Showing posts with label Agatha Christe. Show all posts
Showing posts with label Agatha Christe. Show all posts

Saturday, 8 August 2020

In The Spotlight: Andrew Wilson

Name: Andrew Wilson
Job: Author and journalist
Website: https://www.andrewwilsonauthor.co.uk
Twitter: @andrewwilsonaw

Introduction:
Andrew Wilson is an award winning journalist and author. He is the author on books on Patricia Highsmith, Harold Robbins, Sylvia Plath and Alexander McQueen. In 2003 he won both an Edgar® Award and a Lambda Award for his biography Beautiful Shadow: A Life of Patricia Highsmith. He has also written a series of novels featuring Agatha Christie as a character. These include: - Talent for Murder, about the real-life disappearance of Agatha Christie in 1926 (2017), A Different Kind of Evil (2018), Death in a Desert Land (2019). His most recently published book is I saw Him Die (August 2020)

Current book?
My Dark Vanessa by Kate Elizabeth Russell. I’ve been seeing the hype about it for the last six months — Stephen King called it ‘a package of dynamite’. I’m always a bit wary of books that come with an extraordinary level of pre-publication buzz, but at the moment — I’m 150 pages in — I’m hooked. 

Favourite book? 
So difficult to choose, but I would have to go for either The Murder of Roger Ackroyd (see below) or The Talented Mr Ripley, by Patricia Highsmith. I like to think that I’ve learnt something from these two very different crime writers. 

Which two characters would you invite to dinner and why?
I’d love to have Hercule Poirot and Miss Jane Marple over and quiz them about their differing investigative methods. I wonder if they’d get on? 

How do you relax?
I read - of course - and I go on long walks. I’m lucky enough to live in South Devon, and I can walk to the sea from my house. It’s magical at all times, but I’ve never been more grateful for it than this year.

What book do you wish you had written and why?
Agatha Christie’s The Murder of Roger Ackroyd because of its technical achievement and the audacious, jaw-dropping moment when the identity of the murderer is revealed. No wonder Christie’s book from 1926 is regularly voted the best crime novel of the twentieth century.

What would you say to your younger self if you were just starting out as a writer.
When I was writing Beautiful Shadow, the first biography of Patricia Highsmith, I was astounded to learn how heavily she was edited. One of her editors, Joan Kahn, was particularly tough with her and some of her novels were rejected out of hand. You need a tough skin to survive. 

I’d also flag up that wonderful piece of advice from Stephen King: tell the story!

How would you describe your series character?
Agatha Christie is the central character in all four novels: A Talent for Murder, about her famous 1926 disappearance; A Different Kind of Evil; Death in a Desert Land; and the new one, I Saw Him Die

Agatha uses her skills as a novelist to investigate deaths for the British Secret Intelligence Service. She is an acute observer, she has an eye for detail, she’s a wonderful listener. But she’s sharp as a tack, cool under pressure, and, as you’d expert from the world’s bestselling crime writer, she is expert at picking up hidden clues. 

When people think of Agatha they often see her as an elderly woman. But at the beginning of my series she is only 36. She’s lost her mother, her first marriage is breaking down, she’s emotionally distraught and she’s at the lowest ebb of her life. We follow her through the next four years of her life, and we see her grow in onfidence.

Information about 202o St Hilda's College Crime Fiction Weekend and how to book tckets can be found here.



Wednesday, 4 March 2020

Excerpt from Rules for Perfect Murders by Peter Swanson

I am pleased to host an extract from Peter Swanson’s new book Rules For Perfect Murders as part of the #Rules For Perfect Murders blog tour.

Excerpt from Rules For Perfect Murdersby Peter Swanson Copyright March  2020

The front door opened, and I heard the stamp of the FBI agent’s feet on the doormat. It had just begun to snow, and the air that rushed into the store was heavy and brimming with energy. The door shut behind the agent. She must have been just outside when she’d called because it had only been about five minutes since I’d agreed to meet with her. 

Except for me, the store was empty. I don’t know exactly why I’d opened it that day. A storm was forecast to drop over two feet of snow, beginning in the morning and continuing through until the following afternoon. Boston Public Schools had already announced they were closing early, and they’d canceled all classes for the following day. I’d called the two employees who were scheduled to come in—Emily for the morning shift and early afternoon, and Brandon for the afternoon and evening—and told them both to stay home. I logged on to the Old Devils Book- store Twitter account and was about to send out a tweet saying that we were closed for the duration of the storm, but something stopped me. Maybe it was the thought of spending all day in my apartment alone. And besides, I lived less than half a mile from the store. 
I decided to go in; at the very least I’d be able to spend some time with Nero, straighten up some shelves, maybe even pack up some online orders. 
A sky the color of granite was threatening snow as I unlocked the front doors on Bury Street in Beacon Hill. Old Devils Book- store is not in a high-traffic area, but we’re a specialty bookstore— mystery books, used and new—and most of our customers seek us out or simply order directly from our website. On a typical Thursday in February I wouldn’t be surprised if the total number of customers barely reached double digits, unless of course we had an event planned. Still, there was always work to do. And there was Nero, the store cat, who hated spending the day alone. Also, I couldn’t remember if I’d fed him extra food the night before. It turned out I probably hadn’t because when I stepped through the front door, he came racing along the hardwood floor to greet me. He was a ginger cat of indeterminate age, perfect for the store because of his willingness (his eagerness, really) to put up with the affections of strangers. I turned on the store lights, fed Nero, then brewed myself a pot of coffee. At eleven, Margaret Lumm, a regular, entered. 
“What are you doing open?” she asked.
“What are you doing out?”
She held up two grocery bags from an upscale grocery store on 
Charles Street. “Provisions,” she said, in her patrician voice.
We talked about the latest Louise Penny novel. She talked, mostly. I pretended I’d read it. These days I pretend I’ve read many books. I do read the reviews from the major trade publications, of course, and I go to a few blogs. One of them is called The Armchair Spoiler and it includes reviews of recent titles that discuss endings. I no longer have the stomach for contemporary mystery novels—sometimes I reread a particular favorite from my childhood—and I find the book blogs indispensable. I suppose I could be honest, tell people that I’ve lost interest in mystery novels, that I primarily read history these days, poetry before I go to bed, but I prefer to lie. The few people I’ve told the truth to always want to know why I’ve given up reading crime, and it’s not something I can talk about. 
I sent Margaret Lumm away with a used copy of Ruth Rendell’s Shake Hands Forever that she was 90 percent sure she’d never read. Then I ate the lunch I’d packed a chicken salad sandwich and was just about thinking of calling it a day when the phone rang. 
“Old Devils Bookstore,” I answered.
“Is Malcolm Kershaw available?” A woman’s voice. “Speaking,” I said.
“Oh, good. This is Special Agent Gwen Mulvey of the FBI. I’d love a little bit of your time to ask you a few questions.”
“Okay,” I said.
“Is now good?”
“Sure,” I said, thinking she wanted to talk on the phone, but instead she told me she’d be right over and disconnected the line. I stood for a moment, phone in hand, imagining what an FBI agent named Gwen would look like. Her voice on the phone had been raspy, so I imagined her to be nearing retirement, an imposing, humorless woman in a tan raincoat. 
A few minutes later Agent Mulvey pushed through the door, looking very different from how I’d imagined her. She was in her thirties, if that, and wearing jeans that were tucked into forest green boots, plus a puffy winter jacket and a white knit hat with a pom-pom on it. She stomped her boots on the welcome mat, removed her hat, and came across to the checkout counter. I came around to meet her, and she reached out a hand. She had a firm handshake, but her hand was clammy. 
“Agent Mulvey?” I asked. 
“Yes, hi.” Snowflakes were melting on her green coat, leaving behind dark spots. She briefly shook her head the ends of her thin, blond hair were wet. “I’m surprised you’re still open,” she said. 
“I’m just about to close up, actually.” 
“Oh,” she said. She had a leather bag slung over one shoulder and she lifted the strap over her head, then unzipped her jacket. “You have some time, though?” 
“I do. And I’m curious. Should we talk back in my office?” 
She turned back and glanced at the front door. The tendons in her neck popped out against her white skin. “Will you be able to hear if a customer comes in?” she said. 
“I don’t think that’ll happen, but, yes, I’ll be able to hear. It’s this way.” 
My office was more of a nook at the back of the store. I got Agent Mulvey a chair and went around the desk and sat in my leather recliner, its stuffing bulging out from the seams. I positioned myself so that I could see her between two stacks of books. “I’m sorry,” I said. “I forgot to ask you if you wanted anything? There’s still some coffee in the pot.” 
“No, I’m fine,” she said, removing her jacket and putting her leather bag, more of a briefcase, really, on the floor by her side. She wore a black crewneck sweater under the coat. Now that I could really see her, I realized it wasn’t just her skin that was pale. It was all of her: the color of her hair; her lips; her eyelids, almost translucent; even her glasses with their thin wire rims almost disappeared into her face. It was hard to know exactly what she looked like, almost like some artist had rubbed a thumb across her features to blur them. “Before we start, I’d like to ask you to please not discuss anything we are about to talk about with anyone. Some of it is public record but some of it is not.” 
“Now I’m really curious,” I said, aware that my heart rate had accelerated. “And, yes, absolutely, I won’t tell anyone.” 
 “Great, thank you,” she said, and she seemed to settle in her chair, her shoulders dropping, her head squaring with mine. 
“Have you heard about Robin Callahan?” she asked. 
Robin Callahan was a local news anchor who, a year and a half ago, had been found shot in her home in Concord, about twenty- five miles northwest of Boston. It had been the leading local news story since it had happened, and despite a suspicious ex-husband, no arrests had been made. “About the murder?” I said. “Of course.” 
“And what about Jay Bradshaw?”
I thought for a moment, then shook my head. “I don’t think so.” “He lived in Dennis on the Cape. In August he was found beaten to death in his garage.” “No,” I said. 
“You sure?”
“I’m sure.”
“Then what about Ethan Byrd?”
“That name rings a bell.”
“He was a college student from UMass Lowell who went missing over a year ago.”
“Okay, right.” I did remember this case, although I couldn’t remember any of the details.
“He was found buried in a state park in Ashland, where he was from, about three weeks after he’d gone missing.”
“Yeah, of course. It was big news. Are those three murders connected?”
She leaned forward on her wooden chair, reached a hand down to her bag, then brought it back suddenly, as though she’d changed her mind about something. “We didn’t think so, at first, except that they’re all unsolved. But someone noticed their names.” She paused, as though giving me a chance to interrupt her. Then she said, “Robin Callahan. Jay Bradshaw. Ethan Byrd.” 
I thought for a moment. “I feel like I’m failing a test,” I said. “You can take your time,” she said. “Or I can just tell you.” “Are their names related to birds?” I said.
She nodded. “Right. A Robin, a Jay, and then the last name of Byrd. It’s kind of a stretch, I realize, but . . . without going into too much detail, after each murder the local police station closest to the crime received . . . what appeared to be a message from the killer.” 
“So they are connected?” 
“It seems that way, yes. But they might be connected in an- other way, as well. Do the murders remind you of anything? I’m asking you because you are someone who is an expert on detective fiction.” 
I looked at the ceiling of my office for a moment, then said, “I mean, it sounds like something fictional, like something from a serial killer novel, or something from an Agatha Christie.” 
She sat up a little straighter. “Any particular Agatha Christie novel?” 
“The one that’s jumping to my mind is A Pocket Full of Rye for some reason. Did that have birds?” 
“I don’t know. But that’s not the one I was thinking of.”
“I guess it’s similar to The A.B.C. Murders as well,” I said. Agent Mulvey smiled, like she’d just won a prize. “Right. That’s the one I’m thinking of.”
“Because nothing connects the victims except for their names.” “Exactly. And not just that, but the deliveries to the police station. 
In the book Poirot gets letters from the killer signed A. B. C.” “You’ve read it, then?”
“When I was fourteen, definitely. I read almost all of Agatha Christie’s books, so I probably read that one, too.”
“It’s one of her best,” I said, after a brief pause. I’d never forgotten that particular Christie plot line. There are a series of murders and what connects them are the victims’ names. First, someone with the initials A. A. is killed in a town that begins with the letter A, then someone with the initials B. B. is killed in a B town. You get the idea. It turns out that the perpetrator really only wanted to kill one of the victims, but he made it look like a series of crimes done by a deranged serial killer. 
“You think so?” the agent said.
“I do. One of her best plots, for sure.”
“I’m planning on reading it again, but I did just Wikipedia it to remind myself of the story. There was a fourth murder in the book, as well.” 
“I think so, yes,” I said. “Someone with a D name was the last person killed. And it turned out that the killer was making it look like a madman was doing it when all along he just wanted to kill one person. So the other murders are basically cover.” 
“That’s what the plot summary on Wikipedia said. In the book it was the person with the double C name who was the intended victim all along.” 
“Okay,” I said. I was starting to wonder why she had come to me. Was it just because I owned a mystery bookstore? Did she need a copy of the book? But if that were the case, then why did she ask for me, specifically, on the phone? If she just wanted someone who worked in a mystery bookstore, then she could have come inside and talked with anyone. 
“Can you tell me anything else about the book?” she asked, then added, after a moment, “You’re the expert.” 
“Am I?” I said. “Not really, but what is it you want to know?” “I don’t know. Anything. I was hoping you’d tell me.”
“Well, besides the fact that a strange man comes into the store everyday and buys a new copy of The A.B.C. Murders, I don’t know what else to tell you.” Her eyes raised for a moment before she realized I’d made a joke, or an attempt at one, then she smiled a little in acknowledgment. I asked her, “You think these murders are related to the book?” 
do,” she said. “It’s too fantastical for it not to be.” 
“Is it that you think someone’s copying the books in order to get away with a murder? That someone wanted to murder Robin Callahan, for example, but then murdered the other people to make it look like a serial killer obsessed with birds?” 
“Maybe,” Agent Mulvey said, and she rubbed a finger along the edge of her nose, up near her left eye. Even her small hands were pale, the fingernails unpainted. She was quiet again. It was a strange interview, full of pauses. She was hoping I’d fill in the silence, I guess. I decided to not say anything. 
Eventually, she said, “You must be wondering why I came to talk with you.” 
“I am,” I said. 
“Before I tell you I’d like to ask you about one other recent case.” 
“Okay.” 
“You probably haven’t heard of it. A man named Bill Manso. He was found near the train tracks in Norwalk, Connecticut, back in the spring. He was a regular commuter on a particular train, and initially it looked as though he’d jumped, but now it looks as though he was killed elsewhere and brought to the tracks.” 
“No,” I said, shaking my head. “I didn’t hear about it.” “Does it remind you of anything?”
“Does what remind me of anything?”
“The nature of his death.” 
“No,” I said, but that wasn’t entirely true. It did remind me of something, but I couldn’t remember exactly what it was. “I don’t think so,” I added. 
She waited again, and I said, “Do you want to tell me why you’re questioning me?” 
She unzipped her leather bag and removed a single sheet of paper. “Do you remember a list you wrote for this store’s blog, back in 2004? A list called ‘Eight Perfect Murders’?” 
Rules for Perfect Murders by Peter Swanson published by Faber & Faber
If you want to get away with murder, play by the rules A series of unsolved murders with one thing in common: each of the deaths bears an eerie resemblance to the crimes depicted in classic mystery novels. The deaths lead FBI Agent Gwen Mulvey to mystery bookshop Old Devils. Owner Malcolm Kershaw had once posted online an article titled 'My Eight Favourite Murders,' and there seems to be a deadly link between the deaths and his list - which includes Agatha Christie's The ABC Murders, Patricia Highsmith's Strangers on a Train and Donna Tartt's The Secret History. Can the killer be stopped before all eight of these perfect murders have been re-enacted?

Sunday, 8 September 2019

Call for Papers - Detecting the Margins: New Perspectives on the Critical History of Detective Fiction


Detecting the Margins: New Perspectives on the Critical History of Detective Fiction

Since its emergence from the periodical press into the first mass-market novelistic craze, detective fiction has occupied a liminal position in the margins of aesthetic legitimacy—and critical study. Detection is a popular genre, a “literature of escape,” that nevertheless seems to make a claim to, and find purchase in, more rarefied aesthetic and intellectual precincts. Michael Holquist styles detection as a guilty pleasure of the reading classes: “The same people who spent their days with James Joyce were reading Agatha Christie at night.” This panel asks what that liminal position might show us about both the genre and the conditions—theoretical, professional, material—of its study. 

Because of this tenuous position, academic critics of detection often experience themselves as operating in a critical vacuum, obliged to defend their object of study—as a result, there are more beginnings than middles in the scholarship of the genre, and its two most frequent themes are 1) the generic origins and parameters of the detective genre, and 2) whether or not it counts as literature. But the critical history of detective fiction is far from sparse: beyond the (persistent) debate over its literary status, the genre has galvanized generalists (Barzun, Haycraft, Symons); attracted the attention of scholars working from materialist, historical, and cultural-studies approaches; supported major critical work (D.A. Miller’s The Novel and the Police, Mark McGurl’s The Novel Art); and fascinated theorists (Lacan, Hartman, Jameson, Boltanski, Moretti). It has also amassed a body of scholarly and parascholarly work from outside the campus gates, foregrounding institutional, methodological, and professional margins as both an obstacle to and an object of study. And as detection proliferates into new media, styles, hybrid forms, and diasporic territory, it shows no sign of going away. 

To move beyond the received sense of critical absence that hamstrings its study, then, the genre’s scholars must play detective: gather the clues, match story against story, synthesize a narrative that matches and contextualizes the facts. This panel solicits new understandings of the critical history of detective fiction. What are its consensuses and its controversies, its conceptions and misconceptions, its crucial terms, lacunae, and stakes? What can reconstructing its critical history make visible about the genre? What can that reconstruction, and the fact of its necessity, make visible about criticism, its institutional contexts, its methods and practices, and its margins? 

Sites of interest include but are not limited to:
Detection and empiricism
The pedagogy of popular culture
Detection, mass culture, and the Frankfurt School
Detection and the canon wars
Detection and deconstruction
Detection and modes of readership: close reading, symptomatic reading, distant reading, "just reading"
Genre and economies of academic prestige
Networks and methods of critique: lay criticism, fan criticism, professional criticism, and academic criticism
Detection and neoliberalism
Detection and the humanities crisis

Please submit abstracts through NeMLA's submission portal here by September 30: https://www.cfplist.com/nemla/Home/S/18221

Wednesday, 17 July 2019

The Rules For Eight Perfect Murders



With the 2019 Theakstons Crime Writing Festival, almost upon us I started to think about the allure of crime and thriller fiction, becoming the biggest selling genre in UK fiction publishing. Crime and thriller narratives deal with the darkest areas of the human experience – namely murder, so why the appeal?

While enjoying an early preview of Peter Swanson’s 2020 novel, thanks to John Grindrod writer and marketeer at iconic British Publisher Faber and Faber - we got into discussion about Murder, and its appeal to readers as well as film viewers. Some would consider it amoral to read about the killing of others, so why do so many read about these fictions? Surely the world is filled with enough real-life horror and murder without writers [and their publishing entourage] having to conjure up killings for the amusement of others?

One reason for the appeal of reading about fictional murder, is just that – it is a fiction; an escape from the reality of the human situation, where murders actually happen around us, viewed on our flat screens and in our palms, via our Television sets, our phones and in our newsprint. The novels that fictionalise murder can be an escape, a comfort from the harsh reality that surrounds us; as well as helping us understand the motivations and situations that can arise, leading to a killing.

So, with this in mind, as John Grindrod knew of my love of crime novels, especially those that feature murder and amorality as themes - here’s my eight favourite classic crime novelists and their work, that feature murders that could be considered, perfect.


PATRICIA HIGHSMITH

Of course we could discuss the perfect murder at the centre of Highsmith’s debut STRANGERS ON A TRAIN or the antics of Tom Ripley in THE TALENTED MR RIPLEY [and the further ‘adventures’ of this interesting character] but instead I’ll pick 1964’s THE GLASS CELL, a tough little novel that details the murder of a lawyer, by an educated and cultured man - wrongly imprisoned for fraud. Incarceration and torture in a penitentiary changes Philip Carter. The Glass Cell shares themes from Fyodor Dostoevsky’s CRIME AND PUNISHMENT, but is not judgmental as to the actions of its protagonist; so typical of Patricia Highsmith’s work, she once proclaimed “I don’t think my books should be in prison libraries.”

Read More HERE

IRA LEVIN

With an interesting body of work, it is Levin’s thought-provoking debut 1953’s A KISS BEFORE DYING, awarded the Edgar from the Mystery Writer’s of America [MWA] that is my selection. It details the ruthless pursuit of ambition that powers Bud Corliss to commit murder. Filmed twice in America, its plot was reworked later in Bollywood. Levin’s debut is a disturbing look at what naked (and unrestrained) ambition can do, and how it can overcome all things, including taking the life of another person in the ruthless pursuit of a goal.


THOMAS HARRIS

It would be the escape of Dr Hannibal Lecter from his holding cell in Baltimore that would give the 1988 novel THE SILENCE OF THE LAMBS a perfect murder, a bloody locked-room mystery that claimed the life of two prison guards [filmed with panache in 1991].
Many literary commentators have remarked that Thomas Harris’ Dr Hannibal Lecter’s precursor was Patricia Highsmith’s Tom Ripley, an amoral murderer but also a man of culture and taste.

Read more HERE


JOHN DICKSON CARR

A writer that is credited as the master of the Locked-Room Mystery, though he also crafted narratives under pennames, such as Carter Dickson, Carr Dickson and Roger Fairbairn. Though it would be his character Dr Gideon Fell, that brought great appeal. In the novel The Three Coffins, Dr Fell speaks of a "locked room lecture", in which he delineates many of the methods by which apparently locked-room [or impossible-crime] murders might be committed. In the course of his discourse, he states, off-handily, that he and his listeners are, of course, characters in a book, participants, witnesses in a Perfect Murder.
The British Library’s publishing wing are reissuing golden-age classics including J D Carr, and well worth adding to your shelves.

It would be Thomas Harris paying a homage to John Dickson Carr, that would see Harris’ own singular creation Dr Hannibal Lecter deploying the identity of Dr Fell in 1999’s Hannibal.

Read More Here

DAME AGATHA CHRISTIE

With a vast canon of work, it would be the 1934 novel MURDER ON THE ORIENT EXPRESS that I select as a perfect murder. Though at the time of publication, the US title Murder in the Calais Coach was used to avoid confusion with the 1932 Graham Greene novel Stamboul Train which had been published in America as Orient Express.

A perfect murder occurs onboard the eponymous train when it becomes snowbound during Hercule Poirot's return to London from the Middle East.
Filmed twice, it also features a locked room mystery.


SIR ARTHUR CONAN DOYLE

Arguably the most renowned outing for Sherlock Holmes and Dr John Watson, THE HOUND OF THE BASKERVILLES is my selection. I can add little to the extensive commentary to this tale of a perfect murder, which was first serialised by Strand Magazine in 1901.

Often filmed, it is the Basil Rathbone and Nigel Bruce adaptation from the 1940s that remains a firm favourite of many of us, and it can be viewed HERE


JIM THOMPSON

A writer who elegantly exposed the darker desires inherent in flawed people. It would be the Texan deputy sheriff Lou Ford in Thompson’s 1952 THE KILLER INSIDE ME that I would select for this listing of perfect murders. It details sexual sadism as an undercurrent to the horrors Thompson exposes. Even decades on, it packs a powerful reading experience. Filmed initially in 1976 with Stacy Keach; it would be the 2010 adaptation directed by Michael Winterbottom and starring Casey Affleck and Jessica Alba that would court controversy, with many [myself included] feeling nauseous over the notorious ‘punching’ scene. 

Read more HERE


JAMES M CAIN

Between James M Cain’s THE POSTMAN ALWAYS RINGS TWICE and DOUBLE INDEMNITY, I pick the latter for this selection of tales of perfect murders.  Published in 1943, it details an insurance man Walter Huff falling in love with married Phyllis Nirdlinger who wants to kill her husband - in an insurance scam; complete with a bleakness that is hard to match, it was adapted for screen in 1944 by Billy Wilder and Raymond Chandler [who also worked on the script for Patricia Highsmith’s Strangers on a Train for Alfred Hitchcock].


But I could go on, and on about these books and several others, but with packing for the upcoming Theakstons’ Crime Writing Festival 2019 which commences tomorrow; let me leave you with an anecdote from the festival, a few years ago, an anecdote that features murder.


It was late and we found ourselves in conversation with crime writer, biographer and journalist Andrew Wilson. There was a group of us huddled in a circle, drinking Gin (well I was) - so I asked everyone 'if you had to, and I mean really HAD TO murder another person, knowing your own nature, what would be your chosen motive for a perfect murder?'
So, we went in the circle; we had Revenge, we had Hate, we had Money, Blackmail we had Love, we had Random event, we had Self-Defence, you get the drift. I was last, and had posed the question - I grew nervous, as all the usual motives were taken, so I attempted to change the subject; however Andrew Wilson, Crime Writer, Journalist and Biographer of Patricia Highsmith in his definitive BEAUTIFUL SHADOW - had other ideas and asked 'so enough with the excuses Ali, what would be your Motive for a perfect Murder?'
I had to answer. I had to reveal, so I did.

'Boredom. If I met someone sufficiently boring, I think I could commit murder' and we laughed, and we talked talked about Tom Ripley and the attraction of the amoral.

Coming full circle, anticipation awaits readers for Peter Swanson’s Eight Perfect Murders / Rules for Perfect Murders, so let’s look back at his earlier work and also a little background to those yet to experience his narratives, tales of fractured lives and flawed characters.

Here’s a little tease of what to expect from Rules for Perfect Murders / Eight Perfect Murders, the story of a bookseller who finds himself at the centre of an FBI investigation because a very clever killer has started using his list of fiction’s most ingenious murders.

Years ago, bookseller and mystery aficionado Malcolm Kershaw compiled a list of the genre’s most unsolvable murders, those that are almost impossible to crack—which he titled “Eight Perfect Murders”—chosen from among the best of the best including Agatha Christie’s A. B. C. Murders, Patricia Highsmith’s Strangers on a Train, Ira Levin’s Death Trap, A. A. Milne's Red House Mystery, Anthony Berkeley Cox's Malice Aforethought, James M. Cain's Double Indemnity, John D. Macdonald's The Drowner, and Donna Tartt's A Secret History.

But no one is more surprised than Mal, now the owner of the Old Devils Bookshop in Boston, when an FBI agent comes knocking on his door one snowy day in February. She’s looking for information about a series of unsolved murders that look eerily similar to the killings on Mal’s old list. And the FBI agent isn’t the only one interested in this bookseller who spends almost every night at home reading. There is killer is out there, watching his every move—a diabolical threat who knows way too much about Mal’s personal history, especially the secrets he’s never told anyone, even his recently deceased wife.
To protect himself, Mal begins looking into possible suspects . . . and sees a killer in everyone around him. But Mal doesn’t count on the investigation leaving a trail of death in its wake. Suddenly, a series of shocking twists leaves more victims dead—and the noose around Mal’s neck grows so tight he might never escape.

Peter Swanson’s debut novel, The Girl With a Clock for a Heart (2014), was described by Dennis Lehane as ‘a twisty, sexy, electric thrill ride’ and was nominated for the LA Times book award. His second novel The Kind Worth Killing (2015), a Richard and Judy pick, was shortlisted for the Ian Fleming Steel Dagger and named the iBooks Store’s Thriller of the Year, and was followed by three more critical and commercial hits, Her Every Fear (2017), All the Beautiful Lies (2018) and Before She Knew Him (2019). He lives with his wife and cat in Somerville, Massachusetts.

And here’s a recording of Peter from Portland talking about his work.


Peter Swanson’s new work is tentatively titled EIGHT PERFECT MURDERS coming March 2020 from Faber and Faber in the UK and Ireland and tentatively titled RULES FOR PERFECT MURDERS for US and Canada from the William Morrow imprint of HarperCollins in March 2020.

Whatever the title, it is available for pre-order, and rumour has it that those wonderful people at Faber and Faber will have a limited number of Proof / Review copies to issue at this years’ Theakstons’ Crime-Writing Festival in Harrogate.

Now time to pack, and see you in Yorkshire.


 Images used are copyrighted to the publishers and film companies as appropriate 


Saturday, 29 April 2017

Agatha Award Winners - Malice Domestic


The Agatha Awards were presented at the Malice Domestic Banquet on 29th April 2017. Winners in each category were decided by the attendees of Malice Domestic 29.

Best Contemporary Novel
A Great Reckoning by Louise Penny (Minotaur Books)

Best Historical Novel
The Reek of Red Herrings by Catriona McPherson (Minotaur Books)

Best First Novel
The Semester of our Discontent by Cynthia Kuhn (Henery Press)

Best Nonfiction

Mastering Suspense, Structure, and Plot: How to Write Gripping Stories that Keep Readers on the Edge of Their Seats by Jane K. Cleland (Writer's Digest Books)

Best Short Story
"Parallel Play" by Art Taylor in Chesapeake Crimes: Storm Warning (Wildside Press)

Best Children/Young Adult
The Secret of the Puzzle Box: The Code Busters Club by Penny Warner (Darby Creek)

Lifetime Achievement: Charlaine Harris

Poirot Award: Martin Edwards

 A full list of all the nominees can be found here.

Congratulations to all the winners.

Tuesday, 19 July 2016

Debbie Howells Top 5 Crime Novels

Today's guest blog is by Debbie Howells as part of her The Beauty and The End Blog Tour. She lives in West Sussex with her family. Having worked as cabin crew and a flying instructor, she spent years running a very successful wedding flower business, whilst also writing and self-publishing three novels. The Bones of You was her first novel published by Pan Macmillan.   Her latest novel is The Beauty and The End.

Rosamund Lupton – Afterwards is her second novel and one of my all-time favourites, not just for the characters and the story, which is heartbreaking, but for the writing.  Her writing is beautiful.

Clare Mackintosh – I Let You Go.  This is another beautifully written book, with a twist I hadn’t seen coming.  The landscape is vivid, the characters so real.  It’s a disturbing read that stayed with me. 

Agatha Christie – Sparkling Cyanide.  Agatha Christie’s novels were the first crime novels I read, Sparkling Cyanide the very first. I’d race through, needing to find out who the murderer was, before starting on her next book.

Daphne du Maurier – Rebecca.  So beautifully written.  Manderley is unforgettable, as is the naivety of the second Mrs de Winter and the hostility of Mrs Danvers.   A timeless classic.


Frederick Forsyth – The Day of the Jackal.  I first read my Dad’s copy of this as a teenager, and it was like nothing I’d ever read before.  The plot, the suspense, had me rushing to the library to find more of the same.   

The Beauty of The End by Debbie Howells is published by Pan, priced £7.99


April is on life-support and the only murder suspect. Noah is a reclusive ex-lawyer attempting to ignore his sadness and write crime novels. April is also the love of Noah’s life and, though he has never recovered from her rejection, he returns to their hometown to prove April’s innocence. Meanwhile, Ella has her own secrets, but no one will listen to her. She is the same age that April was when Noah first met her, and what Ella knows is key to finding the murderer.  Following the story of April and Noah’s tragic and flawed relationship and Ella’s determination to uncover the truth.



You can find more information about Debbie Howells on her website. You can also follow her on Twitter @debbie__howells.