I did not set out to buy a novel written by a homosexual author but that's what I bought. I did not set out to buy a novel in which the protagonist is gay but that's what I bought. My goal in preparing for a fortnight exploring the eastern coast of Vancouver Island in British Columbia, Canada, was to buy several not-too-gory murder mysteries set on that island. Murder novels which are not too violent, not to grisly, without much profanity, no explicit sex, no torture, no cruelty to children, and a setting in a small town, village, camp, resort, or other insular place are often called cozy. This is now a well-recognized and well-established sub-genre of crime fiction. Think: Jessica Fletcher, Father Brown, Miss Marple, Diane Mott Davidson's Goldy Schulz, and Joanne Fluke's Hannah Swensen, all of which are cozies. In recent years, a sub-sub genre of crime fiction has emerged known as "quozy." A quozy novel is a cozy one in which includes homosexual themes and characters. Large publishing houses were disinterested in literature with a queer bent. Agents found such works hard to place. This was despite Armistead Maupin's success with his "Tales of the City" novels in which a gay man, Michael "Mouse" Tolliver, is centre stage. In the 21st century, there are quozy book lists, quozy book awards, imprints and publishing houses which specialise in quozies. Which leads inexorably to author Mark Waddell and the first Crescent Cove Mystery "The Body in the Back Garden" (2023). It meets all of the criteria: Crescent Cove is a hamlet, protagonist Luke Tremblay is gay, as is his childhood friend, the Mountie in charge of the local police, the murder takes place off-stage, nothing too violent, no explicit sex, hardly any profanity, no torture nor cruelty to children. Your sweet maiden aunt Hilda could read and enjoy this book, so long as she accepted homosexual people as just another part of the remarkable variety of people. This story is well plotted, engaging, linked nicely to the land and culture, and moves rapidly to a satisfying conclusion. It is marred by the frequent words and phrases which are cliché, trite, and/or passé. A stern and rigorous editor could have remedied this fault. Despite these quibbles, I enjoyed the book and I'm glad that I bought and read a quozy by a gay author with a queer protagonist.