and despair worthy of a Bruce Springsteen song. He has a real thing for working-class folks. People like this, they need people like Boyle.”
The New York Times Book Review

“[Boyle] knows the music of the Italian American voices, from punk to bar stool to operatic, like nobody else: Mob goons, college dropouts, melancholy widows and pink-haired rockers mix it up in this deliciously convoluted tale that reads like a fresh new season of The Sopranos.”
—The Washington Post

“A funny, gritty, touching narrative about the strength of three New York women caught in a world of abusive men, broken families, and mob violence. Crime fiction usually stays within the confines of the genre, but Boyle breaks away from those restrictions.”
―NPR

"As wildly funny and sweet as it is frenetic and harrowing, William Boyle’s new novel is full of dark splendor. Imagine Martin Scorsese and David O. Russell collaborating with Gena Rowlands and Ellen Burstyn and making magic.”
—Megan Abbott, New York Times bestselling author of You Will Know Me


“William Boyle’s stark and turbulent crime thriller boasts an endlessly fascinating and empathetic cast of characters. Hailing from Brooklyn himself, Boyle imbues the setting with an air of authenticity and stark realism as his characters leap from the page. Readers can only grasp at the slimmest of hopes in this grim, modern-day noir, but the determination of Boyle's characters defies expectations.”
BookPage, Starred Review

“Boyle’s novels always deliver, and they always work on different levels: as noir and crime, as character studies, as working-class social commentaries. They’re also impossible to put down and stay with you long after you’ve finished them.”
Southwest Review

“Masterly literary noir. This mature, nuanced work is a must for George Pelecanos fans.”
Publishers Weekly, Starred Review

“Boyle emerges not just as a consummate crime writer but as a poet of the underclass, unwaveringly portraying lives gone wrong but still finding a little moonlight ‘spilling its light on the cracks in the sidewalks and all the cracked hearts.’”
Booklist, Starred Review

Author

William Boyle is the author of eight books set in the southern Brooklyn neighborhood where he was born and raised, including his debut, Gravesend; the story collection Death Don’t Have No Mercy; The Lonely Witness, nominated for the Hammett Prize; A Friend Is a Gift You Give Yourself, an Amazon Best Book of 2019; City of Margins, a Washington Post Best Thriller and Mystery Book of 2020; and Shoot the Moonlight Out, listed by CrimeReads as one of the ten best noir novels of 2021. He currently lives in Oxford, Mississippi.