England. 11th April 1981. While the music charts bubble with the froth of Bucks Fizz, Shakin’ Stevens, Adam and the Ants and The Nolans, London – at least the place south of the river called Brixton – is aflame with violence, racial hatred and mayhem. As the police struggle to control the streets a middle aged Detective Inspector called Henry Hobbes is bused in to help. No matter that Hobbes – and many other senior detectives likewise – is a stranger to riot control, it is a case of all hands on deck.
Later that year, with Brixton quieter, despite other English towns and cities erupting in copycat anger, Hobbes has become embroiled in a bitter internal dispute. A fellow copper, Charlie Jenkes (who rescued Hobbs from the mob on that fateful April night) after being indicted for savagely beating a black suspect, has taken his own life. And the officer who testified to Jenkes’s violence? Henry Hobbes, who, with that single act of honesty, is branded as a Judas by his own colleagues.
But now Hobbes has something to distract him from his disintegrating family life and his pariah status among fellow officers. A young man is found dead, wth his body gruesomely mutilated. Brendon Clarke was a minor celebrity, the lead singer with an aspiring band called Monsoon Monsoon, whose chief claim to fame is that they play the music of another dead rockstar – Lucas Bell. Bell’s celebrity rests on hs apparent suicide, his angst-ridden persona, and, most of all, his adoption of the identity of King Lost, a charismatic figure with a gruesome mask.
As Hobbes tries to unpick the complex knot which ties together the identities of Brendan Clarke and Lucas Bell, he discovers that the King Lost legend has its roots in a bizarre fantasy world created by a group of teenagers in the Sussex town of Hastings. With more murders being linked to the world of King Lost, Hobbes is drawn into an investigation which exposes child abuse, blackmail, madness and revenge.
Genre compartmentalising books is not always helpful, but it is fair to say that Noon’s previous novels have used tropes from science fiction, psychedelia and dystopian fantasy. Slow Motion Ghosts adopts conventions of the police procedural, but is more adventurous, asks more questions and has a distinctly noir-ish feel. Noon uses his knowledge of the music scene to bore down into the strange phenomenon of the celebrity cult, and the lengths to which worshippers of dead heroes are prepared to go in order to keep their fantasies alive.
Jeff Noon was born in Droylsden in 1957. He was trained in the visual arts, and was musically active on the punk scene before starting to write plays for the theatre. His first novel, Vurt, was published in 1993 and went on to win the Arthur C. Clarke Award. He reviews crime fiction for The Spectator.
Slow Motion Ghosts is published by Doubleday, and is out now.