2007

DEADLY CODE is the 3rd book in the Dr Rhona Macleod series, a series, which up until now I've really enjoyed, but for some reason this one didn't work. Mind you, terrific sense of place, very atmospheric what with Macleod off in the remote Scottish Isles battling the evil menace of a cult of Scottish extremists. Or I think that's what they were. The big problem was that the plot was a bit too silly at points. Not that the idea of extremists of any kind is a bad concept, but not where there needs to be so much coincidence and frankly, a whole heap of heavy lifting to get Macleod into the action, get her to the various locations, and keep her involved. And the resolution is one of those extreme leaps of science that, sure, could happen. But hasn't as yet. And I kind of like my crime fiction to stay away from the realms of speculative / science fiction. Having said that, my main problem with this book was the enormous leaps of coincidence and a certain feeling of convenience about the whole thing that meant it didn't work. Onwards to the next in the series for this reader. (I understand there's 6 of them now).

Less of a review - more of a note to self. If Terry Pratchett published the doodles from the notepad on his telephone table I'd probably read that, so MAKING MONEY was no trial at all, even though it's probably not one of the better of the Discworld novels.

Maybe that's because there was a decided lack of wizards, maybe it's because Moist Von Lipwig isn't quite as flamboyant or, well let's say it, lunatic as some of the central characters in other books. Maybe it's also because the plot isn't quite as convoluted, layered, twisty, and, well lunatic, as others.

Frankly a slightly less than stellar Terry Pratchett book is still a thing of joy for me. In 2013 I am really hoping to go back and start the entire Discworld series from the very beginning again just because I want to...

I got confused which is nothing, absolutely nothing, new. But one night, for some reason, I plucked THE INNER CIRCLE by Mari Jungstedt from the stacks, and started reading. Then I got quite convinced I'd already read the book. So I went to check and found UNSEEN, which I then re-read, ending up very struck by the similarities between the two plots. Which got me wondering if there were similarities in all of them, and as I had a number of the books to hand, I thought I'd read them in order and see what was going on.

Still managed to screw up the order completely. Sigh. Oh, and THE INNER CIRCLE was also published as UNKNOWN just to add to the confusion.

So, anyway, I read UNSEEN, then THE INNER CIRCLE / UNKNOWN, then THE KILLER'S ART and finally UNSPOKEN which got me to the end of the books that were here, waiting to be read. Having spread this little exercise out over a couple of months, I was still struck by the similarities - sometimes in plot elements, always in the ongoing personal elements, and overwhelmingly in the way that the journalistic aspects take precedence over the police investigation, although the last part does seem to moderate a little in the final book - UNSPOKEN.

It comes as absolutely no surprise that the author of these books has worked as a journalist as that viewpoint is undoubtedly the strongest in all of these books. Whilst that aspect is obviously written with authority, it does rather skew the investigative aspects of the various cases. The personal complications of this particular journalist's personal life, absolutely did not help this reader as the whole thing lurched too much into melodrama for my liking. Add to that a rather journalistic, rather than storytelling author style and I will admit I was struggling.

A struggle obviously not helped by the idea of reading all of the books in rapid succession. I could really see the similarities after the second book, and the increasing predictability, and to be frank, tediousness of the personal life was increasingly boring and vaguely irritating. I definitely remember reading UNSEEN the first time round (of course I do, the similarities between it and UNKNOWN were what sent me off on this quest after all), and whilst I was not overly impressed at the time, I wasn't put off completely either. By the end of all four books though I have to confess I was increasingly underwhelmed with the series. Not one that I'd avoid, but not one that I'd shunt to the top of the pile by default.

This is exactly what I like about short story collections. This is particularly what I like as it's made up of a series of stories from authors all over the world.

Whilst there is no particular theme, the collection really gives you a feel for interpretations of crime fiction in a lot of different countries and cultures.

As always, ones that worked beautifully, ones that weren't for me, others from authors I already knew about, many from new to me authors who promptly made it onto the "book watch" list.

Grace Smith has always been one of my favourite of the fraught, vaguely madcap female private detective sub-genre for a bunch of different reasons.

Firstly I love Grace herself. Slightly bats definitely, sometimes refreshingly stupid, often times bordering on out of control, there's something refreshingly real and unmanufactured about Grace. She's the sort of girl you could see yourself having a drink with and whilst you might be a bit worried about the state of your shoes at the end of the night, your personal ego's not going to come away feeling somewhat underbaked.

Secondly I really love the supporting cast, particularly the other staff at the Detective Agency that Grace works at, most of whom are somewhat mildly bats in their own right.

Lastly I really like the plots of the books, and CUE THE EASTER BUNNY is no disappointment in those stakes, although, to be honest, the ongoing jokes about rabbits got dangerously close to being the biggest attraction.

I've been dodging the inevitable here I guess - is she the English Evanovich? Hate these sorts of comparisons as, apart from the coincidence of similar sorts of central characters - they are different books about different people in a completely different location. Given the choice, if it's my money being shelled out, Grace Smith is a better bet. None of that coy will she / won't she and with which bloke (which last time I tried a Plum book was still dragging on....). With Grace Smith there's nothing coy or cutsey - she is what she is, her love life is as on and off again as she bloody well wants it to be and besides, it's not the only thing in this girls life.

As you can tell from the blurb above, THE SINNER is a whydunnit, as opposed to a whodunnit book, although that's way too simplistic a description.  When Cora Bender stabs a man to death in front of family, friends, and a crowded park, nobody realises that she was originally planning to commit suicide.  Bender is obviously not in a good place in her life, despite outward appearances.  Rejected wholeheartedly by her husband immediately after the attack, it seems an open-and-shut case, which may only be mitigated by a plea of insanity.  Except that Rudolf Grovian senses something behind Frau Bender's acknowledgement of her guilt and maniacal desire to declare herself guilty with no reasons or explanations.

It's partially Grovian's investigation into Bender's childhood and family life, and partially his patient and careful questioning of her that slowly draws out the truth.  Bender's childhood is the stuff of nightmares - a desperately ill younger sister and a fanatical religious zealot of a mother who never hesitated to blame her first-born daughter for all of the younger sister's medical problems.  Add a caring but sexually frustrated and ineffectual father, who whilst never sexually abusing his daughter, confronted her with her parent's sexual problems, and everything has combined to create a girl who is guilty, conflicted, and profoundly disturbed.  Her closeness with her father creates a complex relationship with him, whilst he is kind and caring towards his daughter, his failure to take firm action in the face of her mother Elsbeth's more extreme behaviour makes him a weak figure, difficult to maintain respect, love and affection for.  Bender's ill sister, Magdalena, should have died many times in her childhood, somehow managing to cling to life, she is the centre of her mother's world, swamping everything and everyone with her requirements, draining the families financial as well as emotional resources, isolating them.  Eventually the two sisters seem to work out an understanding, a relationship, even love for each other, although, as with everything in this family, there's something not quite right.

Because of the way that Grovian goes about drawing out the story of Bender's background and therefore her reasons for violently killing a complete stranger, there's a lot of ground gone back over.  As she constantly lies about her past, Grovian is forced to look for the sprinklings of truth within the lies and slowly and steadily disprove the lies, forcing Bender back and back over the same ground, coaxing the truth from the ultimate in unreliable narrators.  Because of that narrative device, the pace is slow, emotional, repetitive and intricate.  The reader is given every opportunity to share Grovian's frustration, but at the same time you also get a feeling for Bender's distress, her desperation.  Whatever it is that she doesn't want known is held close, she's desperate to obfuscate, confuse, deny, avoid.  Particularly interesting was the way that Bender's family members, in particular, are characterised.  Seen, as they are, mostly from Bender's point of view, there's something misty about them, hesitantly revealing her father's ineffectiveness, her mother's madness, and her sister's memory.  It's particularly interesting that Magdalena is both transparent, weak, seemingly just about incapable of even basic communication; yet she's ultimately revealed as a much stronger personality, capable of manipulation, more able than originally contemplated.  Remembering that we were viewing Bender's family from her perspective, and the role that Magdalena's entire existence had such a profound affect on Bender - made it a particularly thought-provoking aspect.

THE SINNER isn't a straight-forward book.  Part thriller, a most unusual psychological study, it wasn't an easy book to read but it was an extremely thought-provoking, worthwhile book to read.

THE DEVIL'S GARDEN was a book I picked up because the case it covers - The Claremont Serial Killings - is unfortunately still unsolved, and because I've been reading a little about a number of cases in WA recently.  It made me want to find out more about the nature of the investigation into the murders of two young women, and the disappearance of a third in 1996 and 1997.

What I discovered from this book is an inkling into the tunnel vision of the police force which appears to be consistent with the attitude displayed in another case in the same state of Australia.

I also managed to discover a little about the girls who died, the impact their deaths had on the families, and in particular the devastation felt by one family, whose daughter's has never been found - assumed dead at the hands of the same killer.

True Crime for me works best when it either lays out the facts of a case allowing the reader to come to a better understanding of the events or when, in the case of miscarriages of justice or unsolved cases, it investigates, analyses the evidence and builds a possible scenario with supporting details.

What doesn't work for me is something that I'm increasingly noticing from books from this author - gratuitous intrusion of the author into the story.  Fair enough if the author is interviewing witnesses, drawing out aspects of the case, working on an investigation on behalf of a wrongly convicted person, then observations / commentary are expected.  What's not expected, and seemed increasingly discomforting are the author's "feelings" on driving around in cars in Perth, the way that the scene where one of the poor girls was found "felt", and enough other off-pitch elements that left me with an increasing impression of grandstanding.  

Which is unfortunate, as this is a case that seems to deserve a considered, factual telling.

I've been meaning to pick up KILLING JODIE since a friend, who knows her True Crime mentioned the book in glowing terms.  I can see what she meant.  This book probably told me more about the frustrations of investigating crimes and illustrated the dedication of members of Police more than any other True Crime book I've read in a while.  It also provides a very poignant reminder that murder can devastate the lives of more than just the immediate victim(s).

The book is the story of the investigation into the activities of one Daryl Suckling.  Accused of rape and kidnap, the tale that unfolds around Suckling's seeming luck in evading conviction is breathtaking (and not in a good way).  The way that the original investigators stayed with the fate of Jodie Larcombe for as long as they did really was a profoundly reassuring aspect of this book.  Extremely well written, the author, Janet Fife-Yeomans tells the story, she doesn't overtly editorialise, there's no overarching sign of her own voice in the book.  The story is told carefully and sensitively, informatively and illustratively without the need to direct a reader's conclusions, emotions or reactions.  The events do that perfectly well for themselves.