Showing posts with label Edward Wilson. Show all posts
Showing posts with label Edward Wilson. Show all posts

Saturday, 9 December 2023

Forthcoming Books from Quercus Books (Incl Riverrun and MacLehose Press

January 2024

A long, hot summer in Wiltshire is broken by a sudden downpour. Flash floods bring something sinister to the surface - a human skeleton. When forensic testing matches the bones to a man named Lee Geary, reported missing nine years earlier, the case is passed to DI Matt Lockyer. Geary was a known drug user, so it could be a simple case of misadventure, but Lockyer isn't so sure. Geary was a townie, and had learning disabilities, so what was he doing out on the Plain all alone? Lockyer soon learns that the year he disappeared, Geary was questioned in relation to another crime - the murder of a young woman named Holly Gilbert. With the help of DC Gemma Broad, Lockyer begins to dig deeper, and discovers that two other persons of interest in the Holly Gilbert case have also either died or disappeared in the intervening years. A coincidence? Or a string of murders that has gone undetected for nearly a decade...? Laying out the Bones is by Kate Webb.

The Last Word is by Elly Griffiths. Natalka and Edwin, whom we met in The Postscript Murders, are running a detective agency in Shoreham, Sussex. Despite a steady stream of minor cases, Natalka is frustrated, longing for a big juicy case such as murder to come the agency's way. Natalka is now living with dreamer, Benedict. But her Ukrainian mother Valentyna has joined them from her war-torn country and three's a crowd. It's annoying to have Valentyna in the tiny flat, cooking borscht and cleaning things that are already clean. To add to Natalka's irritation,Benedict and her mother get on brilliantly. Then a murder case turns up. Local writer, Melody Chambers, is found dead and her family are convinced it is murder. Edwin, a big fan of the obit pages, thinks there's a link to the writer of Melody's obituary who pre-deceased his subject. The trail leads Benedict and Edwin to a slightly sinister writers' retreat. When another writer is found dead, Edwin thinks that the clue lies in the words. Seeking professional help, the amateur investigators turn to their friend, detective Harbinder Kaur, to find that they have stumbled on a plot that is stranger than fiction.

Oxford, city of rich and poor, where the homeless camp out in the shadows of the gorgeous buildings and monuments. A city of lost things - and buried crimes.  At three o'clock in the morning, Emergency Services receives a call. 'This is Zara Fanshawe. Always lost and never found.' An hour later, the wayward celebrity's Rolls Royce Phantom is found abandoned in dingy Becket Street. The paparazzi go wild.  For some reason, news of Zara's disappearance prompts homeless woman Lena Wójcik to search the camps, nervously, for the bad-tempered vagrant known as 'Waitrose', a familiar sight in Oxford pushing his trolley of possessions. But he's nowhere to be found either.  Who will lead the investigation and cope with the media frenzy? Suave, prize-winning, Oxford-educated DI Ray Wilkins is passed over in favour of his partner, gobby, trailer-park educated DI Ryan Wilkins (no relation). You wouldn't think Ray would be happy. He isn't. You wouldn't think Ryan would be any good at national press presentations. He isn't. And when legendary cop Chester Lynch takes a shine to Ray - and takes against Ryan - things are only going to get even messier. Lost and Never Found is by Simon Mason.

Farewell Dinner for a Spy is by Edward Wilson. 1949: William Catesby returns to London in disgrace, accused of murdering a 'double-dipper' the Americans believed to be one of their own. His left-wing sympathies have him singled out as a traitor. Henry Bone throws him a lifeline, sending him to Marseille, ostensibly to report on dockers' strikes and keep tabs on the errant wife of a British diplomat. But there's a catch. For his cover story, he's demobbed from the service and tricked out as a writer researching a book on the Resistance. In Marseille, Catesby is caught in a deadly vice between the CIA and the mafia, who are colluding to fuel the war in Indochina. Swept eastwards to Laos himself, he remains uncertain of the true purpose behind his mission, though he has his suspicions: Bone has murder on his mind, and the target is a former comrade from Catesby's SOE days. The question is, which one.

February 2024

Last Seen is by Anna Smith. Life has changed for Private Investigator Billie Carlson. After years of chasing down every lead possible, she's finally found her son, Lucas, and brought him safely home to Glasgow. One afternoon, Billie gets a call from an unknown number. The man on the end of the phone refuses to tell her his name, but he explains that his brother, Omar, is being held in prison after stabbing two men outside a block of flats. He wants Billie to investigate what happened that night and find out any information that might help Omar. Reluctantly, Billie takes on the case. But as she starts to untangle what happened that night, she can't shake the feeling that she's being watched. With Lucas depending on her, Billie is determined to avoid any dangerous encounters. But trouble seems to have a way of tracking her down....

Some people think foxes go around collecting qi, or life force, but nothing could be further than the truth. We are living creatures, just like you, only usually better looking. Manchuria, 1908: A young woman is found frozen in the snow. Her death is clouded by rumours of foxes, believed to lure people into peril by transforming into beautiful women and men. Bao, a detective with a reputation for sniffing out the truth, is hired to uncover the dead woman's identity. Since childhood, Bao has been intrigued by the fox gods, yet they've remained tantalizingly out of reach. Until, perhaps, now. Snow is a creature of many secrets, but most of all, she's a mother seeking vengeance. Hunting a murderer, the trail will take her from northern China to Japan, with Bao following doggedly behind. And as their paths draw ever closer together, both Snow and Bao will encounter old friends and new foes, even as more deaths occur.  The Fox Wife is by Yangsze Choo.

The Winter Visitor is by James Henry. Essex, February, 1991. The weather is biting cold. Everyone would rather be somewhere warmer, which is why it's a big surprise when a wanted drug smuggler, Bruce Hopkins, risks a return to his old haunts in Colchester after a decade long exile on the Costa del Sol. Lured back by a letter from the wife Hopkins left behind, no one is more surprised than him when he finds himself abducted and stripped bare only to be sent to a watery grave in the boot of a stolen Ford Sierra. The police wonder if it could be retaliation from a Spanish gang, sending a warning to their English counterparts? DS Daniel Kenton is teamed up with the unorthodox DS Brazier to investigate a crime wave which takes in not only the murder of an expat dope smuggler, but a sophisticated arson attack on a Norman church and the unexpected suicide of an ageing florist. Could there possibly be a thread that connects them?

Red Menace is by Joe Thomas. Live Aid, July 1985. The great and the good of the music scene converge to save the world. But the TV glitz cannot disguise ugly truths about Thatcher's Britain. Jon Davies and Suzi Scialfa have moved on since the inquest into the death of Colin Roach, but they're about to be drawn back into the struggle - Jon by his restless curiosity and Suzi by the reappearance of DC Patrick Noble. Noble's other asset, the salaried spycop Parker, is a pawn in a game he only dimly comprehends. First, he's ordered to infiltrate the Broadwater Farm Estate in Tottenham; next will come Wapping, ground zero of a plot to smash the print unions. But who is Noble working for, and how far can he be trusted? The Iron Lady is reforging the nation, and London with it. Right to Buy may secure her votes, but who really stands to benefit? Corruption is endemic and the gap between rich and poor grows wider by the day. Insurrection seems imminent - all that's needed is a spark.

March 2024

How to Solve Your Own Murder is by Kristen Perrin. Frances always said she'd be murdered... She was right. In 1965, seventeen-year-old Frances Adams was told by a fortune teller that one day she'd be murdered. Frances spent the next sixty years trying to prevent the crime that would be her eventual demise. Of course, no one took her seriously - until she was dead. For Frances, being the village busybody was a form of insurance. She'd spent a lifetime compiling dirt on every person she met, just in case they might turn out to be her killer. In the heart of her sprawling country estate lies an eccentric library of detective work, where the right person could step in and use her findings to solve her murder. When her great-niece Annie arrives from London and discovers that Frances' worst fear has come true, Annie is thrust into her great-aunt's last act of revenge against her sceptical friends and family. Frances' will stipulates that the person who solves her murder will inherit her millions. Can Annie unravel the mystery and find justice for Frances, or will digging up the past lead her into the path of the killer?

The Silver Bone is by Andrey Kurkov. Kyiv, 1919. The Soviets control the city, but White armies menace them from the West. No man trusts his neighbour and any spark of resistance may ignite into open rebellion. When Samson Kolechko's father is murdered, his last act is to save his son from a falling Cossack sabre. Deprived of his right ear instead of his head, Samson is left an orphan, with only his father's collection of abacuses for company. Until, that is, his flat is requisitioned by two Red Army soldiers, whose secret plans Samson is somehow able to overhear with uncanny clarity. Eager to thwart them, he stumbles into a world of murder and intrigue that will either be the making of him - or finish what the Cossack started. Inflected with Kurkov's signature humour and magical realism, The Silver Bone takes inspiration from the real life archives of crime enforcement agencies in Kyiv, crafting a propulsive narrative that bursts to life with rich historical detail.

April 2024

Her Last Summer is by Emily Freud. No body. No crime? Twenty years ago, Mari vanished while backpacking through Thailand with her boyfriend, Luke. He was accused of murder, but has always insisted he's innocent. Besides, her body was never found. Now, he's finally ready to talk. And filmmaker Cassidy Chambers wants to be the one to uncover what really happened, back then, in the dark of the jungle. But as she delves deeper into the past, Cassidy begins to fear what lies ahead, and the secrets buried along the way.

May 2024

The Wild Swimmers is by William Shaw. The body of a local woman is found washed up on the Folkstone shoreline. Cupidi must find the missing link between a group of wild swimmers, an online dating profile and a slippery killer who feels remarkably close to home. In the latest instalment of the D S Cupidi series low tide reveals a mysterious crime.

Between Two Worlds is by Olivier Norek. Undercover police officer Adam Sirkis needs to flee Syria. He knows it's a risk and he's ready for it. First, he sends his wife and daughter to Libya, where they will find boat heading for the Italian coast. Meanwhile, Adam himself winds up in France in the

Calais Jungle, the infamous camp for migrants awaiting passage to the UK. Bastien Miller, a police lieutenant freshly transferred to the Calais police force, arrives at about the same time as Adam. His wife is depressed and his teenage daughter isn't exactly happy with the move. When a murder occurs in the Jungle, Adam and Bastien team up to get to the bottom of it. Between Two Worlds is one of these vital books that illuminate an impossible political and humanitarian situation without sugar-coating it in any way.

June 2024

The Man in Black and Other Stories is by Elly Griffiths. Here are bite-sized tales to please and entertain every thriller taste as well as all Elly Griffiths' fans. There are ghost stories and mini cosy mysteries; tales of psychological suspense and poignant vignettes of love and loss. There's a creepy horror story to make you shiver and a tale narrated by Flint, Ruth Galloway's cat, to make you smile. These stories illustrate the breadth and variety of Elly Griffiths' talent. Even the darkest of them is leavened with light touches of humour. 

The long arm of history reaches into the present in Bruno's latest case when three sets of bones are discovered, buried deep in the woods outside the Dordogne town of St Denis. It appears that the remains have lain there since World War 2. Bruno must investigate who the bones belong to and whether their burial amounts to a war crime. Bruno has other concerns too. After weeks of heavy autumn rain, the normally tranquil Dordogne river has risen to record levels, compromising the upriver dams that control the Vezere that flows through St Denis, bringing the threat of a devastating flood. As ever, Bruno must rely on his wits, tenacity and people skills to ensure that past wrongs don't result in present violence, and to keep his little town and its inhabitants safe from harm. A Grave in the Woods is by Martin Walker. 

The Trial is by Jo Spain. 2014, Dublin: at St Edmunds, an elite college on the outskirts of the city, twenty-year-old medical student Theo gets up one morning, leaving behind his sleeping girlfriend, Dani, and his studies - never to be seen again. With too many unanswered questions, Dani simply can't accept Theo's disappearance and reports him missing, even though no one else seems concerned, including Theo's father. Ten years later, Dani returns to the college as a history professor. With her mother suffering from severe dementia, and her past at St Edmunds still haunting her, she's trying for a new start. But not all is as it seems behind the cloistered college walls - meanwhile, Dani is hiding secrets of her own.

The White Circle is by Oliver Bottini and is the final book in the Black Forest Investigations series. Louise Bonì, Chief Inspector of the Freiburg criminal police, gets intelligence from an informer that two guns have been bought from a Russian criminal network. Desperate to prevent a fatal act of violence, Bonì is swift to investigate. Before long she identifies the vehicle used to collect the weapons, but the car's owner has a watertight alibi. The man driving that night was Ricky Janisch, a neo-Nazi and member of the extreme right-wing group, the Southwest Brigade. Bonì and her team put Janisch under surveillance, and identify others belonging to the extreme right. The further they probe, the more shocking their discoveries. Could this be part of a much more powerful neo-Nazi network which will stop at nothing? And how will they prevent an attack when the perpetrators are always a step ahead and they don't know the target? By the time Bonì pinpoints the victim, it may already be too late . . .

July 2024

Nordland. A region in the Norwegian Arctic; a remote valley that stretches from the sea up to the mountains and the glacier of the Blue Man. It is May. In Nordland it's a time of spring and school-leavers' celebrations - until Daniel, a popular teenage boy, goes missing. Conflicting stories circulate among his friends, of parties and wild behaviour.  As the search for Daniel widens, the police open a disused mine in the mountains. They find human remains, but this body has been there for decades, its identity a mystery. The story is told through characters impacted by these events: misanthropic Svea, whose long life in the area stretches back to the heyday of the mines, and beyond. She has cut all ties with her family, except for her granddaughter, Elin, a young misfit. Elin and her friend Benny, both impacted by Daniel while alive, become entangled in the hunt for answers, while Svea has deep, dark secrets of her own. The Long Water is by Stef Penney.


Saturday, 7 April 2018

What's Your Poison at Heffers Bookshop Cambridge



What’s Your Poison – Heffers Summer Crime and Mystery Party

Heffers' celebrated summer crime and mystery fiction party is back!
Featuring a selection of hand-picked authors, come along for an evening of readings and book chat, accompanied by a glass of wine or two. WHAT'S YOUR POISON?  

With Mark Billingham, Louise Candlish, Araminta Hall, Mick Herron, Mike Hollow, Christina James, Vaseem Khan, AC Koning, Kate Rhodes, Cath Staincliffe, Stuart Turton, Martyn Waites, Ruth Ware and Edward Wilson.

Date:- 5 July 2018

Time:- 6:30pm

Saturday, 5 March 2016

Are Thrillers Literature? - Yusuf Toropov

I came to the thriller genre innocent as a newborn baby.

In fact, I didn’t even realise I was writing one until I was more than 10,000 words into my novel Jihadi: A Love Story. Beta readers kept telling me I was writing a thriller, and at first that left me a little confused. I had no idea what the definition of a thriller novel was. I looked that up and found that International Thriller Writers considered a thriller to be a novel driven by ‘the sudden rush of emotions, the excitement, sense of suspense, apprehension, and exhilaration that drive the narrative, sometimes subtly with peaks and lulls, sometimes at a constant, breakneck pace’. Another definition told me that a thriller matched a resourceful human protagonist, often cut off from his or her support network, against one or more better-equipped villains out to destroy the protagonist, his or her nation, and/or world stability. I had no problem with any of that, so I kept on writing. But some questions kept nagging at me. Why do thrillers – novels from a genre that had apparently chosen me, rather than me choosing it – get so little respect? What was I getting myself into with this book? Why do we so often think of thrillers as something you read on a long airplane flight, to distract yourself and then set aside, as opposed to something you read to for joy, for learning, for growth as a person?

The answer came back (and it was my own, nobody else’s): Because thrillers aren’t real literature.

Yes. I’m ashamed now that this thought flashed across my brain pan. And yes. I know it isn’t true. I promise, I didn’t speak those words out loud when I thought them, and I promise I haven’t spoken them out loud since, and I promise that the first time I’ve had the courage to type them is right now, for this blog. I typed those five disgraceful words out as a means of full, repentant disclosure. I really don’t know what came over me.

I do know thrillers can be real literature. By ‘real literature’, all I mean is a book that an intelligent person would want to at least consider reading twice. (Edward Wilson’s A Very British Ending comes to mind.) Here are three things I did in my novel in the hope of helping it to fall into that category.

I tried to emphasize character development. The protagonist of my story, Thelonius Liddell, also known as Ali Liddell, is a US intelligence agent accused of terrorism, held in a secret overseas prison. We follow him from boyhood into his mid-forties, and he is manifestly not the same person at the end of the book as he is when we see him as a youngster. The story gives us his major life decisions, his lessons, and his attempts to atone for the mistakes he feels he’s made. In short, his character arc. It is meant to be a broad arc. I meant him to go on a journey of transformation.

I chose big themes and tried to explore them in depth. A novel has to be about something, and even though mine might appear from a distance to deal exclusively with topical issues, I actually wanted it to operate along lines that would still be relevant and important fifty, a hundred, or two hundred years from now. These included justice, love, striving, authenticity, and the influence that one’s own perspective has on the search for truth. If any of that sounds elitist or high-minded, I don’t mean it to. I still wanted to write a page-turner. Given that a good story always carries some thematic message, though, I think a thriller is likelier to reward the reader, and inspire a second look, if it chooses big themes and follows them wherever they may lead.

I chose metaphors and images with care. Hemingway put forth something known as the ‘Iceberg Theory’, under which the metaphors and images chosen by a writer are held to be capable of carrying far more of the meaning of the story than the more commonly relied-upon narrative elements of description and dialogue. Thus a character’s holding a cigarette with a long ash that’s about to collapse may say more about the smoker’s fragile mental state than any number of descriptive sentences about the character, or than something the character says. I tried to write the novel bearing the Iceberg Theory in mind.

It’s a bit pretentious, I know, appealing to the status of ‘literature’ for any book one has written. That’s really for someone else to decide, not me. All I am sharing here is what I understand ‘real literature’ to be – that which one would be inclined to read again, having finished it – and my conviction that, despite that dark lapse in thinking I shared earlier, of which I am heartily ashamed, and which I will not type here again, great thrillers can indeed come under that heading. At any rate, I tried to write one that did.


You can find more information about Yusuf Toropov on his website.  You can also follow him on Twitter @LiteraryStriver and you can find him on Facebook.

Saturday, 29 August 2015

A Partnership with the Reader

Today’s guest blog is by author Edward Wilson.  He is the author of 5 novels the most recent being A Very British Ending.

The great thing about crime fiction is that it involves the reader. The classic English murder mystery provides a taunting list of red herrings and cryptic clues that test the reader’s powers of perception and attention to detail. The reader becomes a sleuth.

As a writer of spy fiction, I want to involve the reader at every level. At the end of The Murder at the Vicarage we know who killed Colonel Protheroe. But at the end of my books, I want the reader to still be guessing who was or was not a Soviet mole – a mystery, by the way, still much debated by non-fiction writers. The fictionalised ghost of Kim Philby weaves in and out of my books like a malevolent grinning imp. Was he a double agent betraying Britain or a triple agent betraying Moscow? Why was he still on MI6’s payroll years after he had been uncovered as ‘The Third Man’? And why was he finally allowed to slip away to Moscow just as the pincers were closing? Was, perhaps, Philby a genuine Soviet agent after all – and was MI6’s continued apparent trust in him a double bluff to convince the Sovs that their prize agent had been turned and tripled? The legendary CIA spy chief, James Jesus Angleton, described the world of espionage as ‘a wilderness of mirrors’. In the end, Angleton succumbed to clinical paranoia and had to be removed from post. I don’t want that to happen to my readers, but I do want to stretch their imaginations.

Crime fiction isn’t just about who did it, but why they did it. And so is spy fiction. The first thing they teach you at spy school is MICE. The acronym represents the four ways to recruit an agent: Money, Ideology, Coercion, Excitement. (Excitement also covers ego needs and sex; the honey-trap will always be one of the secret agent’s most important tools.)  In many ways, what motivates a person’s action is more interesting than the action itself. Everyone knows that Jack Kennedy was killed by a bullet to the head, but why? That is the question that has kept conspiracy theorists going for the past fifty years.  Applying MICE – was it I or E? Spy fiction is not just about why individuals do things, but also why governments and intelligence agencies do them. One of my books, The Midnight Swimmer, asks why Khrushchev deployed nuclear missiles to Cuba – and then asks why he withdrew them. I suggest answers, but also leave readers to come to their own conclusions. And why, you may ask, do I use fiction to pose these questions? Try finding out the truth from ‘official’ histories and sanitised files.

The most important thing a writer can do is create characters that enter and grip the readers’ imagination. Who can remember in detail a single one of Raymond Chandler’s plots? But who can forget Philip Marlowe? I think the best way to create a character, and I hope Chandler would have agreed, is from what the character says and thinks aloud. But aside from that, I think the reader should be the casting director. The reader’s own imagination should determine what the character looks like, smells like, walks like and sounds like. When characters are shown on my book jackets, they are only seen from the back. In terms of motivation, I want my characters to have an air of mystery about them which is the job of the reader to discern. One of my recurring characters, the MI6 spy chief Henry Bone, even remains an enigma to me. I know that he was a one time lover of Anthony Blunt, but was Bone ever a Soviet spy? Or did he cover up for those who were? Don’t ask me; that’s for you to decide.

My first rule as a writer is to respect my readers as thinking persons with brains of their own. I will never dumb down. My books are often complex and require concentration – and I make no apology for that.  On one occasion, however, I was too subtle – and this is an exclusive for Shots Mag readers only! If you’ve got a copy of The Whitehall Mandarin, re-read page 356. Now go back and re-read pages 25 and 26. Your call, what really happened?  Likewise, I didn’t solve two mysteries in my latest, A Very British Ending, until after the book was printed and launched. The mysteries are:

1 Why did the Army throw a ring of steel around Heathrow Airport in 1974?
   Was it in response to a terrorist threat? Or something more sinister?

2 Why were there no further military exercises at Heathrow after February,
   1975?

Am I a spy writer lost in my own Wilderness of Mirrors? It doesn’t matter. Books only come alive in the creative mind of the reader.

More information about Edward Wilson can be found on his website.  You can also follow him on Twitter @EfwilsonEdward

A Very British Ending by Edward Wilson
A British Prime Minister is targeted by the CIA as a threat to American interests. A secret plot unfolds on both sides of the Atlantic to remove him from power. An MI6 officer, haunted by the ghosts of an SS atrocity, kills a Nazi war criminal in the ruins of a U-boot bunker. The German turns out to be a CIA asset being rat-lined to South America. As a hungry Britain freezes in the winter of 1947, a young cabinet minister negotiates a deal with Moscow trading Rolls-Royce jet engines for cattle fodder and wood. Both have made powerful enemies with long memories. The fates of the two men become entwined as one rises through MI6 and the other to Downing Street. It is the mid-1970s and a coup d état is imminent.  A Very British Ending is the Wolf Hall of power games in modern Britain. Senior MI6 officers, Catesby and Bone, try to outwit a cabal of plotters trying to overthrow the Prime Minister.

A Very British Ending by Edward Wilson is out now (£14.99, Arcadia Books)