Category Archives: Katherine Howell

Looks Like Another Suicide*

Faked SuicidesOne way in which real and fictional murderers may try to hide their crimes is by setting the scene to make it look as though the victim committed suicide. After all, we never really know what’s in someone’s mind, so it’s plausible that someone might commit suicide without giving a hint of suicidal thinking. That certainly happens in real life, and thanks to Carol at Reading, Writing and Riesling, I’ve been thinking about how it can happen in crime fiction too.

Agatha Christie used that plot point in several of her stories. In Dead Man’s Mirror, for instance, Hercule Poirot receives a summons from Gervase Chevenix-Gore to the family home at Hamborough Close. Chevenix-Gore believes that someone in his family may be cheating him, and he doesn’t want to call in the police. Poirot is none too happy about being summoned in such an autocratic way, but he goes. Shortly after Poirot’s arrival, Chevenix-Gore is killed, apparently the result of suicide. And several signs point to just that explanation. But Poirot has already concluded that the victim was most assuredly not the kind of person who would kill himself. So he investigates further and finds that someone set the scene up to look like suicide.

Giorgio Scerbanenco’s A Private Venus begins when Milan-based Dr. Luca Lamberti is hired by wealthy engineer Pietro Auseri to help with Auseri’s son Davide. It seems that Davide has developed a severe depression coupled with a serious drinking problem. Nothing seems to have helped, and now Auseri simply doesn’t know what to do next. Lamberti agrees to at least meet Davide and see if he can be of assistance. After a time, he learns the reason for Davide’s troubles. A year earlier, Davide met a young woman, Alberta Radelli. After spending a day out of town together, Alberta begged Davide not to take her back to Milan. In fact, she threatened suicide if he did, and tried to persuade him to take her along wherever he was going. Davide refused. Not long afterwards, Alberta’s body was discovered in a field outside Milan, an apparent victim of suicide. Now Davide blames himself for her death. Lamberti comes to believe that the only way to help his patient is to find out what really happened to Alberta. So he begins to look into the matter. Davide soon takes an interest too. In the end, Lamberti discovers that Alberta did not commit suicide; she’d gotten involved in a very dangerous business with some very dangerous people, and paid the price.

Helene Tursten’s Detective Inspector Huss introduces Göteborg Inspector Irene Huss. She is part of the Violent Crimes Unit supervised by Sven Andersson. When the team hears of the death of wealthy businessman Richard von Knecht, they go into action. The victim apparently committed suicide by jumping from the balcony of his upmarket penthouse. But soon enough, forensic and other evidence suggests that von Knecht was murdered. What’s more, he didn’t seem despondent enough to have taken his own life. What’s more, von Knecht was afraid of heights. If he’d decided to commit suicide, he wouldn’t likely have used that means to do so. Now that it seems clear von Knecht was murdered, Huss and her team look more closely at the people in the victim’s life to see who would have had a motive to kill him. It turns out that there’s more than one possibility.

Domingo Villar’s Death on a Galician Shore begins with the discovery of the body of local fisherman Justo Castelo. At first it looks as though Castelo committed suicide; and he kept to himself so successfully that no-one really knows whether he had a motive. But little pieces of evidence suggest to Vigo Inspector Leo Caldas that perhaps Castelo was murdered. So Caldas and his team begin to look a little more closely into the victim’s life. They find that his death is related to a tragic incident in the past.

Suicide by drowning also seems to be the verdict in Martin Edwards’ The Serpent Pool. DCI Hannah Scarlett and her Cold Case Review Team have re-opened the six-year-old case of the death of Bethany Friend. Scarlett isn’t entirely satisfied that the victim committed suicide. For one thing, she didn’t seem to have a motive. For another, she was very much afraid of drowning; so, even if she had decided to kill herself, Scarlett doubts she’d have chosen that method. As the team finds out more, Scarlett comes to believe that this death may be related to two more recent deaths. And so it proves to be. The three deaths have a link that Oxford historian Daniel Kind helps to discover.

And then there’s Katherine Howell’s Web of Deceit. One morning, Sydney paramedics Jane Koutofides and Alex Churchill go to the scene of a one-auto crash. The driver, Marko Meixner, refuses to let them take him to a local hospital at first. In fact, he says that he is in danger and they will be, too, if they spend any time with him. Koutofides thinks Meixner needs a psychiatric evaluation, so when she and Churchill finally get their patient to the nearest hospital, she requests a workup. But Meixner leaves before that can be done. Later that day, he is killed in what looks like a suicide when he falls under a commuter train. In fact, he’d attempted suicide before. But when New South Wales Police Inspector Ella Marconi learns what Meixner said to the paramedics, she begins to wonder whether this was a case of murder. So she and her police partner Murray Shakespeare look more closely at the case. They find that Meixner’s murder was engineered.

There are a lot of other cases, too, of fictional murders ‘dressed’ as suicides. Which ones have stayed with you? Thanks to Carol for the inspiration! Now, may I suggest your next blog stop be her excellent Reading, Writing and Riesling? You’ll be rewarded with great book reviews (with a focus on Australian writers) as well as terrific recipes and stunning ‘photos.

 
 
 

*NOTE: The title of this post is a line from Billy Joel’s Close to the Borderline.

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Filed under Agatha Christie, Domingo Villar, Giorgio Scerbanenco, Helene Tursten, Katherine Howell, Martin Edwards

I Keep My Visions to Myself*

cards close to the chestOne of the many balances that crime writers consider is how much to share with readers. As the sleuth gets information and forms theories, is it better to let readers in on that thought process, or is it better for the sleuth to ‘hold the cards close to the chest?’ On the one hand, most people agree it’s important to ‘play fair’ with readers and give them the information they need to make sense of the mystery. On the other hand, many readers enjoy being challenged and not always knowing what the sleuth is thinking and what her or his theories are. And readers want to remain engaged in a story; so if the author is going to reveal the sleuth’s thinking process, there need to be other aspects of the story that keep readers invested.

Different authors have taken different approaches to this question. In some cases, the sleuth is quite tight-lipped about what she or he is thinking until ‘the big reveal.’ For instance, Arthur Conan Doyle’s Sherlock Holmes is like that. By the end of a given story, we know what the clues are that led Holmes to a given deduction. And fans will know that Holmes is a stickler for following evidence in a scientific way. But he doesn’t reveal his theory until he’s ready. In The Sign of the Four, for instance, Watson asks about Holmes’ theory about certain footprints. Holmes’ reply is:
 

‘You know my methods. Apply them, and it will be instructive to compare results.’
 

Watson is no mental slouch; still, he never fails to be surprised by Holmes’ deductions. Neither do we.

Agatha Christie’s Hercule Poirot is a bit like that too. As he himself says, he doesn’t always look for things such as cigarette ash or unusual shoe prints. But like Holmes, he tends to keep his theories to himself. He says it’s because he may be wrong, and doesn’t want to sway anyone else if he is. But in Death on the Nile, he hints at another reason for which he doesn’t reveal his theories until the last moment:
 

‘‘I like to say, ‘See how clever is Hercule Poirot!’’
 

Even die-hard Poirot fans will admit that he does like to be the admired focus of attention. Christie fans will also know that Miss Marple isn’t always exactly forthcoming about her theories either. She offers hints here and there, but seldom explains herself before the ‘big reveal.’

Patricia Wentworth’s Maude Silver is another sleuth who doesn’t share much about her thought process as a story goes on. She listens to her clients, makes suggestions, does her own investigation and the like. But we often don’t know exactly what her theory is until she’s ready to explain it all. There are a lot of other fictional sleuths who take a similar approach (I know, I know, fans of Ellery Queen).

Keeping one’s cards close to the chest can be effective in a story. But readers can also be drawn in when they have the opportunity to follow along as the sleuth works things out. This allows for certain plot twists and other events when the sleuth makes the occasional mistake. After all, sleuths are only human…

There are a lot of examples of this approach. One is Katherine Howell’s Ella Marconi series. Marconi is a detective with the New South Wales Police. As she investigates cases, she frequently talks over her ideas with her police partners Dennis Orchard and, later, Murray Shakespeare. Fans of this series will know that it also features paramedics who figure in some way or other into each plot. Howell shares their thoughts as well. But Marconi is sometimes wrong, and in any case, isn’t privy to everything. So Howell can build suspense without having Marconi keep her theories to herself.

Readers are also ‘in on’ the way Peter James’ Superintendent Roy Grace thinks. And so are his colleagues. As he investigates murders, he often shares ideas with his team-mates, particularly his second-in-command, Glenn Branson. The tension is built in these novels in part because the reader also knows some things that the detectives don’t know. We aren’t told everything of course, but James shares the points of view of several characters. This strategy gives the reader some omniscience and allows for suspense (i.e. ‘Is Grace going to find out that X knows about Y, and is lying about it?’). So even though we know what Grace and his teammates are thinking, there are still plot twists in the series.

One of the more interesting examples of sharing what detectives are thinking is the case of H.R.F. Keating’s Inspector Ganesh Ghote of the Bombay/Mumbai Police. Ghote is a reflective police officer who often mulls over things. For instance, at the beginning of Inspector Ghote Breaks an Egg, he’s sent to a small town to investigate a fifteen-year-old murder as quietly as possible. This mission concerns an Eminent Figure of such high rank that it’s thought Ghote ought to use some sort of guise, rather than go as a police officer. The Eminent Figure instructs Ghote to go as a salesman for a new chicken-feed product. Here’s what Ghote thinks about it:
 

‘Ghote had rejected the notion of explaining to the Eminent Figure that…in the remote part of the state to which he was being sent chickens were just one more set of scavengers feeding where they could on what they could find.
After all, one did have a duty to feed one’s family. There could be no gainsaying that.
But he hoped profoundly, now that he had arrived, that the disguise the bold, orange box provided would be sufficient.’
 

Ghote ponders his cases themselves in the same way. So in that sense, he doesn’t hold the cards particularly close to his chest as far as the reader is concerned. At the same time, there are enough surprises that the reader doesn’t know everything right away.

The decision on whether to have a sleuth hold a lot back or not arguably depends on the kind of story the author is creating and the sort of suspense the author wants to build. What do you think about this strategy? Does it bother you when the sleuth holds the cards very closely? Do you like to know what the sleuth is thinking the whole time? If you’re a writer, how do you handle this matter?

 
 
 

*NOTE: The title of this post is a line from Fleetwood Mac’s Dreams.

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Filed under Agatha Christie, Arthur Conan Doyle, Ellery Queen, H.R.F. Keating, Katherine Howell, Patricia Wentworth, Peter James

Gotta Rush, Make it Urgent*

ParamedicsThey’re the first ones on the scene when there’s an accident or emergency. And very often they make split-second decisions that quite literally mean the difference between life and death. I’m talking of course of paramedics and EMTs. Today’s paramedics go through extensive training and are expected to update their skills regularly. Their work is critical and they have to do it under sometimes severe stress.

Since so much crime fiction involves emergencies, paramedics are an important part of the genre. In many crime novels (my own included), paramedics are mentioned, but not to any great extent. Quite often that’s because the focus of the novel is on other characters.

But there are plenty of novels where paramedics play a bit more of a role. For instance, in Tess Gerritsen’s Vanish, Weymouth (Massachusetts) Fire and Rescue is called to the scene when an unidentified young woman is pulled from Hingham Bay. They pronounce her dead and she’s taken to a local hospital. But later, when Medical Examiner Dr. Maura Isles prepares to end her work day, she’s startled to hear noises coming from the body bag containing the woman. She opens the bag and immediately alerts an emergency team when she sees that its occupant is alive. Later, the young woman leaves her hospital room and goes to the hospital’s Diagnostic Imagery Department, where she takes a group of people hostage. That group includes police officer Jane Rizzoli, who was there to have a pregnancy ultrasound test. One thread of this novel concerns the efforts to find out who this woman is and what she wants before anyone is hurt. And without spoiling the story, I can say that emergency rescue teams are part of that effort.

There are also, of course, novels and series that focus on paramedics. For example, in Jassy Mackenzie’s My Brother’s Keeper, we are introduced to paramedic Nick Kenyon. One night, he’s called to the scene of an automobile accident. There, he finds one critically injured passenger named Natasha, but no driver. On the way to the hospital, Natasha begs Nick to make a telephone call for her, and he agrees. What he doesn’t know is that the missing driver is part of a dangerous gang planning a major heist – and his brother Paul, recently released from prison, is the leader of that gang. What Nick does learn is that not long after she is rescued, Natasha is murdered in her hospital bed. As he gets more and more drawn into this case, he gets closer and closer to a deadly showdown with his brother.

Shawn Grady’s Tomorrow We Die features paramedic Jonathan Trestle. One day he and his partner are called to the scene when a man collapses on the street in downtown Reno. They’re working to give support when the man gives Trestle a note and begs him to
 

‘Give this to Martin.’
 

Unable to say anything else, he is rushed off in the ambulance. Later, Trestle goes to check on the victim, only to find that he pulled an IV tube out of his arm and left the hospital. There’s no clue to his whereabouts, and the only thing he’s left behind is a key. The note he gave to Trestle isn’t much help either, as it’s just a mishmash of scribbles and lines. But Trestle wants to do as he said he would do, find Martin – whoever that is – and deliver the note. That choice draws him into a strange mystery that turns deadly when he discovers that the key fits a local hotel room, and that his patient is in that room, murdered…

Annette Dashofy has created a series featuring paramedic Zoe Chambers. She lives and works in Vance Township, Pennsylvania. She’s also Deputy Coroner, so she gets involved in practically all of the untimely deaths in the area. Thus far, the series includes three books: Circle of Influence, Lost Legacy, and Bridges Burned.

Perhaps the best-known crime fiction series featuring paramedics is Katherine Howell’s Ella Marconi series. Marconi herself is a police detective with the New South Wales Police. However, every novel in this series also features paramedics who, to one extent or another, are involved in the plot. In Web of Deceit, for instance, paramedics Jane Koutofides and Alex Churchill are called to the scene of a motor accident. The victim, Marko Meixner, is unhurt, but they insist he go with them for a medical examination. Along the way, he says that he’s in danger and that they will be, too, if they spend any time with him. Still, they get him to the hospital and try to recommend him for a psychiatric evaluation. Marko leaves without treatment though. Later that same day, Marconi and her team are alerted when Marko is hit by an oncoming commuter train. It might be suicide, but when Marconi learns what Meixner said to the paramedics, she comes to suspect murder. Both teams are drawn into the investigation, as is the case with all of Howell’s novels.

Interestingly enough, Howell and Grady both trained as paramedics and worked in that field for a number of years. So they draw on their experiences as they write. And if you’re interested in not-so-crime-fictional stories of paramedics, there’s also Peter Canning’s novels. He, too, is a paramedic who’s woven his experiences into his work.

It’s not easy to be a paramedic or EMT. Those people see some awful, awful things, and they are often under untenable pressure. But they save lives. And, speaking strictly for myself, I like it when novels present them in positive lights, even if they have faults and make mistakes.

 
 
 

NOTE: The title of this post is a line from Foreigner’s Urgent.

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Filed under Annette Dashofy, Jassy Mackenzie, Katherine Howell, Peter Canning, Shawn Grady, Tess Gerritsen

Same as the Old Boss*

Bad BossesAs I mentioned yesterday, having a supportive, competent boss can make all the difference in your professional world. But not everyone is so fortunate. If you’ve ever had a terrible boss, you know what a nightmare that can be. That kind of work stress can be intolerable.

There are of course plenty of crime-fictional examples of incompetent, non-supportive and even downright malicious, sadistic bosses. Creating these characters can be tricky, since most crime fiction fans don’t want unidimensional characters. Most people, even awful bosses, have at least some redeeming quality. But an annoying (or worse) boss can give the author lots of opportunity for conflict, sub-plots and so on.

Michael Connelly’s LAPD cop Harry Bosch has a boss who certainly makes his life difficult. In The Black Echo, we are introduced to Irvin Irving, then a Deputy Chief. In more than one of the books in this series, Irving shows that he’s self-protective and highly political. He’s also not in the least bit above squelching any honest investigation that may make him or the department look bad. So even those not deeply familiar with this series will be able to guess that he makes life very difficult for Bosch and sometimes represents a real threat to him. Connelly doesn’t give Irving’s character only one facet though. He is competent, and people loyal to him will tell you that he stands up for the police force. But to Bosch, for whom integrity is essential, Irving is part of what’s wrong with the department.

Fans of Donna Leon’s Commissario Guido Brunetti series will know that he is saddled with a dreadful boss, Vice Questore Giuseppe Patta. Patta is a toady to the rich and well-connected. More than that, he’s an ambitious man who’s not above ‘glory-grabbing’ to make his mark. In several novels he interferes with investigations, pulls Brunetti from cases, and in other ways impedes work. Most of the time it’s because he’s being protective both of his own reputation and of those of the rich, powerful people he thinks can do him some good. Brunetti is no fool, though; more than once, he and Patta’s assistant, Signorina Elettra Zorzi, use Patta’s vanity, arrogance and ambition against him.

Martin Edwards’ DCI Hannah Scarlett has a boss, ACC Lauren Self, who isn’t much better. Self is also ambitious, and well aware that moving up into the higher echelons of police power is still easier for men than for women. So she does everything she can to improve her political position. Even Scarlett, who has little but contempt for Self, admits that her boss is very good at getting influential people on her side. She manages the social aspect of police politics quite well. But underneath that exterior, Self can be very malicious, even backstabbing. Certainly she’s not respectful of the people who work for her; nor does she listen to what they tell her about what’s really going on as they investigate. Again, Edwards doesn’t depict Self as one-sided. She does have skills. But she certainly hasn’t endeared herself to her team members.

Sometimes, even when you have a boss you like and respect, things can change if that boss leaves, transfers or is temporarily away. That’s what happens in Katherine Howell’s Web of Deceit. New South Wales Police Detective Ella Marconi likes and respects her usual boss Dennis Orchard. But he’s on a temporary assignment elsewhere, so Brad Langley steps in as acting head of homicide. On the one hand, he knows and follows police procedure, and is competent at what he does. It’s no surprise that he’s been tapped to head this team. On the other hand, he is, as Howell tells us,
 

‘…a numbers man.’
 

He doesn’t use department resources wisely, and he doesn’t listen to the people who work for him. What’s more, he can be publicly rude to his team members, especially when they suggest anything other than what he outlines for them. It’s little wonder Marconi misses Orchard.

Adrian Hyland’s Aboriginal Community Police Officer (ACPO) Emily Tempest also has a very bad experience with a temporary boss. In Gunshot Road, we learn that she’s just begun her duties as an ACPO, and is hoping to work with Tom McGillivray, whom she likes and respects. But when he is badly injured, Tempest is assigned to work with Bruce Cockburn. From the very first, they dislike each other. Cockburn is brusque and disrespectful. He’s sometimes rude and not one to pay much attention to what Tempest says. For his part, Cockburn finds Tempest too much of a maverick and too tactless. So when they investigate the shooting death of former prospector Albert ‘Doc’ Ozolins, they butt heads almost immediately. Matters worsen between them as the novel goes on. Hyland doesn’t depict Cockburn as all bad. Some of the things he says are right, and the points he makes well-taken. He’s not completely incompetent, and Tempest makes her share of mistakes. But Cockburn is certainly not skilled at supervising with any kind of respect.

Camilla Läckberg’s Fjällbacka police detective Patrik Hedström also has an insufferable boss. Bertil Mellberg. Especially in the earlier novels in the series, he is rude, lazy and disrespectful. He is also ambitious, and considers his current assignment to be a ‘backwater.’ His only goal is to be transferred ‘up the pole’ to the bigger and more prestigious police department in Göteborg. Admittedly, as the series evolves, it becomes a little easier to work with Mellberg. He gets a little more responsive to his team and actually does some work on his own. But he’s hardly ‘boss of the year’ material.

If you’ve ever had a ‘nightmare boss,’ you know what an impediment it is. But perhaps some of the really unpleasant fictional bosses will make the ones you’ve had seem a bit better by comparison…

 
 
 

*NOTE: The title of this post is a line from The Who’s Won’t Get Fooled Again. I couldn’t resist the symmetry…

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Filed under Adrian Hyland, Camilla Läckberg, Donna Leon, Katherine Howell, Martin Edwards, Michael Connelly

I’m in Hiding*

Going into HidingThere are a lot of crime novels and thrillers where one or another character goes on the run, hoping not to be caught. That plot element can be suspenseful and effective if it’s done well. But here’s the thing: it’s not so easy to go on the run and into hiding. There are all kinds of considerations and obstacles that people who don’t want to be found have to face. I’m hardly a sophisticated expert on these matters, but here are a few examples from crime fiction that show how many things need to be taken into account.
 

Money

In today’s world, there are banking machines just about everywhere. So you’d think it would be easy to access your money. But of course it’s not that simple. In Peter James’ Not Dead Yet, for instance, Superintendent Roy Grace of the Brighton and Hove police uses the realities of today’s banking to catch a killer. In one plot thread, he and his team slowly trace the murderer of an unidentified man whose torso is found in an abandoned chicken coop. They connect that murder to threats against the life of visiting superstar Gaia Lafayette. And one of the ways they track this murderer is through video taken at bank machines. That, plus banking information that they get, allows them to find out exactly who the killer is.

Given the detailed information you need to provide to open a current/checking or savings account, it would be difficult to even use a bank to manage your money – not, that is, if you plan to ‘disappear.’ Stieg Larsson’s Lisbeth Salander has the computer and other skills one needs to pull off financial wizardry, but most people don’t. So people who go on the run have to find ways to get their hands on cash, and ways to keep it safe.

 

Travel and Documentation

Another obstacle to staying out of sight, so to speak, is getting documentation. In most countries, for instance, you can’t book an airline ticket without identification. And in today’s world of enhanced security, you sometimes have to go through more than one level of identity check. Modern hotels nearly always require a credit card (and often ID too) before you can check in. So unless you know where to go, or can stay in someone’s home – someone who keeps quiet – it’s not that difficult to track your whereabouts. There are of course people who are in the business of creating false documentation. But they aren’t charities, and it can take time to do the job right. That’s not to mention that they don’t exactly trumpet their services. So there’s a certain amount of effort, and sometimes quite an expense, involved in getting identification.

Some fictional characters, such as Anthony Bidulka’s Adam Saint, work for agencies and institutions that can provide them with documentation. When we first meet him in When the Saints Go Marching In, Saint works for the Canadian Disaster Recovery Agency (CDRA). His job is to travel to wherever there is a disaster that impacts Canada, Canadians, or Canadian interests. He is often provided with money and travel documents as a part of his job. And we see the same sort of thing in thrillers that involve British Intelligence, CIA, FBI or other agencies.

The reality is though that unless you work for that sort of agency, or are supported by a witness protection program of some sort, it’s difficult to travel anywhere far, or find a place to live, without authentic documentation. Just as an example, in Katherine Howell’s Violent Exposure, Ella Marconi of the New South Wales Police works with her team to investigate the murder of greenhouse owner Suzanne Crawford. Her husband Connor is the most likely suspect, not least because he and his wife were involved in a domestic dispute the day before her murder. The police want very much to talk to Connor, but he’s disappeared. Checks of his banking records, registration and so on reveal absolutely nothing; it’s as though he never existed. But this is the 21st Century, so the police finally do come up with the information they need. And I can say without spoiling the story that they do so through electronic records searching and co-operation with authorities from another country. Even crossing borders doesn’t necessarily mean a person couldn’t ever be found.

 

Employment

Just about every legitimate employer asks for an identification number or its equivalent before hiring. Some run criminal background checks as well. Part of the reason for that is so that the employer can keep accurate payroll records. Another part is so that the employer doesn’t run afoul of government regulations. So unless you’ve got authentic identification, it’s difficult to find the kind of employment a lot of people think of when they think of a job or a career.

If you don’t want your whereabouts known, you’d need to find the sort of employment where you get paid in cash, with few questions asked. There are such employers out there, but you have to know where to go. Or, you have to have the sort of occupation that Malcolm Mackay’s Callum MacLean, whom we first meet in The Necessary Death of Lewis Winter, has. MacLean is a professional killer. He works independently, and does the jobs for which he’s hired in an efficient, ‘clean’ way. As you can imagine, he’s paid in cash, and he buys what he needs with cash.

But perhaps you’d rather not earn your living by killing people. In former times, a person might be hired on for cash. For instance, Arthur Upfield’s Napoleon ‘Bony’ Bonaparte often investigates in cases where people such as ranch hands come into town, are paid in cash, and move on when the work is done. And there are still some jobs like that. But you have to be willing to take on all sorts of different work, and you have to work among people who don’t ask a lot of questions. That’s not as easy to do as you might think.

Given the realities of today’s world, it’s awfully hard to realistically go into hiding or stay on the run for long. It can be done, and I’m sure you can think of novels where it happens. But it takes planning and effort. Plot lines featuring people who are ‘off the grid’ are most engaging when they take into account what would really need to happen in order for someone to be very difficult to find.

 

 
 

*NOTE: The title of this post is a line from Pearl Jam’s In Hiding.

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Filed under Anthony Bidulka, Arthur Upfield, Katherine Howell, Malcolm Mackay, Peter James, Stieg Larsson