Category Archives: Anya Lipska

I Heard it Through the Grapevine*

How do you decide which mechanic to use? Where to bank? Where to go to eat? You can’t rely completely on advertisements, of course. Even if you could, it wouldn’t be possible to absorb every ad from every company. So, many people depend on what they hear from friends, colleagues and acquaintances.

Today’s word of mouth is often online, through sites such as Yelp and other rating services. But even in the days before such options, people used word of mouth to find out about other people and about businesses. Businesses depend on it, too (how often have you been asked to rate a business’ service, or ‘like’ it on Facebook?).

Word of mouth plays important roles in crime fiction, too. That’s how many fictional PIs develop a reputation. For instance, Agatha Christie’s Hercule Poirot had a distinguished career with the Belgian police. And he’s solved any number of difficult cases since then. But it’s still word of mouth that opens doors for him. In stories such as Death on the Nile, Evil Under the Sun, and Five Little Pigs (AKA Murder in Retrospect), he is deemed ‘one of us’ because his reputation precedes him. People in high places talk to their friends, who are also in high places. Those people talk to others, and so it goes. He’s even ‘forgiven’ for being a foreigner because of that word of mouth.

Walter Mosley’s Ezekiel ‘Easy’ Rawlins isn’t, at least at first, a licensed PI. But he knows a lot of people in the Los Angeles area where he lives. And he fits in there; he’s part of the fabric of the area, so to speak. And people have learned that he’s the man to go to if you want to find someone who doesn’t want to be found. He doesn’t put ads in newspapers, or put up flyers. Rather, people hear about him from friends who know friends who know…

The same is true, really, for other ‘unofficial’ PIs. For instance, Timothy Hallinan’s Philip ‘Poke’ Rafferty is an ex-pat American who lives and works in Bangkok. By profession he’s a ‘rough travel’ writer. But he also has a knack for finding people who don’t want to be found. And he speaks both Thai and English. Word about him has gotten about, so that sometimes, complete strangers start asking around for him. And I’m sure you can think of other ‘unofficial’ PIs, too, where this happens.

Word of mouth works especially well when what you do can’t be easily described. For example, Anya Lipska’s Janusz Kiszka is a Polish émigré to London. He does have a ‘day job,’ but more than that, he’s known in the Polish community as a ‘fixer’ – a man who can get things done. That might include helping with complicated paperwork, getting someone a job, finding someone who’s gone missing, ‘making arrangements’ with people who owe money, and so on. He’s earned respect in his community, and he knows most of the members of it. But there really isn’t a job description or official title that accurately describes what he does. People know about him because he’s helped a cousin. Or a friend. Or…

Anthony Bidulka’s Russell Quant is actually a licensed PI. So, in that sense, it’s not that hard for him to advertise his business. He also happens to be gay, and is an active part of Saskatoon’s gay community. And, in Tapas on the Ramblas, that’s exactly why he is hired. Wealthy business tycoon Charity Wiser is convinced that someone in her family is trying to kill her. So, she hires Quant to find out who that person is. She invites Quant to accompany the family on a cruise, so that he can ‘vet’ the various family members; he soon discovers that this is a gay cruise, and that his client hired him because he’s gay. Quant goes along with her plan, only to find that there’s much more to this than he thought. What’s supposed to be a sort of work/vacation cruise turns out to be fraught with danger – and ends up in murder. Quant doesn’t specifically advertise his orientation. Instead, word gets around that he’s gay.

People also use word of mouth when what they want to get or do isn’t exactly legal. For example, in William McIlvanney’s Laidlaw, Glasgow DI Jack Laidlaw is faced with a horrible case. Eighteen-year-old Jennifer Lawson has been raped and murdered, and her body found in Kelvingrove Park. There’s very little evidence to go on, and there aren’t any obvious suspects. But Laidlaw knows that, in most murder cases, someone has seen something. It’s a matter of finding out who saw what. The problem is that there are plenty of people who do not want to talk to the police. Laidlaw finds a way around that, though. He and his assistant, DC Brian Harkness, track down a man named John Rhodes. He’s unofficially in charge of the part of Glasgow where the murder occurred, and he wields quite a lot of power there. If he wants something to happen, it happens. And he’s not afraid to get violent if that’s what it takes. He’s not any happier about Jennifer Lawson’s murder than the police are, and he certainly didn’t sanction it. To Rhodes, women and children are strictly off-limits when it comes to ‘conducting business.’ So, he puts the word out, and his assistance proves to be very helpful. Fans of Malcolm Mackay’s Glasgow trilogy will know that word of mouth plays a big role in those novels, too. After all, you can’t really easily advertise your services as a professional killer…

Whatever one’s selling, word of mouth is often an effective way to get the word out. It certainly is in real life. And it is in crime fiction, too. Now, if you enjoyed this post, please feel free to ‘like’ it on Facebook, mention it on Yelp…

 
 
 

*NOTE: The title of this post is the title of a song by Norman Whitfield and Barrett Strong.

16 Comments

Filed under Agatha Christie, Anthony Bidulka, Anya Lipska, Hilary Mantel, Malcolm Mackay, Timothy Hallinan, Walter Mosley, William McIlvanney

All the Cats Who Are So In, I Don’t Fit In*

assimilating-or-notVery often, when two cultures come into contact, one of them ends up becoming dominant. There are many reasons for this, and many consequences of it. One of them is that members of the minority culture frequently have to make a painful choice – one of several. Do they keep their own language, cultural ways, and so on, or do they assimilate? If they assimilate, there’s more of a chance of surviving well within the dominant culture. But it means rejecting their own culture and language, with all of the loss that entails. Keeping that culture and language, though, means likely being cut off from a lot of opportunity.

This isn’t an easy choice to make, and matters aren’t helped by the pressure to assimilate and the equal (and opposite) pressure not to ‘sell out.’ And that pressure can come in several ways. And, in some cultures, being a member of a minority culture carries a stigma that greatly impacts a person. That, too, plays a role in the decisions a person might make. There are plenty of crime-fictional characters who face these dilemmas, and it adds to their characters.

In Tony Hillerman’s Jim Chee/Joe Leaphorn series, we are introduced to Janet Pete. She’s a half-Navajo/half-white attorney whom we first meet in Skinwalkers. At first, she lives and works in Washington, D.C., where she has a position with the Bureau of Indian Affairs (BIA). Later, she works for the Navajo Nation. For a time, she and Jim Chee are also romantically involved. Pete has learned how important it is to assimilate if one wants to ‘get ahead.’ She lives a white lifestyle, and at one point, encourages Chee to accept a position off the Reservation, so that they can live in a more dominant-culture way. But at the same time, she is well aware of her Navajo background, understands its traditions, and has a deep respect for her people. She has to make some very painful decisions as the story arc concerning her plays out. And part of the reason for that is the pressure she feels both to assimilate and to be a part of the Navajo world.

Jason Matthews faces much the same challenge in Nicole Watson’s The Boundary. He’s a Brisbane police detective who is also a member of the Corrowa people. He’s been able to manage his life by (mostly) assimilating, as have some other Aborigine characters in this novel. And so far, he’s done all right. Then, the Corrowa people get into a land dispute with a development company over Meston Park. Both groups lay claim to the place, and the situation gets very ugly. Judge Bruce Brosnan rules against the Corrowa, and a few hours later, he’s found dead. Then there are other murders, each of someone involved in the case against the land claim. Matthews is on the team that investigates the killings, and the experience tests his views about assimilating, about identity, and about culture.

Then there’s the question of what’s sometimes been called ‘passing’ – being a member of one race, but identifying oneself (at least publicly) as a member of another. In the US, at least, there’ve been blacks who chose to ‘pass’ as white, rather than identify as black, and it’s been a difficult choice. On the one hand, ‘passing’ has meant opportunities that wouldn’t be available otherwise. On the other, many blacks have seen ‘passing’ as turning one’s back on one’s own. There’s a Walter Mosley book featuring PI Ezekiel ‘Easy’ Rawlins that addresses this very issue, but naming it would be too close to spoiling for my taste.

It’s been an issue in other places, too. Malla Nunn’s Emmanuel Cooper series, for instance, takes place in 1950s South Africa, a time when Apartheid was the law of the land. The rules about race were strict, and brutally enforced. They determined where one lived, what sort of education and job one got, whom one could marry, and much more. Being identified as white (whether Afrikaans or English) meant privilege, power, and opportunity. Being identified as non-white relegated one to a lower class of citizenship, with little opportunity and less voice. In that world, it’s so important to be considered white that many people hide any evidence that they might not be. And that fact figures into more than one character’s choices in the series.

One of Anya Lipska’s sleuths is Janusz Kiszka, a Polish immigrant to London. He’s a well-known member of the Polish community there, and has become sort of a ‘fixer’ – a person who can get things done. He doesn’t always use the ‘usual channels,’ but he always knows someone who knows someone, if I can put it that way. Although he has no burning desire to return to Poland, Kiszka has kept many of his cultural ways, as well as his own language. And he dislikes the tendency for some Polish immigrants to immediately adopt English ways, drop their language, and so on. It’s an interesting perspective on the meeting of cultures.

And then there’s Brian Stoddart’s Roisin McPhedren. When we first meet her in A Madras Miasma, she serves as cook and housekeeper for Superintendent Christian ‘Chris’ Le Fanu. They are also lovers, but they keep that secret. The series takes place in 1920s Madras (today’s Chennai) during the last decades of the British Raj. Roison is Anglo-Indian, and well aware of the social advantages of being as ‘English’ as possible, particularly since she is not of the upper class.  And that includes English social mores. It’s a painful situation for both her and Le Fanu. By contrast, Le Fanu’s assistant, Sergeant Muhammad ‘Habi’ Habibullah makes no attempt to ‘be English.’ He is unashamedly Indian, and Muslim. He may not assimilate, but Habi has earned the respect of others, most particularly his boss, because he is very, very good at what he does.

It can be painful and difficult to decide whether and how much to assimilate, if one’s not a member of a dominant culture. And there isn’t really a ‘right’ answer. Perhaps that’s part of what makes such characters so interesting.

 
 
 

*NOTE: The title of this post is a line from The Beat’s I Don’t Fit In.

26 Comments

Filed under Anya Lipska, Brian Stoddart, Malla Nunn, Nicole Watson, Tony Hillerman, Walter Mosley

He Knows Everyone*

hubsIn many smaller towns and villages, there’s a person who seems to be at the town’s hub. That person isn’t necessarily wealthy, or a law enforcement leader, or a political leader. But everyone knows that person. And, when there’s a crime in the area, that’s the person who’s likely to know the most about what’s going on in town.

In crime fiction, that person may be the sleuth, but doesn’t really have to be. Wise fictional sleuths know that making an ally of the town ‘hub’ is a very good idea, whether or not that person has any authority. And ignoring that person is almost always a mistake.

One of Agatha Christie’s sleuths, Jane Marple, is exactly that sort of person. She’s not a mayor, or in the police, or a church leader. But everyone in her village of St. Mary Mead knows her, and most respect her. She finds out just about everything that’s happening in town, and it’s not always because she’s – ahem – inquisitive. People connect with her. Christie wrote other characters like that, too (I’m thinking, for instance, of Johnnie Summerhayes in Mrs. McGinty’s Dead).

In Friedrich Glauser’s Thumbprint, Sgt. Jacob Studer of the Bern Cantonal Police is faced with a difficult case. Traveling salesman Wendelin Witschi has been shot, and Erwin Schumpf is in prison for the crime. He’s despondent, and in fact, tries to commit suicide. Studer happens to visit him in prison just in time to prevent the suicide, and gets more of an opportunity to talk to him. Although Studer was the arresting officer, he’s got a sort of liking for Schumpf, and starts to wonder whether someone else might have killed the victim. So, he begins to ask questions. He visits the town of Gerzenstein, where the Witschi family lives, and follows up on some leads. This is a small town, the sort of place where everyone knows everyone else. And one of the leaders of the town is its mayor, Emil Aeschbacher. It’s not very long before Studer discovers that if he’s going to make any headway in this case, he’s going to have to do so with Aeschbacher’s support. He seems to know everything, and be a part of everything, in town. And as the novel goes on, it’s interesting to see how his influence works.

In Dorothy Sayers’ The Nine Tailors, we are introduced to Reverend Theodore Venables, vicar at St. Paul’s in the East Anglia town of Fenchurch St. Paul’s. When Lord Peter Wimsey and his valet, Mervyn Bunter, have a car accident not far from the village, it’s Venables who rescues them, and invites them to stay at the rectory until their car can be repaired. Wimsey and Bunter gratefully agree, and settle in. In exchange, Wimsey offers to take part in the church’s New Year’s Eve change-ringing, to replace one of the ringers who’s fallen ill. Venables is glad for the help, and all goes well. That encounter ends up drawing Wimsey into a complicated mystery involving an extra body in a grave, missing emeralds, and a few deaths. Throughout the novel, we see how important Venables is to the town. The locals know him and trust him, and when the town is threatened by a flood, he’s the one they turn to for guidance. And he’s the one who does everything possible to save his parishioners.

One of Rita Mae Brown’s series features Mary Minor ‘Harry’ Harristeen. As the series begins, she is the postmistress of the small town of Crozet, Virginia. She hears a lot and she knows everyone in town. What’s interesting, too, about Harry is that she comes from an old Virginia family, one that’s been in the area as long as anyone can remember. And she herself has lived in Crozet all her life. So, although she’s not wealthy, and not at all pretentious, Harry is considered one of the area’s elite. She gets invited to the ‘right’ events, and so on. That status makes her a credible amateur sleuth, since she has access to people and information that someone with less status might not have.

And then there’s Craig Johnson’s Dorothy Caldwell, who presides over one of Durant, Wyoming’s social hubs, the Busy Bee Café. She’s not Johnson’s sleuth – that would be Absaroka County Sheriff Walt Longmire. But she does know everyone in town, and she hears just about everything that happens. People like her and trust her because she belongs, if I may put it that way. And Longmire knows that she’s a valuable resource, and not just for eggs and pancakes. Another ‘hub’ in this series is Henry Standing Bear, Longmire’s long-time close friend, and proprietor of the Red Pony Inn. That means he’s gotten to know just about everyone in the Durant area. And people know him, too, and talk to him. He’s also a member of the Cheyenne Nation, so he knows everyone in that community as well. Longmire has learned that Henry Standing Bear isn’t just a good friend; he’s also a really helpful source of insight.

There’s also Anya Lipska’s Janusz Kiszka. He emigrated from Poland to London, and has more or less established himself there. Although he doesn’t have an official leadership position, he has become known as a ‘fixer’ – someone who can get things done. He’s well known in London’s Polish community, and people trust him to help them solve their problems. He knows the other members of the community, too, and is a ‘hub’ within it.

And that’s how it is with many people who are at the hub of social groups. They may not be rich, have a lot of authority, or an important title. But they are integral to their communities. Fictional sleuths do well to pay heed to them.

 
 
 

*NOTE: The title of this post is a line from the Kaiser Chiefs’ Cousin in the Bronx.

27 Comments

Filed under Agatha Christie, Anya Lipska, Craig Johnson, Dorothy Sayers, Friedrich Glauser, Rita Mae Brown

To a Land of Opportunity*

immigrationOne of a country’s great strengths is arguably the talent, energy and intelligence of those who immigrate. Fresh ideas and other perspectives add richness to a country. Of course, there is no need for me to detail how difficult immigration can be. And I think we’re all familiar with the all-too-true horror stories of immigrants who’ve been mistreated or worse. There are plenty of crime fiction novels that have that motif, too.

But there are also stories of immigrants who’ve made good lives in their new homes, where both they and their adopted countries have benefited. Those stories, too, are important. And in crime fiction, they allow for all sorts of character development and plot twists, too. They also reflect reality in our world, where it’s increasingly easy to move from one country to another.

Fans of Agatha Christie’s Hercule Poirot will know that he is originally from Belgium. He came to England as a result of World War I, and quite frankly, hasn’t really looked back. There are things about life in Belgium that he no doubt misses; in general, though, he is content in his adopted home. Interestingly, apart from a few characters and remarks (I know, fans of Taken at the Flood), he’s been more or less accepted. He’s most definitely a foreigner, and treated differently sometimes for that reason. But he’s been accepted.

So has Rex Stout’s Nero Wolfe, who immigrated to the United States from Montenegro when he was a young man. He’s become an American citizen, and has had a good experience in his new country. In fact, he’s grateful to the United States, and has done well.

One of the main characters in Anya Lipska’s series is Janusz Kiszka, who immigrated to London from his native Poland. Now he is a sort of ‘fixer’ in London’s Polish community. He knows how to get things done, whom to talk to, and so on. And he knows most of the other people in the community. So he proves to be very helpful to DC Natalie Kershaw. The two are very different, and certainly come from different cultural backgrounds. But they slowly learn to work together and trust each other. Kiszka is content with his Polish cultural identity. At the same time, though, he has no burning desire to return to Poland. His immigrant experience has been more or less a successful one, and he’s made a new life for himself in London.

We might say a similar thing about Gerda Klein, whom we meet in Paddy Richardson’s Swimming in the Dark. Gerda and her husband, along with their daughter Ilse, emigrated from Leipzig, in the former East Germany, when Ilse was a child. They ended up on New Zealand’s South Island, in the small town of Alexandria, and made a good life for themselves. And New Zealand has been, in the main, welcoming to them. For that, Gerda is grateful, and she’s been more than content to stay in her adopted country, even after Germany’s reunification. Ilse, though, has a different perspective. She, too, has been treated well, and has made a good life for herself (she’s a secondary school teacher). But she was a child when the family left Leipzig, and doesn’t have the troubling memories of the Stasi (the East German secret police) that her mother has. Still, she likes New Zealand, and has done a fine job teaching. Her dedication is exactly why she starts to get concerned when one of her most promising pupils, Serena Freeman, loses interest in school. When she does come to class (which isn’t often), she doesn’t participate. And she doesn’t compete much schoolwork. Ilse grows even more worried when Serena disappears. And it turns out that she and her mother will get more drawn into what happened to Serena than either imagined.

In Three Little Pigs, Apostolos Doxiadis tells the story of the Franco family, who immigrated to New York from Italy at the turn of the 20th Century. Benvenuto ‘Ben’ Franco started out making a living as a shoemaker. As time went on, he and his family saved their money, adopted many American ways (they even changed their last name to Frank), and began to fit in. Ben opened his own shoe repair shop and shoe store, and the family prospered. In many ways, this family began to live what some people have called ‘the American dream.’ Everything changed when Ben got into a bar fight one night and ended up killing Luigi Lupo, who, as it turns out, was the son of a well-known criminal and member of the Mob, Tonio Lupo. This Lupo cursed the family, saying that each of Ben Frank’s three sons will die at the age of forty-two, Luigi’s age when he was murdered. As we follow along with the family’s story, we see how the curse played out. We also see how that family became not Italian so much as Italian-Americans.

And then there’s Jen Shieff’s The Gentlemen’s Club. In that novel, which takes place in 1950’s Auckland, we are introduced to Istvan Ziegler. He left his native Hungary after World War II, wanting to make a new life for himself. After a stop in London, he learns that there’s work available on a new bridge at Auckland Harbour, and decides to go there. He has no family, and there’s nothing really keeping him in Europe, so he takes a chance. When he arrives in Auckland, he starts work on the bridge. There are moments when things are more difficult for him because he’s a foreigner. But in general, he’s treated fairly and shows by his hard work that he can do the job. And that’s what really matters. Istvan soon finds himself drawn into complex and dangerous situation when he helps a young girl, Judith Curran, recover from a (then illegal) abortion. It turns out that that act gets him involved in a case that uncovers some truly ugly things going on just under the surface of this seemingly peaceful city.

There are plenty of other stories of fictional characters who’ve immigrated successfully, and of their families (right, fans of Anthony Bidulka’s Russel Quant?). That plot point offers the author some interesting opportunities for character development as well as for a sense of place and culture. There’s only space for a few examples here (I know, fans of Angela Savage’s Jayne Keeney and Rajiv Patel!). Which ones have stayed with you?

 
 
 

*NOTE: The title of this post is a line from The Pogues’ Thousands are Sailing.

18 Comments

Filed under Agatha Christie, Angela Savage, Anthony Bidulka, Anya Lipska, Apostolos Doxiadis, Jen Shieff, Paddy Richardson, Rex Stout

Just Leave Everything to Me*

Unofficial LeadersThere are certain people who become, if you want to put it this way, unofficial leaders in their communities. They don’t have official status (e.g. mayor, department manager, and so on). But they command respect, and they get things done. When the police are investigating a crime, they know that they won’t get nearly as far without the cooperation of these leaders.

That’s especially true in what I’ll call ‘shadow communities.’ By that, I mean communities that aren’t really geopolitical entities such as towns. Rather, these are unofficial groups of people linked by an interest, ethnic background, or some other commonality.

You see this sort of leadership emerge in real life, and it’s there in crime fiction, too. Oh, and before I go any further, you’ll notice that this post won’t really have discussion of crime bosses. Too easy

In several of Arthur Conan Doyle’s stories, Sherlock Holmes gets very valuable help from a group of street children he calls the Baker Street Irregulars. These are children who don’t go to school and often don’t have regular homes. In the Victorian world in which Holmes lives, no-one pays very much attention to them, so they can come and go without being noticed. That makes them very useful as Holmes’ ‘eyes and ears.’ They’re an interesting ‘shadow community,’ without an established infrastructure. But they do have a social structure in place, and they work as a group. Their leader is a boy called Wiggins. He obviously doesn’t have official status as any kind of authority. But the others look up to him, and he serves as their liaison with Holmes.

We also see an example of the ‘shadow community’ of street children in William Ryan’s Alexei Korolev series. These novels take place mostly in Moscow in the years just before World War II. At that time, often called the Great Purge, there were thousands of arrests of people who were considered ‘enemies of the state.’ If they weren’t killed outright, they were imprisoned or sent away, often to Siberia. Many of them left behind children, who were sometimes considered suspicious simply because of their parents’ arrests. These children were often left to fend for themselves as best they could. In The Holy Thief, the first of this series, Captain Alexei Korolev of the Moscow CID meets a group of such children. He’s investigating the death of a woman whose body was found in a former church, as well as another, similar murder. Korolev learns that a group of street children was near the scene when the first murder occurred, and he wants to talk to them. He finally tracks them down and learns that they are led by Kim Goldstein, whose
 

‘‘…parents got caught up in something or other…’’
 

and is now managing for himself. Goldstein and Korolev establish a kind of rapport, and his help turns out to be valuable in this novel and in The Twelfth Department.

In William McIlvanney’s Laidlaw, we meet Jack Laidlaw of the Glasgow police. He and his team investigate when eighteen-year-old Jennifer Lawson goes missing and is later discovered raped and murdered. There isn’t much to go on, and there is a great deal of pressure to find the killer. So Laidlaw decides to visit John Rhodes, who holds court in a pub called The Gay Laddie. Laidlaw says this about Rhodes:
 

‘‘He’s an honourable thug. He won’t like this kind of thing. He might lend us his eyes and ears for a week.’’
 

This part of Glasgow has a ‘shadow community’ that’s not really run by the civil authorities, except nominally. Things happen when John Rhodes wants them to happen. He’s not a crime boss, really, but he has connections all through the area, and everyone knows better than to cross him. Laidlaw and his assistant, DC Brian Harkness, have a conversation with Rhodes, and after a little staking out of positions, enlist his cooperation. It’s an interesting example of the way these ‘shadow communities’ work.

Maureen Carter’s Working Girl introduces readers to DS Beverly ‘Bev’ Morriss of the Birmingham Police. When fifteen-year-old Michelle Lucas is found murdered, Morriss and her team investigate. It turns out that Michelle was a commercial sex worker, so Morriss wants to talk to other sex workers to see what they might know about what happened. As you can imagine, the ‘shadow community’ of sex workers isn’t eager to talk to the police. In order to get their cooperation, Morriss will need the support of their unofficial leader, Big Val. Val’s been in the business longer than the rest, and has a sort of nurturing interest in the others. For their part, they look to her for advice and support – and a place to relax. Once Morriss is able to convince Big Val to work with her, she gets some useful information from the other sex workers in the area.

There are even some sleuths who are unofficial leaders. For example, you could argue that Agatha Christie’s Jane Marple is one such sleuth. Her village of St. Mary Mead isn’t a ‘shadow community;’ it’s an official town. But there’s plenty that goes on there that’s informal. And in that sense, Miss Marple is a leader. She isn’t the mayor or a member of the council. But everyone knows her, most people trust her, and she certainly has her ear to the ground, as the saying goes. And the police who investigate murders in that area know that they ignore Miss Marple to their peril.

And then there’s Anya Lipska’s Janusz Kiszka. One of the many ‘shadow communities’ in London is its Polish community. Members of it look to their own leaders for advice and support, and one of those leaders is Kiszka. He’s known as a ‘fixer’ – someone who can get things done and make things right. So it’s no surprise that DC Natalie Kershaw of the Met finds it to her advantage to work with Kiszka when she investigates murders that involve the Polish community. Kiszka doesn’t have official authority – not even in the area where he lives. But everyone knows he’s the person to go to in order to make things happen.

And that’s the thing about those ‘shadow communities.’ Like more official communities, they have their leaders. The authority of those leaders doesn’t come from a title or an office. But the police know that it’s just as real as a badge is, and that it pays to work with those leaders.

 

ps. Just in case you’re wondering…no, I don’t smoke. That’s a bit of ‘trick’ photography…

 
 
 

*NOTE: The title of this post is the title of a Jerry Herman song. It might not have been used in the original musical Hello, Dolly, but it was a memorable addition to the film version.

40 Comments

Filed under Agatha Christie, Anya Lipska, Arthur Conan Doyle, Maureen Carter, William McIlvanney, William Ryan