Category Archives: Peter James

You’re Just Another Face That I Know From the TV Show*

With the obvious exception of journalists, most fictional sleuths don’t spend a lot of time in front of television cameras. So, many of them aren’t particularly comfortable ‘going live.’ Yet, in real life and in fiction, television can be a useful ally in solving crime. That’s why, for instance, police give interviews to the press. Real and fictional lawyers know this, too, and may (or may not) give interviews, depending on whether they see an interview as helpful or hurtful to their clients’ chances.

It’s realistic, especially in today’s world of 24-hour news, to include a TV interview with a sleuth. What’s more, such a plot point can add tension to a story, especially as the media impacts public opinion. So, it’s little wonder that we see that influence of television in crime fiction.

A great deal of Agatha Christie’s writing was done before television dominated the news landscape. But at the time, newspaper interviews often played similar roles. For instance, in The ABC Murders, Hercule Poirot works with Captain Hastings, Chief Inspector Japp and local police to solve a baffling set of murders.  The case has captured the public’s attention, in large part because this isn’t a matter of one murder, or of one murder with a second murder committed to keep someone quiet. Hastings, in particular, isn’t used to being in the media spotlight, and it leads to consternation for him, especially when he learns the way some newspapers operate:
 

‘‘Poirot,’ I would cry. ‘Pray believe me. I never said anything of the kind.’…
‘But do not worry yourself. All of this is of no importance. These imbecilities, even, may help.’
‘How?’
‘Eh, bien,’ said Poirot grimly. ‘If our madman reads what I am supposed to have said to the Daily Flicker today, he will lose all respect for me as an opponent!’’
 

In the end, Poirot gets to the truth about these murders. And it’s interesting to see the way that those public interviews play a role in the story.

Gail Bowen’s Joanne Kilbourn is an academician and political scientist. She understands how important television interviews can be, especially for politicians. But she herself isn’t in front of the cameras very often, at least not at first. But then, in The Wandering Soul Murders, she gets a new opportunity. Nationtv is making some changes to the panel for its politics-themed show, Canada Tonight, and Joanne’s name is put forward as a good choice for a new panelist. At first, she’s reluctant, but she agrees to be a part of the show, and it turns out to be the right choice for her. Still, it requires adjustment for someone who’s usually worked behind the political scenes, rather than in front of the cameras:
 

‘I had bought a new dress for the show, flowered silk, as pretty as a summer garden.
‘Next time,’ she said kindly, ‘try to find a solid colour. That’s going to make you look like you’re wearing your bedroom curtains.’’
 

Joanne learns quickly, and in A Killing Spring, makes really effective use of being on camera.

In high-profile trials, attorneys know that giving interviews can be a useful legal strategy. And, for those lawyers who are ambitious, television interviews can be an effective way to get their names ‘out there,’ especially if they win an important case. So, even those who aren’t particularly comfortable in front of television cameras often learn how to do successful interviews. That part of what a lawyer does comes out in several novels, including John Grisham’s A Time to Kill. In the novel, the small town of Clanton, Mississippi becomes the scene of a very public set of crimes. First, ten-year-old Tonya Hailey is brutally raped and left for dead. Her attackers are soon caught and arrested. Tonya’s father, Carl Lee, is, of course, enraged and heartbroken. And, since the two men responsible are white, while he and is family are black, Hailey doesn’t think justice will be done. So, he ambushes the two men, killing them both, and wounding a sheriff’s deputy. Hailey asks Jake Brigance to defend him, and Brigance agrees. Because of the sort of case this is, it gets a lot of media scrutiny, and television cameras are everywhere. And it’s interesting to see how both Brigance and his opponent, Rufus Buckley, make use of interviews.

In Helen Fitzgerald’s The Cry, we are introduced to Joanna Lindsay and Alistair Robertson. As the novel begins, they’re en route from Scotland to Alistair’s home town in Victoria with their nine-week-old son, Noah. It’s a long, nightmarish flight, and both parents are only too happy when it ends. Then, tragedy happens. During the drive from the airport to their destination, they face every parent’s worst nightmare: the loss of baby Noah. A massive search begins, and the media soon pick up on the story. There’s no sign of the baby, though. At one point, it’s proposed that a television interview with the parents might produce results. Joanna is very reluctant to do this, but Alistair insists, so the cameras are set up and the interview takes place. It’s an awful experience for Joanna, who’s not used to being on television, and who is devastated by the ordeal she’s suffering. What’s worse, when the public sees that interview, plenty of people take her discomfort as one of several signs that she may have had something to do with Noah’s disappearance. It’s not long before the media and the public begin to turn against Joanna and Alistair, and it’s very interesting to see how that tense interview plays a role in what happens.

And then there’s Peter James’ Not Dead Yet. In one plot thread of this novel, Brighton and Hove Superintendent Roy Grace and his team take on a new investigation. The body – well, really, the torso – of an unknown man has been found in a disused chicken coop. There is no identification, and no immediate clues as to who the victim is. This means it’s going to be very hard to identify him, let alone track down the killer. So, it’s decided that a television interview might be a good way to make the public aware of the case.  To that end, the police send Grace’s second-in-command, Glenn Branson, and another colleague, Bella Moy, to appear on a true-crime show called Crimewatch. This show presents re-enactments of real crimes, interviews with people involved, and invitations for call-ins from people who may know something about the cases. It’s not a typical way for police officers to spend their days, but Branson and Moy go on the air.

Not everyone is comfortable in a television interview. But they can be very useful for getting information. And in a crime novel, they can add interesting layers to a story.

 
 
 

*NOTE: The title of this post is a line from Genesis’ Turn It On Again.

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Filed under Agatha Christie, Gail Bowen, Helen Fitzgerald, John Grisham, Peter James

Sleeping in That Old Abandoned Beach House*

There’s something about abandoned places. They have a certain allure, especially for people inclined to explore. And they often have good stories to tell, too. Since they’re abandoned, such places are also very appealing for people who want to hide evidence of a crime – namely, a body. Perhaps that’s why abandoned places are so appealing for crime writers…

For instance, in John Dickson Carr’s Hag’s Nook, we are introduced to Tad Rampole, an American who’s recently finished his university studies. He’s been encouraged by his mentor to visit Dr. Gideon Fell, so he decides to go to the UK. When he gets there, he meets Dorothy Starberth, and the two take a liking to each other. Soon, Rampole finds out more about the Starberths from Fell. It seems that several generations of Starberth men were Governers of nearby Chatterham Prison, which is now disused. The prison is abandoned, but it still plays a role in a Starberth family ritual. On the night of his twenty-fifth birthday, every Starberth male spends the night in the old Governor’s Room at the prison. Now, it’s the turn of Dorothy Starberth’s brother, Martin. He’s anxious about it, because there seems to be a curse on Starberth males, several of whom have died in strange circumstances. Still, he goes through with the plan. Late that night, Martin Starberth dies in what looks like a horrible accident. But Fell discovers that this death was no accident at all, and works to find out who the killer is.

Giles Blunt’s Forty Words For Sorrow is the first of his novels to feature Detective John Cardinal of the Algonquin Bay (Ontario) Police. In this novel, he is called in when a body is discovered in an abandoned mine shaft on Windigo Island. The body is very possibly that of thirteen-year-old Katie Pine, who disappeared five months ago. Cardinal investigated that disappearance, but was never able to find out what happened to the girl. When the body is positively identified as Katie’s, Cardinal has the thankless task of informing her mother, and of re-opening the investigation. In the end, he finds out the truth about Katie and about other disappearances, too.

In Patricia Stoltey’s The Desert Hedge Murders, retired Florida judge Sylvia Thorn accompanies her mother and a group of other retirees on a sightseeing trip to Laughlin, Nevada. The group (they call themselves the Florida Flippers) gets involved in a case of murder when the body of an unknown man turns up in the bathtub of one of the group’s hotel rooms. Matters get more complicated when another Florida Flipper goes missing, and is later found dead in an abandoned mine. Now, the Flippers are ‘people of interest’ in a double murder, and Sylvia works to keep them out of trouble, and to find out who the real killer is, and what the motive is.

Tana French’s The Likeness is the second in her Dublin Murder Squad series. In it, a young woman is found stabbed to death in an abandoned house. Cassie Maddox, who’s recently returned to the Murder Squad after some time away, is shocked to discover that the woman is identified as Lexie Madison, an alias Maddox once used. The victim bears a strong resemblance to Maddox, too. Now, the squad has two serious questions. One, of course, is, who killed the victim? The other is about the victim’s identity. Since there never really was a ‘Lexie Madison,’ the squad has to find out who the woman really was, and why she hid her identity. Maddox is persuaded to go undercover as Lexie Madison to find out the truth.

One of the plot threads in Peter James’ Not Dead Yet concerns an unknown man whose body is found in an abandoned chicken coop. The only part of the body that’s been discovered is the torso, so identifying the victim will be a challenge. Superintendent Roy Grace of the Brighton and Hove Police and his team trace the man through his clothes, and find out who he was. And, in the end, they connect this murder with another case they’re working: a superstar whose life’s been threatened. It turns out that someone is willing to stop at nothing to ‘win.’

And then there’s Sinéad Crowley’s Can Anybody Help Me? Dublin Detective Sergeant (DS) Claire Boyle investigates when the body of an unknown woman is discovered in an empty apartment. Boyle and her team try to trace the victim’s identity through the apartment’s manager and owner, but they don’t get very far at first. Then, another possibility arises. Yvonne Mulhern and her family have recently moved to Dublin from London. She’s a brand-new mother, and at first, has no real support system. She doesn’t really know anyone in Dublin, and her relationship with her husband’s family isn’t particularly good. She soon finds solace in Netmammy, an online forum for new mothers. Then, she notices that one of the members has gone ‘off the grid.’ She’s concerned enough to contact the police, but there’s not much they can do. Boyle, though, starts to wonder whether there is a connection between the case she’s investigating, and the disappearance of Yvonne Mulhern’s online friend. If there is, this could have real implications for Netmammy.

There are a lot of other novels, too, in which bodies are found in abandoned houses, apartments, warehouses, and other places. And that makes sense. Hiding a body in an abandoned place gives the fictional killer time to hide any connection with the murder. And it gives the author the opportunity for a really creepy setting.

 
 
 

*NOTE: The title of this post is a line from Bruce Springsteen’s Backstreets.

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Filed under Giles Blunt, John Dickson Carr, Patricia Stoltey, Peter James, Sinéad Crowley, Tana French

She Can Tell You ‘Bout the Plane Crash With a Gleam in Her Eye*

In Agatha Christie’s Evil Under the Sun, famous actress Arlena Stuart Marshall is murdered during a holiday at the Jolly Roger Hotel on Leathercombe Bay. Hercule Poirot is staying at the hotel, too, and he works with the police to find out who the killer is. At one point, they’re interviewing Mrs. Castle, who owns and manages the establishment. Here’s what she says about the murder:
 

‘‘But it does so reflect upon an establishment…When Ay think of the noisy gaping crowds…they will no doubt come and point from the shore.’ She shuddered.’
 

She’s got a point. In real life and in crime fiction, violent crime, especially murder, stirs up a lot of public interest. And that’s part of the odd dual nature of people’s reaction to crime. On the one hand, murder and other serious crime is horrible. If you’ve ever actually seen a violent crime, or been involved in one, you don’t need me to convince you of that. If you haven’t, then trust me. There is nothing entertaining about a serious crime.

And yet, many news sources (often, but not always, tabloids) make fortunes reporting on such stories. People want to read about crime. The more lurid the details, the better. We may want to keep serious crime at a distance, but many people still find it fascinating. It may be the same instinct that draws people to slow down and stare when they see a serious accident on the side of a road.

That duality (‘Keep it away from me! But I want all the details.’) shows up in plenty of crime fiction. There won’t be space in this one post to give more than a few examples. I know you’ll have plenty more than I could offer, anyway.

In Wendy James’ The Mistake, we are introduced to the Garrow family. Angus Garrow is a successful lawyer whose name is being brought up as the next mayor of Arding, New South Wales. His wife, Jodie, is intelligent, attractive, and involved in the community, and his children are healthy and doing well enough in school. Everything changes when his daughter, Hannah, is rushed to a Sydney hospital after an accident. It turns out to be the same hospital in which Jodie gave birth to another child years earlier – a child she’s never told anyone about, not even Angus. A nurse there remembers Jodie, and asks about the child. Jodie says she gave the baby up for adoption, but the overcurious nurse can’t find any official records of the adoption. Now, questions start to come up, first privately, and then quite publicly. Where is the child? If the child is dead, did Jodie have something to do with it? People all over become fascinated with the case, and everyone puts in an opinion. Before long, Jodie becomes a social pariah, but she’s still obsessed, too, with media stories about her. At the same time as people are horrified by the thought that she might have killed her baby, they’re utterly drawn into the case.

In Jørn Lier Horst’s Dregs, police detective William Wisting and his team are faced with a disturbing case. A left foot in a training shoe has washed ashore near the Norwegian town of Stavern. That’s news enough in itself, but then another foot appears. And another. Oddly enough, though, no bodies have been discovered. There’s all sorts of speculation about what might be going on, and some of the local residents are concerned that these murders, if that’s what they are, might be the work of a serial killer. The police know that some people are worried for their safety. And, of course, they don’t want wild and inaccurate speculation to get in the way of their investigation. At the same time, taking advantage of the media interest (of which there is a great deal) might reach someone who has valuable information to share. So, the police give a few press conferences. And it’s interesting to see how the public’s fascination with a strange set of crimes is mixed with shock and horror at such crimes striking so close to home.

The focus of Helen Fitzgerald’s The Cry is Joanna Lindsay and her partner, Alistair Robertson. When they travel from Scotland, where they’ve been living, to Alistair’s home in Victoria, they think that the long, miserable flight is the worst of their troubles. But during the drive from the airport at Melbourne to their destination, their worst nightmare comes true: the loss of their nine-week-old son, Noah. A massive search is launched, and there’s all sorts of ‘armchair detection’ about what might have happened to the baby. Then talk starts that perhaps the couple, especially Joanna, is involved. There’s an awful lot of public interest and speculation, which makes life miserable for Alistair and Joanna. And when the stories start circulating that they are responsible, matters get even worse. People are horrified by what’s happened, but at the same time, they are fascinated, and can’t get enough about the story.

We also see this fascination/repugnance in Peter James’s Not Dead Yet. In one plot thread, Brighton and Hove Superintendent Roy Grace and his team are investigating a bizarre murder. The torso of an unknown man has been discovered in a disused chicken coop. There’s not much to go on, and the victim had no identification with him. The police want to find out who the man was, so they take advantage of the public’s interest in a lurid crime like this. Grace sends two of his team members to appear on a true-crime TV show called Crimewatch. Neither really, truly, wants to do the show. But they both understand how important it is to identify a crime victim. So, they do the show. And it’s interesting to see how TV shows like that get large audiences and, sometimes, good results.

And that’s the case in a lot of investigations. The public is fascinated by lurid crimes. At the same time, we know how horrible murder is. It’s an interesting duality, and it can add to a crime novel.

 
 
 

*NOTE:  The title of this post is a line from Don Henley’s Dirty Laundry.

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Filed under Agatha Christie, Helen Fitzgerald, Peter James, Wendy James

Be My Bodyguard*

In Agatha Christie’s Murder on the Orient Express, successful American business magnate Samuel Ratchett is making a journey across Europe on the famous Orient Express train. When Ratchett learns that Hercule Poirot is on the same train, he makes an unusual proposal. He wants to hire Poirot as a sort of bodyguard, since he feels threatened. Poirot refuses, angering Ratchett. It turns out Ratchett was right to be concerned, though, because he’s stabbed to death the next night. The only possible suspects are the other passengers in the first-class carriage, and Poirot works to find out who the killer is.

Perhaps we can’t easily imagine Poirot in the role of bodyguard, but there are plenty of people who work in that capacity, in real life as well as crime fiction. They’re professionals, but at the same time, they aren’t law enforcement officers or PIs. So, they fill interesting roles, and they can be interesting characters. And situations that call for bodyguards can add real tension to a story.

In Robert Colby’s novella No Experience Necessary, we are introduced to Glenn Hadlock. He’s recently been released from prison, so his job choices are limited. Then, he sees an advertisement that catches his attention. Victor Scofield is looking for a bodyguard/chauffer for his wife, Eileen. Hadlock decides to apply, and is granted an interview. He learns that Scofield is permanently disabled, and can’t leave his room. But, he says, he doesn’t want to impose the same limitations on Eileen. So, he’s decided to hire someone to escort her. Hadlock gets the job, and at first, everything goes well. The pay is good, he gets a free apartment in the Scofield mansion, and Eileen is pleasant company. But it’s not long before Hadlock discovers that this job has a lot of hidden dangers…

There are plenty of dangers for bodyguard Martin Lemmer, too, whom we meet in Deon Meyers’ Blood Safari. He works for a Cape Town private security firm called Body Armour, and he’s had his share of risky experiences. But he gets in much deeper than he thought when Emma Le Roux hires him to escort her from Cape Town to the Lowveld. She’s following up on a lead that could help her locate her brother, Jacobus. She’d thought he was killed years ago in a skirmish with poachers, while he was working at Kruger National Park. It turns out, though, that he may very well still be alive. If so, she wants to find him. Lemmer goes with her, and soon learns that some extremely dangerous people are determined not to let anyone find out the truth about Jacobus Le Roux. Lemmer’s going to need all of his skills if he’s going to keep himself and his client alive.

In Jassy Mackenzie’s Random Violence, we are introduced to Jade de Jong. Ten years before the events of the novel, she left her native Johannesburg when her police-detective father was killed. She went to the UK, where she spent several years working in private security and bodyguarding. Since then, she’s become a PI. So, she’s well able to take care of herself. But even she’s not prepared for what awaits her when she goes back to Johannesburg. Annette Botha has been killed in what looks like a carjacking gone wrong. But then, there’s another murder. And another. The three deaths don’t seem on the surface to be linked, but there are little pieces of evidence that they might be. Police Superintendent David Patel, who was a friend of de Jong’s father, is glad she’s back in town, and grateful for her help in the investigations. And, in the end, Patel and de Jong find that the three murders are, indeed, linked, in a way they hadn’t imagined.

When key police witnesses are believed to be in danger, they’re often provided ‘safe’ accommodations and bodyguard protection. That’s what happens in T.J. Cooke’s Kiss and Tell. In that novel, London attorney Jill Shadow becomes involved in a web of drugs trafficking, high-level corruption, and murder when she gets an unusual request. Bella Kiss has been arrested at Heathrow Airport on suspicion of drugs smuggling. She doesn’t deny the charges, but won’t say anything about who paid/coerced her to carry the drugs. And Shadow’s been asked to do what she can to defend the young woman. It’s clear that Bella is afraid for her life, and Shadow wants to help her. But it’s not going to be easy, since this client isn’t saying anything. Bit by bit, and after a murder, Shadow comes closer to the truth, and it gets her into grave danger – so grave that she has to be taken to a safe house. There’s she’s provided with a bodyguard/procurer called Ralph, who is her only link to the outside world. And we see how important that protection becomes when some powerful and nasty people target Shadow.

And then there’s Peter James’ Not Dead Yet, which in part tells the story of superstar Gaia Lafayette. A native of Brighton, she’s returning from the US to her home town to do a film. There’s already been at least one attempt on her life, so her personal security is a major issue. She has an entourage that includes personal bodyguards, but her representatives want to be assured of her safety during her stay at Brighton. So, Superintendent Roy Grace is told that the local police will need to make the star’s safety a priority. This isn’t good news for Grace, who’s already dealing with a bizarre murder. But the authorities don’t want there to be any questions about the town’s willingness to protect visitors. So, the word comes down that Grace will have to manage as best he can. And it’s interesting to see the relationship between the police who are supposed to protect the visitors, and the personal bodyguards who have the same charge.

Bodyguards have a unique perspective on security and on their charges. And they certainly have challenging, sometimes dangerous, jobs. That can make for an interesting layer of suspense and character development in a crime novel. Which ones have stayed with you?

 
 
 

*NOTE: The title of this post is the title of a song by Robyn Hitchcock.

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Filed under Agatha Christie, Deon Meyer, Jassy Mackenzie, Peter James, Robert Colby, T.J. Cooke

And It’ll be All Right in the Heat of the Night*

As this is posted, it’s fifty years since the release of Norman Jewison’s In the Heat of the Night (an adaptation of John Ball’s 1955 novel). As you’ll know, its focus is Virgil Tibbs, a black Philadelphia police detective who ends up getting involved in investigating a murder in Sparta, Mississippi. Among other things, the film explores the issue of the integration of police forces.

But it’s certainly not the only crime story that takes up this topic. Many police departments have had to evolve as qualified non-white officers joined them. In some cases, it has been, and continues to be, a difficult transition. But even in cases where it’s gone relatively smoothly, it can still make for an interesting layer of character development. It’s realistic, too, as more and more police forces diversify.

Brian Stoddart’s Superintendent Christian ‘Chris’ Le Fanu series takes place in Madras (today’s Chennai) in the early 1920’s – the last years of the British Raj. Le Fanu’s assistant is Sergeant Mohammad ‘Habi’ Habibullah. Habi is the first Indian member of the Madras Crime Unit, which doesn’t please everyone:
 

‘Indianisation was a dirty word, Habi’s appointment an unwanted symbol of change.’
 

But Le Fanu has learned that his sergeant has a good education and is good at his job. He’s got a fine future; and although that upsets plenty of people, it doesn’t Le Fanu. He’s happy to have a man of Habi’s skills on the team. Still, Habi knows that he has to be twice as good to get half as far, as the saying goes.

Fans of Arthur Upfield’s Napoleon ‘Bony’ Bonaparte will know that he’s half white/half Aborigine. He’s very good at what he does, and he knows the bush very well. So, the fact that he’s not white doesn’t prevent him from having a successful police career. But that doesn’t mean he doesn’t raise eyebrows at times, and get the occasional comment. Bony’s accustomed to coping with that sort of thing, though, and finds ways to get people to feel comfortable with him.

Karin Slaughter’s Cop Town takes place in 1974 Atlanta, and features Maggie Lawson and Kate Murphy, two detectives who have a very difficult time fitting in in what is still very much a man’s world. When a fellow officer, Don Wesley, is shot, Lawson and Murphy join the investigation team. Although their contributions are not taken very seriously, they are determined to find out the truth. Sexism in the police force is certainly a main topic in this novel. But it’s also set within the context of the racism that still permeates the police at the time the book takes place. There are black police officers (of both sexes). But they definitely have second-class status at the station. They rarely interact with their white counterparts unless they need to; even changing rooms are not occupied by whites and blacks at the same time.

Times have changed in the last decades, and we see this evolution in the genre. For instance, Kate Ellis’ The Merchant House introduces Detective Sergeant (DS) (later Detective Inspector (DI)) Wesley Peterson. In this novel, he and his wife, Pam, have recently moved from London to Tradmouth, in Devon, where Peterson is to take up his duties with the local CID. He’s no sooner settled in when he and the team get involved in the investigation of the murder of a young woman whose body is found at Little Tradmouth Head. In one plot thread of this novel, the team works to find out who the dead woman was and who would have wanted to kill her. At first, Peterson’s a little concerned about how well he’ll fit in in Tradmouth. For one thing, he’s from London. For another, he’s black, and his colleagues are all white. While it’s true that he does get the odd joke about being from London, his race doesn’t really matter to his colleagues. In fact, he learns that his predecessor was terminated because of racist and sexist comments and actions. It wouldn’t be accurate to say that Peterson’s race never figures into the stories. It is a part of his identity. But, for the most part, he’s a good detective who happens to be black, and his white colleagues care much more about the former than about the latter.

The same might be said about Peter James’ Glenn Branson. He serves as second-in-command to Superintendent Roy Grace of the Brighton and Hove Police. It’s made clear throughout the series that Branson is black. But that fact doesn’t matter to Grace and the other team members. The members of the team tease each other, as happens when people work closely together. But there aren’t any racially-charged remarks – even as ‘just a joke.’ He’s a valued colleague who just happens to be black.

That doesn’t mean there are never any challenges faced by non-white police offers. Just ask Jamal Hamad, whom we meet in Carin Gerhardsen’s The Gingerbread House. He’s lived most of his life in Sweden, but is originally from Lebanon. Now, he’s one of a team of police detectives who work under the supervision of Stockholm Detective Inspector (DI) Conny Sjöberg. In this novel, the team is investigating a set of murders that seem on the surface not to be linked. They are, though, of course, and the team has to put the pieces of the puzzle together to find the event from the past that links them. In the meantime, one of the team members, Petra Westman, is ‘date-raped’ one night, and decides to find out who’s responsible. At one point, she has an interesting conversation with Hamad. Here’s what he has to say about being a non-white person on a white police team:
 

‘‘But it’s ‘Ramadan’ this and ‘Mohammad’ that, one thing after another. Just little things, but it all adds up…’’
 

In this case, it’s not that Hamad’s colleagues refuse to work with him, or sabotage his work because he’s not white. In fact, he says that he knows Westman likes and respects him. And she does. But he’s still made to feel different – ‘other’ – whenever anyone makes a remark.

In The Heat of the Night offers an exploration of what happens when a police force diversifies, and not everyone’s comfortable with that. There are several other crime novels, too, that take up the same topic. These are just a few: your turn.

 
 
 

*NOTE: The title of this post is a line from Quincy Jones, Marilyn Bergman and Alan Bergman’s In the Heat of the Night, with Ray Charles’ unforgettable vocals.

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Filed under Arthur Upfield, Brian Stoddart, Carin Gerhardsen, John Ball, Karin Slaughter, Kate Ellis, Norman Jewison, Peter James