This is a tale of brutality – and total incompetence. An elderly man is battered to death, and his killers escape with a safe containing small change. Get the full story by clicking the podcast link.
In Jim Kelly’s novels, the past is like a sunken ship that has lain undisturbed on the sea bed for decades. Then, with a freak tide, or maybe some seismic shift, the ship’s blackened timbers surface once again, breaking through the surface of the present. In this, the latest case for Detective Inspector Peter Shaw and Sergeant George Valentine, the metaphor becomes literal. In the terrible storm of January 31st 1953, a tempest that battered the East Anglian coast and claimed over 300 lives, a dilapidated Dutch coaster, the Coralia, went down, taking its captain and crew with her.
Meanwhile, the unique seaside town of Hunstanton – unique in that it is an east coast resort which faces west – has been literally rocked by an explosion on its crowded beach. Something buried deep beneath the sand is triggered by some boys determined to dig a sink-hole sized pit before the tide sweeps in. There is a brief moment when something metallic and shiny appears in the wall of their excavation, but then hell is unleashed. Miraculously, no-one is seriously hurt, but the beach is closed to holidaymakers while forensic experts and a bomb disposal team from the army do their stuff.
Shaw is faced with several possibilities. Was the explosive device recently planted by extremists from the STP – Stop The Pier – movement, who are protesting against the construction of a huge new pier which will suck trade and footfall from existing businesses? Was the explosion a result – as a teenage boffin from King’s Lynn suggests – of the very late detonation of an unexploded bomb dropped in a Zeppelin raid way back in 1915?
Shaw’s case is complicated by the discovery of a dead diver, tethered to the underwater remains of Hunstanton’s Victorian Pier, destroyed by storms in 1978. Eventually, he learns that the murdered diver is the son of one of the crew members of the ill-fated Lagan, whose remains are rotting on the seabed a couple of miles distant from the pleasure beach. And what of the apparently guileless old lady who has been caught giving arsenic-laced sweets to people in a local ‘bus queue.
Detective partnerships have become one of the enduring clichés of crime fiction. Sometimes – but not always – the pairings work, and when they do, they are a very satisfying literary device. The trope usually requires the senior partner to be yin to the junior’s yang. In this case, Peter Shaw has the imagination. George Valentine the curmudgeonly common sense; Shaw is the live wire to Valentine’s earth. The telling difference between these two and other ‘odd couples’ is that Kelly explores the psychological make up of both men, and the glimpses into their personal lives are equally perceptive and revealing. Valentine is older than Shaw by many a mile; so much so, that Valentine actually served in the force alongside Shaw’s late father, a man still revered within the Constabulary. We also learn that were it not for a faux pas which almost ended his career, Valentine would now be Shaw’s senior officer.
New readers will be pleasantly surprised at how Kelly knits together the misdeeds of the past and the murderous intent of the present. Existing fans will simply smile, and say, “He’s done it again.” You will be pushed to find a novel which so successfully welds together the police procedural, the psychological thriller, the ‘whodunnit’, and the atmospheric novel of place. If you find one, please let me know. In the meantime, I will not be holding my breath – except in waiting for the next masterpiece from one of our finest writers. Death Ship is published by Severn House, and is available here. The official launch will be – very appropriately – at the RNLI Headquarters in Hunstanton on 3rd September. For tickets and enquiries ‘phone 07840 375 984
There’s an old expression that describes someone as “having a way with words’. There can’t be any contemporary writer who has a better “way with words” than Val McDermid. There are no dramatic flourishes, no histrionics and no scatter-gun blasts of redundant adjectives. What we have is simplicity, purity, and a command of language that is almost minimalist. She describes DCI Karen Pirie, thus:
“…a wardrobe that always looked slightly rumpled;
a haircut that never quite delivered what it had promised in the salon.
Women never felt threatened by her,
and men treated her like a wee sister or a favourite auntie.”
This is the fourth book featuring Karen Pirie, but newcomers learn just enough of Pirie’s backstory. Her lover, a fellow police officer has been killed. She is coping with her grief, but not easily. She tells civilians that she is attached to the Police Scotland Historic Cases Unit. The reality is that she – and her nice-but-dim assistant, DC Jason ‘The Mint’ Murray – are the PSHCU. An idiot boy and his mates steal a Land Rover, and decide to test it to destruction by driving over roundabouts. It works once, but the second time, the four-by-four flips, killing the hapless passengers and delivering driver Ross Garvie to the local hospital ICU. A routine DNA test links him to an unsolved rape and murder in Glasgow, years earlier. It clearly wasn’t him, but who was it?
To add to Pirie’s complicated life, a mentally troubled man is found shot through the head beside Loch Leven. He was harmless, occasionally foolish and always garrulous, but why was he a threat? Did the fact that his mother had been killed in an assumed IRA assassination mark him out for this totally unwanted attention? The trail of Ross Garvie’s DNA leads Pirie through a minefield of botched investigations, incorrect assumptions and misdeeds sheltering behind fiercely protected rights to privacy.
As you might expect, McDermid is completely at home in her geographical surroundings. We have the stark contrasts of the historic streets and alleyways of Edinburgh and the city’s brutal and depressing tower blocks clinging to its suburban coat tails. All too rarely, Karen Pirie gets to sit in her beautifully situated apartment, and we share her reverie as she looks out over the dark waters of the Firth of Forth, and across to the lights twinkling away on the Fife shore. The setting of the novel is cleverly done, but it is just one piece of the jigsaw – along with the fascinating details which make up the police procedural aspects of the story.
McDermid puts most of the pieces in place for us, but leaves us plenty to do for ourselves, and the completed picture is one that shows jealousy, human frailty, the sheer darkness of some people’s lives – but also a glittering thread of compassion and redemption. If the novel inspires you to check up on Karen Pirie’s backstory, then you will find it in The Distant Echo (2003), A Darker Domain (2008), and The Skeleton Road (2014)
It is lazy of critics to talk about “Queens” of crime, but since the deaths of PD James and Ruth Rendell, there is only one heir to the throne. McDermid just gets better and better with every book. Some writers grab us by the throat and drag us through the narrative; there are others who take us by the hand and lead us; McDermid simply has to beckon – and we follow.
You can follow the link to see your buying choices for Out of Bounds
Some historical crime fiction takes us back to times way, way before our own memories could have any validity. Then there are stories set in periods that many of us could reasonably have experienced at first hand. With the former, it is simply the author’s research versus the depth – or lack of – our own historical knowledge. The latter is a much more tricky enterprise, as someone who sets their book in the 1960s, for example, can be exposed to a more searching light – that of readers who actually lived through the years in question.
Peter Bartram’s mileu of choice is the early 1960s. We are in Brighton, the celebrated seaside town on England’s south coast. Its days of fame as the Gay capital of Western Europe, and infamy as the first large local authority to be mismanaged by the Green Party were yet to come, but the seeds of eccentricity have already been sown. Our guide through the Sussex town is Colin Crampton, the scoop-hungry reporter for The Evening Chronicle – a Brighton newspaper. He is a thoroughly engaging character with a quick wit, and it isn’t too fanciful to imagine that he might resemble the author in his younger days. If you read Bartram’s biography, you will be forgiven for thinking that if Crampton is not Bartram, then he is someone who the author knew very well in his early days as a journalist.
The basic plot is that we have a long-retired star of What The Butler Saw machines – Marie Richmond – who dies in a mysterious road accident. Then, a machine featuring her in her prime is broken into, and the revealing footage is stolen. The man who should have been guarding the pier is found bludgeoned to death – with a coconut. Crampton/Bartram introduces us to some memorable characters, including a camp, overdressed theatre critic and a toupéed old thespian, both of whom are crying out for the much-missed talents of John Inman and Charles Hawtry to bring them to life.
As Crampton attempts to unravel the mystery of why the ample charms of a silent movie star should have given someone cause for murder, there are some delightful period references and jokes which made me laugh out loud, although younger readers might not get the gags unless they are students of British popular culture in the second half of the 20th century.
There may well be readers who, by this point, have been receiving ‘cosy’ messages on their genre radar. All well and good, as there are elements of cosy crime here. We have an unambiguously likeable central character, a familiar and lovingly-painted background, and a cast which includes several amiably odd characters. We reviewers love our genres, and some readers may even share this obsession, so I’ll pop Stop Press Murder into the Cosy pigeonhole, with one or two caveats. Although the tone is generally as gentle and as light as a Brighton breeze, Bartram finds enough dark corners in the seaside town to keep the interest of those who like their crime fiction with a harder edge. The style of the book reminds me very much of the sharply humorous writing of Colin Watson and his Flaxborough novels, which also delight in the dafter aspects of English life, as well as boasting a collection of folk with similarly improbable surnames
Crampton is convinced that there is a link between the odd events on the pier, and discovers that Richmond – or to use her real name, Sybil Clackett – has a twin sister who is no lesser personage than the Dowager Marchioness of Piddinghoe. The local police and the Chronicle’s rival newspapers are seeing the case differently, however, and Mr Figgis, Crampton’s boss, is becoming increasingly twitchy as he fears for his sales figures.
Peter Bartram explores all possibilities inherent in the twin sisters storyline, and delivers an excellent novel, full of twists and turns, plenty of action scenes, crackling dialogue – and a great sense of fun. I’m looking forward to yet more encounters with the Evening Chronicle’s star turn. You can find a copy of Stop Press Murder by following the link.
There 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.
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.
Just 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.
Downey (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.
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 
Kelly, 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)
Belloc-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.”
Colin 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,
“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
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
“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.
The 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.
With 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
fullybooked2017 