trafficking

DEADMAN’S POOL . . . Between the covers

Murder sites in British crime fiction come in all shapes and sizes: West Country bookshops, greasy subterranean passages under Leeds Station and a twelfth century water mill have featured in my recent reads but, because of our climate we cannot do exotic. We can, however do windswept and bracing. Fitting that bill perfectly is a beach on the storm-lashed island of St Helen’s, one of the Scilly Isles. Home now only to gulls and kittiwakes, it remains the last resting place of the monks who once lived on the island. Scilly Isles copper DI Ben Kitto discovers a much more recent burial and, in doing so, he uncovers evidence of that vilest of vile modern ‘professions’, human trafficking.Kitto’s problems mount.

A new-born baby boy, just about alive, is left on the police station steps and DCI Madron, Kitto’s abrasive boss, is injured in an accident, and then disappears. The Scilly Isles must be a challenging place to be a copper. The islands that make up the archipeligo have, in total, the population of an medim-size English village, so crime ought to be easily solvable. But. And it is a very large ‘but’. Small boats are everything, and most people have access to one. The distances between the main inhabited islands – St Mary’s, Tresco, St Martin’s, St Agnes and Bryher – are relatively short, but the Atlantic Ocean is wild, unpredictable and unforgiving. Crime scenes are difficult to protect, forensic experts have to be flown in from Cornwall, and the frequently vile weather is a challenge to logistics and normal police procedure.

Kitto – who has returned to his birthplace after cutting his teeth in London with the Met – painstakingly gathers evidence about the dead girl and the abandoned baby, reluctantly reaching the conclusion that although international crime gangs may be at the root of the problem, the branches and leaves of this particularly poisonous tree are flourishing in the climate of his own bailiwick, and several prominent and well-respected individuals may be involved. Kitto is an islander to his core, but he is painfully aware of the challenges residence poses.

“The outside world is comfortless though. When I pull back the curtain, breakers are lashing the shore. Seabirds are returning to Bryher in flocks, scattered by the breeze.

It feels like we’re at the mercy of some savage force that’s trying to tear these islands apart.”

The old expression “barking up the wrong tree” has its origins in America, where hunting dogs would be fooled by their prey jumping between adjacent trees to fool their pursuers. It doesn’t sound as if there are many trees on the Scilly Isles, but Ben Kitto barks up at most of them in vain. This isn’t to say he is inept, or a fool. Quite simply, the villain is hiding in plain sight, too close to home. The final pages of Deadman’s Pool are exhilarating and graphic. When Kitto finally exposes the killer, I had to check back to see if Kate Rhodes had given us any clues, but I don’t think she did, so the surprise is even more startling.

I am a suburban man, root and branch, so it baffles me how anyone can remain sane living in such remote places as Barra, the Orkney Islands or the Scilly Isles. Kate Rhodes, however, has been bewitched by the charm of Island life, and she has written a gripping and addictive police procedural set in a frequently intimidating landscape. Deadman’s Pool will be published by Orenda Books on 25th September.

September 23, 2025 0

OUT FOR BLOOD . . . Between the covers

Aberdeen, Scotland.The Granite City. To say that Police Scotland’s DI Eve Hunter has baggage would be something of an understatement. Physically and mentally damaged by a ruinous encounter with a notorious crime family, she is only allowed back to work on the understanding that she undergoes tortuous (for her) therapy sessions with Dr Shetty, the police psychologist. We first met Hunter in Hold Your Tongue, and you can read that review by clicking the link.

We start with two corpses. One is an unidentified young woman, strung up by her neck to a tree on a golf course. The other, a young man, is found in more comfortable surroundings – his flat – but he is equally dead. As Hunter’s team begin to investigate the cases it seems that they could not be further apart. The dead man is an old boy of one of the area’s most prestigious independent schools, and has a rich father. The girl, however, is an Eastern European prostitute. Links between the two deaths slowly turn from gossamer to steel. Was one using the other? Is it that simple? Why do the names of powerful local figures crop up over and over again on the peripheries of the case?

In some ways we are on familiar territory here. We have the classic police procedural trope of the tired and overworked detectives trying to keep their family lives on track, while still having to give everything to ‘the job’. We have some coppers who are, if not actually corrupt, downright idle, their only concern being how to protect their pension Somehow, these stresses and strains of police work come over as fresh and as harrowing as if it were the first time we had read them.

This is not the first novel in recent years to highlight the deeply unpleasant trade in human lives carried out by Eastern European criminals. I live in a town where it happens, and nothing Deborah Massen (below) has written here is in any way exaggerated or fanciful. She vividly portrays the brutality of the men – and women – who run the rackets, and the misery of the girls who become enslaved.

Masson showed in her previous book that she has a talent for having her police characters (and with them, we readers) pursue one line of enquiry, convinced that solution can only lie in that single direction, only for events to take a startling turn in another direction altogether. In proving that we are all wrong, and making the plot twist plausible, she takes a great risk, but I have to say her gamble pays off, and she produces a startling conclusion with the true flourish of a literary magician. Out For Blood is available in Kindle from Transworld Digital now, and will be out in paperback under the Corgi imprint on 10th December.

November 27, 2020 0

AFTER THE FIRE . . . Between the covers

Jo Spain’s Irish copper Tom Reynolds – now Detective Chief Superintendent, if you please – returns in After The Fire and we are, as ever, in Dublin’s Fair City. Are the girls still ‘So Pretty’? The young woman walking naked down the city street, much to the astonishment of shoppers might have been pretty once, but now she is in a terrible state. Hair awry, skin blackened with dirt and a look of sheer terror in her eyes.

Except that is not dirt on her skin. It is soot, and she has escaped, traumatised, from a catastrophic house fire. The terraced house is in an area which has moved upmarket because of its proximity to the The International Financial Services Centre (IFSC) but the services being offered at the ruined house were something different altogether. First one body is recovered, and then another, and as the young woman – a Russian – recovers in hospital, it becomes clear to the police that the house was a brothel, and she was one of the items on the grisly menu.

As a DCS, Tom Reynolds is not meant to get his hands dirty at an investigational level, but there is no drama in balancing budgets and supervising staff deployment, so the admirable Mrs Spain has Tom notionally taking a spot of leave so that he can lend a hand in the case which is being led by his former protégé Laura Lennon.

Tyanna, the woman who fled the fire, is too terrified of the people who controlled the trade at 3 Shipping Row to be of much use, but she has mentioned a baby, now missing, the child of a young woman whose corpse was discovered in the building. Another frightened young woman – Nina Cusack – who was bought and sold there has also emerged, but she has sought sanctuary with her parents and is, again, too terrified to divulge much about the identities of the guilty men who are controlling the brutal trade.

The sheer fluency of Jo Spain’s writing will come as no surprise to those of us who are long term admirers, and the bottom line is that every book she writes is, quite simply, a bloody fine read. It is, however, worth taking a moment to look at just how and why she is so good. Lesser writers will seed their narratives with gore and gruesome detail, while Spain leaves us in no doubt about how brutal people can be, but in a much more subtle way.

Some police procedurals rely too much on the central copper being a maverick, or a bitter misanthrope, or a damaged person with a hundred different devils to fight each day. Tom Reynolds doesn’t distract us in that way – he is a decent man who has been dealt a fair hand by fate, and so we don’t waste valuable time having to understand him by examining his CD collection. (Yes, I know CDs are so very yesterday, but you get my drift)

As for elaborate scene setting with endless paragraphs about how Dublin looks, smells, sounds and feels, Jo Spain puts us in the place with a couple of telling sentences. We know we are in Dublin – that’s fine – but then she gets on with the important stuff. The important stuff? That is the story and above all, Jo Spain is a storytelling genius. Those who follow her career will know she is also much sought after as a screenwriter. The Tom Reynolds books and the stand-alones are not written for the screen, but they may as well be because every page, every paragraph and every sentence comes to life as vividly – and as visually – as if we were standing right there, watching.

After The Fire is published by Quercus. It is available now as a Kindle, and will be out in paperback on 6th August.

For more on Jo Spain and her novels, click the image below.

August 3, 2020 0

ONLY THE DEAD CAN TELL . . . Between The Covers

By my reckoning this is the fifteenth outing for Alex Gray’s veteran Glaswegian copper, William – now Detective Superintendent – Lorimer. A woman – who, if witnesses are to be believed, was a deeply unpleasant person – is found stabbed to death, her hands clutched around a top-of-the-range kitchen knife. Dorothy Guilford was widely disliked both within her own family and further afield while her husband, Peter – by contrast – has few detractors. Yet the working hypothesis of the police investigating Dorothy’s demise is that Peter Guilford did the deed.

Lorimer has become bogged down in a partially – and only partially – successful investigation into murder, prostitution and people trafficking based in Aberdeen. In the Granite City some entrepreneurs, denied a living by the decline in the oil and gas industries, have taken to trading in other commodities – human lives. However, to borrow the memorable line from The Scottish Play, Lorimer’s team have “scotch’d the snake, not kill’d it.” The head of the gang responsible for taking young and innocent Romany women from impoverished Slovakian villages, and setting them to work in Scottish brothels is known only as “Max”. The very mention of his name is enough to silence witnesses, even those who have every reason to long for his downfall. But how – if at all – is Max connected to Peter Guilford, arrested for his wife’s murder, but now beaten within an inch of his life while on remand in Glasgow’s Barlinnie prison?

Alex Gray gives us an enthralling supporting cast. Ever present are the consultant psychologist, Dr Solomon Brightman and his wife Rosie, a pathologist who has the essential – but unenviable – task of literally eviscerating the human bodies which are the result of murder most foul. Young Detective Constable Kirsty Wilson goes above and beyond the call of duty to make sense of the confusing and contradictory ‘facts’ of the Dorothy Guilford case. All the while, though, she is facing a personal dilemma. Her boyfriend has just won the promotion of his dreams – a prominent position in his bank’s Chicago operation. But will Kirsty cast aside her own imminent promotion to Detective Sergeant, and follow James in his pursuit of The American Dream?

The British police procedural – the Scottish police procedural, even – is a crowded field, and each author and their characters tries to bring something different to choosy readers. Where Alex Gray (right) makes her mark, time and time again, is that she is unafraid to show the better things of life, the timeless touches of nature in a summer garden, or the warmth of affection between characters, particularly, of course, the bond between William and Margaret Lorimer. Here is one such moment:

“She smiled as he selected a bottle from the fridge. The dusk was settling over the treetops, a haze of apricot light melting into the burnished skies …….she pulled a cardigan across her shoulders as she settled down on the garden bench, eyes gazing upwards as a thrush trilled its liquid notes. Live in the moment, she thought, breathing in the sweetness that wafted from the night-scented stocks.”

This is not to say that Gray wears rose-tinted spectacles. This is far, far from the case, and her scenes depicting the violence – both emotional and physical – that we inflict on one another are powerful, visceral and compelling.

A particular mention needs to be made of the deft touches Gray uses when writing about Margaret Lorimer. Here is a woman much to be envied in many ways. She has a loving husband, a stable and prosperous home life, and a teaching career in which she touches the lives of so many young people in her school. And yet, and yet. A cloud hovers over Margaret, and it is one that can never be blown from the otherwise blue sky. The couple’s inability to have children sometimes weighs heavily, especially when friends and colleagues are gifted with children. But Gray never allows Margaret to become embittered, and if she envies Rosie and Solomon, for example, then she keeps it to herself.

Only The Dead Can Tell is, quite simply, superbly written and plotted. It sums up everything that is golden and enthralling about a good book. It is published by Sphere, and will be out as a hardback and a Kindle on 22^nd March.