Category Archives: Tarquin Hall

The Pinkertons Pulled Out My Bags*

detective-agenciesPlenty of PIs, both real and fictional, work alone or with just one partner. There are some advantages to that, too, if you think about it. One of the biggest advantages is the flexibility (since the PI can choose which cases to take, what hours to work, and so on). And the lone PI doesn’t have to share the profits with anyone. So, it’s easy to see why a detective might want to go it alone.

It’s not all roses, though, as the saying goes. A lone PI can’t cover as many cases as an agency can. And an agency, complete with a staff, often has more resources, both financial and in terms of people. There’s also the possibility that a client might prefer to work with an agency, rather than just one PI, or a PI partnership. So, quite a number of PIs belong to an agency, at least at first.

One of the most famous of all detective agencies is Pinkerton’s (The Pinkerton National Detective Agency), originally founded in the US by Scottish immigrant Allan Pinkerton. It’s still in operation, although it’s now a subsidiary of another firm. Pinkerton’s plays an important role in K.B. Owen’s historical (end of the 19th Century) Concordia Wells series. Concordia is a teacher at Hartford Women’s College. She’s also an amateur detective. One of her friends (and a former mentor) is Penelope Hamilton, who is a Pinkerton’s agent. In fact, in Unseemly Haste, Concordia gets involved in one of Penelope’s cases as she travels across the country to visit her aunt. Agencies such as Pinkerton’s were very popular in the days before the FBI and other federal agencies changed the landscape of nationwide criminal investigation.

In Dashiell Hammett’s short story Fly Paper, Major Waldo Hambleton hires the Continental Detective Agency to find his daughter, Sue, who has cut off all contact with her family. She’s reportedly been mixed up with some very shady people, so Hambleton wants to be sure that she’s all right. Then, he gets a letter from Sue, asking for money. He has the agency send a representative to the address she gave – an address that belongs to Joseph ‘Holy Joe’ Wales, whom Sue has been seeing. She’s also been involved with a thug named ‘Babe’ McCloor. When the detective finally finds Sue’s own place, it’s too late: she’s dead of arsenic poisoning. Now this missing person case has become a case of murder – or perhaps suicide…

Fans of Sue Grafton’s Kinsey Millhone will know that she trained as a private investigator. At first, she worked as a police officer, but two years was enough to show her that police life wasn’t for her. Then, she worked for a detective agency for a short time, while she learned the ropes. After that, as happens with many PIs, she decided to hang out her own shingle. For Kinsey, the independence and flexibility of having her own agency is worth much more than the security that belonging to a larger agency might provide.

In Dick Francis’ Odds Against, we are introduced to Sid Halley. He’s a former jockey whose career was ended when his left hand was severely damaged in a racing accident. Not sure where to go or what to do after that, he got a job at Hunt Radnor Associates, a large detective agency. He worked there for two years until he was shot by a suspect in an investigation. His father-in-law (later ex father-in-law) Charles Roland can see that Halley is floundering, and offers him a way out. He wants Halley to investigate Howard Kraye, a shady businessman who Roland suspects is trying to take over his Seabury Racecourse. Halley agrees, and embarks on a new career as a racetrack investigator.

Tarquin Hall’s Vishwas ‘Vish’ Puri is the owner of a well-respected Delhi agency, Most Private Investigators, Ltd. Although he’s the head of the agency, he depends crucially on the members of his team. Each of them has special skills and backgrounds that help the agency. There’s Tube Light, his head investigator, who has a special knack with computers. Facecream is a valuable member of the team who can blend in anywhere she goes. She often does undercover work. And there’s Flush, so called because his was the first house in his village to have indoor plumbing. And of course, Puri couldn’t get very far without Handbrake, his driver. Handbrake knows how to blend in with other drivers, street vendors and so on, which helps him get information.

While we often think of PI characters as ‘lone wolves’ – and many are – there are plenty who don’t work alone. Some work with just one partner (like Betty Webb’s Lena Jones). Others are slowly building (like Alexander McCall Smith’s Mma Precious Ramotswe). But there are lots who work for a bigger agency. It’s not a bad choice, especially if you’re new to the field and don’t have your own reputation yet. Or if you haven’t (yet) got the funds to set up for yourself. Which fictional larger agencies have stayed with you?

 
 
 

*NOTE: The title of this post is a line from Elton John’s Ballad of a Well-Known Gun.

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Filed under Alexander McCall Smith, Betty Webb, Dashiell Hammett, Dick Francis, K.B. Owen, Sue Grafton, Tarquin Hall

TV Cop Show*

TV Cop Show-WatchingI’m sure you can give plenty of examples of crime fiction TV series or films that are influenced by (even based on) novels and stories – probably many more than I could. But the opposite also works. There are plenty of crime-fictional characters who are influenced by TV and film. In fact, crime writers have to be careful not to base what they know about real-life crime just from what they see on TV or on film. It’s seldom accurate.

And yet, if you read crime novels, you see where TV watching can influence the way characters think about the police and about police investigations. There are several examples of that influence in the genre. Here are just a few.

One plot thread of Tarquin Hall’s The Case of the Man Who Died Laughing concerns money stolen from a kitty party. At kitty parties, all of the attendees (mostly women) get together for food and conversation. There’s also a prize draw that works this way. Each person contributes a little money to a kitty. Then one person’s name is drawn, and that person wins the kitty. One day, Rumpi, the wife of Delhi PI Vishwas ‘Vish’ Puri, attends a kitty party with her mother-in-law, Mummy-ji. The two women are enjoying themselves when someone breaks into the party and steals the money. Mummy-ji manages to scratch the thief, and later goes with Rumpi to the local forensics laboratory, where the son of one of her oldest friends works.  When she tells the young man what happened, and asks him to run a DNA test on her fingernails, he tells her:
 

‘‘Auntie-ji, I think you’ve been watching too much of CSI on Star TV, isn’t it?”
 

As it turns out, Mummy-ji may indeed watch crime shows, but she’s a quick-thinking and shrewd woman who is dismissed at one’s peril.

In D.A. (Dror) Mishani’s The Missing File, we are introduced to Tel Aviv detective Avraham ‘Avi’ Avraham. One evening, sixteen-year-old Ofer Sherabi is reported missing. At first, Avi is convinced that the boy will return soon, but when he doesn’t, an investigation begins. And there’s more than one possible explanation, too, for what happened to him. Ofer’s father, who was away from home at the time the boy went missing, could have something to do with the case. Or there’s Ze’ev Avni, who lives in the same building as the boy and gave him English lessons. Their relationship wasn’t a typical student/tutor relationship, and that could easily have led to Ofer’s leaving. As Avi investigates, we learn about him, too. He reads detective fiction and watches cop shows on TV:
 

‘He preferred to eat on his own and watch an old episode from the third season of Law & Order that he had seen countless times before…He discovered something new each time he watched – another mistake in the investigation, a new way to acquit a defendant.’
 

In Avi’s case, he hones his detection skills on these shows.

In Earlene Fowler’s State Fair, rancher and folk museum curator Benni Harper has agreed to help with the up-coming Mid-State Fair, which will feature several examples of the folk art that interests her. During the fair, someone steals a valuable story quilt, modeled after a famous pattern Then later, the quilt is found wrapped around the body of Calvin ‘Cal’ Jones. Benni and her friend, Detective Ford ‘Hud’ Hudson of the local Sheriff’s Office, look into the murder to find out who would have wanted to kill the victim. In the meantime, Benni’s great-aunt Garnet comes for a visit. This will mean Benni has to play referee between Garnet and her sister Dove (Benni’s grandmother) if the visit is to be a success. Aunt Garnet is addicted to crime shows on TV (she reads crime fiction, too), so she has a lot to say about police procedure. And she says it using ‘TV language.’ But she’s a lot shrewder than people think, and she turns out to be helpful in solving the mystery.

Monica Ferris’ Knitting Bones features Betsy Devonshire, who owns Crewel World, a needlework shop in the small town of Excelsior, Minnesota. In this novel, Betsy and some of other members of the Embroiderers Guild have raised over twenty thousand dollars in aid of the National Heart Coalition. The representative from the charity, Bob Germaine, accepts the check in a public ceremony, but then the check – and Bob – disappear. Everyone thinks he made off with the money – everyone, that is, except for his wife, Allie, who’s the head of the Embroiderers Guild. Allie is sure that there’s another explanation, and wants to turn to her friend Betsy. But Betsy’s broken her leg in a horse riding accident, so she’s homebound. She’s going to have to depend on her employee, Godwin, to do the ‘legwork’ this time. In a few places in this novel, there are conversations about what’s shown on TV crime shows:
 

‘‘Anyone who…watches crime shows on television knows that stolen checks can be sold…What was odd in this case was that no one made an attempt to cash the check.’’
 

On the other hand…
 

‘‘And if you want to laugh, tell a person who works in forensics that you’ve learned a lot from CSI.’’
 

That comment highlights what most people know. Television cop shows often don’t reflect what really goes on in criminal investigations.

But with so many such shows and films available, it’s hard to deny their influence. And many of them are very well-made. So it’s not surprising that they also have an impact on fictional characters.

Now, if you’ll excuse me, it’s time for some CSI: NY on Netflix. Or perhaps CSI: Miami…   😉

 

 
 

NOTE: The title of this post is the title of a Bryan Frazier song.

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Filed under D.A. Mishani, Earlene Fowler, Monica Ferris, Tarquin Hall

Some of Us Believe in Spiritualism*

SpiritualismFor a very long time, people have been fascinated by what I’ll call spiritualism (mostly for convenience’s sake). Strictly speaking, spiritualism is usually used to refer to the belief in communicating with the dead. And that possibility has certainly intrigued humans. But it’s taken on a wider meaning, too, and now often includes interest in psychics, prescience and so on.  And it’s interesting to see how that way of thinking about spiritualism has been woven into crime fiction.

You’ll notice as I go on today that I won’t be mentioning paranormal stories or fantasy stories. Those certainly have their places for readers who enjoy them. But fascination with spiritualism is also there in other crime fiction as well.

Several of Agatha Christie’s stories include spiritualism, and it’s interesting to speculate on what she might have thought of it. An interesting conversation with Moira at the excellent Clothes in Books got me thinking about Christie’s views, so thanks for that inspiration, Moira.

In Dumb Witness, for instance, Hercule Poirot and Captain Hastings visit the village of Market Basing. They’re there at the request of Miss Emily Arundell, who wrote to Poirot, asking him to advise her on a ‘delicate matter.’ By the time they get to Market Basing, though, it’s too late: Miss Arundell has died. At first, her death is put down to liver failure. But it’s proven in the end that she was poisoned. And there are several suspects, too, as she had a large fortune to leave, and several greedy/desperate relatives. One of the characters in this novel is Miss Arundell’s companion Wilhelmina ‘Minnie’ Lawson. Miss Lawson is a dedicated believer in spiritualism, and often attends séances and other such events. Her good friends, Julia and Isabel Tripp, are just as fascinated by mysticism, and often share those experiences with Miss Lawson. Miss Lawson’s interest in spiritualism is not the reason for Emily Arundell’s death. But it does add an interesting layer, both to her character and to the story. And it shows how strong a belief people can have in spiritualism. For those who do believe, it’s as real as anything else is.

Caroline Graham’s A Ghost in the Machine introduces readers to Ava Garrett. A self-styled medium, she’s developed quite a following. One of those believers is Benny Frayle, who’s recently lost her good friend, financial planner Dennis Brinkley. The official report is that his death was a tragic accident when one of the antique war machines he collects malfunctioned. But Benny’s not so sure of that. The police, in the form of DCI Tom Barnaby, believe they’ve done all they can do, and that there’s no need for further investigation. And, to be fair, the police have done a thorough job. But Benny still thinks it was murder. So she attends one of Ava Garrett’s séances. During the event, Ava describes the murder scene vividly, although she’s not seen it. And she makes it clear that Benny was right. That’s enough for Benny, but the police still don’t really look into the death…until Ava herself is poisoned. One the one hand, I can say without spoiling the story that Barnaby and his team don’t learn the truth through a medium or psychic. But there is an interesting twist in the story that adds a layer to it.

In Louise Penny’s A Fatal Grace (AKA Dead Cold), the small Québec town of Three Pines gets some new residents: CC de Poitiers and her family. CC is a popular lifestyle/self-help celebrity whose book, Be Calm, has sold very well. Not everyone in town is happy about the newcomers, though. For one thing, CC is egotistical, rude, manipulative, and malicious. She manages to alienate everyone in town, including Beatrice Mayer, known locally as Mother Bea. Mother Bea has a yoga and meditation center, also called Be Calm, and is, as she puts it,
 

‘…familiar with all spiritual paths…’
 

She sees beneath the ‘spiritual wellness’ touted in CC’s hype, and is not happy at what she finds. When CC dies of electrocution, there’s no question that it’s murder. Chief Inspector Armand Gamache of the Sûreté du Québec investigates with his team. They find that more than one person had a strong motive for murder. Admittedly, spiritualism doesn’t solve the mystery here. And it’s not the reason for the murder. But it’s an interesting look at the way spiritualism – or what’s hyped as spiritualism – impacts people.

We see that in Tarquin Hall’s The Man Who Died Laughing, too. Dr. Suresh Jha has made a career out of unmasking spiritual charlatans. He is the founder of the Delhi Institute for Research and Education (DIRE); and, as such, does everything he can to stop those who prey on others’ fascination with spiritualism. One morning, he’s attending a meeting of the Rajpath Laughing Club when, according to witnesses, the goddess Kali appears and stabs Jha. Believers say that she is punishing him for being an infidel. But Delhi PI Vishwas ‘Vish’ Puri thinks this death has a more prosaic explanation. Jha was a onetime client, so Puri takes a special interest in this case, and decides to investigate it. One part of the trail leads to Maharaj Swami, a well-known spiritualist and advisor. He’s set up his own ashram, which has become quite popular, and seems to have quite a hold on his followers. Spiritualism doesn’t really solve this mystery. But it’s interesting to see how many people want to believe in the things Swami says and does.

There are other sorts of spiritualism in its very broadest sense in crime fiction, too. For example, both David Rosenberg’s The Junction Chronicles and Spencer Cope’s Collecting the Dead feature characters who are synthaesthetes. Their protagonists can sense things accurately that most of us can’t. Rosenberg’s Decker Roberts is able to tell whether someone is lying or not. And Cope’s Steps Craig can sense people’s essence – he calls it their ‘shine’ – on things they’ve touched. I confess I’ve not read the Cope (yet). But it’s a good example of the sort of almost paranormal ability that some characters seem to possess. Many people believe that there are real-life instances of such things, too.

Whether or not things such as psychic ability or spiritualism actually exist, people are fascinated by them. And that in itself is really interesting. Little wonder Arthur Conan Doyle was so intrigued by spiritualism.

 
 
 

*NOTE: The title of this post is a line from Donovan’s Children of the World.

  

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Filed under Agatha Christie, Arthur Conan Doyle, Caroline Graham, David Rosenberg, Louise Penny, Spencer Cope, Tarquin Hall

‘Cause When It’s All For One, It’s One For All*

Individualist and Collectivist CulturesCrime fiction arguably says a lot about the culture from which it comes. This is a very large topic, so I’ll just focus on one aspect of culture. One of the important ways in which cultures differ is in the extent to which they’re collectivist or individualist. Of course, very few cultures are what you’d call entirely collectivist or entirely individualist. But most cultures lean towards one or the other.

Individualistic cultures tend to value individual achievement and efforts. In those cultures, one’s identity comes from individual experiences, choices and the like. In collectivist cultures, on the other hand, individuals’ identities come from their memberships in the larger group. Group goals and achievements have priority over individual goals, and members of the group rely on each other for child and elder care, financial support and the like. The point here isn’t to argue the merits of one type of culture or the other. Rather, it’s to point out that individualism or collectivism really does impact cultures.

We certainly see it in real life, and we see it in crime fiction, too. For example, one aspect of individualistic cultures is an emphasis on individual effort. And that’s arguably reflected in the kinds of sleuths and stories that come from US authors (the dominant US culture is considered highly individualistic). If we look at characters such as Raymond Chandler’s Philip Marlowe, Bill Pronzini’s Nameless, or Sara Paretsky’s V.I. Warshawski, we see examples of sleuths who generally work alone, and certainly don’t get their sense of identity from membership in a particular group. This doesn’t mean that they don’t have friends, don’t value what they learn from others, and so on. But their individual efforts are really the main point of the stories that feature them.

Another characteristic of a lot of individualistic cultures is what’s often called low power distance. In just about every culture, some people have more power than others. Power distance refers to individuals’ willingness to accept and expect that power is distributed unequally. So, lower-ranking individuals from low power distance cultures are less likely to be comfortable with the unequal distribution of power. To see how this plays out, we can take a look at David Whish-Wilson’s Line of Sight, the first of his Superintendent Frank Swann novels. These take place in 1970’s Perth, in a culture that’s generally considered to be quite individualistic. In Line of Sight, Swann investigates the murder of a former friend, brothel owner Ruby Devine. To get to the truth, he has to go up against a very powerful group of top police brass known as the ‘purple circle.’ The novel shows, among other things, the view that titles and power don’t necessarily equal the respect of others. Certainly they don’t guarantee obedience from others. And that’s not surprising, considering that this is an individualistic culture.

Fans of Ian Rankin’s Inspector Rebus novels will probably find that perspective familiar, and that’s not surprising, either. These stories take place mostly in Scotland, which is also considered an individualistic culture. The cultural values of low power distance and an emphasis on individual effort and achievement come through very clearly in the series.

These aren’t the only examples of individualistic cultures and the novels that come from them, of course. There are many, many more. And as we look at novels from individualistic cultures, we see how those perspectives and cultural values come through.

That’s also arguably true of collectivist cultures and the novels that depict them. For example, we can take a look at power distance from the point of view of Qiu Xiaolong’s Chief Inspector Chen series. Chen lives and works in late 1990’s Shanghai, a culture that’s considered very collectivist. High power distance (or, the acceptance and expectation of unequal distribution of power) is an important aspect of that culture. And we see that reflected in this series. It is expected that those of higher rank – those considered more important – have more power and make the rules that they see fit to make. That’s not generally questioned very much. You might argue that, in his way, Qiu does question that power structure, since the murders Chen investigates often lead to very high places. But at the same time, there is an acknowledgement of that characteristic of this society.

Another collectivist characteristic that we see in Qiu’s novels is the emphasis on group, rather than individual, goals. One important political goal is social harmony (that’s a main plot point of Enigma of China). The greater good, so the belief goes, is served when nothing disrupts the order and harmony of the group. Fans of this series will undoubtedly be able to think of examples of how this plays out in the novels.

Because collectivist cultures place a high value on group membership, members are responsible for the welfare of other members. Group effort is therefore a very high priority. This is reflected in Swati Kaushal’s Niki Marwah series, which takes place in northern India. There are, of course, many different cultures in India; it’s a large and diverse country. But in general, it’s considered collectivist. Marwah is Superintendent of Police in Shimla, and as such, makes the final decisions. But she’s not really out for personal gain and achievement. And she knows very well that without the efforts of her team members, crimes won’t be solved. Each team member has something to contribute, and each team member is responsible to the others.

This series (and Tarquin Hall’s Vishwas ‘Vish’ Puri series, too, among others) also shows the vital importance of family in many collectivist societies. Marwah may be an independent and successful police inspector. But she’s also a member of her family, and takes her responsibilities seriously. She attends family events, she listens to what the older members of her family say (even if she doesn’t end up taking their advice) and so on.

These are just a few examples of the ways that culture impacts stories and characters. And of course, collectivism/individualism is just one dimension of culture. There are many, many more. But even with this small peek at the topic, it seems clear (at least to me) that we can tell a lot about a culture from its crime fiction.

 

 
 

*NOTE: The title of this post is a line from Bryan Adams’ All For Love.

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Filed under Bill Pronzini, David Whish-Wilson, Ian Rankin, Qiu Xiaolong, Raymond Chandler, Sara Paretsky, Swati Kaushal, Tarquin Hall

What Are We Going to Do About the Other Generation?*

Sandwich GenerationAs people live longer, we’re seeing more and more of what’s sometimes called ‘the sandwich generation.’ By that I mean adults who are taking care of their elderly parents, but at the same time helping to launch their young adult children into their own lives. Sometimes those young people are still living at home.

It can all get very complicated, especially if the young people run into job, drugs, or relationship problems, or have unexpected children of their own. It’s even more complicated if the elderly parent involved has dementia or other health problems. Put all of that together and you have the potential for a great deal of stress. It’s a fact of life for many people, and we certainly see it in crime fiction.

One of the more famous such characters is Henning Mankell’s Kurt Wallander. As if his job wasn’t stressful enough, Wallander also deals with his elderly father, who has dementia. Their relationship is complicated already, and is made all the more so by the older man’s illness. It doesn’t help matters that Wallander’s sister doesn’t live close by, so she can’t step in and help. At the same time, Wallander is also concerned about his daughter Linda. She’s grown and out of the house as the series begins, but he worries about her, and thinks that at times, she’s not making wise decisions. Their relationship, too, is complicated, and they’ve had their share of estrangement. But he does care about her and tries to be a part of her life.

Elizabeth Spann Craig’s Myrtle Clover is a retired teacher who’s now in her eighties. Although she’s in relatively good health, and certainly of sound mind, that doesn’t mean her son Red doesn’t worry about her. He’s the police chief of Bradley, North Carolina, so he’s all too aware of how much risk there is, especially for an elderly woman. But Myrtle is not the type to be ‘put out to pasture,’ and she’s intrigued by solving crimes. So she’s a constant source of concern to her son. At the same time, Red and his wife Elaine are raising their young son, Jack. He’s a healthy boy, but very active, and of course, his parents want to keep him safe. The Clovers certainly don’t have a restful life, but being in the ‘sandwich generation’ means that life’s never boring for them.

In Catherine O’Flynn’s The News Where You Are, we are introduced to TV presenter Frank Allcroft. He’s happily married, and the proud father of eight-year-old Mo. But he’s gotten to a sort of crossroads in his life. For one thing, he can’t let go of the death of his predecessor, Phil Smedway, who was killed in an apparent hit-and-run incident. Allcroft finds himself drawn to the place where Smedway died, and can’t help asking questions about what really happened. At the same time, he’s concerned about his mother, who has recently moved to an elder care home. She’s having trouble adjusting to live in that new environment, and that adds stress to their already complicated relationship. Still, he cares about her, and wants to make sure that she’s as comfortable and well cared-for as possible.

Tarquin Hall’s Vishwas ‘Vish’ Puri is a successful Delhi PI. Much of his business is concerned with ‘vetting’ potential spouses for each other’s families. But sometimes, he gets involved in much more serious cases. In his private life, Puri is a proud father (his children are grown and on their own) and a dutiful son to his beloved Mummy-ji. Although the family is a healthy, loving family, that doesn’t mean that Puri never feels the pressure of being between two generations. For one thing, his daughter’s just recently had a baby boy of her own, so there are all kinds of family events connected with that. And new parents often need grandparent-ly help. And then there’s Mummy-ji. She’s energetic and active, and gets involved in more than one investigation of her own. Puri loves his mother, but she certainly causes him concern (not that that stops her).

Michael Redhill (who writes as Inger Ash Wolfe) has created an interesting ‘sandwich generation’ character in the form of DI Hazel Micallef. She and her team work out of Port Dundas, Onatrio. Hazel is in early sixties, and thinking about the transition between a full-time life of work, and retirement. She is also very much caught between two generations. For one thing, there’s her octogenarian mother Emily, who is Port Dundas’ former mayor. Emily is very much her own person, and absolutely not one to sit around and knit. But at the same time, she is in her eighties, and her health and stamina aren’t what they were. So Hazel is concerned about her. It doesn’t help matters that she and Emily don’t always agree, and both are very strong-minded. On the other end, so to speak, is Hazel’s younger daughter Martha. Here’s how Hazel describes her in The Taken:
 

‘Jobless, loveless, dogged by depression and unable to make a constructive choice…’
 

Hazel loves her children, but it’s not always easy to be Martha’s mother. It’s not always easy to be Emily’s daughter, either.

And then there’s Wendy James’ The Lost Girls. Documentary maker Erin Fury has decided to do a film detailing the impact of murder on families. As a part of that, she wants to look into the 1978 murder of fourteen-year-old Angela Buchanan. So she asks Angela’s now-middle-aged cousin, Jane Tait, and Jane’s brother Mick, as well as their parents, for interviews. No-one in the family really wants the murder raked up again. But Jane’s daughter Tess wants to know the truth. So the interviews go forward. As we learn about the murder (which was never solved), we also learn more about the family. Jane is very much a ‘sandwich generation’ parent. She is the mother of a university student, and that has its own challenges. But she is also the daughter of Doug and Barbara Griffin, and that adds more challenges. Doug has dementia, and rarely speaks. In fact, he’s just been moved to a care home. Barbara is in reasonable health, but she needs support as she gets accustomed to life without the husband she’s known. Against this backdrop, we learn what really happened when Angela died, and who really killed her.

More and more, as life spans increase, adults find themselves very much between two generations. It’s not an easy position to be in, but it is real life. And it can add important character development and plot layers to a novel.

 

 
 

*NOTE:  The title of this post is a line from Richard Rodgers and Oscar Hammerstein II’s The Other Generation.

 

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Filed under Catherine O'Flynn, Elizabeth Spann Craig, Henning Mankell, Inger Ash Wolfe, Michael Redhill, Tarquin Hall, Wendy James