“Every kid wants to find a dead body. About the only thing a twelve year old boy wants to find more is a spaceship, buried treasure or a porn mag.”
These sentiments expressesd in CJ Tudor’s debut remind me very much of “Stand By Me”, the film based upon the short story by Stephen King and the King feel looms large throughout this book, there is even a front cover recommendation from the man himself who has obviously noted that he and Tudor are pulling in the same direction as he states; “If you like my stuff, you’ll like this.”
But don’t think this is some Stephen King rip-off as it is has an identity all of its own. For a start it is British set in a town called Anderbury located around 20 miles from Bournemouth. We have a narrative of two time spans – 1986 with the aforementioned twelve year old boys and thirty years later when a discovery made back then in the woods is still holding the main characters back.
I was really looking forward to the 1980’s setting and I think the author does a pretty good job of conjuring up what it was like to be twelve in the mid-80s but I think I was looking for a stronger feel of the period, but then again I suppose we can’t expect this particular group of adolescents to be too aware of what was going on around them, they are just living their last innocent summer before some horrific realities of life kick in.
What the author does do very well in her debut is to keep a tense atmosphere throughout. A terrifying incident at a fairground packs one hell of a punch early on and from then on we know that lives will never be the same again. I like the ambiguity in the title referring both to chalk figures used by main character Ed and his pals to communicate; to drawings which have resurfaced in the later narrative strand and to the nickname of an albino teacher who makes his presence felt in the summer before he joins the children’s school. This all adds to the richness and edginess of the book.
Characterisation is memorable, the resolution perhaps not as satisfactory as the build- up but I often feel that way about crime novels. I really like the idea of us having a budding Stephen King here in the UK and I could also feel the influence of another of the author’s literary heroes, James Herbert. This is well-written edgy crime, that never allows the author to truly relax and which does hover towards horror on quite a few occasions. I’m not surprised that it has appeared on a good number of “Best Of 2018” lists.
The Chalk Man was published by Penguin in 2018.
One of the featured titles in my “What I Should Have Read In 2018” post which I’ve now put right by making it my first read of 2019. This attracted much publicity through its long-listing for the Man Booker Prize in a rare nod towards commercial crime fiction and recently took home the Crime/Thriller Book Of The Year at the National Book Awards. The buzz around the title made it too good to miss, with expectations that this is going to be a top-notch title.
I have read Belinda Bauer before, her debut “Blacklands” was a very dark novel which certainly impressed me but I haven’t got around to reading any of her six publications between that and this.
I did have those high expectations which for me, is not always a good thing, as they tend to make me more disappointed with a book which doesn’t fully hit home than I would otherwise be. The title refers to instant decision-making, also not always a good thing and which can have long-lasting repercussions.
A pregnant woman whose car has broken down on the motorway leaves her three young children in a car on the hard shoulder to seek a phone and is never seen alive again. The plot focuses on this disappearance and her teenage son’s attempts to come to terms with her fate over the next few years. His is the most vibrant characterisation in the novel as he attempts to hold the family together, tries to solve his mother’s case and becomes notorious around the Tiverton area where they live for his own crime sprees.
It is a compelling read which I enjoyed immensely but I’m not sure how well it stands up to analysis as a crime novel. A lot here hinges on coincidence (and I do acknowledge that a lot of real life crime is solved through coincidence) and some character’s actions seem questionable, but then perhaps we’re back to that snap decision aspect again.
Given that the novel is about a horrific disappearance it is nowhere near as bleak as I was expecting. Bauer’s writing style is lively and there is often humour and sharp observation which here works very well.
This book provided a very good start to my 2019 reading and hopefully this year I will be able to delve into Belinda Bauer’s novels I have missed out on. She is a very good writer, confident in her genre but (and I think it’s down to those pesky expectations again) this didn’t quite blow me away in the way I was expecting it to.
Snap was published in 2018 by Bantam
I first encountered the fabulously-monikered Ottessa Moshfegh when I read her 2016 Man Booker shortlisted “Eileen”, a dark tale, with a fairly unforgettable title character who manages to do the difficult thing of both revolting the reader and eliciting sympathy. This novella is an earlier work which first appeared in the US in 2014 and made its UK debut three years later following the success of “Eileen”.
In 2018 Moshfegh brought out her new novel “My Year Of Rest And Relaxation” which also attracted considerable attention but I thought before I read that I’d give this short novel a go.
I’m never totally convinced by the novella as a literary from (here coming in at 118 pages), fitting mid-way between the short-story and full-length novel can mean that it can fail to have the best qualities of both. Too long to be tied up succinctly and not long enough to be fully realised they can tend to waver along “experimental” lines.
This isn’t quite stream of consciousness but it is writing that feels very open to interpretation and which can seem reluctant to give up its meaning. Critics often really like these types of book. In fact, the last I read with a similar feel was the 2017 Man Booker winning “Lincoln In The Bardo” by George Saunders, a novel I certainly didn’t love, and I feel the same way about this, which is not as good as “Eileen”.
I can appreciate it as writing but it does not satisfy me in the way that I feel a novel should. Basically, here its mid-nineteenth century America (although I don’t think I picked the date up from the text, the back of the book informs me it is set in 1851) and title character McGlue, a drunken sailor, is accused of murdering his friend/lover Johnson during an alcoholic spree. McGlue is held on the ship unti he can be handed over to the authorities and sent for trial in Salem. He has a severe long-standing head injury which together with his alcohol addiction makes for feverish, hallucinatory observations throughout his narrative and that’s basically why I wasn’t always totally sure what was going on. And well-written in vibrant, powerful and earthy language it may be, but I found that I didn’t care that much. McGlue, despite his constant state of confusion, comes across as fairly one-dimensional, especially compared to the enigmatic Eileen whose characterisation was the strength of Moshfegh’s subsequent novel. Part of me wishes that it could have been expanded by perhaps adding another narrative alongside McGlue’s to add variety but then the other part of me was probably glad it didn’t go on for too long, because as it stands I think Moshfegh just gets away with producing a text which is impressive rather than entertaining. It may just be me, but I think I can really struggle with this type of American fiction.
McGlue was published in the UK by Vintage in 2017.
Kate Rhodes launched her Scilly Isles based crime series at the beginning of this year with “Hell Bay”. I was particularly impressed by the intensity she managed to build up around the location of Bryher, the smallest inhabited island with less than one hundred permanent residents. The ramifications of murder on such a close-knit isolated community were fascinating. Perhaps, understandably, the author has widened her net a little here (she couldn’t keep bumping off those poor Bryher residents) and focused the action on the neighbouring island of Trescoe with double the population and a more touristy feel.
This population begins to decline when a diver is found dead in a cave. An object found jammed in her mouth suggests that this was no accident. D I Benesek Kitto, who grew up on and has now returned to the Scillys, together with Czechoslovakian Wolfhound Shadow (in the course of two novels already up there amongst the best dogs in fiction) are on hand to investigate. We get a first-person narrative from Kitto interspersed with some short third person sections which drive the plot forwards.
It becomes apparent that Jude Trellon, the diver, has been killed because of what she knows about shipwrecks around the coasts of the islands and secrets kept means others are in peril. Kate Rhodes does characterisation very well and as well as developing her human (and canine) characters she is also able to convey the sea convincingly as a main character in the novel, which is like some of the island residents, calm and co-operative one minute and destructive and deadly the next. Atmosphere-wise, however, I do not feel that this has that edgy intensity I enjoyed so much in “Hell Bay” and the plot here did not feel as impressively tight, there did seem to be quite a lot of recapping which affected pace at times but this is a very satisfying crime series and with the next novel “Burnt Island” planned I will certainly be looking out for it.
Ruin Beach was published by Simon & Schuster in hardback in November 2018. The paperback is due in February 2019. Many thanks to the publishers and Netgalley for the review copy.
It’s very unusual for me to read a mid-series book but circumstances caused me to pick up Abir Mukherjee’s third novel in his critically acclaimed Sam Wyndham series without having read the other two. Wyndham is a Captain in the Calcutta Police Force in the years after the First World War. It certainly kicks off with a pacy punch with the drug-addled Calcutta Police force Captain coming round during a raid on an opium den. In his bid to escape detection he encounters a mutilated corpse. The novel is set in the run up to Christmas 1921, with Wyndham, hiding his addiction caused by trauma from the Great War, and his Indian Sergeant known as “Surrender-not” Bannerjee investigating some strangely linked murders during the build up to a Royal visit from the Prince Of Wales.
What lifts this novel above standard adventure-fiction fare is both the strong sense of location and the historical setting of a Calcutta preoccupied with the non-violent, non-co-operation policies advocated by Gandhi which is causing serious malfunctions in the running of the Empire. The political situation creates dilemmas for both British and Indian characters which adds to the richness of the plot.
Mukherjee’s two main characters have been obviously well established in the first two novels allowing him to focus on the historical detail and in bringing 1920’s Calcutta to life. It is a fascinating time in the history of India as Imperialism looks increasingly inappropriate in the aftermath of the War and the events here are based on actual happenings married with the thriller writer’s licence for creating an involving and plausible tale out of these. It works well as a stand-alone novel but for those who, like me, find chronology important in reading books from a series are probably advised to start with Mukherjee’s debut “A Rising Man” which won the Historical Dagger at the 2017 Crime Writer’s Awards. The second in the series was shortlisted for the same award this year but ultimately lost out to “Nucleus” by Rory Clements. This is quality adventure fiction.
Smoke And Ashes was published in hardback in June 2018 by Harvill Secker. Many thanks to Nudge and the publishers for the review copy. An edited version of this review can be found on the Nudge website.
Here’s a book with extremely good word of mouth from readers returning one of our library copies. It has people itching to tell others how much they enjoyed it. Since the paperback edition arrived at the end of last year it has become one of our most borrowed books, so I’ve been patiently waiting for my turn.
Jane Harper’s debut also gained much critical acclaim from reviewers and from her crime writer peers. (“One of the most stunning debuts I’ve ever read- David Baldacci; “Stunningly atmospheric- Val McDermid; “Enthrals from the very first page – CJ Box). Writers of great repute were queuing up to say good things about this. Needless to say, I had extremely high expectations.
Aaron Falk, a policeman who specialises in financial crime, returns to the small Australian country town where he grew up to attend a funeral. His closest childhood friend has apparently shot his wife and son and turned the gun on himself. As the small community are shocked and outraged the dead man’s parents want answers. Tensions are compounded by a lengthy drought which has brought this rural town to its knees and also by Falk’s return itself. This is his first visit since a tragic incident which had rocked the community years before. Everyone has secrets and it may be these which have just triggered the present-day tragedy.
This is a well thought out and carefully handled whodunnit with the additional tensions of a community in crisis. Harper is a British author who has lived in Australia for the last decade and her sense of location is strong but also with a clear understanding of being an outsider. In many ways and I’m not sure why the author it brought to mind was another Brit who has set his first two novels in small town America, Chris Whitaker. However, “The Dry” did not win me over as much as Whitaker’s excellent “All The Wicked Girls” (2017). I have this year read another book which on publication was very much compared to “The Dry” and marketed to the same audience, “Retribution” written by Aussie farmer and ex-miner Richard Anderson. I think in terms of plot handling and character development Harper’s novel is considerably stronger.
What I would have liked a little more ramped up is the intensity of this lengthy drought (two years without water) and the heat playing a stronger part in the dynamics of these people rather than their present actions being motivated by the events of their past but I’m niggling here. This is a very readable, strong debut which might not have matched those too high expectations I’d built up over the past year or so but it certainly fooled me with twists, was always involving and so highly satisfactory in the way the plot threads were all so well pulled together.
The Dry was published by Little, Brown in 2016 in the UK. I read the 2017 Abacus paperback version.
This 8th instalment of the Roy Grace series pushes Peter James upwards in my list of most read authors, now sitting at number 8 just below Patrick Gale. Its predecessor “Dead Man’s Grip” became my first James five star recommendation earlier this year. I felt that it was a classic crime novel which had everything I would look for in a police procedural. This is not as good.
I used to live in Brighton and part of my attachment to this series is to do with its location and very strong grounding in reality. Although here the locations are present James seems to have ramped up the plot to a heightened level which at times hovers too close to the preposterous. Central to this is a type of character I’ve come across before and I’m yet to like. This character, here called Gaia, is a Madonna/Lady GaGa hybrid of the huge international celebrity. She was present, along similar lines in Zadie Smith’s “Swing Time” (2016) where she was called Aimee and was the weak spot in an otherwise impressive work and, here, despite me thinking there’s value in exploring the notion and trappings of celebrity, Gaia also does not ring true in this context.
With a stalker on her trail she returns to her Brighton birthplace to take up a film role as mistress to George IV using the Royal Pavilion as a location. Others are interested in her return closer to home. Meanwhile, a torso is discovered on a chicken farm and Roy Grace inches further towards fatherhood. There’s also significant development in two ongoing plot lines; Grace’s missing wife Sandy and the leaking of sensitive information to the press.
Although Gaia’s presence can make the plot feel far-fetched the groundwork is set so well in this series that it doesn’t really matter. James continues his blurring of fact and fiction with the film co-stars Hugh Bonneville and Joseph Fiennes written in. He also uses the real names and professions of many of those law-enforcers who contribute to his research.
The whole thing is more larger than life than usual but the rooted ongoing characters and their lives feels important and once again this really drew me back in. That is why I think it is so important to read this series in order. It does crank up to a climax which affected me more because James has made me care for the characters. If I had just picked this off the shelf without reading any of the series before I might have thought it just a bit silly. Pace is good and it reads well and all in all, despite my reservations, this is a solid instalment to a great crime series which just falls short of being considered amongst its best.
Not Dead Yet was published in 2012 by Macmillan.
This Edinburgh set Victorian crime novel (not to be confused with the classic novel by Samuel Butler with the same title which was very much a reaction against Victorianism) is the first collaboration between husband and wife anaesthesia expert Marisa Haetzman and crime novelist Chris Brookmyre, (he has some 23 novels to date none of which I have read) written under the pen name Ambrose Parry.
Chris has never before written a novel set in the past but with Marisa’s knowledge of the history of medicine and especially the development of anaesthetics which has a significant part to play in this they have produced a thoroughly entertaining joint effort, a good slab of historical crime fiction, the first in a proposed new series.
There are two very good main characters here. Will Raven has a background from the tougher parts of Edinburgh Old Town and the night before he begins an apprenticeship with esteemed childbirth specialist Dr Simpson he encounters a corpse and is beaten and badly cut up giving him both a disreputable appearance and rendering him a marked man in his new environment of the respectable New Town. Simpson’s housemaid Sarah, fascinated by the medical goings on in the house is held back because of Victorian society’s view of women and the two are forced by circumstances to come together to investigate agonising deaths of young women from both sides of town.
Alongside the involving plot we have the growth of the use of ether in routine procedures and the search for more effective and safer methods to sedate patients. The medical history aspect is inserted seamlessly into the plot and adds much to the enjoyment of the novel.
I felt that the Edinburgh location with its split personality of the poverty- stricken Old Town and the comparative grandeur of the New is very effective, especially with childbirth happening in both areas causing the medical men to adapt to all kinds of patient. Plot-wise I thought I had worked out what was going on but I hadn’t. The twists did surprise me. I would certainly be on the lookout for future collaborations as well as digging into the sizeable Brookmyre back catalogue.
The Way Of All Flesh was published by Canongate in August 2018. Many thanks to the publishers and Netgalley for the review copy.
My second Peter James novel I’ve read this year is a much slighter affair than “Dead Man’s Grip” which will be in contention for my Book of The Year this year. “The Perfect Murder” takes my tally of James’ novels to eight which eases him into the anchor position of my Top 10 most read authors alongside Martina Cole and John Steinbeck. This was because I selected “A Quick Read Novel” from the Sandown Library Russian Roulette Reading Challenge. This was published for World Book Day in 2010 and can be polished off quite easily in an hour. The whole Quick Reads enterprise is to tempt people back into reading primarily but it can also provide a cheap, easy read for fans of the author. Last year I read Minette Walters’ “Chickenfeed” from the same series. You are not going to get the very best work from an author but hopefully a sampler of what they do in order to tempt you into finding out more.
“The Perfect Murder” is a stand-alone novel set like James’ Roy Grace series in Brighton, although on this occasion it could have been set anywhere. Victor and Joan Smiley, a rather elderly-seeming pair of forty-somethings are so stuck in the rut of their marriage that the only way out seems to be murder and both are planning to bump the other one off.
Characterisation is broadly drawn yet effective and there are twists to the tale, some of which I didn’t see coming, some I did. There is a danger when writing these Quick Reads to order that the more limited vocabulary and length these demand can mean that the actual defining style of the author does not come through. I think this is, to an extent, a valid point in both the James and Walters novellas I’ve read but the Brighton location and very Peter James front cover goes some way to rectifying this.
I know that Peter James has produced at least one collection of short stories and here he displays that he has the knack of conveying a sinister involving tale in a succinct fashion.
The Perfect Murder was published by Pan Books in 2010.
How have I got to this ripe old age without having ever read P D James? This is even more of an oversight when amongst my most-read authors you would find Ruth Rendell, Martina Cole and Agatha Christie. I know how good Baroness James Of Holland Park (1920-2014) was and I always enjoyed watching and listening to her being interviewed and reading about her – but of her fiction, up to now I’ve not read a scrap.
Seeing as I like to read in chronological order I had to start with her very first novel, which introduced Adam Dalgleish dating right back to 1962. It is a surprisingly traditional country house whodunnit with all the elements present from the golden age of crime fiction- a death in a locked room, a social gathering which sees outsiders coming into the rarefied atmosphere of the house (in this case a garden fete), suspects both above and below stairs and a denouement where all of the possible killers are together for the unveiling by the lead sleuth, in this case, Detective Chief Inspector Adam Dalgleish. Of him we learn very little on this outing (he has a boat for off-duty adventures) as it is the inhabitants of Martingale Manor who are this novel’s central focus.
1962 is quite late on in the day for a form of fiction that was at its peak a couple of decades earlier so it’s surprising that James was not offering anything new here, but what we do get is a plot which shows intelligence and a complete understanding of the genre. She paves the way with clues that I didn’t pick up on (I so rarely do) and has produced a novel which is well-written with involving characterisation which all adds to breathing some new life into a well-worn format.
There’s nothing that feels like cliché here and that is testament to James’ handling of the plot. Some of the attitudes might seem old-fashioned but that is only to be expected. I enjoyed reading this very much.
Cover Your Face was first published in 1962 by Faber and Faber. I read a 2010 paperback. The book is still in print.