REVIEWS

WE CAN SEE YOU … Between the covers

Whatever your view on lifestyle coaches, they certainly have a market, and perhaps nowhere more so than in the ever-so-socially-aware state of California. Brook Connor may not have cornered that market, but she has a best-selling ‘how to come out on top’ guide to her name, as well as wealthy clients and a regular spot on TV. She may not have absolutely everything – after all, her husband is a failed movie actor-cum-tennis coach with a roving eye, but her bank balance is healthy, her home is valued in the millions, and she has an adorable five year-old daughter.

Correction. She did have an adorable five year-old daughter. She returns home after work one day to find both daughter Paige,and nanny Rosa gone, and a chilling note explaining that they have been taken. A severed finger inside a prettily decorated gift box persuades Brook that these people are not fooling around.

As ever in kidnap cases both real and fictional, the bad guys caution against any police involvement, and so Brook and husband Logan get the ransom money together and set off to make the exchange. Of course, the exchange doesn’t go to plan, and Brook is left concussed at the bottom of a gully out in the sticks, the money has gone, and there is the inconvenient matter of a body in the trunk of her SUV, lifeless mainly because of one of her own kitchen knives sticking out of his ribs.

Brook goes on the run, confounded by her initial decision not to involve the police, and also the discovery of the body in the trunk of her car. There is nothing the media loves more than a celebrity criminal, and soon her face is plastered over every news channel. Armed only with her own automatic sidearm and a blazing desire to find her daughter, she leads the law enforcement agencies a merry dance until her race against time comes to an abrupt and bloody end in the personal gym of a notorious ‘businessman’ with links to the infamous cartels from south of the border, down Mexico way.

Kernick very cleverly uses a split time narrative, with one showing Brook in custody facing multiple murder raps, and another detailing the events which have led to her arrest. He is not done with us, though; a seismic plot shift leads to a dramatic conclusion which even Nostradamus would not have seen coming.

This is breaking-the-sound-barrier thriller fiction at its very best; Kernick doesn’t miss a trick, and gives us the works – crooked cops, a body in the freezer, an embittered PI, an omnipotent and sadistic drug overlord (Mexican,of course), a kidnapped child and that most dangerous of creatures, a powerful female determined to protect her young. We Can See You is published by Century and is out today, 29^thNovember.

November 28, 2018 0

KINGDOM OF THE BLIND . . . Between the covers

I can almost hear the sneers now:

“Call yourself a crime fiction reviewer?”
“Pull your head out of the sand, mate”
“What next? You have heard of Sherlock Holmes, I take it..”

Actually, no.Crime fiction reviewers tend to be a fairly charitable lot, especially as most of us are not in it for the money, but for the love of reading (and a few ARCs, naturally) But I do have to confess a sense of embarrassment at reading a brilliant book and then realising that it is only the latest in a well established series of which I had been blissfully unaware.

Apology done and, I hope, dusted. Armand Gamache is a senior policeman with the Sûreté in Quebec the francophile province in Canada. He is still under suspension following a controversial drugs case which resulted in one of his colleagues being badly shot up, and a potentially fatal consignment of the opioid fentanyl going missing.

Gamache is informed by a notary that he has been named as an executor of a will. He has, however, never met or even heard of the deceased woman. Intrigued, he goes to meet the notary and his fellow executors at a remote farmhouse. Arriving, in the teeth of a violent blizzard, he is bemused to discover that a friend from his home village of Three Pines, has received the same summons.

The mystery deepens when Gamache learns that the dead woman was a domestic cleaner, and she has bequeathed an estate apparently worth millions of dollars. She used to joke that she was of noble blood, but was her self-mockery founded in fact?

A murder at ‘Baroness’ Baumartner’s ramshackle farmhouse transforms the affair from peculiar to deadly, and Gamache is sucked into an investigation which can only end badly. In addition, he has a two huge problems, massive elephants in the confined space of his professional room. Firstly, Amelia Choqet, an unconventional young police woman who has been mentored by Gamache, has been kicked out for drug offences, and has now apparently reverted to her former lifestyle of street whore and drug abuser. Secondly he is tormented by the fear that if the missing batch of opioids gets onto the streets, there will carnage.

The murder of Anthony Baumgartner takes Gamache and his team into the murky world of investment finance and an environment where millions of dollars are flicked this way and that by financial ‘experts’.

Allegedly, native Canadians have fifty words for snow, and LouisePenny certainly makes us shiver, stamp our frozen feet, and clap our gloved hands together. The weather becomes a baleful and powerful character in The Kingdom Of The Blind, and every step Gamache and his team take is in defiance of snowdrifts, abandoned vehicles and cold of such intensity that exposed skin is first brutalised and then destroyed.

In addition to describing the search for a murderer, Louise Penny cleverly sets off two other plot-lines for us to chase, and she takes great delight in resolving both, but neither in the way we have been led to expect. Kingdom Of The Blind is little short of perfect; a consummate crime novel with razor-sharp characterisation, a real sense of compassion, convincing dialogue and a plot that seizes the reader’s hand and will not let go. Published by Sphere, the novel (the 14^th in the series) is out on 27th November.

November 24, 2018 0

THE MOTHER’S DAY MYSTERY . . . Between the covers

Robin Williams, Paul Krassner, Pete Townshend, Grace Slick, Timothy Leary, and many others have been credited with the saying, “If you can remember the 1960s, you weren’t really there.” Fortunately for us, Peter Bartram can and was. His lifetime of working as a journalist has produced an alter ego, an enterprising young journalist called Colin Crampton who works for The Brighton Evening Chronicle. He has a gorgeous Australian girlfriend called Shirley, a pantomime landlady by the name of Mrs Gribble, a chain-smoking news editor called Frank Figgis, an amazing habit of getting involved in murder mysteries – and he drives an MGB.

In The Mother’s Day Mystery, Crampton discovers the body of a schoolboy who has evidently been knocked off his bike and fatally injured. What on earth was Spencer Hooke doing away from his dormitory in Steyning Grammar School at the dead of night, cycling along a lonely and windswept clifftop road? In pursuing this conundrum, Crampton whisks us into a world of stage vicars, seedy pub landlords, archetypal leather-elbowed schoolmasters and impecunious toffs. There are jokes a-plenty, and Bartram indulges himself – and those of us who are, similarly, in the autumn of our years – with many a knowing cultural reference that might puzzle younger readers. He takes us into a wonderful sweet shop, the kind which can nowadays only be found in museum recreations:

“I stepped into a small room with a wooden counter topped with a glass-fronted case. To the side of the case was a set of balance scales with its weight tokens. Behind the couter were shelves loaded with jars of sweets. There were chocolate drops and sherbert lemons and liquorice allsorts. There were humbugs and fruit gums. There was barley sugar which glowed yellow like it was radioactive.

The air was loaded with a sickly scent like it had been sprinkled with sugar dust. If you breathed in deeply, you felt you were dancing.”

There is an unashamed sense of the risqué seaside postcard about much of the humour:

‘She was pouring coffee into a mug.

I ambled over and said, “Mine’s white but strong.”
Susan said: “So I’d heard. But how about your coffee, honeybunch?”
She guffawed at her joke and made her chins wobble.’

The wisecracks are not all end-of-the-pier stuff, however. When Crampton meets the owner of the gorgeous sweet shop, he is almost Chandleresque:

“She had a figure that would get Brigitte Bardot demanding a recount …. little laugh lines crinkled around her mouth as her full lips parted in the kind of welcome smile I felt I could pay into the bank.”

Anyone who is a student of English humour will soon see that Bartram is part of a long and distinguished tradition of comic writers who find meat and drink in the absurdities of English life and social structures. In the world of crime fiction, however, comedy does not always sit well with murder and bloodshed. The great and sadly under-appreciated Colin Watson did the job beautifully in his Flaxborough novels, while modern writers such as MJ Trow and Christopher Fowler perform the balancing act with similar verve. I am happy to put Peter Bartram (right) up there on the podium with those past and present masters. Incidentally, and quite appropriately for a Sussex man, Bartram knows and loves his Kipling, and manages to quote the great man on a number of occasions

Such is the joyful nature of the writing that the plot is almost irrelevant, but Bartram remembers that Crampton has a murder to solve, and he gives us the classic Golden Age denouement scene in the library. Except it’s not in the library, but in the village church, under the shocked gaze of the pompous Rev. Purslowe. Before the riddle of Spencer Hooke’s death is solved (with an “I’m Spartacus” moment) we get the best joke in the book.

“Georgina had caused a stir when she’d walked into the church. She was wearing a low-cut blouse and a mini-skirt which ended a couple of inches below the Book of Revelations.”

The Mother’s Day Mystery is published by The Bartram Partnership, and is out now. Watch the Fully Booked Twitter feed for a chance to win this novel.

Follow the links to check out other features and novels by Peter Bartram.

The News Editor, The Woodbines, and a Eureka Moment

Switched On: The Story of 1960s TV Game Shows

The Tango School Mystery

Front Page Murder

Stop Press Murder

I Do Like To Be Beside The Seaside …

Peter Bartram also has an excellent website where you can Meet The Characters

November 11, 2018 0

A GREATER GOD . . . Between the covers

Superintendent Christian Le Fanu makes a welcome return in A Greater God, the fourth in the excellent series of historical crime novels by Brian Stoddart. The previous novel, A Straits Settlement, saw Le Fanu playing away from home in Penang, but now he has returned to his adopted home of Madras. His colleagues Mohammad Habibullah and Jackson Caldicott are relieved to see him, because in his absence the Inspector General of Madras Police, the incompetent and choleric Arthur Jepson, has been creating havoc with his hardline racist approach to policing.

Habibullah and Caldicott normally have a harmonious and respectful relationship, but Le Fanu senses a change. Habibullah is becoming increasingly concerned about the worsening status of his fellow Muslims and this has created tension with Caldicott. This adds to Le Fanu’s sense of unease about the wisdom of his return to Madras. While in Penang, he has fallen in love with Jenlin Koh, a beautiful Chinese woman and has been offered a lucrative job in the Straits Settlements. As the behaviour of Jepson becomes more erratic another piece of bad news adds to Le Fanu’s problems: his former lover, Ro McPhedren, from whom he has parted relatively amicably, has been stricken with typhoid in Hyderabad and is not expected to survive.

For good or ill, events soon jolt Le Fanu out of his introspective mood. A Muslim community has been violently attacked, probably by Hindu extremists, and it looks as if Habibullah’s worst fears are being realised. When nationalist agitators converge on Madras for a planned assault, a disastrous intervention by Jepson leaves police officers dead. Le Fanu’s military experience, cool head and excellent leadership is needed to resolve the situation, albeit temporarily, but the prospect of serious bloodshed between Muslims and Hindus remains a frightening possibility unless wiser heads prevail.

Le Fanu is no Boys’ Own hero: he has a physical revulsion and genuine terror of bloodshed, and this makes his courage under fire even more remarkable. I can’t think of another writer, unless it is the inestimable Chris Nickson with his ‘hear-it, breathe-it, smell-it’ series of Leeds novels, who brings history to life with as much élan as Brian Stoddart. His 1920s India is announced not so much with a trumpet as a fanfare. Where he excels is not so much in the details of sensory perception (although they are strong) but in the portrayal of the infinitely complex social nuances, not only between the Indians and the British, but those between British people of different backgrounds, education and aspirations.

Stoddart knows India, just as we know that the cloud-capped towers, the gorgeous palaces, the solemn temples and the whole insubstantial pageant of British India did, eventually fade. But did they leave ‘not a wrack behind’? There were decent men like the fictional Le Fanu. There were men and women who, maybe through pragmatism, perhaps through enlightenment, realised that in the end a nation of people with minds every bit as quick and aspirations just as heartfelt as those of their colonial rulers, would emerge and cast off recent history like an old and threadbare coat.

The divisions between Britain and its former subjects in India are largely a thing of the past: sadly, what divides Hindu and Muslim within the pages of A Greater God is a more formidable beast and one that has yet to be slain. Add proud Sikhs into the mix, and there remains a conflict which, while it currently appears to be only embers of a former fire, there remains the fear that it can still burst into violent flames.

A Greater God is a tense crime thriller, but also a deeply compassionate human story written by an author at the top of his game. It is published by Selkirk International, and will be out on 30^th November.

We also have a feature on the author, and clicking the blue link will take you to it.

November 9, 2018 0

THE SENTENCE IS DEATH . . . Between the covers

For those of you who are unfamiliar with the first book in this series, The Word Is Murder (and you can read my review here) you need to know that Anthony Horowitz has created a quite delightful literary conceit, and it is this: the story is narrated by Anthony Horowitz, as himself, and along the way we get to meet other real people in his life, such as his wife, his literary agent, and even some of the actors in his Foyle’s War series. The principal fictional character is an ex Met Police officer called Daniel Hawthorne, who was drummed out of the service for misconduct, but now operates as a private investigator, paid by the day by his former employers to work on difficult cases. Hawthorne has persuaded Horowitz to be Boswell to his Johnson and to write up the investigations as crime fiction.

Hawthorne is an intriguing character. He is probably somewhere on the autistic spectrum, lives alone, and has few social graces, His powers of deduction and observation are, however, remarkably sound. He immediately sees through the statement one witness has just given:

“The MG was right in front of us. Hawthorn pointed with the hand holding the cigarette.

‘There’s no way that’s just driven down from Essex of Suffolk, or anywhere near the coast.’
‘How do you know?’
‘The house he showed us in that photograph didn’t have a garage and there’s no way this car has been sitting by the seaside for three days. There’s no seagull shit. And there’s no dead insects on the windscreen either. Your telling me he’s driven a hundred miles down the A12 and he hasn’t hit a single midge or fly?’”

The case which has forced the police to seek Hawthorne’s help concerns a rich divorce lawyer who has been found battered to death in his luxurious house on the edge of London’s Hampstead Heath. For a decade or more Richard Pryce has been the go-to man for wealthy people who have had enough of their wives or husbands and want a divorce, but more particularly a divorce which will leave Pryce’s clients with as much of the family loot as possible. So, it is inevitable that while Pryce is adored by some, he is bitterly hated by others, and thus there are one or two obvious initial suspects. First among these is a rather aloof literary author whose determination to conflate America’s 1940s nuclear strategy with gender politics has won her many admirers of a certain sort. Her expensively produced collection of pretentiously profound haikus (is there any other kind?) has also made her much in demand at soirées in upmarket bookshops.

Then there is Pryce’s art dealer husband who, Hawthorne soon discovers, has been ‘playing away’ with the svelte young Iranian man who is front-of-house in his so, so discreet gallery. Has his affair been rumbled? Was Pryce about to cut him out of his will? The most unlikely connection, however, relates to Pryce’s younger self when he and two university buddies were enthusiastic cavers. Did a tragedy years earlier, 80 metres beneath the Yorkshire Dales, set in train a slow but remorseless search for revenge?

The abundance of questions will give away the fact that this is a tremendous whodunnit. Horowitz (right) tugs his forelock in the direction of the great masters of the genre and, while we don’t quite have the denouement in the library, we have a bewildering trail of red herrings before the dazzling final exposition. But there is more. Much, much more. Horowitz’s portrayal of himself is beautifully done. I have only once brushed shoulders with the gentleman at a publisher’s bash, so I don’t know if the self-effacing tone is accurate, but it is warm and convincing. More than once he finds himself the earnest but dull Watson to Hawthorne’s ridiculously clever Holmes.

Horowitz is, I suspect, too polite to be cruel to fellow writers, but he cannot resist a dig at earnest feminist authors who treat every moment of history as if it were a glaring example of man’s inhumanity to women. Trash fiction does not escape, either, and when his fictional self reads a page from the latest sub-Game of Thrones swords and sorcery shocker, it is horribly accurate. Above all, though, this is a classic 24 hour novel. You start reading, you dart off to do something like pick up the kids, or turn on the oven. Back you come to the book, and before you know it, you are 200 pages in. Time flies by, and then bang! It’s finished. You know who the killer is, but you just wish you could start the book all over again. It really is that good. Published by Century, The Sentence Is Death is out on 1^st November.

October 31, 2018 0

NO TIME TO CRY . . . Between the covers

I’ll adapt George Bernard Shaw’s famous put-down of teachers and say, “Those who can write, do, but those who cannot, write about writing.” All book reviewers would do well to keep that little homily burning like a beacon in the night, and admire the invention, the endless re-writes and the sheer physical effort required to complete a novel. On top of that, what an amazing stroke of brilliance it is when an author of crime novels creates a character who resonates with the public and is credible enough to support a series. What an even bigger stroke of daring it is when the writer is prepared to leave that person behind. either temporarily or otherwise, and introduce a new creation to faithful readers.

James Oswald’s Tony McLean has not met with a Reichenbach Falls accident, but at the end of The Gathering Dark we left him facing a tragedy in his personal life. Now, Oswald begins a new series featuring Detective Constable Constance Fairchild of the Metropolitan Police. We meet her when a delicate undercover operation goes badly, badly wrong. So wrong, in fact, that she has found her boss, DI Pete Copperthwaite slumped in a chair in the office they have been using as a front for their sting. He has been tortured, and then shot through the head.

Fairchild is perplexed and hurt when she is blamed for Copperthwaite’s death, and suspended from duty. Puzzled, and seemingly powerless to get to the bottom of who murdered Copperthwaite, she seeks diversion by trying to find a missing girl, the younger sister of an old school friend. Her sense of injustice turns to anger, though, when a clumsy attempt is made on her life, and it becomes obvious that she is being followed. Is this because of the police sting operation which went, as she puts it, “tits up” or is it connected to her search for Izzy De Villiers?

So, to echo Shakespeare, who is Constance, what is she? Lovely, fair, and wise is she? Oswald lets us form our own image to a large extent. We do know that she has short spiky hair, no romantic inclinations that we can see, and has several tattoos. The latter are a result of a rebellion against her aristocratic background, because Lady Constance Fairchild, to use her correct title, is the younger daughter of the Fairchilds of Harston Magna, a Northamptonshire village, much of which is owned by her estranged father. Con, as she prefers to be known, was educated at a select girls’ boarding school, but has gone down the rebellion route at 98 mph with headlights on full beam, and has done everything she can to metaphorically spit in the eyes of her parents – including becoming a police officer.

Admirers of James Oswald will know that he has a day (and night) job as a livestock farmer in the Scottish Highlands, and he indulges himself by taking us there as Con, attempting to throw off her pursuers, retreats to the secluded family holiday home overlooking a remote Scottish loch. One of the big questions that nag at her is the apparent reluctance of Izzy’s father, an obscenely rich hedge fund manager, to locate his missing daughter. How is Roger De Villiers connected to the murder of Pete Copperthwaite? Are Con’s bosses at the Met crooked, too, or are they simply too stupid to see the obvious?

Constance Fairchild is brave, cussed, resourceful and intelligent, and James Oswald has, I believe, struck gold for a second time. The action is relentless, and Fairchild literally has No Time To Cry as she seeks to unravel a tangle of criminality and child abuse, as well as dodging bullets. Those missing the world of Tony McLean have, in addition to a terrific new novel, a crumb of comfort as Oswald cannot resist bringing in an old friend from Edinburgh for a brief cameo appearance. No Time To Cry is published by Wildfire, came out as a Kindle earlier this year, and will be available in paperback from 1^st November.

October 28, 2018 0

KITH AND KIN . . . Between the covers

Coming across a very, very good book by an author one has never encountered before and then realising that she has been around for a while is a shock to the system, and if the downside is that the experience further highlights one’s own ignorance, then the blessing is that as a reviewer and blogger, there is something new to shout about. Jane A Adams made her debut with The Greenway back in 1995, and has been writing crime fiction ever since, notably with four-well established mystery series featuring Mike Croft, Ray Flowers, Naomi Blake and Rina Martin. She began the saga of London coppers Henry Johnstone and Micky Hitchens in 2016, with The Murder Book. Their latest case is Kith and Kin.

The novel has a split timeline. It is mostly set in 1928, but uses flashbacks to earlier events. Two bodies are washed up on the muddy banks of the confluence of the rivers Thames and Medway, on the Kentish shore. Even with the relatively primitive technology available to them at the time, Johnstone and Hitchens realise that the two corpses were not drowned, but stabbed, and then cast into the river. The two sailors who bring the corpses to the attention of the police are then found not to be sailors at all, but henchmen of a feared and brutal London gangster, Josiah Bailey.

I don’t know if the author intended it that way, but the violent paranoia of Josiah Bailey is a perfect echo of the self obsessed madness of a certain Mr Ronald Kray, whose bloodlust has enlivened many a subsequent crime novel – and court report. But I digress. Johnstone and Hitchens have to scrabble and scratch for information, because the dead bodies found on the Kentish marshes are connected to the two most secretive and distrustful communities in the land – Gypsies, and London gangsters. Those groups should not be conflated, and Johnstone does not make this mistake. Instead, he nags away at a connection between the dead men and the cataclysmic events of 1914-1918 – events in which both he and Hitchens were involved, and of which they have indelible memories.

The world of Gypsies remains closed to most of us. We may suffer from Travelers occupying a seafront, a playing field or a car park near us and when they leave behind a mountain of litter and waste we can curse about cultural diversity. This image, understandably negative, can be given a different focus when, as Adams does here, writers remind us of the tight-knit, self-sufficient communities of the old Romany families. The Gypsies in Kith and Kin have a strong sense of honour and a knowledge of the world which could never be imparted in a school classroom.

The period is set to perfection, and Adams (right) skilfully combines past, present and future. The past? There can scarcely have been a man, woman or child who escaped the malign effects of what politicians swore would be the war to end wars. The present? 1928 saw devastating flooding on the banks of the River Thames, a book called Decline And Fall was published, and in Beckenham, not a million miles away from where this novel plays out, Robert ‘Bob’ Monkhouse was born. The future? Johnstone’s sister, who has married into money, has a head on her shoulders, and senses that in the financial world, a dam is about to break – with devastating effects.

Kith and Kin is excellent. Adams gives us a spider’s web of a plot; we are attracted, drawn in – and then consumed. Johnstone and Hitchens strike sparks off each other; the bond between them has been forged in the blood and fire of the Flanders trenches. We have memorable characters; Sarah Cooper, the matriarchal Gypsy is strong and wise, but remote; Josiah Bailey is as mad as a box of frogs and a hundred times more dangerous; Johnston’s sister is wordly wise, but compassionate and perceptive.

I apologise for preaching to the converted, but for me, Jane A Adams is a new star in my firmament. Kith and Kin is published by Severn House and is out now.

October 16, 2018 0

BROKEN GROUND . . . Between the covers

The Body In The Bog is a nicely alliterative strapline normally used to liven up reports of archaeologists discovering some centuries-old corpse in a watery peat grave. The deaths of these poor souls does not usually involve an investigation by the local police force, but as Val McDermid relates, when the preserved remains are wearing expensive trainers, it doesn’t take the tenant of 221B Baker Street to deduce that the chap was not executed as part of some arcane tribal ritual back in the tenth century.

A pair of hopefuls from England have traveled to the bleak Scottish moors of Wester Ross, armed with what they hope is a treasure map. They hope to uncover not a sturdy wooden chest bursting with pirate doubloons or King John’s lost gold, but treasure of a different sort – two mint condition vintage motor cycles, worth a fortune at 2018 prices. They disinter the motorcycles with the help of a friendly local crofter and his mini JCB, but their elation is soured by – yes, you’ve guessed – the aforementioned fellow and his 1995 Nike Air Max sportswear.

Motorcycles? Buried in a Scottish peat bog? Marked on a map? Has Val McDermid finally lost her marbles after years of inventing fiendish ways for people to die? Leaving no question unanswered, I have to say yes, yes, yes – and an emphatic NO! Breaking Ground is the fifth in McDermid’s DCI Karen Pirie series and is shot through with the author’s trademark brilliance. McDermid does complex, clever, conflicted women like no-one else, and Pirie – of Police Scotland’s Historic Crimes Unit – is a fine cop, scarred by personal tragedy, studiously unglamorous in looks and style, but with a fierce determination to seek justice for victims of crime, both living and dead. The police procedural aspect of the story is cleverly done, and provides the essential counterpont of rivalry, betrayal and bitterness which run beneath the main tune which is the public face of policing.

If music halls were still in vogue, McDermid would be the dextrous juggler, the jongleur who defies gravity by keeping several plot lines spinning in the air; spinning, but always under her control. There is the Nike bog body, a domestic spat which ends in savagery, a cold-case rape investigation which ends in a very contemporary tragedy, and an Assistant Chief Constable who is more concerned about her perfectly groomed press conferences that solving crime. They say that the moon has a dark side, and so does Edinburgh: McDermid (right) takes us on a guided tour through its majestic architectural and natural scenery, but does not neglect to pull away the undertaker’s sheet to reveal the squalid back alleys and passageways which lurk behind the grand Georgian facades. We slip past the modest security and peep through a crack in the door at a meeting in one of the grander rooms of Bute House, the official residence of Scotland’s First Minister, even getting a glimpse of the good lady herself, although McDermid is far too discreet to reveal if she approves or disapproves of Ms Sturgeon.

Karen Pirie battles the metaphorical demons of her own personal history, while facing more literal malice in the person of a senior officer who is determined to bring her down. The death of her beloved partner Phil has bequeathed emotional turmoil, anger and longing. When she meets a potentially interesting man in the course of a murder investigation, she is conflicted. Is he lying to her? Is he just a glib charmer, ruggedly beautiful in his kilt, or is his interest in her – intentionally dowdy and brusquely professional as she is – genuine?

Val McDermid answers all these questions, and poses a few of her own, particularly about the state of modern Scotland and the role of cash-strapped police forces in a society which demands quick solutions, and to hell with integrity. Broken Ground is published by Little, Brown and is available in hardback and as a Kindle. Amazon says that it will be out in paperback early in 2019.

Click the link to read the review of McDermid’s previous novel, Insidious Intent.

October 13, 2018 0

STEALTH … Between The Covers

London in 1967 seems to have been an exciting place to live. A play by a budding writer called Alan Aykbourne received its West End premier, Jimi Hendrix was setting fire to perfectly serviceable Fender Strats, The House of Commons passed the Sexual Offences Act decriminalising male homosexuality and Joe Orton and Kenneth Halliwell featured in a murder-suicide in their Islington flat. This is the backdrop as Hugh Fraser’s violent anti-heroine Rina Walker returns to her murderous ways in Stealth, the fourth novel of a successful series.

I am new to Ms Walker’s world, but soon learned that a brutal childhood deep in poverty, where attack was frequently the best form of defence, and a later upbringing embedded in the world of London gangsters, has shaped her view of life. Although parliament had decreed that chaps could sleep with chaps, provided both were willing, there was little public approval for chapesses having the same latitude, and so Rina’s love affair with girlfriend Lizzie is accepted but not flaunted.

Lizzie has been set up by Rina as proprietor of a Soho club, more or less legit, but with a multitude of blind eyes which fail to focus on minor breaches of the moral code. When a young tart is found in a club back room, battered to death with a hammer, Rina not only takes offence but wreaks summary revenge. The killer, a bare-knuckle fighter called Dave Priest, is not only thumped by his latest opponent on the cobblestoned back yard of a dingy pub, but becomes the latest victim of what might be called Rina’s Law when she kills him and artfully arranges his corpse to look as if he had slipped on the stairs.

Rina is locked into a world where she is forever repaying favours, or earning them and taking rain checks for a later day. One of her debts is to a grim and sordid gang boss who, in turn, owes a favour to a homicidal maniac currently a patient in Broadmoor. This particular penance involves her bumping off a perfectly innocent builder who has had the temerity to offer the maniac’s wife a new life in the dreamy suburbs of Romford. Rina is not totally without moral scruples, although if you blink you will miss them as they whizz past your eye line at the speed of light. She tries to scam her employer by staging the death of the honest builder, but she is found out in a complex sting involving shadowy operatives of military intelligence.

Is Rina fazed by the step-up in class from bumping off Essex builders to the complex world of international intrigue, Cold War deception and men in expensive suits who never, ever are who they say they are? No, not for one moment. Whether downing large whiskies in backstreet pubs, or sipping chateau-bottled claret in expensive hotel suites, our Rina is equal to the task, be it on home turf or in the romantically sleazy cafes and bars of Istanbul.

The list of fine actors who have turned their hand to crime fiction is extremely short, not to say minuscule. Even more invisible, except via an electron microscope, is the catalogue of crime writing actors who play languid toffs. I yield to no-one in my admiration for Hugh Fraser in his roles as Captain Hastings and – my absolute favourite – his insouciant Duke of Wellington in Sharpe. The difference between Fraser’s screen persona and the world of Rina Walker could not be more extreme.

To cut to the chase, does Stealth work? It does, and triumphantly so. Fraser might be just a tad too young to have experienced the Soho of the mid 1960s, but if the scene setting isn’t from personal recollection, he has certainly done his homework. My only slight criticism is that I found that the constant mood/time/product placement via contemporary pop song titles began to grate after a while. There is a touch of “with one bound she was free” about Rina Walker, and you would certainly think twice about taking her home to meet mummy and daddy in Virginia Water, but under the capable direction of Hugh Fraser her adventures provide an enjoyably violent and escapist crime read. Stealth is out on 8^th October and is brought to us by Urbane Publications.