“Not Dead Yet” by Peter James (2012)

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“I am warning you, and I won’t repeat this warning.”

I’ve been working my way through Peter James’ series for a few years now, slowly but surely. If you want reviews for the previous ones in the series, then they’re here, and because they’re a continuation, there may be some spoilers here regarding the series as a whole. If you’re not interested in the underlying plot – and the books are enjoyable enough without it – then feel free to carry on, but you have been warned.

In the eighth installment of the series, we meet another collection of colourful characters all involved in a series of plots that, at first glance, have very little to do with one another. Detective Superintendent Roy Grace has found himself leading a new case wherein a body has been found on a chicken farm, missing its head and limbs. The police are struggling to identify the body, with little to go on but a swatch of a very unusually patterned fabric. Elsewhere, Brighton is preparing to host a film crew ready to shoot their new movie about King George IV and his mistress Maria Fitzherbert, but the producer Larry Brooker is facing difficulties from a man who claims that Larry stole the script from him, and his temperamental lead actress, the pop star Gaia Lafayette.

Gaia herself has some problems, as one of her assistants has just been murdered outside her Bel Air home, and the police there believe that the perpetrator was intending to kill the star. And this is still all before we’ve got to Gaia’s number one fan, Anna, who has convinced herself that Gaia is communicating secretly with her; Eric, the strange and insular auditor who is beginning to rub the police up the wrong way; and two figures from Roy’s past that are back on the streets of Brighton, each with their own reasons for keeping an eye on Sussex Police’s golden boy.

As ever, James makes good use of the environment of Brighton and Hove, one of my favourite cities. His attention to detail is brilliant and his research is meticulous. He manages to combine a very rigorously described police inquiry with genuinely sympathetic characters who we grow to care about. After eight books now with many of the same faces, each of them develops more and more depth. Although they all could easily be written off with a singular defining trait – Glenn is a movie buff, Bella is consigned to a life looking after her mother, Norman is an old-fashioned copper with old-fashioned ideas – each of them has three very remarkably played out dimensions, and very little in this world is black and white. Some of the new characters are great too, including Gaia, a global icon in the vein of Lady Gaga, who shows real humanity beneath her public persona, and Larry Brooker, the Hollywood producer who can’t see why a dead body should hold up his production schedule. He’s so oblivious, but you just know that there are people out there like that. The kind of people who say “time is money” without irony.

Eight books in, we also begin to see some old plot threads begin to weave themselves together. Kevin Spinella, the ruthless and slimy journalist who always seems to immediately know what the police know, finally meets his match. There are unexpected relationships slowly being exposed, thus bringing about more depth and character development, and some long-held secrets from early in the series are finally revealed to the reader, but they only further some mysteries and don’t necessarily wrap things up as neatly as you’d hope. Fortunately, I’m not bothered – it just makes me even more intrigued.

The crime story is wrapped up well with a reminder to never ignore coincidences, but the ending itself is really rather sinister, but definitely builds up the interest for carrying on, which I undoubtedly will be.

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“Dead Man’s Grip” by Peter James (2011)

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“On the morning of the accident, Carly had forgotten to set the alarm and overslept.”

It’s only been a month since I last read Peter James, which makes a change from seemingly having a year or so between each outing. There may be a couple of spoiler-y points below as this is the seventh in the series, so if you’re really interested in protecting your narrative interests, go back and read up to this point. If you’re not fussed, then please, continue!

One rainy morning in Brighton, Tony Revere is killed on his bike in a road traffic collision. The vehicles involved are a car with a drunk driver, an articulated lorry with a driver who is overtired, and a white van that lost its wing mirror and quickly fled from the scene. The tragic event is made worse, however, when it turns out that Tony Revere is the grandson of New York’s current Mafia “Godfather”, and his family have some powerful connections.

Upon learning about the death of their son, the Revere’s set about plotting revenge. DS Roy Grace and his team are trying to find the driver of the white van, but when they do find him, it’s too late, he’s already dead. Not long later, the body of the lorry driver is found too, brutally murdered in a very inventive manner. Carly Chase, the surviving driver of the collision, is told that she should go into hiding and may even have to change her name and start a new life to avoid being killed, as someone has clearly got it in for anyone involved in the death of Tony Revere. But Carly is determined that she will not be scared underground, a decision she may come to regret as a mother’s worst fears begin to be realised…

Once again, Peter James makes use of his astounding attention to detail, bringing every single location, character and plot point to a fully three-dimensional state. While the main characters of Roy Grace, Cleo Morey and Glenn Branson are all excellent and hugely developed, there aren’t any characters, really, who simply fade into the background. Almost all characters have a name and are introduced with an appearance description and some nugget of information or two about them, even if we only see them for one chapter. The exposition never feels heavy-handed though, just incredibly immersive.

I am becoming increasingly fond of the characters Norman Potting and Kevin Spinella. Neither of them are pleasant people – Norman is on his fourth marriage and still has old-fashioned views on sex and race, and Kevin is every inch the kind of journalist that gives the rest a bad name – but they still manage to be somewhat sympathetic. Norman, for example, seems to be experiencing the breakdown of his latest marriage, and despite his views, remains an excellent copper and seems to be very lonely, spending more time at work than necessary so that he can feel wanted. Kevin is nasty, but here you can’t help feel a little sorry for him when Roy lashes out at him; it is his job to sell newspapers, of course. ACC Rigg, Roy’s boss, is also a great addition to the series.

James’s level of detail is not limited only to descriptions, but also he’s very aware of the history of these characters. Throughout, references are made of the cases in the previous books. A lesser writer would have them forgotten about, but here some of them are just starting to go through the courts. There’s also a really smart insertion of a character from the previous novel who got away with his crimes and is still living unmolested in Brighton. His name isn’t given, but it’s quite obvious who it is. Little touches like this are smart, and bring home the fact that all these stories are taking place in the same city, so there are bound to be some overlaps. We also get to learn a little more about Roy’s missing ex-wife Sandy, and James knows how to end on a cliffhanger, for sure.

The story does take a little while to get going, I felt, but once the killings start, things are impressively gory and the methods of execution are unlike anything I’ve ever seen before. I’d worry about what goes on in James’s head, if it wasn’t for the fact I don’t want them to stop. The fact that the minutia of the novel is so realistic means that when the more bizarre incidents occur, you completely buy them, no matter how scary or shocking.

Seven books down, and the thirteenth has just been released. I’d better get a move on.

If you like tales of macabre murders, may I be so bold as to suggest my novel, The Atomic Blood-stained Bus, which gives murder a slightly more magical twist.

“Dead Like You” by Peter James (2010)

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Roy Grace is on the hunt of a monster…

“We all make mistakes, all of the time.”

This is another one of those reviews that focuses on a book that’s part of a series. Unfortunately, unlike Poirot which can be read in any order, Peter James’ Roy Grace novels form a coherent narrative so some of what I say may not make sense if you haven’t read the first five novels in the series, although this one is actually a bit less about the ongoing plot.

All caught up? Good, let’s carry on.

In 1997, a serial rapist known to police and the media as the Shoe Man due to his habit of taking one of his victim’s shoes after each crime attacked several women, leaving their lives ruined. The final of these was Rachael Ryan, who saw his face, condemning her to death as he couldn’t let her go and run to the police. Twelve years later, there’s another rapist prowling around Brighton’s streets, with a very similar MO.

When women report being raped, DS Roy Grace sets about trying to piece together the story, but he overwhelmed by his feeling that this is the same man as before. Convinced that history is repeating itself, and keen to impress his new boss Peter Rigg, Grace rounds up  his finest men and women to set about putting this monster behind bars once and for all. But the rapist is clever, and all too aware of forensic evidence, seeming to never leave any behind. All they know for sure about him is that he’s obsessed with women in expensive shoes. With this one connection between all the attacks, Roy begins to solve the puzzle, but the answers may lie in the past, back when he was married, back before his wife disappeared…

Roy Grace is far and away one of my favourite fictional detectives. Hard-working, fair, competent and smart, he always comes up trumps, even if he takes a few wrong turnings along the way, and his “copper’s nose” is incredibly good at sniffing out the answers. Throughout this one, he remains convinced that the events of 1997 are related to what’s happening now, and the novel straddles the two time periods well, finally giving us a chance to see a younger Roy, as well as get to know his wife Sandy a little better. While in the earlier books Roy pines for Sandy (at this point, he’s now engaged again and his partner, Cleo, is pregnant), I found her to be a completely unsympathetic character. I don’t quite see how they ever managed to be married – but then, people come together for all sorts of reasons.

As usual, Peter James populates the book with numerous characters, each introduced with their own description and fleshed out more than just a name on the page. As I’ve surely said before, the books are incredibly real and very rich in their level of detail. Conversations that have no bearing on the plot save to reveal something about a character are fairly common, but the story doesn’t get lost among them. Despite clocking it at over 600 pages, it felt like it passed by a lot quicker.

That’s the real beauty of James’s writing. His novels are not small but the writing style is so quick and comfortable that you skip through it, desperate to know what happens next and almost feeling “at home” in his prose, despite whatever gory, macabre or twisted thing he happens to be writing about. And he has quite the imagination.

I’d solved the bulk of the crime a long time before it was revealed, but James still produces a hell of an ending with a remarkably good little extra flourish. The next book in the series sits on my shelf, ready and waiting.

If you like tales of macabre murders, may I be so bold as to suggest my novel, The Atomic Blood-stained Bus, which gives murder a slightly more magical twist.