The multi-faceted Sophie Hannah does it all: compelling stand-alones, resurrecting Hercule Poirot for Agatha Christie’s estate, and her Culver Valley police procedural series. But she doesn’t stop there–the hallmark of this series is that the protagonist of each book is a character involved in the action, not the detectives, centered on Simon Waterhouse and his wife, Charlie Zailer.
We learn of the continuing saga of the married duo as a secondary plot, insinuating itself into the main plot of the newest in the series, The Narrow Bed. And a strong feminist will muddy the waters by insisting the killer being sought is a misogynist pig, as three of the four victims are women. Could she be right?
There’s more than a bit of sly humor when your protagonist is a professional stand-up comedian. Kim Tribbeck has received a little white book, mostly blank, with a few lines of poetry inside. She’s tossed it away, but she does remember receiving it.
The importance of this becomes clear when a murderer takes to killing pairs of best friends, four in all over the last four months. In each case he’s given the victim one of these same hand-made books before killing them. Each contains a line of poetry. Each poet was a woman whose name started with an E. So where does that lead them?
Dubbed “Billy Dead Mates” by the police, the detectives have exhausted ways to link the victims. It becomes clear the case revolves around books, but in what way? And if these are truly killings of best friends, why was Kim Tribbeck given a copy and left to live? Could it be that the fact she hasn’t had a best friend in years has saved her life?
At once convoluted yet sharply intelligent, the plot wraps around itself until the mind of Simon Waterhouse is the one who can see beyond the obvious and pull the case together. There’s an almost gothic feel to the book, as the story unfolds by way of excerpts from a book Kim writes after the case is over, added to by conventional chapters of interviews and the thoughts of the various detectives on the team searching for this killer.
The characters are true to themselves, with distinctly-drawn personalities that show Hannah’s expertise at describing the psychology of different people with that wry edge that smacks of verisimilitude until they seem to leap off the page. The Independent has compared Hannah to Patricia Highsmith and Ruth Rendall with good reason.