Category Archives: Kate Atkinson

Everyday Things*

Everyday ThingsOne of my very top crime novels** begins this way:
 

‘Crime was out there.’
 

That line makes sense, when you think about it, especially when it comes to crime fiction. Sometimes doing the most ordinary things can get a person involved in a fictional murder. One of the first things that comes to mind is, of course, the stereotype jogger or dog-walker who discovers a body. I won’t mention those examples in this post, because they’re just too easy. Besides, there are a lot of other ordinary, everyday things people do that can get them involved in a crime, whether they want to be or not.

What could be more ordinary than looking out a window when you’re on a train? People do it all the time. But it has a sinister outcome in Agatha Christie’s 4:50 From Paddington (AKA What Mrs. McGillicuddy Saw!). Elspeth McGillicuddy takes a train to visit her friend Miss Marple. During the trip, another train on a parallel track catches up to and then passes the train. Mrs. McGillicuddy happens to look out the window into the windows of the other train – a very ordinary, even mundane thing to do. But this time, she sees a man strangling a woman. Almost everyone thinks that Mrs. McGillicuddy simply drifted off to sleep and dreamt the whole thing. But Miss Marple knows her friend isn’t fanciful. She does some of her own research and determines that the body was probably pushed off the train and likely landed on the grounds of Rutherford Hall. Knowing she herself doesn’t have an ‘in’ there, she gets a friend of hers, professional housekeeper Lucy Eyelesbarrow, to take a position at Rutherford Hall. Sure enough, a woman’s body turns up. With Lucy’s help, Miss Marple figures out who the dead woman was, why she was killed and by whom. And all of this comes from one glance out of a window.

Looking out of a window gets Maura Cody involved in a dangerous case in Gene Kerrigan’s The Rage. Cody is a former Roman Catholic nun who’s left the convent and started again on her own. She lives a very quiet life, and certainly doesn’t look to call a lot of attention to herself. She’s not really the ‘curtain-twitching’ type, either. But when she does happen to look out of her window, she sees something that puts her in a great deal of danger. So Dublin DS Bob Tidey and Detective Garda Rose Cheney have to try to keep her safe as they look for the murderers of banker Emmet Sweetman. As it turns out, Cody is in even more danger than anyone thought. Vincent Naylor and a group that included his brother Noel planned and carried out what was supposed to be the perfect heist. It went tragically wrong, and now Naylor wants revenge. When he suspects that Cody might have seen something, he decides to get rid of his problem.

If you’re a teacher, very little is more ordinary than planning a trip with your class, especially to a local place. But in Stuart Palmer’s The Penguin Pool Murder, a class trip turns out to be anything but mundane for fourth-grade teacher Hildegarde Withers. She and her students have spent the morning visiting the New York Aquarium, and are gathering to leave. But one of the students notices that Miss Withers’ hatpin is missing. It’s finally found at the bottom of a flight of steps. But then, Miss Withers discovers that one of her students is not with the rest of the group. A search leads to the penguin pool, where the child is found watching the animals. Just then, a man’s body slides into the pool. That’s how Miss Withers gets involved in what turns out to be a case of murder.

Getting on a bus is another everyday sort of thing people do. How often have you ridden a bus without even thinking about it? But it’s not so ordinary in Cath Staincliffe’s Split Second. One day, Emma Curtis is taking a bus home from work, as she always does. It’s another regular day for her. Also on the bus is Luke Murray. At one stop, a group of young people get on the bus and begin to bully Murray. Finally, fellow rider Jason Barnes intervenes, telling the group to leave Murray alone. For a time, things quiet down. Murray gets off the bus. So do the young people who’ve been harassing him. So does Barnes. The fight starts up again and in fact escalates. It continues all the way to Barnes’ front yard, where he is fatally stabbed. Emma now finds herself involved in what has turned out to be a case of murder, and all because she took a certain bus on a certain day.

Kate Atkinson makes use of this strategy in One Good Turn. A group of people that includes mystery writer Martin Canning is waiting to purchase tickets for an afternoon comic radio show. It’s the most ordinary thing, if you think about it – waiting to buy tickets. But it’s hardly mundane this time. As the group watches, a silver Peugeot driven by Paul Bradley is hit by a Blue Toyota. Both drivers get out of their cars and start arguing. The argument gets worse; finally, the Toyota driver brandishes a baseball bat and starts to attack Bradley. Almost instinctually, Canning, who’s never done a truly brave thing in his life, hurls his computer case at the Toyota driver, stopping him and saving Bradley’s life. Canning feels a responsibility to make sure that Bradley gets the medical help he needs, so he goes with the man to a local hospital. Before he knows it, he’s drawn into a case of fraud and multiple murder. And it all started with a simple, everyday wait for tickets.

In Gail Bowen’s A Killing Spring, involvement in a murder case begins with a simple trip to a dumpster. Academician and political scientist Joanne Kilbourn gets an early-morning call from her daughter Mieka, who’s just opened a catering business. Mieka was taking some trash to the dumpster when she discovered the body of seventeen-year-old Bernice Morin. Bernice was one of Mieka’s employees, so she feels a particular sense of responsibility. At first, the murder looks like one of a series of killings that the police have dubbed ‘the Little Flower Murders.’ But as Kilbourn and her daughter ask questions, it turns out that this murder is different…

So do be careful if you wash dishes, walk the dog, look out a bus or train window, or wait for tickets at the cinema. You never know where it all might lead…

 

 
 

*NOTE: The title of this post is the title of a song by David Usher.

** Catherine O’Flynn’s What Was Lost. If you haven’t read it yet, I heartily recommend it.

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Filed under Agatha Christie, Cath Staincliffe, Catherine O'Flynn, Gail Bowen, Gene Kerrigan, Kate Atkinson, Stuart Palmer

The Time to Hesitate is Through*

Quick thinkingA recent post from crime writer Sue Coletta got me thinking about how protagonists get out of difficult and sometimes dangerous situations. On the one hand, unless you’re reading the kind of novel where you’ve cheerfully suspended your disbelief, you don’t want the characters to be superheroes. A believable protagonist could therefore potentially be in a life-threatening situation. On the other hand, Sue makes the point (and she’s right!) that there are ways to create a credible ‘in the nick of time’ way to get out of danger.

It requires some quick thinking and resourcefulness to get out of such situations. But in a way, that makes such escapes, if you want to call it that, all the more believable. And that kind of quick thinking can add some interesting ‘spark’ and suspense to a novel.

In Patricia Wentworth’s Grey Mask, for instance, Charles Moray returns to England after an absence only to find that his house has been taken over by a criminal gang. What’s worse, he has good reason to believe that his former fiancée Margaret Langton may be in with this group. Moray tells his friend Archie Millar about what he’s discovered, and Millar suggests a visit to private investigator Maude Silver. Miss Silver isn’t exactly what Moray would have imagined, but she listens to his story and begins her investigation. And in the end, with her help, Moray learns who the members of the gang really are, and what their target is. It’s not spoiling the story to say that at one point, Moray and his former love end up trapped in a basement by the leader of the gang. Neither one of them is a superhero, but Margaret hits on a way to get help. She manages to scribble a few words on a piece of paper and sticks it where it just might be seen. She doesn’t use brawn or weapons, and that makes the scene more believable.

In Agatha Christie’s The Man in the Brown Suit, we are introduced to Anne Bedingfield. When her father dies, she’s left with very little money and no real ties to London. She has no real desire to settle down, so on impulse, she lets her curiosity get the better of her when she witnesses a fatal accident. She retrieves a note left from the accident scene and deduces that it refers to the upcoming sailing of the Kilmorden Castle for Cape Town. She can’t resist booking a ticket, and ends up caught in a web of jewel theft, intrigue and murder. At one point, she’s been taken prisoner and locked in an attic. She uses her wits and a piece of glass left on the dusty floor to get free and manages to escape. There are other places in the novel, too, in which she uses her ingenuity (no spoilers). The story itself may not be an ‘everyday life’ kind of crime story, but Christie didn’t give Anne superhuman powers, and she’s more believable because of that.

Kate Atkinson’s One Good Turn sees crime writer Martin Canning getting ready to pick up tickets to an afternoon comedy radio performance one day. As he’s waiting, he’s one of several witnesses to a car accident in which a blue Honda hits a silver Peugeot driven by Paul Bradley. Both men get out of their cars and begin to argue. The conflict escalates until the Honda driver wields a baseball bat and attacks Bradley. Canning is by no means a ‘tough guy.’ In fact, he’s never done a really courageous thing in his life. But in this instance, he thinks quickly (almost instinctively) and throws his computer bag at the Honda driver. It’s quick thinking, but it’s believable, and the act saves Bradley’s life. Feeling duty-bound, Canning sees that Bradley is taken to the nearest hospital; he then stays with the man to see he’s cared for properly. Canning’s sense of responsibility gets him in more trouble than he could have imagined.

Kerry Greenwood’s Phryne Fisher isn’t a superhero, but she’s very quick-witted, and it often gets her out of trouble. For instance, when we first meet her in Cocaine Blues,   she has returned ‘on assignment’ from London to her home in Melbourne. Some London friends are concerned about their daughter, whom they fear may be in danger from her husband. Phryne looks into the matter with the help of some friends she makes along the way, and discovers a deadly web of drugs trade, murder and more. At one point, she and her friend Bert Johnson have ‘staked out’ a pharmacy that could hold a key to the mystery. That’s when a group of thugs makes an appearance. Phryne and Bert follow them to see if they might lead the two to some answers. When they’re spotted, they have to think quickly, because neither is armed or strong enough to hold off a gang of thugs. So they pretend to be lovers taking advantage of a dark alley until the thugs move on.

We also see that kind of quick thinking in Steve Robinson’s In the Blood. Genealogist Jefferson Tayte has come to Cornwall from Boston ‘on commission.’ Walter Sloane has hired Tayte to trace his wife’s ancestry as a gift to her, and the trail leads to the Cornish coast. But there the history of the family seems to stop cold, as the saying goes. So Tayte starts asking questions. That’s how he meets Amy Fallon, whose husband Gabriel died two years earlier in a sea accident. In one plot thread of this story, Amy discovers a very old writing box that may hold the key to the mystery Tayte’s investigating. There are some ruthless people, though, who don’t want the truth discovered; and at one point, they abduct Amy. Her fisherman friend Tom Laity sees what happens, and follows the launch where Amy’s being held. He’s spotted and attacked, but recovers. When he does, he thinks quickly and leaves a ‘water trail’ of fishing line that Tayte is later able to follow. That allows both to be rescued.

Getting out of danger doesn’t always require brawn. In fact, sometimes, it’s more credible if the protagonist doesn’t grab a weapon or smash out of a prison. It does require quick thinking and cleverness, and sometimes, that’s more than enough to keep the reader’s interest.

Thanks, Sue, for the inspiration. If you’re interested in crime writing and how it’s done, you want Sue’s blog on your blog roll. It’s a rich resource with a lot of very useful insights and information.

ps. People can think quickly in real life too. Don’t believe me? Check out this real-life story of one woman’s brilliant, quick-thinking way to get free from an awful situation. My hat is off to her.

 
 
 

*NOTE: The title of this post is a line from The Doors’ Light My Fire.

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Filed under Agatha Christie, Kate Atkinson, Kerry Greenwood, Steve Robinson, Sue Coletta

I Heard it on My Radio*

RadioAn interesting post on podcasting from crime writer Elizabeth Spann Craig has got me thinking about broadcasting. Her excellent writing blog inspires me; it’s a must-visit for writers and anyone interested in the process of writing. Podcasts are a very new form of broadcasting, but radio has been around for a very long time. In fact, it was arguably the first real-time medium of mass communication. And even with the advent of television and the internet, radio is still a popular and powerful tool. It’s not surprising then that radio plays a role in crime fiction. Here are just a few examples; I know you’ll think of dozens more than I can.

In Agatha Christie’s Peril at End House, Hercule Poirot and Captain Hastings are on a holiday in Cornwall. There they meet Magdala ‘Nick’ Buckley, who has a house there. Poirot soon comes to suspect that someone is trying to kill Nick, although she herself doesn’t believe him at first. Then, she has a few ‘near misses.’ Poirot doesn’t want her staying in the house by herself, so Nick invites her cousin Maggie for a few weeks. Tragically, Maggie is killed during her visit. She was wearing one of her cousin’s shawls at the time of the murder; and this obvious case of mistaken identity convinces Poirot that Nick is in imminent danger. He arranges for her to be safely cared for at a hospital, where she’s told to eat nothing from ‘outside.’ When the murderer tries to strike again, Poirot has to act quickly. In this case, a radio broadcast is key to what the killer chooses to do.

The police have their own radio frequencies; and police radio plays a role in Michael Connelly’s The Black Ice. One Christmas night, LAPD cop Harry Bosch is ‘on call,’ and has his police scanner running in the background. That’s how he hears that a body has been discovered at a seedy hotel in his district. To him, it’s surprising that no-one called him to let him know, since he’s on duty. He goes to the scene only to find that the dead man is Calexico ‘Cal’ Moore, a fellow police officer. The death bears all the hallmarks of suicide, but a few things don’t add up for Bosch. The official explanation is that Moore killed himself because he’d ‘gone dirty’ and was involved in drug smuggling. In order to protect the department’s reputation, Bosch is told to leave the case alone and accept it as a suicide (in fact, that’s why he wasn’t called). Bosch fans will know that leaving things alone is not his style, so he keeps asking questions. In the end, and after a trip to the US/Mexico border area, he finds out the complex truth behind this death.

Even with the popularity of television and the Internet, there are still plenty of successful and well-known radio celebrities. Some of them are quite controversial, too. We see an example of the rise of the ‘shock jock’ in Robert B. Parker’s High Profile. In that novel, we meet celebrity radio personality Walton Weeks. His politically-charged broadcasts have made him a host of fanatic followers and enemies; his private life has been just as full of drama. So when he is found shot and hung, Paradise, Massachusetts Police Chief Jesse Stone has his pick of suspects. For one thing, Weeks’ broadcasts had inspired strong passion on both sides, so to speak. For another, his ex-wives and his current wife all had good reason to want him out of the way. Stone is working on this case when there’s another murder. This time, the victim is Weeks’ pregnant mistress. Stone finds that there were a lot of secrets in Weeks’ life, and that those secrets turned out to be fatal.

In one plot thread of Kate Atkinson’s One Good Turn, we are introduced to comic Richard Mott. He’s been invited to headline a lunchtime radio comedy show, and arranges for his housemate, crime writer Martin Canning, to get tickets. On the day of the show, Canning and several other characters in the novel are waiting for the doors to open when they witness a car accident. A blue Honda hits the back of a silver Peugot driven by Paul Bradley. Both men get out of their cars and are soon arguing bitterly. Then the Honda driver wields a baseball bat and attacks Bradley. Mostly by instinct, Canning throws his computer case at the Honda driver, saving Bradley’s life. A sense of obligation drives Canning to ensure that Bradley gets safely to the nearest hospital; before he knows it, he’s far more involved than he wants to be in a case of multiple murders, fraud and theft.

Robert Rotenberg’s Old City Hall introduces readers to Toronto radio personality Kevin Brace. He and his common-law wife Katherine Torn are both successful, and have an upscale lifestyle which includes a home in the exclusive Market Place Tower condominiums. Everything changes one morning when Torn is found dead in one of the bathtubs. Brace is quickly arrested, and indicates that he wants to be represented by Nancy Parish. Acting for the Crown will be Albert Fernandez. While the attorneys prepare for the legal aspects of this case, Police Detective Ari Green and his team investigate the crime. One possible explanation for the seemingly airtight case against Brace is that he was framed. If that’s the case, then one likely suspect is Donald Dundas, another radio personality who stands to become a broadcasting star with Brace out of the way. And Dundas might have had his own reasons for wanting Torn dead. As the police and attorneys fallow this trail, we learn some interesting things about the modern big-city radio business.

Domingo Villar’s Leo Caldas is a detective with the Vigo police. He also has a radio call-in show. The goal of the show is closer ties between the police and the community, so callers get to ask their questions (or lodge their complaints) in direct conversations with Caldas. The show is so popular that when people are introduced to Caldas, they invariably say something like, ‘Oh, from Patrolling the Waves?’ He’s actually better known for the radio broadcast than he is for anything else.

And that just goes to show that radio still has an important impact. People do listen to audio broadcasts. These are just some instances. You’re now on the air to offer more.

 
 
 

*NOTE: The title of this post is a line from Queen’s Radio Ga Ga.

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Filed under Agatha Christie, Domingo Villar, Kate Atkinson, Michael Connelly, Robert B. Parker, Robert Rotenberg

No Border Fence Can Separate Us, No*

BorderlandsI live less than an hour’s drive (depending on the traffic) from the U.S./Mexican border. What’s interesting about a borderland area like this is the distinctive culture that’s developed. There are certainly influences on both sides of the border of both the U.S. dominant culture and the Mexican dominant culture. But really, life here is a blend of those cultures, and that makes it unique – neither one nor the other, if I can put it that way.

There are ‘border cultures’ all over the world, whether the border is between two very friendly allies or two enemies. And if you think about it, borderlands are very effective settings for crime novels. For one thing, there is, as I say, a unique culture. For another, even between the friendliest of allies, there are often big and little tensions that can add to a novel’s suspense. Put that together with the mystery that’s the main focus of the novel, and you can have a very absorbing read.

Borderlands figure into a few of Agatha Christie’s stories. For example, in both The Murder on the Links and The Mystery of the Blue Train, Hercule Poirot, who lives in London, investigates murders that take place in France. Several of the characters in those novels cross between the two countries more than once, and do business in both places. That ‘border culture’ of cosmopolitan travel is distinctive – neither French nor English really – and it’s interesting to see how it plays out in these stories. I know, I know, fans of Murder on the Orient Express.

Philippe Georget’s Summertime, All the Cats are Bored takes place in the Perpignan region of France, near the French/Spanish border. Two Perpignan police officers, Gilles Sebag and Jacques Molina are dealing with the usual life of a long, hot summer. Sebag’s concerned that his wife Claire may be having an affair, and Molina has his own concerns. Everything’s put aside though when the body of Josetta Braun, a Dutch tourist, is discovered. Then Anneke Verbrucke, who is also Dutch, is abducted. It looks very much as though there’s a serial killer at work, and the media wastes no time making much of that. Now Sebag and Molina have to try to outwit the killer before there are any more murders. In this story, we get a look at the culture of this border area – neither thoroughly French nor thoroughly Spanish, but distinctive.

The Austria/Italy borderland is the setting for Patricia Moyes’ Dead Men Don’t Ski, which introduces her Scotland Yard sleuth Henry Tibbett. He and his wife Emmy take a skiing trip to Santa Chiara, in the Italian Alps. They’re staying at the Bella Vista Hotel, which caters to skiers. Then late one afternoon, one of the other guests is murdered. Austrian-born businessman Fritz Hauser is shot and his body discovered on the downward-facing ski-lift. Tibbett doesn’t have jurisdiction, but once the investigating officer Capitano Spezzi finds out Tibbetts is with the Yard, he slowly starts to trust him and Tibbetts gets to work. Santa Chiara is in Italy; however, there’s a strong Austrian influence in the area, not least because this borderland has changed hands more than once. There are important cultural differences between the Italians and the Austrians; there’s even a bit of tension. But really, the local culture is Alpine – neither distinctly Italian nor distinctly Austrian.

Michael Connelly’s The Black Ice takes place partly in the borderland between the US and Mexico. It begins in Los Angeles, when Harry Bosch gets word on his police scanner that the body of a suicide victim has been discovered. The dead man is identified as Calexico ‘Cal’ Moore, a fellow cop. The first theory is that Moore killed himself because he’d ‘gone dirty.’ But certain things don’t add up for Bosch, and he starts to investigate. His search leads him to the ‘twin cities’ of Calexico (in California) and Mexicali (in Mexico), and to a connection with Moore’s past. This area is a blend both of languages (English, Spanish and Spanglish are spoken on both sides of the border) and of cultures. There’s some tension there, but people who live in this borderland have developed their own distinctive culture and ways of living.

The U.S./Canada border is one of the friendlier borders in the world (not that there’s never any tension or strong disagreement). Because it’s such a long border (it’s the world’s longest international border), there isn’t what you’d call one ‘borderland’ culture. There are several. One such culture is the Great Lakes culture in the borderland between the U.S. state of Michigan and the Canadian province of Ontario. Steve Hamilton explores the rural part of that culture in his Alex McKnight series. McKnight is a former Detroit police officer who’s left the force and now makes a living renting cabins near Sault Ste. Marie (Soo) Michigan/Sault Ste. Marie, Ontario. There are of course formalities when McKnight crosses the border, but the area isn’t really completely Canadian or completely U.S. Instead, it’s a unique rural hunting/fishing/sport tourist area.

The capital of Botswana, Gabarone, is in the borderland area between that country and South Africa. So Alexander McCall Smith’s Mma. Precious Ramotswe, whose detective agency is in Gabarone, visits South Africa in more than one of her cases. And in both that series and the Michael Stanley writing duo’s David ‘Kubu’ Bengu series, we see several examples of people who live on one side of the border but work on the other. It’s a culturally and linguistically unique place, and you can see that in the language patterns. English is the official language of Botswana, but most of the people also speak Setswana. Setswana is also spoken just across the border in South Africa. It’s an interesting case of cultural and linguistic borders being different to geopolitical borders.

Fans of Brian McGilloway’s Garda Ben Devlin series will know that it takes place mostly in the borderlands between the Irish Republic and Northern Ireland. And fans of Kate Atkinson and Val McDermid will know that several of their novels take place in the Scottish Border area. In both of those cases, we see a distinctive way of life that blends both sides of the border. Dialect, daily life, and so on are all unique to those areas. And that’s really what a borderland is. It’s not one side’s culture or the other. Instead, it’s a unique culture that has elements of both. Which bordlerlands novels and series stand out for you?

 
 
 

*NOTE: The title of this post is a line from Boom Shaka’s Unite.

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Filed under Agatha Christie, Alexander McCall Smith, Brian McGilloway, Kate Atkinson, Michael Connelly, Patricia Moyes, Phillipe Georget, Steve Hamilton, Val McDermid

You’re A Sad Sight, Honey, But You Look So Cute*

RidiculousWe usually think of fictional sleuths as brave, and very often they are. But well-drawn sleuths are also quite human. And that means that they have moments, as we all do, of feeling, well, not at all confident. For some people, speaking in public brings on that ‘I’m a complete idiot’ feeling. For others, it’s dressing in a certain way when they’re accustomed to dressing another way. There are other things too of course that make people feel that kind of anxiety. It happens to all of us, and it’s no different for sleuths.

As Agatha Christie fans will know, her Captain Arthur Hastings is not one to call a lot of attention to himself. He’s got a strong sense of what counts as ‘the proper thing to do’ and doesn’t like behaving in any other way. But every once in a while, his work with Hercule Poirot means that he has to do things that completely go against the grain for him. And that makes him feel ridiculous. For example, in Dumb Witness (AKA Poirot Loses a Client), Poirot and Hastings investigate the suspicious death of wealthy Miss Emily Arundell. She has several family members who are desperate for their share of her fortune. To add to that, she changed her will shortly before her death so as to leave practically everything to her companion Wilhelmina Lawson. So there is no shortage of suspects in this case. At one point, Poirot and Hastings visit the victim’s niece Theresa Arundell, who has more than one motive for murder. Poirot is sure that Theresa and her brother are not telling everything they know, so after he and Hastings leave, Poirot wants to sneak back and eavesdrop. Hastings of course is horrified at the thought, but has no choice except to go along. He certainly feels idiotic and embarrassed about it though.

In Kate Atkinson’s One Good Turn, we are introduced to mystery novelist Martin Canning. His literary agent has persuaded him to participate in an author panel during the Edinburgh Arts Festival, so he’s in town for that event. During his trip, he witnesses an accident between a Honda and a Toyota. The two drivers get into a serious argument that ends with Toyota driver Paul Bradley coming close to being killed. Canning throws his computer case at the Honda driver just in time to prevent that happening, and ends up getting drawn into a case of multiple murder for his trouble. Canning is by nature a shy, introverted sort of person as many writers are. He’s not comfortable in public and certainly not when he feels ‘on display.’ His saving Paul Bradley happens almost by instinct; so at first, he doesn’t think much about it. Far worse in his mind is the upcoming literary event at which he’ll actually have to interact with readers face to face. If you’re that sort of author – the introverted sort – you’ll know how idiotic that makes Canning feel.

Lilian Jackson Braun’s James ‘Qwill’ Qwilleran is a journalist who’s not afraid of talking to people. In fact, he’s quite good at putting people at their ease. He’s by no means cowardly by nature. But in The Cat Who Went Into the Closet, he faces a very difficult challenge: serving as Santa Claus in the town Christmas parade. In ways, it’s even harder for him than solving two murders. In one plot thread of this novel, local department store owner Larry Lanspeak is slated to play that role; but when an injury sidelines him, someone else has to step in. At first, Qwill outright refuses. But he’s finally talked into it, and reluctantly takes part in the parade. When it’s over, he finds out he’s also scheduled for a stint with the local children, so they can pose for pictures and tell ‘Santa’ what they want for Christmas. It’s not one of his more confident days…

Barry Maitland’s The Marx Sisters introduces DCI David Brock and DS Kathy Kolla. The two are paired up to investigate what looks at first like a suicide. Meredith Winterbottom lives with her two sisters in a house in London’s Jerusalem Lane. When a large development company wants to buy out the lane for a new project, several residents sell. But Meredith and her sisters refuse. Shortly after that she is found dead. It looks very much like a suicide, but Kolla isn’t sure. So with the ‘green light’ from Brock, she begins to ask questions. At one point, she and Brock have a serious falling-out. Brock knows that although Kolla’s not perfect, their dispute is mostly his fault. So he decides to make amends. He stops by her home with some ‘peace offerings’ and an apology, but at first she’s not having any of it. He certainly feels less than confident standing outside her door with gifts, trying to convince her to open the door and let him in. It’s a very human moment.

In Anthony Bidulka’s Amuse Bouche, successful businessman Harold Chavell hires Saskatoon PI Russell Quant to find his missing fiancé Tom Osborn. The two had planned to marry and then take a honeymoon trip to France, but Osborn disappeared, taking his copy of their itinerary with him. Quant takes the case and ends up going to France, following the itinerary himself, and trying to find out where Osborn is. Then he gets a note indicating that Osborn doesn’t want to be found. That’s when Chavell asks Quant to return to Saskatchewan. Not long afterwards, Osborn’s body is discovered in a lake near a home he and Chavell owned. Chavell of course becomes a suspect in the murder, and asks Quant to keep working for him to clear his name. At one point, Quant and a friend attend a party hosted by Quant’s friend and mentor Anthony Gatt and his partner Jared Lowe. Quant’s fond of both men, but there’s one problem with this party: his outfit. Gatt (who is in the upmarket men’s clothing business) has sent Quant a very trendy, very different sort of outfit, and Quant feels ridiculous wearing it. But, having little choice, he wears it anyway. And as it turns out, he gets some important information at that party.

And then there’s Angela Savage’s The Half Child. Jim Delbeck hires Bangkok-based PI Jayne Keeney to investigate the death of his daughter Maryanne. The official police report is that she committed suicide by jumping from the roof of the building where she lived. But Delbeck is sure his daughter wasn’t suicidal. Keeney travels to Pattaya to look into the case. There, she goes under cover at New Life Children’s Centre, where Maryanne volunteered, to find out as much as she can. And it turns out that there’s more going on at the orphanage than it seems. In the meantime, Keeney is getting accustomed to having a new business partner, Rajiv Patel. He is also her love interest, and that too takes getting used to, as the saying goes. They have their difficult moments, but they do care about each other. Towards the end of the novel, Patel does something very surprising that must have made him feel a little ridiculous. Still, speaking strictly for myself, I think the scene is beautifully done.

So the next time you’re asked to speak in public, or are talked into wearing that outfit to a party, or are picked to wear a silly costume for a parade, remember: you’re not alone. Lots of the best fictional sleuths have been there…
 
 
 

*NOTE: The title of this song is a line from Billy Joel’s I Don’t Want to be Alone.

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Filed under Agatha Christie, Angela Savage, Anthony Bidulka, Barry Maitland, Kate Atkinson, Lilian Jackson Braun