Racing to find a killer before he strikes again, an unlikely investigator is haunted by an even more unlikely source in this gripping crime novel.

It’s the summer of 1985 and mechanic Steve Mahoney is dreaming big about owning his own shop. He’s getting there as slowly as possible, working one night shift at a time for a local towing company. One night, called to retrieve a car from the murky Red River, Mahoney finds the replacement body to his prized but damaged ‘67 Camaro. There’s also a body inside the car, handcuffed to the steering wheel. Mahoney’s able to snap the Camaro up cheap at a salvage auction, but once he’s restored the car to its former glory, he discovers that its last driver is standard spectral equipment on his new ride, and she’s not leaving until she finds out who sent her to a watery grave.

Mahoney’s Camaro is a gritty, fast-paced crime novel that will appeal to fans of Ron Corbett and Stuart MacBride. Combining expertise in the automotive world and a passion for storytelling, Michael J. Clark delivers an action-packed joyride that will grip you until the last page.

'Those looking for a giddy, goofy adventures will have fun.’ - Publishers Weekly

‘Clark writes well and has created some amusingly zany characters.’ - Publishers Weekly on Clean Sweep

‘Clark handily maintains positive forward momentum throughout, glorifying cars and car lore the way Stephen Hunter glorifies guns, seeding his narrative, set in mid-1980s Manitoba, with generous dollops of good humour and great character turns from even the most minor members of his cast. Let’s put it this way: a book that successfully evokes the films Ghost and Christine, and the novels of Thorne Smith (Topper, especially), Elmore Leonard (the criminal element involved is as engaging and sometimes more sympathetic than the book’s protagonist, a truly winning lot), and Stephen King (Christine, again) is not one to be missed. So don’t.’ - Mystery Scene Magazine, Summer 2019 issue, read here.

‘A storyline with twists aplenty. The cast is multiracial and multicultural, with Scottish and Japanese lead Saskia, returning supporting characters such as Inuit Natti (who explicitly sees the intersectionalities at play in the new order), and other minor characters; both straight and lesbian romances are represented, and there’s a genderqueer character. Highly sophisticated and fully immersive.’ - Kirkus Reviews