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English Crime Fiction

THE FINISHER . . . Between the covers

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51bAlRSlCzL._SX323_BO1,204,203,200_Fictional police officers come in an almost infinite number of guises. They can be lowly of rank, like Tony Parsons’ Detective Constable Max Wolfe, or very senior, such as Detective Superintendent William Lorimer, as imagined by Alex Gray. Male, female, tech-savvy, Luddite, happy family folk or embittered loners – there are plenty to choose from. So where does Peter Lovesey’s Peter Diamond fit into the matrix? As a Detective Superintendent, he pretty much only answers to the Assistant Chief Constable, but for newcomers to the well established series, what sort of a figure does he cut? Lovesey lets us know fairly early in The Finisher, the nineteenth in a series that began in 1991 with The Last Detective. Diamond is on plain clothes duty keeping a wary eye on a half marathon race in the historic city of Bath:

“Difficult to tell whether Detective Superintendent Peter Diamond, on duty in the gardens, was overt or covert. If he had been in the race, you might have taken him for one of the jokers in fancy dress. He might have stepped out of a nineteen-forties film, a sleuth on the trail of Sydney Greenstreet. The gabardine trench coat and dark brown trilby, his so-called plain clothes, weren’t plain at all in twenty-first century Bath.”

Neither is Peter Diamond a vain man, nor one who gives excessive attention to his personal appearance:

“He didn’t waste time showering or shaving. A swish of tap water took the sleep from his eyes and a squirt of deodorant completed his grooming. Unshaven jowls were standard among the younger members of his team.”

The book’s title is a clever play on words and has a double significance. It can be someone who manages to complete ‘The Other Half’ – an alternative half marathon pounded out along the elegant streets, disused railway tunnels and steep wooded hillsides of Bath. It also has a more sinister connotation – a person who gets things done, even if doing so involves a lack of compassion and, even, a willingness to use violence.

Lovesey’s clever novel combines the events surrounding the race, as well as a particularly brutal example of modern day slavery – illegal immigrants forced to work for a pittance, housed in grim conditions, and for ever in thrall to men and women who earn fortunes exploiting the vulnerable.

Finisher021There’s a dazzling array of characters to act out the drama. We have an earnest school teacher who forces herself to run the race in order to make good a lost donation to a charity; there is a statuesque Russian, wife of a cynical businessman, determined to lose weight and gain her husband’s respect; instant villainy is provided by a paroled serial seducer and sex-pest who has taken on a new role as personal trainer to the rich; at the bottom of the pond, so to speak, are a pair of feckless Albanian chancers who have escaped from an illegal work gang, and are trying to avoid the retribution of their controllers.

Throw into this mix a fascinating geographical background which comes vividly to life, even to someone like me, who has only a limited knowledge of Bath. Like most, I knew of its Roman heritage and the wonderful Georgian architecture, but I was totally unaware that the hills surrounding the city conceal warrens of quarries, caves and tunnels from which the beautiful local limestone was hewn.

Throughout his long and celebrated writing career, Lovesey has never given away his solutions without putting the reader through their own private marathon of false clues, and misdirections. So it is with The Finisher. If you get within ten pages of the end and reckon you know who did what to whom – then trust me, you don’t! This wonderfully entertaining novel by one of our finest living writers is published by Sphere and is out now.

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FIND THEM DEAD . . . Between the covers

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Brighton copper Roy Grace seems to have been with us for ever. Since Peter James introduced him in 2005 there have been sixteen episodes in the career of the resolutely honest and decent man who shares none of the character faults of some of his fictional contemporaries. Yes, there was the protracted mystery of his missing wife – now solved, thank goodness – but Grace has few demons; certainly none that involve drink, drugs, dodgy tastes in music or sexual fallibility. Neither is Roy Grace, perceptive and intuitive though he may, cursed with second sight or prone to supernatural whimsies.

So what keeps him as a permanent resident in the crime fiction best-seller charts? It hasn’t hurt that Peter James has pretty much patented the use of that potent four-letter word DEAD in his titles. Simple, Looking Good, Not … Yet, At First Sight are just a few of the the inventive titles James has used. I’ll answer my own question with a simple reply. Peter James is a bloody good writer. End of.

dead013Strangely though, Find Them Dead sees Roy Grace rather in the background. He binds the narrative together by his presence, of course he does, but he mostly takes a back seat in this tale of drug dealers, bent lawyers and jury-nobbling. He has returned to Sussex after a spell working with the Metropolitan Police in London. The sheer depth and depravity of London’s crime has been an eye-opener, but the south coast is not without its villains.

A Brighton solicitor called Terence Gready – what a wonderful Dickensian name – has been arrested on suspicion of being near the top of a multi-million pound drug ring. His favourite modus operandi has been importing the pharmaceuticals packed into bodywork cavities of fake classic cars. His main man on the ground has also been arrested and Gready is in grave danger of spending the rest of his life in jail.

The spine of Find Them Dead concerns the ordeal of Meg Magellan, a middle-aged widow who has been summoned for jury service in the trial of Terence Gready. The bent solicitor is not quite at the apex of his organisation; his bosses believe that his downfall would also implicate them,and so they they target the jury – Meg in particular – in whose hands Gready’s fate lies.

Meg’s daughter is on a gap-year jaunt to Ecuador, and it is by threatening her that the bad guys hope to persuade Meg to emulate Henry Fonda’s Davis in the 1957 classic Twelve Angry Men. If Meg can persuade her fellow jurors that Gready is innocent, then all will be well. If she fails, then Laura will never leave Ecuador alive.

James ratchets up the tension with the true zeal of a torturer. As Grace – and his long term offsiders Norman Potting and Glenn Branson try to get to the bottom of who knows what in the case, we tread a tightrope of anxiety where it is never clear what the next step will bring.

Find Them Dead is published by Macmillan and is out now.

WHITETHROAT . . . Between the covers

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There are locations for British crime novels that fit certain moods. You can have rural idylls which are shattered by evil deeds – the Cotswolds, the Yorkshire Dales and the majestic Scottish Highlands all fit that bill. Then you have the criminals hiding behind the bright lights of cities like London, Glasgow, and Manchester. James Henry has chosen a rather more understated milieu for his Nick Lowry police novels – Essex, and in particular, the garrison town of Colchester.

9781529401134Essex has become something of a trigger word in recent years, conjuring up images such as lavish mansions owned by London gangsters and dumb bottle-blondes with their perma-tanned, medallioned boyfriends. James Henry, however, takes us back forty years to the 1980s. DI Nick Lowry and his boss, Chief Superintendent Sparks, inhabit a police HQ which leaks, has rotten floorboards, and is maybe only months away from the demolishers’ wrecking ball. Sparks contemplates his desk:

“He studied the wooden surface of his desk. Countless semicircles, rings from years of mugs, cups, scotch glasses, placed carelessly and staining the untreated grain. The there were more pronounced wounds and scars: cigarette burns, knife scores, unusual marks – traces of events only the man behind the desk could read.”

Since Roman times, the history of Colchester has been inextricably intertwined with that of soldiering, and it is the death of a young ‘squaddie’ (an unranked private soldier) that Lowry investigates. Improbably, it seems that the dead man was shot in a Victorian-style duel, complete with gentlemanly observance and the presence of Seconds. With the help of his friend Captain James Oldham, of the Military Police, Lowry discovers that the two men had been fighting over a woman. But who was the other duellist, and who was the woman?

The plot goes this way and that, but this is a book that is always about the quality of the prose. Lowry has a young subordinate called Kenton, who has been on leave since being traumatised by the death of a young girl. Kenton is clever, well-educated, but enjoys his stimulants. In pursuit of the more legal kind, he observes pub life:

“..it was different being here as a punter. You saw the place through different eyes; peaceful and inviting and shabbily familiar. Flaking paintwork, worn hardwood surfaces, the yellow, cracked ceiling; a naked aging structure smoothed by the warmth of alcohol and density of cigarette smoke.”

And again:

“The first to arrive were the regulars. Men in their sixties. One, Wilf, was already in situ, perched quietly at a corner table, steadfastly drinking IPA. He would sut there until last orders, then leave as silently as he had arrived. Around midday, the bohemian set – ‘intellectual dossers’, Sparks called them – would drift in. Young men clutching tatty paperbacks. Sucking the end of biros and staring pensively into the middle distance.”

Like most self-respecting fictional police detectives, Lowry’s personal life is something of a wasteland. He is divorced, and his wife has poisoned their son against him. He feels that the years are taking their toll on him, but he remains compassionate:

“Lowry moved to place his arm across Sparks’s shoulders, but instead grasped the nearest arm, squeezed the firm bicep and bowed his head. He was winded by a surge of sympathy, revealing an attachment to the older man that seldom surfaced. Even now – more and more, in fact, the older he became – life caught Lowry out, introducing unsolicited emotions and concerns, age bringing with it a new sort of awareness.”

HenryThe plot is the least important part of this fine novel, but it unfolds gradually. The woman whose favours are being fought over by the duellists is not a woman at all, but a fifteen year-old schoolgirl, the daughter of a local businessman. He, in turn, has unfinished business with a local enrepreneur, and business that dates back to a racial attack three decades earlier. We are in a world of simmering resentment born out of old slights, and the result? The proverbial dish that is best served cold.

Whitethroat is bleak, downbeat and mesmerising; a subtle, compassionate and beautifully written novel that is something of an elegy to a way of policing – and living – that is gone for ever. James Henry (above right), as James Gurbutt, has also written prequels to RD Wingfield’s Jack Frost series. Whitethroat is published by Riverrun and will be out in hardback on 9th July. The two previous Nick Lowry novels are pictured below.

Books

GRAVE’S END . . . Between the covers (click for full page)

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Former music journalist William Shaw (left) introduced us to Detective Sergeant Alex Cupidi in Salt Lane (2018). This was followed by Deadland in 2019, and the third in the series is Grave’s End. Alex Cupidi is socially something of a loner: she has a teenage daughter, Zoe, who she has raised pretty much on her own; her only other family is her mother, 80 miles or so up the road from the bleak Kent marshes, in London. Zoe Cupidi, like many other idealistic young people, is a fervent defender of nature, and sees the adult world in which her mother has to work as a grimy conspiracy to fell every tree and concrete over as much of green England as possible.

For those who know something of England, Alex Cupidi’s Kent is not the rosy cheeked rural idyll of The Darling Buds of May. This is the coastal Kent of the Romney Marshes and Dungeness; beautiful in its own way, perhaps, but bleak; the coastal fringes are flat, scoured by cruel winds, and shunned by holidaymakers who prefer deck-chairs and the friendly smell of fish and chips to solitude and the mournful cry of the curlew.

GE coverThis taut thriller is  distinctly unusual, in that one of its main characters is neither a fellow member of Kent Police, nor one of the villains they spend their professional lives trying to put behind bars. Instead we see – or sense – some of the action through the perceptions of an elderly badger. Before such thoughts can gain foothold, I can assure you that this is no Wind In The Willows. Our badger is not an avuncular personification. He is old, fearful of younger rivals, and hungry – always hungry.

Of course, readers have to accept that the badger’s perceptions are expressed in our language. Since this particular representative of Meles Meles has none that can be written, what is the alternative? I was not convinced at the start of the book that the idea was going to work, but after reaching the last page, I think it does. Shaw keeps the badger’s subterranean activity linked to the plot, and from the very start it is his sense of smell that alerts us to the fact that something is very, very wrong.

“By now, the air should smell of fresh grass, cow parsley, other badgers and dog shit. He moves forward more cautiously in the blackness and his snout meets something hard. At the end, where darkness should change to dusk, he finds the tunnel blocked. He digs, but there is something in his way, so hard his big claws make no impression on it at all. He sniffs. It smells rank. People stink.”

When an enterprising junior estate agent decides to impress his girlfriend, he ‘borrows’ the keys to an impressive empty property, but his hopes of a passionate afternoon’s grappling on someone else’s bed are dashed when they find a dead body in a freezer. Alex Cupidi and her team soon identify the frozen corpse of that of a local wildlife activist. Further investigations lead them in the direction of a controversial housing development on a site inhabited by, among other various fauna, our friend the badger.

Alex Cupidi is like the proverbial dog with its bone as she relentlessly follows the trail leading away from the murdered activist. High profile government ministers, avaricious property speculators, a minor public school with a terrible secret – every time she lifts a stone, nasty things scuttle about, unaccustomed to the light. Grave’s End is a totally compelling read. It is published by riverrun, an imprint of Quercus, and will be available in July.

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A KILLING MIND . . . between the covers (click for full screen)

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Icame late to the party regarding Angela Marsons and her Kim Stone series of police procedurals set in England’s West Midlands, but I thoroughly enjoyed Child’s Play (2019) and was very pleased to have the chance to read and review the latest in the series, Killing Minds.

KMA murder where the body is arranged to make the death look like suicide is a well-worn feature in crime novels, but Marsons takes the trope and gives it new life. When Sammy Brown is found dead in her featureless flat, her throat cut apparently by her own hand, everyone – DI Kim Stone included – is initially prepared to tick the suicide box and move on. It is only when Stone interviews Sammy’s parents that she begins to sense that things are not quite what they appear to be.

Stone has a strong sense that Myles and Kate Brown are concealing something, but it is a second look at the crime scene photographs that triggers her response:

She stopped speaking as her gaze returned back to the photo of the hand. Something struck her and it was like seeing it for the first time.

She turned the phone and looked at the photo from every angle.

‘Penn, get me a red pen and ruler. Now.'”

Meanwhile, Stone’s assistant, DS Bryant, has his own fixation to deal with. He was involved in the capture, trial and conviction of a notorious killer, Peter Drake, and has become involved with Richard Harrison, father of one of Drake’s victims. A previously unrepentant Drake has, suspiciously, turned over a new leaf in jail and has become a model prisoner, thus transforming his application for parole from a forlorn hope into a distinct probability. Both Harrison and Bryant are powerless to prevent Drake’s release. Both have a sense of foreboding about what may follow.

When another body – that of a young man – is discovered in a nearby lake, the fact that he apparently new Sammy Brown sets more alarm bells ringing. After painfully prising the truth – or a version of it – from Sammy Brown’s parents, Stone’s attention is turned on a nearby community, mostly made up of young people who have chosen to step away from real life. They all live in Unity Farm. Sammy Brown was a member of the group – as was the lad in the lake, Tyler Short.

Stone and Bryant pay a visit to Unity Farm, and they meet the leader of the community, Jake Black:

“A man in his mid-fifties appeared behind her. His hair was completely white, but thick and cut well. His shoulders were broad beneath an open-neck pale blue shirt. His skin was smooth with enough colour to radiate good health. His eyes were the purest blue she had ever seen. Once your gaze met those, the rest was forgotten.”

When Stone makes the decision to send one of her younger officers into Unity Farm, posing as a distressed and unhappy young woman, things do not turn out according to plan and Marsons orchestrates a tense and nerve-shredding finale to the book. When the murderer is unmasked, it came as a cleverly constructed surprise. Killing Mind is published by Bookouture, and is available now.

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BORROWED TIME . . . Between the covers (click for full screen)

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The latest novel from David Mark, Borrowed Time, is seriously dark stuff. There were times when I felt I had entered the nightmare world of distorted humanity, shocking violence and suffering that was distilled into a kind of bleak poetry by Derek Raymond in such masterpieces as I Was Dora Suarez and The Devil’s Home On Leave.

BT coverAdam Nunn is a decent enough fellow, but like all of us, he has made his mistakes. He lives with Zara, a struggling restaurant owner, but has a child of his own, Tilly, who lives with Grace, her mother. Adam has discovered that he is adopted, and has employed a fairly seedy private investigator to try to trace his birth parents.

When the investigator is found dismembered in a spot notorious for being the burial ground of many victims of old Essex gang wars, Adam is about to have an unpleasant surprise. On the (severed) hand of Larry Paris was a scrawled National Insurance number – and it is Adam’s. The police think they have an instant suspect, but after a bruising initial encounter, they realise they have nothing with which to tie Adam to the killing

Adam Nunn lives in Portsmouth. And it is not a particularly fragrant place:

” A city drawn in charcoals and dirt: a place of suet-faced pensioners, of teenagers in baby clothes; of egg-shaped women and puddled men, big middles and conical legs.”

His search for the truth about his identity leads him inexorably to an Essex gangster family, the Jardines. Alison is the daughter of ailing patriarch, Francis. She runs the firm and is not a woman much given to empathy with some of her Essex contemporaries:

“She likes to imagine all those golden-blond, size eight bitches, sobbing as they inject Botox into their foreheads and splurge their life savings on surgeries and rejuvination procedures; their skin puckering, spines beginning to curve, veins rising like lugworms on their shins and the backs of their age-mottled hands.”

Neither is Alison’s son Timmy someone for whom she has a great deal of conventional maternal affection.:

“He’s an ugly, rat-faced little specimen who, at twenty years old, has yet to master the art of having a conversation without thrusting both hands down his jogging trousers and cupping his gonads. She loves him, but not in a way that makes her want to touch him, look at him, or spend time breathing him in.”

Eventually Adam learns who his mother was, but the nature of his conception and the fate of his mother is just the start of the nightmare. The identity of his father is only revealed after a journey through the inferno, the flames of which threaten to consume him along with everyone else he holds close.

David markAlong the way, Mark (right) introduces us to some loathsome individuals who have all played their part in Adam Nunn’s terrible back story. There’s local politician Leo Riley, for example:

“He knows that cash is an aphrodisiac. Power enough to loosen any pair of knickers. And fear a crowbar to stubborn legs.”

Alison’s fearsome minder, Irons, is a creature from hell:

“His face is a butcher’s window, all pink and red, meat and offal: a rag-rug of ruined flesh. he still has to apply lotions five times a day to stop his cheeks tearing open when he laughs. Not that he laughs often. He’s a quiet man. Hasn’t engaged in much chit-chat since the brothers went to work on him with a bayonet, a blowtorch and a claw hammer.”

There is compassion within the pages of Borrowed Time, but it is in short supply.  We don’t just glimpse the worst of people, we come face to face with them, and close enough to smell their rancid graveyard breath. This is a brilliant and sometimes moving piece of storytelling, but within its pages the only redemption comes in death. Borrowed Time is published by Severn House and is out now.

BETWEEN THE COVERS . . . The Final Straw (click for full screen)

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I had not come across anything by Jenny Francis before, so I did a little research before beginning The Final Straw, and discovered that the author isn’t one person, but a writing partnership between Patricia Scudamore and Hilton Catt. Furthermore, the pair’s day job, as it were, is writing self-help manuals for commerce and business. Titles such as Successful Career Change, Cover Letters In A Week and The Interview Coach didn’t initially indicate that I was about to read an entertaining crime novel, but I was wrong.

TFS cover019Charlie Moon is yet another fictional Detective Inspector, but slightly different in one or two ways from many of his fellow CriFi coppers. For a start, his patch is the rather unfashionable West Midlands, probably the city its locals affectionately refer to as Brummagem. Also, although he carries the cross born by most of his fictional counterparts – corrupt or incompetent bosses – he has a stable and happy family life, and neither drinks nor smokes to excess. When he goes home at night, it is to the solace of his wife and daughter, rather than the solitary vice of falling asleep on the sofa, whisky glass in hand, while something from his obscure CD collection plays in the background.

Moon is contacted by a notorious local criminal, currently a guest at HMP Winson Green. Denny Wilbur might shrink at being described as public spirited, but he has an injustice to share with Moon. A simple minded black man, Wilson Beames, was twenty years into a life sentence for murdering a teenage girl, Sharon Baxter, back in the 1970s, but he has been found hanged in his cell.

“He couldn’t read or write, yet they reckoned he’d signed a confession. Besides which, he wouldn’t have had the brains to know what he was signing anyway.”
“Are you suggesting he was stitched up?”
“We all know what went on the seventies, don’t we, Inspector? Some naughty people in your mob occasionally did some naughty things.”

When Moon suggests to his bosses that this needs investigating, he is warned off in no uncertain terms. Being a contrary so-and-so, Moon decides to do a little investigating on his own, with the help of Jo Lyon, a local journalist. Bit by bit, they fit the pieces of the jigsaw together, and the emerging picture is not a pretty one. It shows a desperately corrupt senior policeman, a paedophile ring, and a ruthless local businessmen prepared to provide certain services. As Moon closes in on Sharon Baxter’s killer, he is unaware that when he does solve the mystery, it will provide a shock that he could never have anticipated.

The Final Straw is cleverly written, fast paced, and with an authentic sense of time and place. If, like me, you are impressed with Charlie Moon, there are two previous novels to check out – The Silent Passage and Blood Ties. All three are published by Matador, and The Final Straw is out on 28th April.

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THE EVIL WITHIN . . . Between the covers

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profile-750x750SM Hardy, aka Sue Tingey, has put together a thoroughly enjoyable and, at times, genuinely scary ghost story. The Evil Within tells the tale of Jim Hawkes, a young London banker who has an attack of conscience about the bloodthirsty nature of his trade, and tells his boss to go forth and multiply. This rush of blood to the head is not entirely unconnected to the fact that he is still grieving for his dead sweetheart, who drowned herself after breaking off their engagement in a calamitous row. Jim decides that a physical exit from London is essential, and so he takes out a short term lease on a cottage in England’s West Country.

When he arrives in Devon he finds that the cottage – and its immediate surroundings – have, shall we say, history. The back story involves a dead girl, who was found hanged from the banisters. While exploring the adjacent churchyard, Jim meets the vicar, and is invited in to the rectory for a welcoming chat and a nice cup of tea. All good so far, but when he meets two of the long term residents, widowed Emma and Jed, the local handyman, fixer of lawnmowers and general village sage and factotum, his equilibrium is seriously disturbed when they tell him that the rectory is not only unoccupied, but the reverend gentleman has been dead for some time.

TEWBy now, of course, we have to suspend disbelief, because this is going to be a book where weird things are going to happen. There is one key question, as it ever was in ghost stories. Are the strange events actually happening independent from the main character’s perception or, as the title hints at, are they in his mind? SM Hardy certainly gives Jim Hawkes plenty to cope with. We have a Don’t Look Now style figure in a red coat who not only flits in and out of Jim’s peripheral vision, but occasionally holds his hand in her dead, cold fingers. Again with a nod to Daphne du Maurier’s wonderful short story, there are also two sisters, who may possible be sinister as well as spinster. We mustn’t forget a mysterious and hulking man in grey who clearly wishes Jim harm and may – or may not – be an astral projection of a malevolent criminal who lies in a vegetative state at a mysterious local mental hospital.

Clichés only become clichés when they are wearisome, and there is nothing remotely wearisome about The Evil Within. Yes, SM Hardy mines deep into the seam of supernatural fiction and comes up with many recognisable elements, but she welds them together to make a compelling novel. Best of all, even though she deal in familiar tropes – the haunted cottage, the startling face in the window, the conversations with the dead and the events that no-one in the village pub will talk about – we genuinely care about Jim Hawkes and what happens to him. The possibility that Jim’s apparitions may be just the product of his own mental fragility in the wake of his fiancée’s tragic death doesn’t diminish our concern for him, nor prevent us from fearing the worst when events take a disturbing turn.

I have never written a novel, nor could I, but I have read many and I know from experience that if the author doesn’t forge that link between reader and character, the book may as well be cast aside and sent to the charity shop. SM Hardy ticks this box – and many other important ones – and ensures that The Evil Within is both entertaining, credible and enthralling – with a sharp sting in the very tip of its tail. It is published by Allison & Busby and is available now.

Click on the image below for a short but spooky video

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KEEP HIM CLOSE . . . Between the covers

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Keep Him Close is quite an apt title for Emily Koch’s second thriller. The key word is ‘close’ as the whole story has the feel of events and emotions being observed at very close quarters, almost through the lens of a microscope. We see every little twitch and tremor in the lives of the two main characters, and the tension is quite claustrophobic at times. Two women. Two mothers. Two lost teenage sons. Alice’s son Louis is now in a police mortuary after falling – or having been pushed – from the roof of a car park. Indigo has, effectively lost Kane, but this time to the criminal justice system as he awaits trial for murder, after he admits responsibility for Louis’s death.

KHM cover017The two women have little in common except the convergence of the social lives of their sons and the fact that neither has a husband in the house. Alice was married to Etienne, but he is long gone, having fallen in love with someone else. Indigo’s husband took his own life. Indigo is what some might call an ageing hippy. She dresses rather chaotically and earns a living as an art therapist. Alice once had dreams of being a concert pianist, but now works as a librarian. She has a certain primness associated – rightly or wrongly – with that profession. Let us be generous and say that Alice appreciates order and method.

What began as a night out for post-exam teenagers ends with the dreaded late night knock on the door by police officers and expands into a nightmare as Alice and older son Ben try to come to terms with the death of Louis, while Indigo can only look on in confusion as Kane is, first, identified on CCTV as someone who the police would like to speak to and, second, blurts out his guilt in a police interview room.

Where the story develops its edge is when Indigo – something of a flustered airhead when it comes to technology – goes to the local library to use one of their computers. By investigating Kane’s social media activity she hopes to locate other youngsters who were witnesses to the apparent fracas which ended with Louis plunging to his death. Who should be the kindly library assistant who helps Indigo check her son’s Facebook profile? Why, none other than Alice! The frisson starts to do its shivery work because Alice recognises Indigo, but Indigo has no idea of the identity of her helper.

There are one or two sub plots by way of diversion. Former hubby Etienne turns up, we suspect that the police have been less than thorough in their investigation and we are given to wonder if Ben knows more than he is telling. We only meet the soon-to-be-late Louis in the early pages, and while he comes over as not being the most adoring of sons, we later learn the reason for his apparent antipathy.

KHM author018The structure of the book is intriguing; we learn about the contrasting characters of Alice and Indigo in different ways; Alice’s story is told third-party, while Indigo tells us herself. This has the effect of making Alice more aloof and remote, and is a clever device which hints she is somewhere on the autistic spectrum.

Emily Koch (right) ratchets up the social and emotional tension as Alice and Indigo dance their stately sarabande to the tune of the legal recriminations following the tragic conclusion of what may have been just a drunken scuffle – or something far more sinister. This book is a must for those who like their psychological dramas acted out on a small stage but exquisitely observed. Keep Him Close is published by Harvill Secker and is out in Kindle on 12th March and in print on 19th March

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