Thriller

Confession time (again!) I wasn't going to read this book.  Nothing personal.  I just looked at the blurb, saw serial killer and thought... over them.  But, long story short, there was this homework assignment, I thought ... proof copy, grabbed the first one I saw, and no homework was done.  Could not put THE STRANGER YOU SEEK down.  

The thing that really grabbed me was the central character - Keye Street.  She's got one of those voices that can really appeal to this reader.  A recovering alcoholic with a failed marriage, and a partially acknowledged attraction to her best friend, mentor and cop Aaron Rauser she's a fabulously complicated character.  One of her own greatest critics, Street's got a very chequered background - going from rising star FBI profiler with two university degrees and an enviable criminal profiling track record, to working for herself, making ends meet serving subpoenas, chasing down bail skippers and looking for missing cows.  

Obviously there are going to be comparisons drawn with Grace Smith / Stephanie Plum and the like.  Whilst there are elements that are just about identical - the job description alone is enough to get you thinking in that direction.  Add a slightly madcap family; romantic tension; a hefty dose of personal lunacy and a rushing around investigation style and there is a point in the book where you do wonder about the similarities.  For this reader, however, there are some marked differences.  Some nuance about the humour, some of the self-awareness in the character, but probably the biggest difference is a real sense of desire to move on.  The madcap family (sans Grandmother, but with a mother and father who fill in the personality requirements quite nicely), is built around the adoption, by her extremely Southern American sensibility parents, of Street (Asian American) and her brother (African American).  Both the parents have starring roles in the humour department, which was subtle, and clever and frequently laugh out loud funny.  Humour, in particular, is something that does not always travel well culturally, and for this Australian reader, much of the conflict between Street and her mother, and between her mother and father, worked really well - with a stand-out being the father's recitation of grace, which had me roaring with laughter.

The point of these books isn't just the humour.  There's a serious investigation going on, although built around a serial killer, that has some hints and tips along the way that could make a reader wonder if there is something slightly different going on here.  

Street also isn't just what you see is what you get.  There's depth, roundedness, flaws and good points to her character that are very engaging. There's an acerbic, pointed and enlightening internal voice that works, not just to give you a chance to get to know the character, but also makes her quite real.  Her supporting cast is relatively well fleshed out also, although, obviously as this is the first book, the concentration is pretty heftily on the main character.  The serial killer thread is nicely done this time, with a final twist in the tail that I simply did not see coming.

That's not to say that everything is perfect and there are some rather hamfisted attempts at humour which don't quite hit the mark... not the least is a tendency to see sexual desire in every lesbian character that Street encounters, but all in all, thanks to THE STRANGER YOU SEEK, once again, "over serial killers" needs an equivocation clause.....

THE MAN FROM BEIJING is a standalone book from the author of the popular Kurt Wallender series, and if the discussions I've seen about it are any indication, it's guaranteed to polarise opinion.

Set in Hesjövallen, where something very very bad has happened, police are called to the village by researcher, Karsten Höglin, who arrived in the town to find that this quiet, mostly deserted little village in Sweden is the scene of a massacre.

Judge Brigitta Roslin has an unexpected connection to this place, when she discovers that two of the victims are her mother's adopted parents, but it is enough of a connection to give her an investigation to fill the emptiness she feels in her own life.  Following the trail to China, in the face of police disinterest and her own families objections, she soons discovers an international connection and a nightmarish situation.

Possibly part of the reason for some readers dissatisfaction with this book could be the rather tentative connection that Brigitta has to the crime, and her motivation for suddenly dropping everything and heading off in pursuit of a solution. The other objection could very well be the politics that are built into the story.  Neither of these aspects presented much of an issue for me, and as a reader, I found Brigitta's actions and reactions were something I was happy to accept.  The political viewpoint that Mankell presents was also not unexpected, and I felt not heavy-handed.  

I've got a number of standalone novels by Mankell salted away in MtTBR (aka the retirement fund), and if THE MAN FROM BEIJING is any hint, then I've got lots of books to look forward to.

I've enjoyed the Lachlan Fox series, but I will admit to having read them way out of order.  That doesn't seem to have mattered until LIQUID GOLD, which had me more than a little befuddled, and I'm suspicious it might be because I've missed the book immediately before it in the series.  

LIQUID GOLD has a fantastic, and pertinent premise - the idea that water is to the 21st century, what oil was to the 20th.  As the book opens, central character, investigative journalist, ex Australian Navy Clearance diver, graduate of the Australian Defence Forces Academy, hero of the moment, Lachlan Fox reveals a story at the heart of simmering tensions between India and Pakistan - over access to water.  Fascinating, and very realistic idea.  

Something happened in the delivery though.  I could not, for the life of me, work out who was who.  As you'd expect in a thriller, the action is very fast paced, rapid-fire and there are quickly changing points of view.  Normally I love that sort of style - but for some reason in LIQUID GOLD, there were so many names being introduced, and then flicked away from, that I was really struggling to work out who was who.  Perhaps some of the characters have return parts from the earlier novels, but for some reason, they wouldn't quite gel as people - and I found I had to go back a lot to work out where this person was introduced, how they fitted into the tale, and even with that backtracking, I was still at a loss.  I assume there's a lot from the back stories of Fox and, in particular, his romantic interest that informs Fox's behaviour in this book, and it seemed odd, that for the first time in the series, I felt I obviously needed to know a lot of that to get with the program.. so to speak.

There were very nice touches in the book. I particularly liked the way that Fox is starting to feel the effects of all this man of the moment stuff, his body is hurting, he's not quite as bullet-proof as you'd expect from a stereotypical action man.  I wasn't quite so convinced by one of the major threads for one of the major female characters - but that's probably more a personal preference.  The way that scenario is used is often less than convincing.  But overall, the book isn't a bad story, and I'd not be surprised if fans of the Lachlan Fox books, who are up-to-date with the series, find this one just as fast-paced, action-packed and tension filled as the other books.  Strangely, I've got so far out of whack with the series that I read the latest one, RED ICE, before I realised I also had this book.  RED ICE worked.  LIQUID GOLD didn't work as well for me.  I was lost for a fair part of the book, and profoundly confused at points.  Pity, because I really like this sort of thriller.  Maybe I'll return to it when I've caught up with the book in the middle that I've obviously missed.

The series in order is:

Fox Hunt (2006)
Patriot Act (2007)
Blood Oil (2008)
Liquid Gold (2009)
Red Ice (2010)

Apocalyptic scenarios are not my favourite thing.  To be frank, a pandemic world-wide threat from a mutant viruses wasn't making me feel a desperate urge to read RED QUEEN.  I've been shuffling other books over it in the priority queue for quite a while.  But eventually, you've just got to stop sooking about these things and get on with reading.  

There was some confusion in my mind about exactly what "category" this novel falls into.  It won an Aurealis award for Best Horror Novel, but I'd heard comments that indicated that the book, despite the apocalyptic setting, was more of a thriller.  To my uneducated mind, there didn't seem a lot of horror about RED QUEEN, but it certainly fits the thriller criteria.  Set in the Australian bush, brothers Shannon and Rohan are hiding out from the effects of the virus, holed up in the ultimate survivalist paradise, set up originally by their parents, both of whom have died from the very virus the brothers are trying to avoid.  They stay constantly on guard, despite which, their defences are breeched by a smart young woman who initially steals food from the cabin during the night, eventually revealing herself and asking for their help and shelter.

Once Denny arrives on the scene it's hard to avoid a sense of inevitability about the relationships.  Shannon is the more sensitive, gentle brother - and he takes on the "good cop" role very quickly.  Rohan is more mistrusting, taking the "bad cop" role with aplomb, right down to being the brother that Denny turns to for sexual gratification.  What saves that entire scenario is the clever and subtle way that the conflict between the brothers is handled.  The sexual rivalry fits into a general feeling of distrust, tension and rivalry as rules of the house are stretched, and the ever present threat from the outside world hangs heavily over all three characters.  There is also the increasing pressure of if, and how, they can remain self-sufficient with every day that passes.

There is something very atmospheric about RED QUEEN, and the writing is clever.  Whilst it's very descriptive, and extremely evocative it's also elegant, pared down, and without padding.  Still, you can feel the tension in the air, see the glowering looks and the sideways glances.  The bush and environs of the cabin come to life, even the weather feels real and very immediate.  RED QUEEN is assured storytelling, clever and extremely surprising.  Especially as it kept this reader involved despite some predictable plot lines, overt characterisations and the sort of happy-ever-after ending that always leaves me feeling decidedly queasy. 

I suspect I should have read this in 1999.  Ultimately a readable enough book, which, being a thriller required a willing suspension of disbelief.  Whilst willing, the suspension bit got wider, higher and somewhat shakier as I went on.  Partially I think the problem was one of believability of the main premise.  I'm not Pollyanna, I'm well aware that everyone has a few things tucked away in the past that they'd rather their partner didn't find out about... but seriously ... the proverbial hits the oscillating device and she's still staying quiet?  Had a bit of a problem swallowing that. 

Aside from that, the other problem was getting context, somehow, despite the story referring to the IRA background of Andrea, there was something about the time period in which it was set that wouldn't gell in my head - so none of the technology sat within a strongly enunciated time period.  I was constantly at sixs and sevens having to remind myself that this wasn't a current day thriller, and things, bomb and havoc wise, might have moved on, but I'd no idea from where exactly.

Was intriguing enough to have a look at some of the work by this author that's more current though, and ebooks The Bestseller and The Basement acquired for a look when time permits.

WINK MURDER is the debut book from ex-journalist and sub-editor Ali Knight.  Given that the book is set within the cut-throat and odd world of tabloid television, perhaps her background has informed the way that the world of the media (albeit she worked in print) works.  

There was so much about the run down and the early part of this book that didn't appeal, I wasn't at all sure I'd be able to get to the end of it.  The high-flying husband returning late at night, drunk, covered in blood, muttering.  The stay at home mother with the part-time, lesser job in her husband's world, waiting at home for him to return - unsure of her marriage, convinced that her husband is having an affair - but unable to do anything about that.  Questioning her mothering ability, worried about the state of the house, guilty for working part-time; a stereotype of the little less-attractive woman married to the gorgeous high-flying husband.  Mostly I think it was the whinging, self-absorbed, kind of useless first person voice that was getting to me.

But really... "do not assume" should be displayed on a poster in front of my nose, right below the one that says "stop reading blurbs and media releases....".  From the absolute start of this book Kate, who is the main voice of the novel, is tricky.  Caught in a spiral of wishing problems under the carpet, trusting and mistrusting her husband, believing he could be capable of everything from infidelity to business corruption to murder, she fights her own paranoia with an increasing sense of desperation and lack of self-belief.  I don't think she ever quite loses that slightly whingy, disbelieving tone, but there is a point in the book where she decides, somehow to take matters into her own hands.  Not by confronting the husband mind you, she opts for a considerably more complicated path to finding out the truth.  Which unexpectedly works.  Which, given the personality that has revealed itself in her own voice, actually makes a lot more sense.  I think I would have been profoundly disappointed if Kate actually grew balls and stepped up to the mark, but somehow her panicked, suspicious, vaguely lunatic behaviour made a lot of sense - had bucket loads of credibility if you like.

I'm not really sure what it was that made me pluck WINK MURDER from the teetering stacks of unread books around here, as when it first arrived, unsolicited, I will confess to being underwhelmed with the blurb and the media release.  Which is exactly why I think I'll stick up those two posters, and maybe spotlight them.  This is actually a very good book, involving, car crash fascinating and not at all as simple as it seems.  Right down to the last page.

THE COLD COLD GROUND arrived announcing the beginning of a new series, with a new character by Adrian McKinty and I was intrigued... and worried.  It's been stinking hot in these parts, so I'm already sleep deprived.  I wasn't sure I could cope with another all night reading session.

So I got cunning, and started the book early in the day.  And ended up with an all day reading session.  Simply could ... not ... put ... the thing down.

THE COLD COLD GROUND is therefore obviously another outstanding book from this outstanding writer.  It is, however, a rather different viewpoint and a different timeframe to previous books.  Sean Duffy is a Catholic copper in a Protestant police force in 1981 Ireland.  A tricky job in a tricky place.  A place where, as a cop, your early morning routine is coffee, brush, dress and check under your car for mercury tilt bombs before you drive to work.  Where there are places that you simply do not go unless you are in a armour plated police 4WD.  Even then you can get caught, and will get shot at - with malice and a clear intent to kill.  There's no messing around in this world.  It's dangerous, your life can turn on a look, or a thought, or just simply being in the wrong place with the wrong name.

In the middle of this climate of distrust and fear the idea that there could be a serial killer lurking, targeting gay men is strangely a novelty.  There's a line in the book about most serial killers being able to satisfy their urges by joining one of the paramilitaries.  Needless to say this is not a book that pulls punches.  It's restrained sure, but it's pointed, carefully drawing out the story and the sub-threads, subduing the delivery to make sure that you get the points being made.  And there definitely are points which you will feel are being hammered home hard, but at least it's done with a book of poetry.  Take, as an example, the opening paragraph:

"The riot had taken on a beauty of its own now.  Arcs of gasoline fire under the crescent moon.  Crimson tracer in mystical parabolas.  Phosphorescence from the barrels of plastic bullet guns.  A distant yelling like that of men below decks in a torpedoed prison ship.  The scarlet whoosh of Molotovs intersecting with exacting surfaces.  Helicopters everywhere: their spotlights finding one another like lovers in the Afterlife.  I watched with the others by the Land Rover on Knockagh Mountain.  No one spoke.  Words were inadequate.  You needed a Picasso for this scene, not a poet."

This is exactly the sort of thing that goes on throughout the book - drawing a picture of that time in Ireland that's stark, clear, sobering and moving.  Drawing a picture of the life of Sean Duffy that's memorable, alone, not quite a lone wolf, but definitely a man who dances to his own tune.  Not exactly brave in the face of all comers, but good and right and quietly determined.  Not completely stupid, not an energiser bunny, not a man given to flights of fancy, he's alone, lonely and ever so slightly sad.  

He's also a man that just fits into this portrayal of Northern Island.  Whilst there's no forgetting that the book is about the solving of the deaths of two men - shot in quick succession, the strange juxtaposition of each other's hands beside their bodies, seemingly signalling something paramilitary, both men's backgrounds pointing elsewhere, it's also a book that cleverly sets up a lot of information about this character.  His background, his decision to put himself seemingly in an impossible job in an impossible place.  But once the investigation gets going, and the intricacies and expectations of life in Northern Island start to play themselves out, the actual solution is considerably less clear cut than it initially seems to be.  

Ultimately what THE COLD COLD GROUND does better than anything else is show how complicated life in that time, in that place could be.  How the politics of power, hate and influence play themselves out, how a copper in a small town can hang on and try to make a difference in a world that's - frankly - gone completely and utterly mad.