Women of a certain age (of whom I am one) loved Deanna Raybourn's KILLERS OF A CERTAIN AGE. The sequel, KILLS WELL WITH OTHERS, is just as brilliantly conceived, wonderfully executed and thrilling as its predecessor. It features the same deadly sexagenarians: Mary Alice, Helen, Natalie and Billie.

Billie is the likable first-person narrator as she relates what is happening now. Raybourn does something quite interesting in how she crafts the story. Billie's narrative is told in past tense, even though she's telling us what is happening in the present. When there are very effective flashbacks to the ’80s and ’90s, the perspective switches to third-person present tense.

"Women of a certain age (of whom I am one) loved Deanna Raybourn's KILLERS OF A CERTAIN AGE. The sequel, KILLS WELL WITH OTHERS, is just as brilliantly conceived, wonderfully executed and thrilling as its predecessor."

It all works extremely well, and we are engrossed in the story from the first page. There is much to like about these books --- from the twisty plot, to the tidbits of information about killers and the seamy side of life, to the dry humor --- and not least among them is the fine writing, which is quite enjoyable. In spite of the fact that we are reading about four women who are assassins, we really come to like them. Yes, they kill for a living, but they only kill bad guys.

Natalie has a soft spot for animals, and in KILLERS OF A CERTAIN AGE, she refused to allow the pet poodle to die with its humans. In KILLS WELL WITH OTHERS, she champions a chicken, but we come to root for it almost as much as we do for the four women. Well, perhaps not almost, but we do feel sympathy for the hen.

I especially enjoy the part where Raybourn talks about how people can believe something at which rational humans might look askance. It reflects what is happening right now in the world around us. Billie explains how that works: "He's willing to overlook anything suspicious because his ambition outweighs his sense of self-preservation." Helen agrees: "It happens all the time. People look beyond red flags waving right in front of their faces because they want something so desperately that they will explain away anything that might endanger that."

While this is totally a work of fiction, there are some parts that ring all too true. When they visit a small European country with a less-than-perfect government, Billie shares different possibilities about how rocky governments can be profitable. "Montenegro's most prominent politicians kept power by circulating through different offices in order to circumvent term limitations. Returning to private life is a luxury you can't afford if you're afraid of being prosecuted for a little light corruption or attempting a coup or two." Not that we'd know anything about that in our country.

The journey takes us to Venice, where Raybourn describes in delightful detail the supremely stunning sights. And while this is a thriller, there is also some beautiful writing to be savored: "Even first thing in the morning, Venice doesn't buzz; it shimmers, the heart of it beating with its own rhythm unlike anywhere else in the world. That morning, I like to think it was beating for us."

The ending has enough metaphors for even the most avid poet. Forty years previously, the women were taught during their training that they were necessary monsters. They helped civilization thrive by destroying those who would tear it apart. Their victims did not deserve to live as their very lives threatened the fabric of our society. In that light, the women really were heroes, doing difficult deeds to protect others. But they also were cold-blooded killers. It's a bit hard to reconcile the two, and the fact that Raybourn makes us care for these characters is a testament to her brilliance.