There are no honourable mentions here, because, (if you’ve been good) you will have seen them all in the previous four posts. Regular readers of this blog, and those who read my interviews, reviews and features on Crime Fiction Lover, will know that I am a massive fan of Phil Rickman’s books and, in particular, the series featuring the thoroughly modern, but often conflicted, parish priest, Merrily Watkins. She is one of the most intriguing and best written characters in modern fiction, but Rickman (left) doesn’t stop there. He has created a whole repertory company of supporting characters who range in style and substance from the wizened sage Gomer Parry – he of the roll-up fags and uncanny perception (often revealed as he digs holes for septic tanks) – to the twin-set and pearls imperturbability of the Bishop’s secretary, Sophie. In between we have the fragile genius of Merrily’s boyfriend, musician Lol Robinson, the maverick Scouse policeman Frannie Bliss and, of course, Merrily’s adventurous daughter Jane, for whom the soubriquet ‘Calamity” would fit nicely, such is her propensity to go where both angels – and her anxious mother – fear to tread.
These actors flit in and out of the stories, but there is one other character, ever present and formidable. I am in the autumn of my days and, casting aside false modesty, widely read, and I have likened Rickman’s use of landscape to that of Thomas Hardy. The Welsh Marches – Hereford, Radnor, Brecon, Monmouth – combine to make this extra character. The windswept hills, sullen valleys, glittering streams and abandoned chapels all play a part in Rickman’s novels, and never more effective than in my Best Book of 2017 – All Of a Winter’s Night.
The art of Morris Dancing has often been ridiculed, never better than when it was suggested that a Morris team could be an effective counter-display by the England Rugby team when faced with New Zealand’s ferocious Haka. But here, the faintly ridiculous concept of men dancing around with bells on their trousers and funny hats on their heads becomes as sinister as anything ever dredged up from the fevered imaginations of Poe or Lovecraft. Rickman has his finger on the pulse of an old Britain, a land steeped in superstition, symbolism, and distinctly un-Christian – not to say pre-Christian – traditions.
In All Of a Winter’s Night a young man has been killed in a mysterious car crash, and his funeral attracts bitterly opposed members of the same family. Merrily tries to preside over potential chaos, and her efforts to ensure that Aidan Lloyd rest in peace are not helped when his body is disinterred, dressed in his Morris Man costume, and then clumsily reburied. Rickman adds to the mix the very real and solid presence of the ancient church at Kilpeck, with its pagan – and downright vulgar (in some eyes) carvings. The climax of the novel comes when Merrily tries to conduct a service of remembrance in the tiny church. What happens next is, literally, breathtaking – and one of the most terrifying and disturbing chapters of any novel you will read this year or next. With its memorable mix of crime fiction, menacing landscape, human jealousy, sinister tradition and pure menace, All Of a Winter’s Night is my book of 2017.
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