Noir is the dark land where brutality and the grimmer aspects of human nature are played out. A place where violence is commonplace and pity scarce, Click on the image below to see just how much you know about this genre of crime fiction.
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.
Adam 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.
Along 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.
James Myers ‘Jim’ Thompson (1906 – 1977) was an outrageously talented novelist, screenwriter – and drunk. When he died in Los Angeles of an alcohol-induced stroke he left a legacy of hard hitting crime novels and brilliant screenplays, perhaps none better than that for Paths Of Glory, Stanley Kubrick’s 1957 film set in the French trenches of The Great War. With a dazzling performance by Kirk Douglas as Colonel Dax, the film has become a classic.
Thompson’s first major success came in 1952 with The Killer Inside Me and it remains grimly innovative. Psychopathic killers have become pretty much mainstream in contemporary crime fiction, but there can be few who chill the blood in quite the same way as Thompson’s West Texas Deputy Sheriff Lou Ford. His menace is all the more compelling because he is the narrator of the novel, and a few hundred words in we are left in no doubt that the dull but amiable law officer, who bores local people stupid with his homespun cod-philosophical clichés, is actually a creature from the darkest reaches of hell.
Ford has homicidal urges which he refers to as the sickness. They date from childhood, and we learn that he was used for sex by his father’s housekeeper and went on to murder a girl – a crime for which his foster brother took the blame. Ford’s downfall begins with a visit to a beaten up house, outside the city limits; the resident of the house, Joyce Lakeland, is a prostitute, and Sheriff Bob Maples has given his amiable deputy – renowned for not carrying a gun, and being able to sweet-talk his way out of difficult situations – the task of telling her to move on.
Joyce is savvy, and world-weary, but when Ford’s “pardon me, Ma’am,” charm strikes the wrong note, she slaps him. He slaps her back and the encounter takes a dark turn when Ford takes off his belt and gives Joyce what used to be known as “a leathering.” She responds to the beating with obvious arousal, and the pair begin a violent sado-sexual affair.
Ford’s involvement with Joyce becomes complicated when he is summoned by Chester Conway, the major employer in the city. Conway’s feckless son Elmer is one of Joyce’s paying customers and Conway senior wants Ford to engineer a meeting where Elmer is to give Joyce a large sum of money on the understanding that she leaves immediately. Ford twists the situation to his own advantage by giving Joyce a near fatal beating, shooting Elmer and setting up the scene to look as if there has been a violent quarrel which has left both participants dead.
His plan seems to have worked, but seeds of doubt have been sown in the minds of some of Ford’s associates, including Joe Rothman, a sceptical union official, and also Bob Maples, who is old, ill and drinking himself away from thoughts that his deputy may be a murderer.
A key figure in Ford’s life is Amy, his long-time girlfriend. Thompson paints her as physically attractive, but socially constrained. She is a primary school teacher from a good local family who, despite responding to Ford’s violent sexual ways, is determined to marry him. As the dark clouds of suspicion begin to shut the daylight out of Lou Ford’s life, she is the next to die, and Ford’s clumsy attempt to frame someone else for her death is the tipping point. Thereafter his downfall is rapid, and his final moments are as brutal and savage as anything he has inflicted on other people.
We live in a different world now. While violence against women is pretty much standard fare in the scores of serial killer novels which are published every year, The Killer Inside Me is different. Nowadays, if a book is classed (by whom, one could ask) as a literary novel, then almost anything goes. American Psycho attracted all kinds of labels; it was satirical, it was post-modern, it was transgressive, it was New York chic. Firmly rooted in the crime fiction genre, I Was Dora Suarez was horrifically violent, but shot through with author Derek Raymond’s overwhelming compassion and pity. Could, would, should The Killer Inside Me be written and published in 2020? I doubt that a mainstream publisher would handle it, and I am certain that critics would kill it dead, leading to social media vultures hovering over the remains.
For an account of the two movie adaptations of
The Killer Inside Me, click the image below
“Lately, I’d lost the gift. As simple as that. Had reacquainted with nights when sleep stands in shrouds and shifts its weight in corner shadows, unreachable. You hear the rustle of its skirts, wait long hours on the small, brittle rumours of first light, and know that when they finally arrive they will be the sounds that fluting angels make.”
very so often a book comes along that is so beautifully written and so haunting that a reviewer has to dig deep to even begin to do it justice. Shamus Dust by Janet Roger is one such. The author seems, as they say, to have come from nowhere. No previous books. No hobnobbing on social media. So who is Janet Roger? On her website she says:
“Janet Roger was apprehended for the first time at age three, on the lam from a strange new part of town. The desk sergeant looked stern, but found her a candy bar in his pocket anyway. Big mistake. He should have taken away her shoelaces. She’s been on the run ever since.”
Make of that what you will, but she goes on to admit that she is a huge Raymond Chandler fan:
“But what really got under my skin was Marlowe’s voice guiding me around the next street corner, and beyond it into a stale apartment block or a down and low bar. He invited me in to look over his shoulder, let me see the highs and the lows, talked me through them and then put me in the seat beside him to drive me home.”
o, what exactly is Shamus Dust? Tribute? Homage? Pastiche? ‘Nod in the direction of..’? ‘Strongly influenced by ..’? Pick your own description, but I know that if I were listening to this as an audio book, narrated in a smoky, world-weary American accent, I could be listening to the master himself. The phrase ‘Often imitated, never bettered’ is an advertising cliché and, of course, Janet Roger doesn’t better Chandler, but she runs him pretty damn close with a taut and poetic style that never fails to shimmer on the page.
Newman – he’s so self-contained that we never learn his Christian name – fled to to Britain during the Depression, had a ‘good war’ fighting Hitler, and now scratches a living as a PI in a shattered post-war London. It is late December 1947, and the cruelties of a bitter winter are almost as debilitating as Luftwaffe bombs. Newman is hired by a prominent city politician to minimise the reputational damage when a tenant in one of his properties is murdered.
ig mistake. Councillor Drake underestimates Newman’s intelligence and natural scepticism. Our man uncovers a homosexual vice ring, a cabal of opportunists who stand to make millions by rebuilding a shattered city, and an archaeological discovery which could halt their reconstruction bonanza.
There are more murders. The weather worsens. The clock ticks relentlessly towards 1948 as a battered but implacable Newman defies both the conspirators and corrupt coppers to see justice done. Along the way, he is helped – and entranced – by a young doctor, but she seems elusive and beyond his reach. As he goes about his grim business, however, he views London with eyes which may be weary, but still have laughter in them:
“..two paintings in the centre of each of the blank walls, one gray on white, the other white on gray to ring the changes. They might have been Picassos from his plumbing period, or a layout for steam pipes in an igloo; either way, they gave the room the all-round charm of an automated milking parlor.”
“At the street corner there was record store closed for lunch, with a sign over that read, Old Time Favourites, Swing, Hot Jazz, Popular, Classical, Opera and Foreign. The rest it was leaving to the opposition.”
By the end, Newman has played a game of chess in which his board has had most of the key pieces knocked off it by a succession of opponents not necessarily cleverer than he, but certainly with more power and fewer scruples. He survives the endgame – Janet Roger creates a divine metaphor in the final three pages – and his darkness is lifted by an extraordinary act of compassion and generosity to a fellow pawn in the cruel game. I started with Newman’s voice. Let him have the final say as he raises a glass to his lost doctor.
“Waiters ghosted. The company men were long gone. My table was cleared excpt for the glass in my hand. I held it up to the light, turned it round through a hundred shades of red, and wished the doctor all the good luck in the world. Then drank and set the empty glass on its side and called Alekhine over for the check.”
Shamus Dust is published by Matador and is out next month.
Maurice Procter (1906 – 1973) was a well regarded crime writer who created a popular police procedural series based on the cases of Harry Martineau, a Manchester police officer. Many of Procter’s books are still in print and modern writers such as Nick Triplow (Frank’s Wild Years, Getting Carter:Ted Lewis and the Birth of Brit Noir) and Nick Oldham (The Henry Christie novels) regard him highly and cite him as an early influence.
Hell Is A City was published in 1954 and was the first of the Harry Martineau series. Set in a Manchester disguised only by its name, Martineau goes head to head with a man he knew when they were both schoolboys, but he and Don Starling have little else in common. Starling, a violent career criminal has escaped from prison, fatally injuring a guard in the process, and stages a cash heist from a bookmaker in order to fund his plans for freedom. A girl cashier dies, and so Starling is now a double murderer and faces the hangman’s noose if caught.
The full history of Hammer Films is far too complex for this feature, but suffice it to say the British company was founded in 1934, and is best known for – and synonymous with – its series of horror films in the 1950s and 60s. One of its best known directors was Val Guest, and it was he who brought Hell Is A City to the big screen in 1960.
The cast, if not stellar by international standards, was solid, with key roles for Stanley Baker as Martineau, Donald Pleasance as the bookmaker Gus Hawkins, and Billie Whitelaw as Mrs Hawkins (left). Strangely, the key role of Don Starling was given to John Crawford, (below) a journeyman American actor whose stock in trade was tough guys and villains. His American accent is obvious throughout and, although he puts in a good performance, it stretches credibility to believe he is the same man who fought with Martineau in their school playground. Regarding the oddity of his accent, it has to be said that the rest of the cast went for Stage Northerner rather than attempt the distinctive Mancunian twang.
Remember the opening titles in the Police Squad/Naked Gun spoofs? The view from the driver’s seat as the squad car careens through the neon jungle on its way to the latest murder? This is precisely how Hell Is A City opens, complete with the sleazy night club jazz music. Clearly, viewers in the 1960s would not have sniggered as we might do today and, thankfully, the film itself doesn’t disappoint.
Moody monochrome is the order of the day. We might regard that as reverential, but it was probably just economics. There are some good Manchester locations for those older folks who can remember the city back then, and the moors to the east of the city, where Starling’s gang dumps the murdered bookie’s cashier are, of course, changeless. Incidentally, when a passing motorist discovers the girl’s body, I said to myself, “Surely, that looks like …..” And so it was – a drive on, drive off role for Warren Mitchell, well before his Alf Garnett heyday. (below)
The film sticks pretty closely to the book in plot, dialogue and nuances. It is a tribute to Procter’s finely tuned ear for dialogue (he was himself a serving police officer for many years) that Val Guest’s screenplay and script remain faithful to the original. We meet Martineau’s neglected but rather prissy wife Julia (Maxine Audley) but whereas their relationship takes on a happier turn by the last pages of the novel, Val Guest leaves us wondering.
Martineau’s faithful dogsbody Deverey is rather smarter in the film than he is print, and his romance with the beautiful deaf mute Silver Steele is well-established in the book, whereas he meets her for the first time on screen. Silver’s encounter with the cornered Starling ends more happily on the screen than it does in the book.
As ever, with British films of this era, those with sharp eyes will spot a few faces who would go on to be familiar to television viewers, including a brief appearance by Doris Speed as a nurse, no doubt taking time away from her evening job of serving pints in The Rovers Return in Wetherfield.
A teaser for film buffs. There are two connections between this film and the cult Australian thriller Wake In Fright (1971). One is Donald Pleasence, but the other …. ? I have provided a pictorial clue (below)
The film is, in short, excellent. It is available as a DVD, and if you want to read about the novel – also first class – then it just so happens that I can help …….
n a fictional world overflowing with disfunctional detectives who happen to be rather good at their jobs, Joseph Knox has raised, or perhaps lowered, the bar considerably with his DC Aidan Waits. We first met Waits in Sirens (2017) and then in The Smiling Man (2018). Now, in The Sleepwalker, Knox takes us on another guided tour of the dystopian underbelly of contemporary Manchester.
Together with his grotesque partner and immediate boss, DI Peter Sutcliffe, Waits always gets the shitty end of the stick. ‘Sutty’ Sutcliffe is, you might say, a good old fashioned copper. Waits goes to meet him in a dingy rock-and-roll boozer:
“Sutty was standing in the corner, explaining something to one of the other customers. To make sure the man was really listening, he’d lifted him off the ground by his ears and begun banging his head into the wall to the beat of the drum.
He let the smile slide, dramatically, off his face when he saw me.
‘Oh’, he said, over the music. ‘It’s the great depression. Shouldn’t you be queuing up for a loaf of bread instead of buying beer?’ “
Waits and Sutcliffe have been assigned to a Death Watch. In hospital, a notorious serial killer nicknamed The Sleepwalker because of the bizarre circumstances of his arrest, is dying of cancer. Years ago, he was convicted of slaughtering a family – wife and children – and the older daughter’s body has never been found. In the faint hope that Martin Wick’s dying breath will reveal the final resting place of twelve year-old Lizzie Moore – a sombre echo of the misplaced faith that believed Ian Brady would finally say where he had buried Keith Bennett – Waits and Sutcliffe sit by the dying man’s bedside, their ears close to whatever utterance escapes his shriveled lips.
hy is Aidan Waits such a tortured character? Well, how long have you got? His childhood was loveless and chaotic, and spent largely in institutions where he rubbed shoulders with trainee failures, malcontents and killers. Echoing Nietzsche’s chilling remarks about the moral abyss, Waits has, more recently, gazed too long into a chasm inhabited by a repellent Manchester crime lord called Zane Carver. Carver has fed Waits’s drug habit, and the two have fought over women. Carver has a particular talent with women:
“Zain Carver was a magician when it came to ruining women’s lives.
He surrounded himself with these beautiful assistants and then delighted in sawing them up, making them disappear. Sometimes a new girl on his arm might end up on the game, or in hospital, or back with her parents feeling five years older, a permanent faraway look in her eyes.”
s distinctive as Knox is as a stylist, and as much as he is a master of the inky black metaphor, he has a tale to tell and a plot to spin. The sepulchral calm of Martin Wick’s closely guarded hospital room is shattered by a savage attack which Waits survives, but puts him at the head of the queue as the police and the gutter press search for scapegoats. With Carver having decided to exact revenge on Waits by donning his black cap and pronounced the death sentence, Waits is on the run both from the gangster and, no less implacably, his politically motivated senior officers, but he keeps them at bay. He discovers faint-but-fatal fault lines in the original case against Martin Wicks, and finds that both Kevin Blake, the detective who brought Wicks to justice, and Frank Moore, the father of the murdered children, still have songs to sing.
Joseph Knox writes like an angel. Possibly an Angel of Death, but he grasps the spluttering torch of English Noir once carried by such writers as Derek Raymond, and runs with such vigour that the flame burns brightly once again. He is not without humour, and there are many – if unrepeatable – gags exchanged between the cynical cops and their low-life prey. The politically correct nature of modern policing doesn’t escape his attention, either:
“The conference space and interview rooms had a bland, mass-produced, modern aesthetic. If Hitler’s bunker had been designed by Travelodge, it couldn’t have communicated quiet despair any more effectively.”
No-one who has had the misfortune to require A & E treatment on any given weekend evening – in Manchester, Middlesborough, Maidenhead or Milton Keynes – will be unfamiliar with this baleful description, as Waits searches for a suspect:
“I looked about me. Bloodshed, fist-fights and stab wounds. Confused, stunned people, drunk, on drugs, with life-altering injuries. Stick-thin single mothers on food bank diets, with morbidly obese babies.”
nox has his grim fun with a Manchester police force that is barely honest, city down-and-outs who have lost most of the trappings of humanity, and an infestation of tattooed, Spice-addicted thugs straight from Central Casting – with Hieronymus Bosch as the agency’s head of HR. He also leaves us with a delightfully enigmatic final few pages. The Sleepwalker is published by Doubleday and will be on the shelves from 11th July
David C Taylor, the author of Night Watch, has been around the block. He says that he and his brother:
“..were free-range children in New York who early on discovered the joys of Times Square, the games arcades, the pool halls, and the jazz clubs.”
Despite this, Taylor went on to graduate from Yale. After volunteering with The Peace Corps he scratched out a living teaching and writing short stories, but eventually had to bite the commercial bullet and had a successful career as a film and TV screenwriter in Los Angeles. He introduced us to the tough 1950s New York cop Michael Cassidy in Night Life (2015) and followed it with Night Work (2017). Cassidy returns now, in Night Watch. He has an unusual background for a New York cop. His father, a refugee from Eastern Europe, is a successful Broadway producer. His godfather is Frank Costello, a Mafia boss.
Cassidy is an ex-serviceman, and in Night Watch he becomes involved in an issue which is way, way above his pay-grade. The initial reaction of the USA to former Nazis in the months immediately following May 1945 was simple – Hang ‘Em High. But as the government realised that highly trained German scientists and engineers were being harvested by the new enemy – Soviet Russia – the bar was significantly lowered, with the philosophy that these men and women might be bastards, but at least they’re our bastards.
One of Cassidy’s buddies sums up the dilemma perfectly:
“We fight them for years,. We’re told that they’re the worst of the worst, the end of civilisation and freedom if they win, and when it’s all over, the same guys who’ve been telling that stuff start bringing them over here to work for us.”
concentration camp survivor, ostensibly just an old guy driving tourists around Central Park in his horse cab, but secretly hunting down those who imprisoned him and killed his family, is found dead with strange puncture wounds in his neck. A businessman dives through the high window of his hotel – without bothering to open it first – and no-one saw anything. Not the concierge, and especially not the dead man’s co-workers, who were in an adjacent room. Two deaths. Two cases which Cassidy’s boss wants put to bed as quickly as possible. Two lives snuffed out, and Cassidy senses a connection. A connection leading to money, national security, powerful people – and big, big trouble for a humble NYPD cop.
Not only does Cassidy face a shitstorm of fury from major league conspirators, he has a more personal problem. Someone, maybe a vengeful con, or someone with a huge grudge, is out to kill him. The killer plays with him by trying to push him in front of a subway train, and then reshaping the woodwork of his front door with slugs from a sniper rifle. With a narrative conjuring trick half way through the book, Taylor merges the two threats to Cassidy, and from that point on we must fasten our seat belts for a very fast and bumpy ride.
Like many people, I only know New York in the 1950s from novels and movies. I don’t know for certain David C Taylor’s age and I suspect his 1954 New York would have been viewed through the eyes of a youngster, but, my goodness, what a vivid scene he sets, and what a gritty backdrop he paints for the deeds – and misdeeds – of Michael Cassidy. Who knows if this description is accurate, but more importantly it works like a dream, so who cares?
(The diner) “ …was a Buck Rogers dream of curved aluminium, big slanted windows, Formica-topped tables in weird shapes, and waitresses in high-waisted slacks, ruffled white shirts with black bowties, and funny little hats that looked like fezzes. To pay for all that the joint charged an exorbitant buck twenty-five for a plate of ham and eggs, toast and potatoes, but they threw in the coffee for free.”
here are one or two significant name drops which help boost authenticity, amongst them a guest appearance by the sinister head of the CIA, Allen Dulles. Cassidy himself doesn’t do wisecracks, but there is plenty of snappy dialogue and verbal slaps in the face to keep us awake. This, after a post mortem:
“ ‘And a couple of other things make him interesting ….’
‘He had his underpants on backward.’
‘Sure. Why not? What else?’
‘I found someone’s fingertip in his stomach.’ ”
Taylor joins an elite bunch of writers whose novels are set in those turbulent post-war years of urban America. Jim Thompson, Ed McBain, Chester Himes, Walter Mosley, Micky Spillane – there are some big, big names there, but Taylor (below) doesn’t disgrace himself in their company. Cassidy is believable, flawed, but honest and with that elusive moral imperative that he shares with the better-known heroes in the genre. He has limited means, but he’ll be damned if he allows himself to be trampled on.
Night Watch is available in all formats and is published by Severn House.
England. 11th April 1981. While the music charts bubble with the froth of Bucks Fizz, Shakin’ Stevens, Adam and the Ants and The Nolans, London – at least the place south of the river called Brixton – is aflame with violence, racial hatred and mayhem. As the police struggle to control the streets a middle aged Detective Inspector called Henry Hobbes is bused in to help. No matter that Hobbes – and many other senior detectives likewise – is a stranger to riot control, it is a case of all hands on deck.
Later that year, with Brixton quieter, despite other English towns and cities erupting in copycat anger, Hobbes has become embroiled in a bitter internal dispute. A fellow copper, Charlie Jenkes (who rescued Hobbs from the mob on that fateful April night) after being indicted for savagely beating a black suspect, has taken his own life. And the officer who testified to Jenkes’s violence? Henry Hobbes, who, with that single act of honesty, is branded as a Judas by his own colleagues.
But now Hobbes has something to distract him from his disintegrating family life and his pariah status among fellow officers. A young man is found dead, wth his body gruesomely mutilated. Brendon Clarke was a minor celebrity, the lead singer with an aspiring band called Monsoon Monsoon, whose chief claim to fame is that they play the music of another dead rockstar – Lucas Bell. Bell’s celebrity rests on hs apparent suicide, his angst-ridden persona, and, most of all, his adoption of the identity of King Lost, a charismatic figure with a gruesome mask.
As Hobbes tries to unpick the complex knot which ties together the identities of Brendan Clarke and Lucas Bell, he discovers that the King Lost legend has its roots in a bizarre fantasy world created by a group of teenagers in the Sussex town of Hastings. With more murders being linked to the world of King Lost, Hobbes is drawn into an investigation which exposes child abuse, blackmail, madness and revenge.
Genre compartmentalising books is not always helpful, but it is fair to say that Noon’s previous novels have used tropes from science fiction, psychedelia and dystopian fantasy. Slow Motion Ghosts adopts conventions of the police procedural, but is more adventurous, asks more questions and has a distinctly noir-ish feel. Noon uses his knowledge of the music scene to bore down into the strange phenomenon of the celebrity cult, and the lengths to which worshippers of dead heroes are prepared to go in order to keep their fantasies alive.
Jeff Noon was born in Droylsden in 1957. He was trained in the visual arts, and was musically active on the punk scene before starting to write plays for the theatre. His first novel, Vurt, was published in 1993 and went on to win the Arthur C. Clarke Award. He reviews crime fiction for The Spectator.
Slow Motion Ghosts is published by Doubleday, and is out now.
Samuel Bjørk is the pen name of Norwegian novelist, playwright and singer/songwriter Frode Sander Øien. Øien wrote his first stage play at the age of twenty-one and has since written two highly acclaimed novels, released six albums, written five plays, and translated Shakespeare, all in his native Norway. Øien currently lives and works in Oslo.
His third crime novel, The Boy In The Headlights is due to be published by Doubleday on 21st March, and once again features the Special Investigations cops Holger Munch and Mia Krüger who will be no strangers to the readers who enjoyed their previous two cases.
In The Boy In The Headlights, which is translated by Charlotte Barslund, Munch and Krüger try to nail a serial killer who has already struck on four occasions, each time leaving a clue to taunt the investigators. It becomes clear that the murders are linked to a bizarre incident fourteen years earlier, when a motorist, driving home through the a typical Norwegian winter’s night narrowly avoids running into an animal, frozen in the car’s headlights on the lonely road. Except this is no startled forest creature. It is a terrified boy, with deer antlers strapped to his head. Norwegian critics have nothing but praise for Bjørk and his writing:
Any UK media enquiries should be addressed to Tom Hill at Transword Publishers email@example.com