REVIEWS

THE ART OF DYING … Between the covers

Ambrose Parry is a pseudonym for a collaboration between Chris Brookmyre and Marisa Haetzman (pictured below). They live in Glasgow, slightly less genteel – at least in popular image – than Edinburgh, where this novel is set. It novel weaves together two stories, both of which have have factual origins. One strand deals with an horrific serial killer and her victims, while the other story is seen through the eyes of a young doctor in the middle years of the 19th century. The novel is a follow-up to the 2018 publication, The Way of All Flesh.

This is not a book for those squeamish about medical details – especially those common in the 19th century. There are tumours, painful deaths both lingering and sudden, surgical procedures that involve much guesswork and hopeful blundering about the human body – externally and internally. If you are still with me, then the story is this. It is 1849, and we first meet young Dr Will Raven when he is involved in a street brawl in Berlin, where he has been studying. He survives the encounter, and returns to Edinburgh, where he is reunited with his former mentor, Dr James Simpson. Simpson – a real-life character, pictured – is highly regarded, but also the object of much jealousy from less gifted physicians, and is facing charges of malpractice brought about by his envious peers.

Raven had hoped to find an earlier object of his affections – a young woman called Sarah, who also worked with Dr Simpson – available for further dalliance, but in the interim, she has married another doctor, Archie Fisher. He is terminally ill, and as both Will and Sarah are aware of this, the sad fact adds a certain piquancy to the relationship.

Away from the relative gentility of the Simpson household, we have a young woman who moves in very different circles. She has suffered a brutal and traumatic childhood. This has either directed her on a devilish pathway, or kindles a spark which was already there but, either way, she has become a murderer. The writers employ an obvious – but effective – counterpoint here, in that Sarah Fisher desires to become a doctor, while Mary Dempster seeks to hone her skills as a killer. Contemporary society believes that a woman cannot possibly be a success in either occupation.

It takes a while for Will and Sarah to come round to thinking the unthinkable – that Mary Dempster is a clever and a successful killer. Because we, as readers, have had the advantage of reading first-person-viewpoint chapters, we know that she is a devious and malevolent individual. Yes, she has had a terrible upbringing, involving degradation and abuse, but not all orphans who suffered at the hands of Victorian institutions turned out to be serial killers.

As I said earlier, if you are the kind or reader who would shudder at the thought of reading a cut-by-cut account of an early surgical attempt to save a woman from an ectopic pregnancy, then this may not be the book for you. Bolder souls will enjoy a gripping and twisty murder mystery shot through plenty of gore and passion. The Art of Dying came out in hardback in August 2019. This paperback edition is published by Black Thorn and is out now.

January 18, 2021 2

House With No Doors . . . Between the covers

This has the most seriously sinister beginning of any crime novel I have read in years. DI Henry Hobbes (of whom more presently) is summoned by his Sergeant to Bridlemere, a rambling Edwardian house in suburban London, where an elderly man has apparently committed suicide. Corpse – tick. Nearly empty bottle of vodka – tick. Sleeping pills on the nearby table – tick. Hobbes is not best pleased at his time being wasted, but the observant Meg Latimer has a couple of rabbits in her hat. One rabbit rolls up the dead man’s shirt to reveal some rather nasty knife cuts, and the other leads Hobbes on a tour round the house, where he discovers identical sets of women’s clothing, all laid out formally, and each with gashes in the midriff area, stained red. Sometimes the stains are actual blood, but others are as banal as paint and tomato sauce.

Hobbes makes a more thorough investigation of the strange house, and finds a cellar in which he discovers something even more disturbing. Author Jeff Noon introduced us to Hobbes in Slow Motion Ghosts (2019 – click for the review) and, like that earlier novel, this one is set in the 1980s. Hobbes is a bit of a misfit. He is certainly not ‘one of the lads’ back at the station. He is quiet, cerebral and single, his marriage to Glenda being certainly on the rocks and close to being sunk. As he tries to work out what secrets lie within the walls of Bridlemere, he has personal problems, the chief of which being the fact that his 17 year-old son has left home to live in a squat, where both his health and sanity are threatened.

Hobbes believes that although Leonard Graves did probably take his own life, an enigmatic note he left suggests that there is a body concealed somewhere in the house.. While an intensive search produces no human remains, what Hobbes calls The Case of The Thirteen Dresses becomes a genuine murder enquiry when the body of the old man’s son is found, battered to death in Richmond Park.

The more Hobbes learns about the Graves family, the more he feels drawn into their sinister world. Mary Estelle, Leonard’s wife, a former actress of renown, is living out her days in an old folk’s home, absorbed in her glittering memories, but was she responsible for corrupting her three children Rosamund, Camilla and Nicholas? Was there a fourth child, Adeline, mentioned in Leonard’s suicide not? And what of the grandson, David, and his obsession with Kusozu, the macabre Japanese art form that depicts the very corruption of death?

My verdict on House With No Doors? In a nutshell, brilliant – a tour de force. Jeff Noon (right) has taken the humble police procedural, blended in a genuinely frightening psychological element, added a layer of human corruption and, finally, seasoned the dish with a piquant dash of insanity. On a purely narrative level, he also includes one of the most daring and astonishing final plot twists I have read in many a long year.

Jeff Noon takes us to places unvisited since the days of the late, great Derek Raymond. This novel is crime fiction, yes, but also a journey into the darkest corners of the human soul. Raymond’s nameless copper also walked the bleaker streets of London, and he had a passion verging on obsession for avenging the victims of crime by finding the people who killed them. Henry Hobbes shares this single mindedness. House With No Doors is a chronicle of madness wearing a mask of normality. It is deeply moving and as Hobbes mines deeper and deeper into history of the Graves family, he shows us that it is not only the dead who are victims. The book is published by Doubleday and is out on 14th January.

January 10, 2021 0

TO THE DARK . . . Between the covers

I am delighted to say that my first review for 2021 is a new book by the reliably excellent story-teller, Chris Nickson. For those new to his books, he is a widely travelled former music journalist, who has rubbed shoulders with some of the big names in rock, but now pursues a rather more sedentary lifestyle in the Yorkshire city of Leeds. When he is not tending his treasured allotment, he writes historical novels, based around crime-solvers across the centuries, most of them based in Leeds.

You can click the link to check out his late 19th century novels featuring the Leeds copper Tom Harper, but his latest book takes us back a little further, to Georgian times. Leeds is undergoing a violent transformation from being a bustling, but still largely bucolic centre of the wool trade, to a smoky, clattering child of the Industrial Revolution.

There are fortunes to be made in Leeds, but crime is still crime, and Simon Westow is known as a thief-taker. Remember, this is before the emergence of a regular police force, and what law there is is enforced by (usually incompetent) town constables, and men like Westow who will recover stolen property – for a fee.

Westow is a man who has survived a brutal upbringing as an institutionalised orphan, and there is not a Leeds back alley, courtyard or row of shoddily-built cottages that he doesn’t know. He doesn’t work alone. He has an unusual ally. We know her only as Jane. Like Westow, this young woman has survived an abusive childhood, but unlike Westow – who isn’t afraid to use his fists, but is largely peaceable – Jane is a killer. She carries a razor sharp knife, and uses it completely without conscience if she is threatened by men who remind her of the degradation she suffered when younger.

When a petty criminal is found dead in a drift of frozen snow, Westow frets that he will be linked with the murder as, only a week or so earlier, he had completed a lucrative assignment that involved returning to their owner stolen goods that had come into the hands of the dead man. Instead of being harassed by the lazy and vindictive town constable, Westow is asked to try to solve the crime. It seems that two aristocratic officers from the town’s cavalry barracks might be involved with the killing, and this sets Westow a formidable challenge, as the soldiers are very much a law unto themselves. Meanwhile a notebook has been found which is connected to one of murdered criminal’s associates, but it reveals little, as it is mostly in code. Someone cracks the cipher for Westow, but he is little the wiser, especially when the text contains the enigmatic phrase ‘To The Dark.’

The discovery of a stolen handwritten Book of Hours, potentially worth thousands of gold sovereigns, further complicates the issue for Westow, and when the seemingly invincible Jane suffers a crippling injury, his eyes and ears on the Leeds streets are severely diminished. Still, the significance of ‘To The Dark’ escapes him, and when his life and those of his wife and children are threatened he is forced to face the fact that this seemingly intractable mystery may be beyond his powers to solve.

As ever with Chris Nickson’s novels we smell the streets and ginnels of Leeds and breathe in its heady mixture of soot, sweat and violence. In one ear is the deafening and relentless collision of iron and steel in the factories, but in the other is the still, small voice of the countryside, just a short walk from the bustle of the town. Nickson is a saner version of The Ancient Mariner. He has a tale to tell, and he will not let go of your sleeve until it is told. To The Dark is published by Severn House and is out now.

January 5, 2021 0

LONG BRIGHT RIVER . . . Between the covers

A wintry Philadelphia is the setting for Liz Moore’s fourth novel. A female police officer, Michaela ‘Mickey’ Fitzpatrick, works the streets of Kensington, This district’s history owes much to its proximity to the Delaware River, and the fishing, milling and transport industries, but these have long since ceased, and the area is run down, dilapidated, and one of the centres of the city’s drug trade.

This is not a crime novel in the traditional sense, and it certainly isn’t a police procedural, despite Mickey’s profession. The plot partly involves the search for someone who is killing young women who have been forced into prostitution to feed their drug habit but, although this is resolved, it is eventually incidental to the main thrust of the novel.

Mickey comes from a dysfunctional family. Her mother is long dead, she is estranged from her father, and both she and her sister Kacey were brought up by a rather forbidding and humourless grandmother they call Gee. Micky’s career in the police force is unspectacular, but it pays the bills for her and her young son Thomas. As the blurb on the back of the book cleverly puts it,

“Once inseparable, sisters Mickey and Kacey are on different paths, but they walk the same streets. Mickey on her police beat and Kacey in the shadows of the city’s darkest corners where the drug addicts and the sex workers preside.“

As more women fall victim to the mystery killer, Mickey becomes ever more frantic that Kacey will be the next body wheeled on a gurney into the mortuary to await the investigation by the police pathologist. When she hears from an old friend of Kacey’s that the killer is thought to be a police officer, she confides in her immediate boss, Sergeant Ahearn. Not only is he sceptical, but he bounces the accusation back at Mickey, and she finds herself suspended and under investigation into allegations about her own conduct.

Liz Moore (right) treats Mickey’s search for her sister on two levels: the first, and more obvious one, is a nightmare trip through the squats and shoot-up dens of Kensington in an attempt to find Kacey – a search, find and protect mission, if you will. On a more metaphorical level, the books becomes a journey through Mickey’s own past in the quest for a more elusive truth involving her family and her own identity.

As readers we have one or two tricks played on us by the author as she allows us – through Mickey’s narrative – to make one or two assumptions, before turning those on their heads. Liz Moore’s style is interesting, particularly in the way she replays dialogue. This is a powerful and thought-provoking novel which, despite some measure of redemption, has a truly chilling final few lines.

Long Bright River came out as a Kindle and in hardback earlier this year, and this paperback edition will be published by Windmill Books on 31st December

December 27, 2020 0

BETWEEN THE COVERS . . . The End Of Her

Firstly an apology. I have had this book for some time, and it had languished in my TBR pile, sadly ignored because of other pressing deadlines. I have now read it and, goodness me, if you want a razor sharp examination of people under stress, this is it! I am not sure if Anxiety Porn is a thing, but The End of Her tugs at the frayed ends of your nerves and insecurities – with a vengeance.

We are in the (fictional) town of Aylesford, New York State, and the cast is quite extensive. To start with, I had to go back to the beginning a couple of times to make sure I knew who was who. Central to the story are a married couple, Patrick and Stephanie. They have twin baby girls. Stephanie is Patrick’s second wife, his first having died a few years earlier in a tragic accident. Patrick is in an architectural partnership with Niall, who is married to Nancy. In a different town we have have Cheryl, Gary, and their adopted son Devin. The person who links these families is a woman called Erica Voss.

It is, hopefully, no spoiler to make it clear that Ms Voss is a nasty piece of work, so how does she tie in with the three couples? Back in the day, during Patrick’s first marriage – to the late Lindsey – she and Patrick had an affair which resulted in Erica becoming pregnant. Concealing the fact from Patrick, she gave birth to a son who she effectively sells, outside of normal adoption procedures, to Cheryl and Gary. Now, nine years later, she enters the three families lives like a malignant growth. After applying for a job at the architectural firm, she seduces Niall (for reasons which only become apparent later in the story). She then blackmails Cheryl and Gary, but her trump card is played when she informs Patrick that she has evidence that Lindsey’s death was not an accident, and she is prepared to have the case reopened unless, of course, she is paid to keep her mouth shut.

The sequence of events which caused Lindsey’s death is, apparently ‘a thing’ in places like Colorado, where deep snow is a winter certainty. Preparing to drive to visit Lindsey’s parents, Patrick has gone outside to dig the car out of four feet of snow. He has turned the engine on to warm the car, and while he is digging, the heavily pregnant Lindsey comes outside and sits in the car. The exhaust is, unfortunately, blocked with snow, and the resultant build-up of carbon monoxide inside the car sends Lindsey unconscious, and by the time Patrick has finished his digging, she is dead. The emergency services are called, but to no avail, and after an investigation, the case is closed, and goes on file as a tragic accident.

What happens next is for you to find out. One of Shari Lapena’s many gifts is to use the ploy of the unreliable narrator to great effect. Yes, Erica Voss is clearly a scheming and highly plausible villain, but who else is up to no good? I have to say that I didn’t see the final resolution coming, but is there a happy ending? You can judge for yourself. The End of Her is published by Bantam Press and is available now in all formats.

December 9, 2020 1

OUT FOR BLOOD . . . Between the covers

Aberdeen, Scotland.The Granite City. To say that Police Scotland’s DI Eve Hunter has baggage would be something of an understatement. Physically and mentally damaged by a ruinous encounter with a notorious crime family, she is only allowed back to work on the understanding that she undergoes tortuous (for her) therapy sessions with Dr Shetty, the police psychologist. We first met Hunter in Hold Your Tongue, and you can read that review by clicking the link.

We start with two corpses. One is an unidentified young woman, strung up by her neck to a tree on a golf course. The other, a young man, is found in more comfortable surroundings – his flat – but he is equally dead. As Hunter’s team begin to investigate the cases it seems that they could not be further apart. The dead man is an old boy of one of the area’s most prestigious independent schools, and has a rich father. The girl, however, is an Eastern European prostitute. Links between the two deaths slowly turn from gossamer to steel. Was one using the other? Is it that simple? Why do the names of powerful local figures crop up over and over again on the peripheries of the case?

In some ways we are on familiar territory here. We have the classic police procedural trope of the tired and overworked detectives trying to keep their family lives on track, while still having to give everything to ‘the job’. We have some coppers who are, if not actually corrupt, downright idle, their only concern being how to protect their pension Somehow, these stresses and strains of police work come over as fresh and as harrowing as if it were the first time we had read them.

This is not the first novel in recent years to highlight the deeply unpleasant trade in human lives carried out by Eastern European criminals. I live in a town where it happens, and nothing Deborah Massen (below) has written here is in any way exaggerated or fanciful. She vividly portrays the brutality of the men – and women – who run the rackets, and the misery of the girls who become enslaved.

Masson showed in her previous book that she has a talent for having her police characters (and with them, we readers) pursue one line of enquiry, convinced that solution can only lie in that single direction, only for events to take a startling turn in another direction altogether. In proving that we are all wrong, and making the plot twist plausible, she takes a great risk, but I have to say her gamble pays off, and she produces a startling conclusion with the true flourish of a literary magician. Out For Blood is available in Kindle from Transworld Digital now, and will be out in paperback under the Corgi imprint on 10th December.

November 27, 2020 0

RIVER OF SINS . . . Between the covers

A little while ago I reviewed a novel set in Worcestershire – it was the beginning of WW2, and it centred on the fictional village of Ambridge and, of course, featured The Archers. History of a very different kind now. River of Sins is the seventh in a series of historical mysteries written by Sarah Hawkswood set in and around the city of Worcester in the 12th century.

I am new to the series but I enjoyed the fact that we have that most dependable of crime fiction tropes – a pair of investigators. There is a slight variation a theme in this case, as they are aided by an intrepid young apprentice. The dynamic between the three works well. Hugh Bradecote is the Under Sheriff, and is of noble birth with a degree of hauteur, while Sergeant Catchpoll is Worcester through-and-through, rough and ready, but very street-wise. Walkelin – the apprentice – is something of a ‘gofer’, but is bright, perceptive, and not afraid to speak his mind.

The novel begins with a woman being brutally done to death on a small island in the River Severn on the northern outskirts of Worcester. We learn that the woman and her killer are acquainted, but just how, and what the significance is, only unfolds with the investigation.

The dead woman is Ricolde, known throughout the city as The Whore of Worcester. She was widely despised by the gentlewomen of the city, while being used by their husbands, but as Bradecote and Catchpoll discover, there was another dimension to Ricolde. Educated, and perfectly content to talk the night through with men who demanded nothing other than her company, she also gave money to the church to be used to ameliorate the misery of other women of the street who were less resilient than she.

The investigators struggle to find a motive for the murder. Moral disapproval doesn’t usually lead to someone being dismembered with a woodsman’s axe, but does the clue to Ricolde’s death lie deep in her past, and has it to do with the horrific scars on the soles of her feet, inflicted decades earlier?

Sarah Hawkswood’s Worcester is a place we can see, hear, feel, breathe – and smell – as the mystery unfolds. What is the River of the title? It is the River Severn, broad and deep, a source of fresh food, a vital artery of transport at a time when roads were just beaten dirt, but also a means of escape and concealment. With only the most rudimentary forensic skills available, Bradecote and Catchpoll must rely on the most basic and time-honoured methods of detection, means, motive and opportunity. This is an excellent detective story which also gives us an intriguing glimpse into a long-lost world.

River of Sins is published by Allison & Busby and will be out in paperback and as a Kindle on 19th November.

November 19, 2020 0

THE BEACH PARTY MYSTERY . . . Between the covers

It’s the summer of 1966 and Brighton journalist Colin Crampton – he’s the crime reporter for the Evening Chronicle – gets a tip off from a friendly local copper that there has been a murder in Embassy Court, an upmarket block of flats on the seafront. Racing to the scene to try to out-scoop his rival from the Evening Argus, he ducks under the crime scene tape and learns that the dead man is Claude Winterbottom, a financial consultant.

Reporters are sometimes accused of muck-raking, and Crampton does literally that as he holds his nose and sifts through Winterbottom’s dustbin. He soon finds a motive for the man’s death. The so-called ‘financial consultant’ was actually a fraudster, selling get-rich-quick schemes to people with more money than sense. The list of people Winterbottom has scammed is quite impressive, and it even includes Crampton’s landlady, the redoubtable Mrs Gribble.

Peter Bartram (right) doubles up on the enjoyment by giving us a parallel plot (which eventually weaves in with the murder of Winterbottom) involving an off-shore pirate radio station, Radio Sea Breeze. Younger readers used to the communication free-for-all we have today may be puzzled by the concept. Back in the 1960s licences to transmit radio were not readily available in the UK and record companies had a tight grip on who played their music. Taking their cue from America, enterprising broadcasters exploited a loophole in the law by using ships anchored in international waters as their radio stations. The most famous was probably Radio Caroline which was on the air, using five different ships with three different owners, from 1964 to 1990. It still exists, but is now fully digital – and legal.

The Beach Party Mystery is a highly entertaining merry-go-round involving, in no particular order, The Rolling Stones, the FBI, the KGB, MI5, auditions for a James Bond movie, a Mary Whitehouse soundalike – and the world’s most insanitary pub. Unsurprisingly, for a man who has spent his life as a journalist, Peter Bartram has a nice turn of phrase, and a keen eye:

“It was one of those picture book places you find in the Sussex countryside. There were ancient houses with oak beams and sagging roofs. There were moss-encrusted flint walls. There was an old stone church and graveyard with weathered headstones. There was a village hall with a noticeboard. It carried news of scouts’ picnics’ Women’s Institute keep-fit sessions and parish council meetings.”

I make no apology for being a huge fan of the Colin Crampton novels. Yes, they may be light in tone, and they don’t set out to examine the darker recesses of the criminal mind, but I love them. The Beach Party Mystery is published by The Bartram Partnership and is out now, For reviews of the previous novels in the series, and also feature articles by Peter Bartram, click on the image below.

November 19, 2020 1

THE MUSEUM OF DESIRE . . . Between the covers

The strange-looking empty mansion in the dry hills above Los Angeles is rented out as a venue for everything from cancer charity fundraisers to wild parties. As the much put-upon guy from the agency wearily pushes his cart of cleaning materials up the hill, he is expecting the usual joyless cocktail of spilled food, used needles and condoms. What he actually finds causes him to part company with his breakfast burrito.

In a stretch limo parked in front of the house, he finds four people, each very, very dead, and with the floor of the car swimming in blood. Cue another case for LAPD Detective Milo Sturgis and psychologist Dr Alex Delaware. Veterans of the long-running series (this is book number 35 since When The Bough Breaks in 1985) will know the basic set-up. Delaware’s day job is in child psychology, while Sturgis is, in now particular order, gay, unkempt, a brilliant cop and eternally hungry.

The four corpses in the limo seem to have nothing at all in common aprt from being dead; a thirty-something professional bachelor with an insatiable – but perfectly legal – love life, and elderly chauffeur, a gentle and harmless man with mental problems who lives in sheltered accommodation, and a rather unprepossessing middle-aged woman who, it transpires, had drink and drug issues, and lived mostly on the streets. To add to the mystery, the forensic team analyses the blood on the floor of the car – and it is canine.

Delaware and Sturgis are convinced that the killings took place elsewhere, and the interior of the limo was an elaborate stage set. But who is the director of this hellish drama, what is the message of the play, and who was the intended audience?

Bit by bit, one slender thread at a time, the tangle of the mystery is unpicked. As per usual Kellerman (right) gives us a spectacularly complex solution to the quadruple murder. It’s almost as if we are passengers on a train journey, and some of the sights that flash by the window before we reach our destination include erotic Renaissance paintings, a chillingly damaged autistic teenager and a brief glimpse of Herman Göring’s fabled collection of looted art.

There will be, no doubt, some people who will look down their noses at this book – and others like it – while dismissing it as formulaic. Of course it is written on a certain template, but that’s what makes it readable. That’s why readers turn, again and again, to books that are part of long running series. We don’t want John Rebus to start behaving like Jack Reacher, any more than we will be happy for Carol Jordan to turn into Jane Marple. The Museum of Desire is slickly written, for sure, but I think a better word is ‘polished’. Both the dialogue and interaction between Delaware and Sturgis crackle with their usual intensity, and we are not short-changed in any respect in terms of plot twists and deeply unpleasant villains.

The Museum of Desire is published by Century/Arrow/Cornerstone Digital, came out in hardback and Kindle earlier this year, but this paperback edition will be available from 12th November.

November 9, 2020 1