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CARNAGE ON PARADE … The atrocities of 20th July 1982

Hyde Park HeaderThere is, perhaps, a legitimate debate to be had over what to call killings which are carried out in the name of a political cause. No-one in their right mind would label the millions of soldiers who died in the two world wars of the 20th century as murder victims. The wearing of a uniform, and the acceptance of the King’s shilling has always legitimised the act of pulling the trigger, firing the shell, or dropping the bomb.

But what about guerilla activities? What about resistance movements? When does a killing become a murder? Is one man’s freedom fighter another man’s terrorist? I am far from unique in being unable to resolve those conundrums. The men who assassinated Reinhard Heydrich on a Prague boulevard in June 1942 have been hailed as heroes. What about the Irishmen who killed eleven British soldiers in a few hours on the streets of London in July 1982? They wore no uniform and carried no flag, but in their hearts their targets were legitimate.

My view? Emotionally, I am drawn to the view that soldiers engaged in ceremonial duties in a nation’s capital are not fair game. Therefore, I am treating the events of 20th July 1982 as murder. Cold blooded murder, pure and simple.

London, 20th June, 1982. The weather was warm, but unsettled, with a promise of showers. A troop of The Household Cavalry, the ceremonial guardians of the English monarch, were calmly riding along South Carriage Drive in Hyde Park, on their way to the ceremony known as The Changing Of The Guard. Unknown to them, a blue Morris Marina car, parked alongside their route, was packed with gelignite and nails. At 10.40 a.m. the device was triggered, presumably by a nearby operative. The result was carnage.

Carnage

The road was littered with flesh,  of the three guardsmen who were killed instantly (that telling euphemism which denotes catastrophic injuries) – and that of horses. The three soldiers who died at the scene were Lieutenant Anthony Daly, Trooper Simon Tipper and Lance Corporal Vernon Young. Corporal Raymond Bright was rushed to hospital, but died on 23rd July. The men are pictured below, left to right.

Daly etc

The SunJust a couple of hours later, as emergency services struggled to deal with the mayhem in South Carriage Drive, the terrorists struck again. It seems barely credible that in another part of the city, life was going on as normal. Remember, though, that these were the days before mobile ‘phones and social media, the days when news was only transmitted in print, by word of mouth and on radio and television. The regimental band of The Royal Green Jackets was entertaining a small crowd clustered round the bandstand in Regent’s Park. They were playing distinctly un-martial music from the musical ‘Oliver!’ when, at 12.55 pm, a massive bomb went off beneath the bandstand. The blast was so powerful that one of the bodies was thrown onto an iron fence thirty yards away, and seven bandsmen were killed outright. They were: Warrant Officer Graham Barker, Serjeant Robert “Doc” Livingstone, Corporal Johnny McKnight, Bandsman John Heritage, Bandsman George Mesure, Bandsman Keith “Cozy” Powell, and Bandsman Larry Smith.

Keith Powell’s mother, Mrs Patricia Powell was later to say:

“On the day (20th July 1982) at 1pm – I was rinsing a cup at the sink in my classroom – I suddenly felt very ill and mentioned it to a colleague – saying I’d no idea why I felt so ill. On the way home I went to the music store to purchase the score of Oliver – No idea why I wanted it suddenly nor did I have any idea this was what the band was playing. Got it – went to the bus station and saw on the placards news about the bombs in London – I knew instantly that he was dead. This was confirmed later that evening.”

Keith Powell’s comrades gave him his nickname because of the celebrated rock drummer Colin Powell, who played with bands such as Black Sabbath, the Jeff Beck Group and Whitesnake. No-one was ever convicted of the Regent’s Park atrocity, but responsibility was claimed by the IRA. In 1987, Gilbert “Danny” McNamee, an electronics engineer from Northern Ireland, was jailed for 25 years after being found guilty of building the radio-controlled bomb used in the Hyde Park attack.

He was released from prison in 1998 under the terms of the Good Friday Agreement, and later that year the Court of Appeal overturned his conviction on the grounds that it was unsafe. Another suspect, John Anthony Downey, was to be tried for his part of the Hyde Park bombing as recently as 2014, but his trial collapsed when it was revealed that he was one of those Republican activists who had been sent a ‘comfort letter’ by the British government, promising them immunity from prosecution. Following the 1998 Good Friday Agreement, which brought something resembling peace to Northern Ireland, there was an ongoing issue over what to do about IRA suspects who were still “on-the-run”. As part of the peace deal, IRA terrorists serving prison terms were granted early release but that could not apply to those on the run. A deal was reached between the Tony Blair government and Sinn Fein to carry out an exercise whereby checks would be carried out and for those who were no longer wanted by police, they would be sent a letter informing them of that fact.

XU*7493716Downey (right) may or may not have been implicated in the Hyde Park murders. Only he knows for certain. At least he had the decency to cancel a party planned in his honour when he was released. He said:

“The party had been planned as a simple get-together of family, friends and neighbours who supported me after my arrest. Some elements of the media are portraying the event planned for tonight as triumphalist and insulting to bereaved families. That was never what it was about.”

There was a macabre and tragic postscript to the Hyde Park murders. One of the horses, named Sefton, survived the attack despite terrible injuries. The horse became something of a media celebrity, which is not surprising given the British public’s sentimental obsession with animals. Sefton’s days of celebrity were, at least, harmless. Not so the fate of his rider on that day, Michael Pedersen. He survived the attack physically, but suffered irreparable hidden mental damage. In 2012, after two failed marriages, he drove himself and his two children, Ben and Freya, to a remote lane near Newton Stacey in Hampshire, stabbed them to death, and then took his own life.

Memorials

JACK THE RIPPER … In fiction

To write anything new or meaningful about the facts surrounding what is probably the world’s most celebrated – and baffling – unsolved murder mystery is virtually impossible. Despite this, it doesn’t stop writers of every stripe trying. Sometimes the results can be worthy. On other occasions, they can be simply embarrassing. One of the poorer efforts cost Patricia Cornwell a good part of her considerable fortune to try to convince the world that Jack The Ripper was none other than Walter Richard Sickert, the celebrated painter. Very few people outside the close circle of the creator of Kay Scarpetta resisted the temptation of a facepalm moment. So, no-one knows the identity of Jack The Ripper, and I imagine Ladbrokes (other bookmakers are available) would give you very long odds against anyone ever discovering his (other genders are available) identity.

 Instead of going over old ground, in both a literal and figurative sense, I have taken a look at a trio of novels which, in different ways, have been influenced by the events of that terrible autumn in 1888. For all any of us know, these books may contain every bit as much truth as their factual counterparts.

 The Curse Upon Mitre Square, A.D. 1530 – 1888 by John Francis Brewer (1888)
This was little more than a blood and thunder pamphlet. Its main – and perhaps sole – distinction is that it was actually published before the final canonical victim, Mary Jane TCUMS.jpgKelly, met a bloody end in her Millers Court hovel. Of Brewer, we know very little, but his style can best be illustrated with a brief extract.

“With a demon’s fury the monk then threw down the corpse and trod it out of any recognition.
He spat upon the mutilated face and,
with his remaining strength, he ripped the body open and cast the entrails round about.”

As the title suggests, Brewer focuses on the murder of Catherine Eddowes in Mitre Square, and his plot, such as it is, contends that the killer is none other that a spectral avenger, a mad monk no less, who haunts Mitre Square, allegedly the site of an ancient monastery. Surprisingly, or perhaps not, given the almost unassuaged thirst for Ripper material both in Britain and across The Atlantic, Brewer’s feverish account is still available in print. Whoever Brewer was, it is unlikely that his estate benefits from sales of the modern reprints. As you will see from the graphic, one later edition of the book was teamed up with another account, slightly more thoughtful, called The Lodger by Marie Belloc-Lowndes (1913)

Novelist_Marie_Adelaide_Belloc_LowndesBelloc-Lowndes (right) was the older sister of the prolific writer and poet Hilaire Belloc, but she avoided her brother’s antimodern polemicism, and wrote biographies, plays – and novels which were very highly thought of for their subtlety and psychological insight into crime, although she preferred not to be thought of as a crime fiction writer. In The Lodger, Mr and Mrs Bunting have staked their life savings on buying a house big enough to take in paying guests, but just as their dream is on the verge of crumbling, salvation comes in the form of the mysterious Mr Sleuth, who knocks on the door and takes a room, paying up front with many a gold sovereign. As Mr and Mrs Bunting count their money – and their blessings – London is gripped with terror as a killer nicknamed ‘The Avenger’ stalks the streets searching for blood. The Buntings’ peace of mind evaporates as they suspect that their lodger is none other than The Avenger. Such is the quality of The Lodger that it has been filmed many times, most notably by Alfred Hitchcock in 1927. It would be remiss of me not to quote the famous bloodcurdling imprecation at the end of the book, directed at the hapless landlady.

“Your end will be bitter as wormwood and sharp as a two-edged sword.
Your feet shall go down to death, and your steps take hold on hell.”

Lodger Composite

WILSON-obit-web-videoSixteenByNine1050Colin Wilson, who died in 2013, (left) was the kind of man with whom the British establishment, certainly in the 1950s and 60s, was most deeply ill at ease. He was, as much by his own proclamation as that of others, intellectually formidable. He burst on the literary scene in 1957 with The Outsider, a journey through an existential world in the company of, among others, Camus, Nietzsche, Kafka, Sartre, Hermann Hesse and Van Gogh. His novel that concerns us is Ritual In The Dark. Published, after a long gestation, in 1960, it examines how The Ripper legend transposes itself onto the London streets of the late 1950s. It must be remembered that many of the murder sites were still more or less recognisable, at that time,  to Ripper afficionados. The tale involves three young men, Gerard Sorme, Oliver Glasp and Austin Nunne. Sorme goes about his life well aware of the significance of past deeds, but also knowing that a present day killer is out and about, emulating the horrors of 1888. Wilson could be said to be one of the pioneers of psychogeography, a linking of past and present much used by modern writers such as Iain Sinclair and Peter Ackroyd. Sorme says,

RITD“I am lying here in the middle of London, with a population of three million people asleep around me,
and a past that extends back to the time when the Romans built the city on a fever swamp.I can’t explain what I felt. It was a sense of
participation in everything. I wanted to live a million times more than anybody has ever lived.”

 As it slowly dawns on Sorme that the killer is one of his close associates, he is forced to examine the nature of loyalty, guilt and responsibility. He learns that the deliverer of violent death can, by night, be a mysterious cloaked figure carrying a black bag, but by day can blend into the queue at the Post Office and go home on the number 59 ‘bus with complete impunity.


Other Ripper novels to explore include:

White Chappell, Scarlet Tracings (1987) by Iain Sinclair
The Last Sherlock Holmes Story (1978) by Michael Dibdin
Pentecost Alley (1996) by Anne Perry
A Study in Terror (1966) by Ellory Queen
Mercedes Marie: The story of Mary Jane Kelly (2016) by Fusty Luggs

 

 

 

 

 

 

DORIS FLORENCE REEVE … podcast

Doris Florence Reeve

THE PHILOSOPHER AND AUTHOR PASCAL MERCIER said:
“We leave something of ourselves behind when we leave a place,
we stay there, even though we go away.
And there are things in us that we can find again only by going back there.”

And sometimes, the past is uncomfortably close to the present. Even 80 years on from a tragedy, someone was moved, on a September weekend in 2014, to reach out to the wider world with a reminder of what had happened to their family. To listen to an account of the events of that dramatic weekend in 1933, when Doris Reeve (below) was murdered, click

HERE

Doris

 

CHARCOAL JOE … Between The Covers

Mosley


“This money is from me, Easy. I’m the one hirin’ you”
“Cheddar or blue?” I asked, taking the cash.
“Say what?”
“I just wanna know what kind of cheese is in this trap.”

Thus Walter Mosley’s Los Angeles PI Ezekiel ‘Easy’ Rawlins takes a thick wad of cash from his long term buddy Raymond ‘Mouse’ Alexander, as a down payment on his latest case, to extricate 25 year-old Dr – of physics – Seymour Brathwaite from a murder rap. The fact that Easy, like a huge number of fellow Angelinos, could never say “no” to Mouse, is one thing; Mouse may well be the most dangerous man in the city, but the legendary Charcoal Joe is probably next in line. And it’s Joe who had called in a favour of Mouse.

Seymour Brathwaite has been found at a murder scene in Malibu beach with two corpses lying on the floor. When LAPD’s finest catch a black man at the scene of a shooting, that’s normally case closed, give or take a few minutes of paperwork, but this is different. Brathwaite has no connection with either the corpses or crime in general, and he seems to have a very powerful friend in underworld fixer, arranger of violent death and generally lethal string puller Rufus Tyler – better known as Charcoal Joe.

Joe is currently residing in one of LA’s more relaxed and well appointed correctional facilities, serving a short sentence for some minor infraction. Easy pays him a visit to learn more about why young Dr Brathwaite was in the wrong place at the wrong time, and finds Joe attended by his minders and gophers. He asks why Joe is so convinced of Seymour’ innocence.

“The young man is a doctor of science,” Rufus Tyler the prodigy intoned. “He’s teachin’ at UCLA right this semester while he finishes his postgraduate work. Now how’s a man like that gonna be some kinda niggah like the people you and me consort with?”
I could think of a dozen ways. The universities in the late sixties were hotbeds of bombers, Liberation bank robbers and stone-cold killers.

Despite his misgivings, Easy sets about his work. At this point, it may be the moment to bring people new to the series up to speed with the who, what and why of the world of Easy Rawlins. Our man fought for Uncle Sam in WW2, and returned to an America where the yoke of oppression may have been lifted in Western Europe, but not in hometown USA. Battling everyday racism, put-downs and casual affronts, he has survived death on several occasions by the thickness of a cigarette paper, managed to earn the grudging respect of certain members of the LAPD, and has raised a family – albeit an unconventional one. Conscious that his work is always attracting new readers Mosley – like the weaver of dreams he is – fills in the biography with the deftest of touches, as he goes along.

Inevitably, Easy is being lied to by pretty much everyone involved in the case of the naïve Dr Brathwaite. The body count is spectacular, and even as he mourns the loss of his best love, Easy manages to squeeze in a couple of ‘romantic encounters’. The euphemism is mine. One of Mosley’s skills is to dance his way deftly through the minefield that faces writers who tackle sex scenes. Where many tread too heavily and die, Mosley escapes unscathed.

Mosley009The plot, as they say, thickens – to the point where you may need to skip back a few pages just to be sure that you are certain who has done what to whom. To me, this is neither here nor there. Sometimes cliches are unavoidable because they tell a simple truth, and with any Easy Rawlins novel it is all about the journey rather than the destination. An Easy Rawlins tale is what you get when a poet writes crime fiction. If Raymond Chandler were a deity, then I would worship him, but I would be hard pressed to summarise the detailed plots of Philip Marlow’s cases. I could, however, rattle off a dozen one-liners and brilliant descriptions which have made Chandler immortal. So it is with Mosley.

Easy goes to an illegal club called The Black Door Bar, and is reunited with an old flame.

“Hey, Easy,” Louise Lash said.
She was maybe forty with a face that would be beautiful twenty years after her death. Her skin was black and flawless. Even when she wasn’t talking her mouth seemed to be saying something elusive.

Read this book, and cherish it. Mosley is not an old man by today’s standards, but there will come a time when there will be no more Easy Rawlins, and the world will be a poorer place for his passing.

Follow the link to get your copy of Charcoal Joe.

Mosley010.jpg

 

THE HISTORY OF BLOOD …Between The Covers

AHOBWith a worldwide wave of support, optimism and hopes for a bright future, the African National Congress swept to power in 1994, and post-apartheid South Africa was born, blinking in the light, but healthy and vigorous. Paul Mendelson’s gripping novel of crime and corruption shows that the rainbow dream has not yet turned into a fully grown nightmare, but it reveals a country where racial and social tensions are never far from the surface.

Mendelson introduced readers to Colonel Vaughn de Vries of The Special Crimes Unit in The First Rule Of Survival (2014) and now de Vries returns to investigate the grim world of the international drug trade. The novel is set mostly in Cape Town, where Mendelson lives for part of the year, and it begins with the sad discovery of the body of a young woman in a run-down hotel. Chantal Adam is the adopted daughter of Charles Adam, a rich and influential businessman, but her blood father was Willem Fourie Adam, Charles’s brother, who was assassinated in 1994, after the elections.

Chantal lived the dream as a successful model and advertising poster girl, but a move to America brought only grief, heartbreak, and a bitter separation from her adoptive family. Now she lies dead, wrists slashed with glass, in a shabby hotel room usually used for by-the-hour sexual sexual activities. She is haggard and emaciated, but her degradation is complete when the post mortem reveals that she has ingested a large number of condoms packed with heroin.

We follow de Vries as he picks up the trail from the wretched death of Chantal Adam, to a stable of girls used by ruthless men to ferry drugs to the Far East, and then on to a man whose organised crime CV includes running a game park offering forbidden targets to American trophy hunters, and being at the very centre of political and financial corruption in South Africa and neighbouring states. Reluctantly, de Vries enlists the help of John Marantz, a former British intelligence agent, whose life has been rendered meaningless by the abduction and murder of his wife and daughter.

Like all interesting fictional coppers, de Vries is conflicted. He suffers fools with a bad grace, if at all, and his contempt for incompetence in fellow police officers is entirely colour blind. There aren’t too many of his comrades-in-print who have happy and flourishing marriages, and he is not one of them, although his fierce love for his daughters remains undiminished. He is not a man to back away from a fight, either political or physical, but neither is he a stone cold killer, as a key incident in this book reveals. He is also human enough to make dumb personal decisions which threaten to derail his career.

There are two distinct backdrops to this excellent novel; the first shows a country where the natural landscape can be harsh or almost impossibly beautiful; the second is the socio-political climate, and here Mendelson shows compassion, subtlety, but – above all – honesty. This is not a hatchet job where the white minority watch with sneers on their faces as the country’s new rulers make mistake after mistake, but a thoughtful and perceptive account of the pitfalls and temptations facing those for whom high office is, in some cases, a genuine challenge.

The complexities of the politics make for an intriguing read, but above all this a thoroughly good crime thriller, and I look forward to Vaughn de Vries returning for a new battle with the forces of evil. The History Of Blood is available online and if you want another fine novel set in contemporary South Africa, then try The Monster’s Daughter by Michelle Pretorius

IT’S MURDER IN WISBECH …podcast 2/2

IMIW

THE SECOND PART of the podcast tells the sad stories of three people who came from Easter Europe in search of employment and a better life. Instead, they found only death. Click the link below to listen to the second part of It’s Murder In Wisbech

It’s Murder In Wisbech (2)

WHEN THE MUSIC’S OVER – Between The Covers

BanksThe van skids to a halt on the lonely hill top lane. Occasional distant lights from isolated farms and cottages are all that pierce the darkness. The young men inside the van giggle as they open the rear doors and throw the girl from the dirty mattress on which she has been sprawled. She hits the roadside with a body-jarring crunch.

Thus begins the 23rd episode in the career of Yorkshire copper, Alan Banks, who we first met in 1987, when he had moved from London to the Yorkshire Dales to work in the market town of Eastvale. Banks is now Detective Superintendent, but what long-time readers of the series might call The Eastvale Repertory Company are pretty much all present and correct, in the shape of fellow cops Annie Cabbot, Winsome Jackson and Ken Blackstone. We even have a guest appearance from one of Banks’s less wholesome colleagues, Richard “Dirty Dick” Burgess, who is now working for the National Crime Agency, the closest thing to the FBI within the UK.

The unfortunate girl we meet in the first few pages does not take the stage again, unless we include her appearance on the mortuary slab. She has been found by a shocked cyclist, the morning after her ride in the van ended so abruptly. She is stark naked, and has died from a severe beating. Whatever took place on Bradham Lane is not the most pressing concern for Alan Banks, however. He is called to a high level conference and brought into what will become an investigation into the life and crimes of Danny Caxton, a much loved and respected entertainer and performer on stage and TV. Caxton, like his real life counterparts Savile and Harris, was ever-present in living rooms and lounges of ordinary people up and down the land, for decades. Now in his eighties, he has been accused of historic sex crimes.

While Banks must focus on the Caxton case, by his new seniority he must also oversee the investigation into the murder of the girl on Bradham Lane. Annie Cabbot is doing most of the legwork on this, and with the help of Detective Constable Geraldine Masterson, she discovers that the dead girl is Mimosa ‘Mimsy’ Moffat. Mimsy was 15, knocking-on 25, sexually attractive and experienced, and with a home life so bad that neither ‘home’ nor ‘life’ seem to be the right words. Cabbot and Masterson begin to explore the connection between Mimsy and the Pakistani Briton who runs a kebab shop on the edge of a nearby run-down estate.

By this time, we have met Danny Claxton in his Ponderosa-style home, and a thoroughly reptilian character he seems to be – a far cry from the smiling, handsome and genial TV presence of his younger days. Banks’s chief witness – and accuser – is Linda Palmer. She is now a widow in middle age, but has become a respected and well published poet. Her accusation about Caxton dates back to what should have been a happy family holiday in Blackpool in the 1960s.

As the two cases run their parallel courses, I found the investigation into Mimsy Moffat’s death the more compelling. Robinson takes an unflinching look at the issue of vulnerable white girls being groomed and abused by men of Pakistani origin. He exposes the extremes of views held by all those involved, from the men themselves, the girls and their relatives and – most tellingly – those in positions of power, such as the police and social workers. Banks himself, probably due to his management responsibilities, keeps his own anger in check, but Robinson allows Annie Cabbot to voice her violent disgust – a feeling which I infer is shared by the author.

The book is only a whodunnit for a short period of time, as there are enough clues for CriFi buffs to work out who murdered Mimsy. Robinson’s broader message seems to be a variant on Who Killed Cock Robin? For the fly, the fish, the beetle and the owl we could probably substitute:

‘”I,” said the policeman, “with my fear of being called racist.”‘
‘” I,” said the social worker, “with my political correctness.”‘
‘”I,” said the kebab shop owner, “with my attitude towards women.”‘
‘”I,” said the mother, “with my drug addiction and neglect.”‘

There is closure, of a kind, in both cases, but Robinson, in his epilogue, offers us nothing resembling a happy ending. This book is, at its core, a brilliant police procedural. Crime fiction fans are no strangers to the police interview room, but Robinson not only uses the staple ingredient very cleverly, he gives it a lick of fresh paint, a new carpet – and maybe even a nice vase of flowers on the table. My only irritation was – as always with Banks – that we learn far more than we ever need to know about his tastes in music, but an irritation is all it was, and it didn’t spoil my enjoyment of this excellent book.

When The Music’s Over is on Amazon, as well as in all decent book shops, and you can find out more about Alan Banks and his creator by visiting Peter Robinson’s website.

THE DEAD HOUSE – Between the covers

The Dead HouseNewly promoted Detective Sergeant Fiona Griffiths, of South Wales Police, might be said to have a disability. She suffers from…..no, wait, we mustn’t use the word ‘suffers’, in case of causing offence. ‘Has’, maybe? OK, DS Griffiths has Cotard’s Syndrome. This strange condition can manifest itself in many ways, the most extreme of which convinces the person concerned that they are actually dead. Less extreme symptoms include partial disconnection between brain and body, and some of the traits of Asperger’s Syndrome, such as an inability to read or understand social gestures or convention.

So Fiona has been employed as part of some diversity box-ticking exercise, yes? Nay, and thrice nay. After the horrors of her teenage years, when she was institutionalised and in a pharmaceutical haze, she went to university, excelled, and then joined the police. This might be considered an odd career choice, given that Fiona has an the kind of electric intelligence which might not sit well within staid police procedures, but even more strange because her father was – and let’s not mince words – a notorious Cardiff gangster. Father? Well, no. Another intriguing ambiguity is that Mr Griffiths and his homely wife are not Fiona’s blood parents. Fiona came into their lives when they emerged from a social function to find an infant girl sitting in their Jaguar coupe. No message. No name. No reason.

At this point, it is best to make clear that Fiona’s search for her real ancestry and her ambivalence about her adoptive dad’s occupation are a recurrent theme in the career of Fiona Griffiths. Author Harry Bingham introduced us to this remarkable young woman in Talking To The Dead (2013). This debut was followed by Love Story With Murders (2014), The Strange Death of Fiona Griffiths (2015) and This Thing Of Darkness (2016).

In this welcome return, Fiona is called to the strangest of crime scenes. Is it a crime scene? Maybe not. A young woman is found, very dead, but dressed in white linen, remarkably peaceful, surrounded by votive lights, and lying on a table in a Dead House – an ancient form of mortuary chapel attached to a medieval church. An autopsy concludes that she died, basically, from heart disease, as young as she was. While the local police are intent on wrapping the case up as unexplained, Fiona is struck by two irreconcilable facts. Why would a woman who has had, according to the autopsy, subtle – and expensive – cosmetic surgery, have stubbly unshaven legs?

The ensuing investigation romps along at great pace, as Fiona – teamed with a grumpy, phlegmatic Camarthen Detective Inspector – uncovers a terrifying conspiracy involving, among other things, Ukranian oligarchs, wild Welshmen who eat badgers, a secret tunnel under a Brecon hillside – and a community of distinctly unsaintly monks.

Just as in This Thing Of Darkness there was a terrifying passage where Fiona was hanging on for dear life to the a boat thrashing about in a storm, there is a section here which will be very hard going for anyone who suffers from claustrophobia. Fiona and her temporary boss struggle through a tunnel system under a Welsh hillside, and I felt every second of it – the constriction, the inability to move more than a few inches, and the sheer terror of being in a virtual rock coffin.

Aside of creating a unique central character, Bingham writes like an angel. His descriptions of the Welsh countryside put you right there in the muddy field, with the smell of sheep, and the distant haze of smoke from a hard-scrabble hill farm chimney. Fans of Fiona Griffiths will know that she courts danger, gets herself into the most terrible scrapes, but will come out fighting like a five-foot-nothing whirling Dervish. Her boss says:

And well done, I suppose. I can’t think of any other officer of mine who’d have got themselves into that situation. But I can’t think of anyone who’d have got out of it either.”

I wrote, when reviewing an earlier Fiona Griffiths novel for another book site:

“In a lifetime of reading crime fiction I have never come across anyone quite like Fiona Griffiths …. Read this book. Enjoy every syllable.”

The publishers have used that quote on my edition of The Dead House, and I stand by every word. You won’t read a better book all year.

You can buy The Dead House from Harry Bingham’s Amazon page and check up on the previous adventures of Fiona Griffiths. Harry’s website is here.

JOINT JUDGMENT – A freebie!!

WEndy CartmellA FREE LUNCH? As in ‘no such thing as’? Normally, the old adage is pretty true, but it seems that you can feast your mind. if not your tummy, with a genuine free offer from author Wendy Cartmell (left). She is best known for her series of Sgt. Major Crane stories, featuring the gritty Military Policeman, but she has a more recent heroine, Emma Harrison. She is an Assistant Governor of Reading Young Offenders’ Institution, and while her charges are callow youths, they are well versed in all kinds of villainy, and the broken lives which have pitched them into the Institution have made some of them very damaged indeed.

In Joint Judgment, she faces a career-defining challenge as she strives to defuse a potentially catastrophic situation, as first the Institutes doctor is attacked and badly hurt, but then the Art Teacher is brutally killed. In order to prevent further bloodshed, she enlists the help of Sgt. Billy Williams, of the Special Investigations Branch of the Royal Military Police.

Joint Judgment

As far as I can see, there is absolutely no small print here, so let’s go ahead with the all important links. Firstly, why not pay a visit to Wendy’s publisher, Endeavour Press, and see what else they have been up to.

You can follow these links to get a Kindle version, or a PDF of Joint Judgment.

Thanks to Wendy Cartmell and Endeavour Press for their generosity. In return you might like to let the wider world know what you think of the book. You can do this by following this link to the book’s Amazon page. You can also take a look at Wendy’s website to read about her other books.

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