By backgrounding aspects of a fiction, they can be emphasised more than were they to be foregrounded; so when historical research is over-presented—e.g. we’re reminded a book is set during the Battle of Actium by characters obtrusively commenting on period-specific markers—verisimilitude can be counterintuitively weakened; whereas confidence with historical research allows an author to seamlessly blend pertinent indicators into the narrative, where they become the more apparent. Jennifer Young’s Cold Crash demonstrates just such a confidence in its treatment of early fifties Britain and the life of pioneering archaeologist Maxine ‘Max’ Falkland. What is so impressive about the Cold War novel is that it does not need to embellish its setting and time. It transports you as much into the presuppositions of the decade as its surroundings (with beautiful descriptive prose), geopolitics, immediate history and percolating (often still relevant) prejudices. And because the world of the past is never presented clumsily or exaggerated, character and narrative are freed to direct the story to more interesting places.