Any Ordinary Day by Leigh Sales

As the year draws to a close, I seem to be drawn to more new books than usual – to the detriment of A Century of Books. One area in which I’m particularly allowing myself to go rogue is audiobooks. While I am ticking off some ACOB years with it, I’m also going earlier (thanks to the copyright-free restrictions of Librivox) and later (thanks to… my wish to read the books in question).

I’ve been listening to the Chat 10: Looks 3 podcast for a while, hosted by Annabel Crabb and Leigh Sales. Those names meant nothing to me and, indeed, it was a while before I realised they were famous outside of the podcast – which was recommended to me by an Australian colleague. And, indeed, Australians will probably recognise those names as journalists/presenters/newscasters/etc. Leigh Sales presents a flagship news programme, but in a recent episode of Chat 10: Looks 3 (which is always hilarious) she talked about finding time to write her new book – Any Ordinary Day (2018).

The book stems from the idea that life-changing moments happen out of nowhere – that people get up, get dressed, leave the house as they do on any other day. And then the extraordinary happens, potentially ending their lives. Sales first thought about this when she experienced a life-changing event herself: a uterine rupture, while pregnant with her second child. Thankfully she had gone to the hospital earlier, with unfamiliar pains – and thus was able to be rushed straight to surgery, and survived something that is usually fatal. In the midst of other dramatic or traumatic family events, it put her in mind of speaking to people who experience or witness the extraordinarily tragic.

That ‘witness’ is fascinating, but let’s start with the ‘experience’. She speaks to the man whose wife and two children were murdered in the Port Arthur Massacre; she speaks with a woman who was in the Lindt cafe siege and has MS – with someone who lost his first wife in an avalanche and his second to cancer; with a man who survived over a month stranded in a snowdrift; with someone whose husband was murdered by his schizophrenic son. There is a panoply of grief and tragedy here.

Many of the names are famous, particularly in Australia – and that is part of what makes her conversations with them so interesting. People are changed by these things happening to them, or to people they love. But they are also expected to remain in a stasis of grief. The Port Arthur widow related people asking “Oh, you’re over it, then?” if they saw him laughing in public – as though being over that sort of event were possible. The man lost in the snow has had to live with a curious urban myth about a Mars bar in his bag – perhaps this will mean something to Australian readers! – and tells Sales that people joke about that Mars bar to him at least once a week. Discovering the after effects of these extraordinary moments is saddening in a wide range of ways but so interesting.

And then there are the people who walk alongside the mourners, or work with them. Some of the most fascinating parts of Any Ordinary Day were when Sales interviewed people whose jobs are connected with people’s most tragic days – particularly the empathetic, wise woman who worked in a morgue and accompanied those who had to identify dead bodies. In a similar vein, she speaks with the police officers who have to inform people that their loved ones have died, and a priest who particularly helped one widow. The meeting of ordinary and extraordinary is so unusual, and Sales writes about it brilliantly. This is their livelihoods; the other people engaged in each day will never forget the encounter.

Along the way, Sales tries to find out answers – how people cope with these events; if they try to find any reason in them; what responses are most likely to lead to emotional recovery. I had never heard of post-traumatic growth, but apparently it’s much more likely than the much-more-talked-about PTSD.

Several of the people Sales meets are Christians, and (as a Christian myself) I found it really interesting to see how she responded to that, as somebody predisposed to scepticism. She is a little patronising to them at times, and conflates the idea of a sovereign God with “this was meant to be” – the problem of evil and suffering is, of course, endlessly complex – but I thought it was intriguing how often she came upon people of faith.

Having said that, her writing and interviewing is extremely sensitive and thoughtful. Being a big name in the Australian media has granted her access to many people who might not speak out otherwise, and she draws together the stories and threads extremely well. It is not trying to be sensational, nor answer all the big questions – but by introducing the questions (and, indeed, some less eternal questions – like the idea of media intrusion and journalistic integrity) she creates a very good book. My biggest take away was the extraordinary bravery of survivors, kindness and wisdom of those who have helped them, and troubling way that the media and public at large treat tragedies. No answers, perhaps, but definitely worth a read to explore the issues – and I can definitely recommend the audiobook, narrated by Sales herself.

What should our next club be?

Thanks to everyone for taking part! I’ve now updated the list in the previous post, so it should have everything that was newly published this week. And such variety. It’s the first year we’ve done which didn’t have any REALLY famous book published, I think – usually there’s been a Rebecca or something that people can turn to if nothing else appeals, and 1944 has made us all think outside the box a bit.

And what of next time? We do these clubs every six months, and made our way through the decades 1920s to 1970s. 1944 was drawn by a random number generator (and it was great to do a wartime year). For the next one – we’d like suggestions! Karen and I decided to turn things over to the readers – ideally between 1920 and 1979, but not inescapably – let us know if there’s any year you think we should be reading, and the reason why. Once we’ve got a healthy number of suggestions, Karen and I will put our heads together and make a decision. Criteria tbd!

Pop something in the comments here, or on Karen’s post.

#1944Club: round up

It’s been another great week of club reading! Thanks so much to everyone who joined in. Here are the reviews that came out this week – let me know if I missed yours. (I should say, I’m still adding them – so if you’ve already put it in a comment, then I’ll add it soon!) It’s been really interesting to see how wartime made a difference to the writing going on – and, in some cases, how it didn’t. Another really fun, really illuminating club! News about the next one soon…

Fair Stood the Wind for France by H.E. Bates

Annabel’s House of Books
Bag Full of Books

The Island of Adventure by Enid Blyton

Kaggsy’s Bookish Ramblings / Mr Kaggsy
Staircase Wit

Ficciones by Jorge Luis Borges

Book Jotter
Kaggsy’s Bookish Ramblings

Green for Danger by Christianna Brand

Briefer than Literal Statement

Gay from China at the Chalet School by Elinor Brent-Dyer

Gilt and Dust

Guignol’s Band by Céline

Intermittencies of the Mind

Sparkling Cyanide by Agatha Christie

All the Vintage Ladies

Towards Zero by Agatha Christie

Ruthiella Reads

Gigi by Colette

Kaggsy’s Bookish Ramblings

The Case of the Gilded Fly by Edmund Crispin

The Literary Sisters
Kaggsy’s Bookish Ramblings

The Book of the Dead by Elizabeth Daly

Bitter Tea and Mystery

The Hundred Dresses by Eleanor Estes

Becky’s Book Reviews

Green Dolphin Street by Elizabeth Goudge

Staircase Wit

Earth and High Heaven by Gwethalyn Graham

She Reads Novels
Buried in Print

The Shrimp and the Anemone by L.P. Hartley

Harriet Devine’s Blog
Stuck in a Book

A Bell for Adano by John Hersey

Typings

Friday’s Child by Georgette Heyer

What Me Read
Desperate Reader

Young Bess by Margaret Irwin

Staircase Wit

The Dwarf by Pär Lagerkvist

Winston’s Dad

No More Than Human by Maura Laverty

Sally Tarbox

Rabbit Hill by Robert Lawson

Becky’s Book Reviews

The Ballad and the Source by Rosamond Lehmann

Madame Bib Lophile Recommends

Kaputt by Curzio Malaparte

Winston’s Dad Blog

Agostino by Albert Moravio

1streading’s Blog

Company in the Evening by Ursula Orange

Stuck in a Book

The Portable Dorothy Parker

Lizzy’s Literary Life
Pining for the West

A House in the Country by Jocelyn Playfair

Hopewell’s Public Library of Life

The Friendly Young Ladies by Mary Renault

Madame Bibi Lophile Recommends

No Exit by Jean-Paul Sartre

What Me Read

Transit by Anna Seghers

Kaggsys Bookish Ramblings
Lizzy’s Literary Life

Dragonwyck by Anya Seton

Staircase Wit

V-Letter and other Poems by Karl Shapiro

Typings

Pastoral by Nevil Shute

Leaves and Pages

Inspector Cadaver by Georges Simenon

Kaggsy’s Bookish Ramblings
Winston’s Dad

Signe Picpus by Georges Simenon

Brona’s Books

Not Quite Dead Enough by Rex Stout

Typings

The Clock Strikes Twelve by Patricia Wentworth

All the Vintage Ladies

They Were Sisters by Dorothy Whipple

What Me Read

 

The Shrimp and the Anemone by L.P. Hartley #1944Club

My second (and probably final) read for the 1944 Club was L.P. Hartley’s The Shrimp and the Anemone, which i am grateful I am typing, because I can never say that word. It’s the first book of the Eustace and Hilda trilogy, and covers about a year in the young lives of the brother and sister.

I bought the trilogy many years ago, and I think I also had this book separately until I realised that it was a duplicate. While I read The Go-Between a decade or so ago, it was only last year that I started to explore his other work – specifically The Boat, which was brilliant. And so I was pleased to see that one of my Hartleys could coincide with the 1944 Club, even if it meant lugging around the chunky book pictured above.

It opens at the beach, and we don’t have to wait long to see the shrimp and the anemone in question. Eustace is nine; his sister Hilda is four years older, and they are playing on the sands. Eustace is looking in a rockpool, and sees an anemone slowly swallowing a shrimp – he is a sensitive child, and is keen to save the shrimp. Hilda comes to help extricate it – but, in doing so, both the shrimp and the anemone are killed. It is rather a graphic depiction of a relationship that goes through the whole novel (and, I believe, the whole trilogy). Hilda is domineering and possessive; Eustace is anxious to please. It’s leaping ahead a bit, because this comes in the second half of the novel, but it crystallises their sibling relationship well:

For the first time, then, he obscurely felt that Hilda was treating him badly. She was a tyrant, and he was justified in resisting her. Nancy was right to taunt him with his dependence on her. His thoughts ran on. He was surrounded by tyrants who thought they had a right to order him about it was a conspiracy. He could not call his soul his own. In all his actions he was propitiating somebody. This must stop. His lot was not, he saw in a flash of illumination, the common lot of children. Like him they were obedient, perhaps, and punished for disobedience, but obedience had not got into their blood, it was not a habit of mind, it was detachable, like the clothes they put on and off. As far as they could, they did what they liked; they were not haunted, as he was, with the fear of not giving satisfaction to someone else.

A lot of the novel is simply about this fraught relationship – one filled with love, because Hilda is not trying to inflict pain; she believes she is doing the best thing for both of them, to the extent that she considers the question at all. I found it fascinating, because I’ve never quite got my head around what it must be like to have a sibling who is either younger or older than you. I know that’s the norm, but it seems to me like it must be quite odd – not being on the same footing, as it were. And Hartley captures that inequality well.

Into this world comes Miss Fothergill, an old lady who is largely alienated from the community by her disabilities. We see these through Eustace’s eyes, so I’m not sure exactly what they were – but they lead to her being in a wheelchair, and having deformities in her hands and face. Hilda forces Eustace to speak to her when they encounter her on a walk – and, unexpectedly, he (after some misadventures on a paperchase!) ends up visiting and befriending her – leading to various seismic changes in Eustace and Hilda’s lives towards the end of the novel.

I didn’t find this as wonderful as The Boat, possibly because it doesn’t try to have the humour of that novel. And I’ve found every novel about children that I’ve read since Alfred and Guinevere by James Schuyler somewhat deficient in dialogue, because Schuyler captures so well how young siblings talk. And if Hartley’s child characters lean towards the adult in how they converse, they are wonderfully realised in how they think and relate. Eustace’s anxieties are drawn perfectly, and their relationship rang very true. I’m not very good at carrying on with a series after I’ve started it, but I should move onto the next two before I forget the first of the trilogy – it will certainly be intriguing to see how this relationship develops as the brother and sister age.

Mollie Panter-Downes on 1944 – #1944Club

In previous clubs, I’ve quoted from Virginia Woolf’s diaries – and I was wondering who I could use as a perspective on 1944 (given that Woolf died in 1941). And then it hit me – of course! – Mollie Panter-Downes’ wonderful London War Notes. It is the collection of fortnightly letters she wrote for Americans about how WW2 looked in London. And here is part of her entry from 2 January 1944. 

The immense din of outgoing bombers which the capital recently heard on more than one fine morning provided a very inspiring sort of overture to 1944, too. All the same, Londoners who saw the year in by storming one of the packed places around town or by bringing out the precious bottle of Scotch or Algerian wine at home couldn’t wish each other a happy new year with a completely light heart. Now that the invasion seems so imminent, the conventional salutation sounded faintly ironic. There have been many other occasions when everyone you met confidently told you that the invasion of Europe would start next Wednesday at the latest, but the announcement of the new team of commanders appears to have really convinced the public that things will begin to move before their new calendars shed many more leaves.

Londoners seem to feel that things will get hot again at home just as soon as they warm up elsewhere, but their attitude remains nonchalant enough to annoy Doctor Goebbels. When a taxi had a particularly noisy blowout the other day, one of the apocryphal London hawkers, now peddling rare bobby pins and rarer elastic to Oxford Street matrons, is supposed to have said to a customer, “Hit must be the secret weapon, lidy.”

Another slight clue to just how happy this new year may turn out to be was provided by the government’s announcement that repairs to gas masks will be made free of charge for the next two months.Though this precaution possibly belongs in the knock-on-wood category. Britons thoughtfully hunting up their almost forgotten masks felt that it might also be an official hint that the Nazis have a few more tricks to try before they are forced to give in.

Company in the Evening by Ursula Orange #1944Club

I loved the first Ursula Orange novel I read (Tom Tiddler’s Ground) and was glad that the 1944 Club provided an opportunity to read another. Company in the Evening is one of the Furrowed Middlebrow reprints – extremely welcome, especially given how much Scott has made us all want to read Ursula Orange over the years. And, yes, it’s another really good’un.

The novel is from the perspective of Vicky, a woman who has recently divorced and is looking after her young daughter (born after the divorce) while also working at a literary agency. She is managing life rather well, but her mother can’t believe this is possible – and decides that Vicky should take in her sister-in-law. Rene has been living with Vicky’s mother, after being widowed (a very WW2 element to the story) – and she makes the move to Vicky’s household, fitting neither in the role of servant or relative. She will provide, Vicky’s mother optimistically hopes, ‘company in the evening’.

Vicky is more a real character than a likeable one. Or, perhaps, she becomes likeable because she is so understandable. She does not particularly want Rene to move in with her, nor does she know quite how to speak to her. Orange is very good in the scenes where Vicky tries to reach across the intellectual and social chasm between herself and Rene, wanting to find the right topics and language, but also (because she is only ordinarily nice; nothing special) not putting in quite as much effort as is needed. She is definitely an intellectual snob and, to a lesser extent, a class snob – but it is undeniable that this chasm would exist, even if Vicky cared less about it. The women are two different to understand one another.

Meanwhile, she starts to reconnect with her ex-husband – recognising, for the first time, that he might want to make something of the role of father, and that she never really gave him the chance. Looping back to the title – might he become the aforementioned company?

The dynamics of the unusual household are done extremely well. We always know what people are or aren’t likely to say, do, and feel, and understand how awkwardly these elements cohere – or don’t cohere. It is a funny novel, but not in the way that Tom Tiddler’s Ground was. It’s the war – set in 1941, if memory serves – and a more sombre light is cast over the book.

Having said that, all the stuff at her literary agency is amusing – particularly her dealings with an author who sends all her best stories elsewhere, and is maddeningly unhelpful in meetings. I love reading about anybody engaged in literary work, and this was all rich material for what a literary agency was presumably like in the 1940s.

Dorothy Harper wafted herself out of the office, all pearls, fur-coat and scent. I am sure that she always pictured herself as bringing just a little colour and romance—a breath of the outside world—into our drab lives. As neither of us ever did anything but listen patiently while she talked her society prattle, perhaps we encouraged her in this conception. I was ‘Miss Sylvester’ to her, as I was to all our clients. I am sure that had she known that I was (like her) a divorcee, she would. have been deeply shocked. Little typists in offices (she would think) have no business to be also divorced women with private lives of their own.

The oddball humour is perhaps an odd fit with the social anxieties – and with all the motherhood aspect, particularly when Vicky’s daughter has a health crisis. But I think it works well together – because, of course, people’s lives have funny moments and unhappy moments, and Orange has written something that is naturalistic in tone, if not in every word spoken. I’m so grateful that Scott and Furrowed Middlebrow have brought Ursula Orange back into print – and you can read his detailed thoughts about this novel on his blog.

#1944Club – starts today!

Happy #1944Club day, everyone! Until Sunday, we’re asking everyone to read and review books published (in any format, language, or place) in 1944. Pop your review up on your blog, and then let me or Karen know the link – at the end of the week, I’ll compile a round-up, and any thoughts that might lead out of that. If you don’t have a blog, we can link to reviews on LibraryThing or GoodReads, or you can put a review in the comments here.

Happy reading!

The Devil’s Candy by Julie Salamon

The Devil’s Candy is a brilliant book with a terrible title. I can’t even remember the bizarre reason given for the title, but I bought Salamon’s 1992 book after hearing it recommended on the funny Australian cultural podcast Chat 10: Looks 3 – and posting about it here, I was encouraged to start reading it straightaway by some positive comments. For those I am grateful, as this is an astonishing book.

It doesn’t feel like something that would necessarily be up my street. It’s non-fiction, as Salamon painstakingly follows the creation of the movie adaptation of Tom Wolfe’s famous novel The Bonfire of the Vanities. I haven’t read Wolfe’s novel, and I haven’t seen the film, and I don’t really have any interest in doing either of those things. That doesn’t matter at all. It’s completely fascinating – and a lot of that is to do with the writing and, importantly, the pacing that Salamon brings to the book.

The Devil’s Candy starts at the early stages of casting and trying to establish a final script. Not knowing who’s in the final film was an advantage for me, as it meant I had no idea who’d get the role during the discussions and auditions. I didn’t know what sort of film it would be, either, so conversations between script supervisors and directors and whatnot had genuine tension. From here, we go through 400+ pages in which Salamon observes pre-production, shooting, and post-production. Nothing is raced through; nothing is considered trivial. We spend a lot of time watching the second unit trying to get the perfect shot of a plane landing; we follow in minute detail the attempts to find a courthouse for filming. We are party to the recasting of a role to make the film seem less racist; we see an actress’s insecurities as she has to do part of a scene naked.

To anybody with a passing interest in film, or in the mechanics of an enormous production of any kind comes together, it is completely fascinating. It’s not unduly technical at any point, but you get a sense of the size of people’s roles without needing to know quite how it all works. And the central figure is the director, Brian De Palma. As director, every moment is his vision – and we follow the highs and lows of his feelings about the film (particularly as costs spiral and the studio executives get increasingly involved). It is an absorbing character study of what drives him, and how he takes on such a challenging role, all revealed piece by piece, day by day.

He may be the central figure, but it feels like the whole cast and crew are open to us. Particularly the crew; you can read between the lines that Salamon didn’t get much out of Tom Hanks or Bruce Willis. We see what they do, but we don’t learn how they feel. Not that Salamon ever reveals her methods or, indeed, herself. I loved Janet Malcolm’s very individual and subjective reportage – this is the flip side. Salamon never mentions doing interviews – or, indeed, being on the set at all. She is absent from the page, and this gives the prose a feeling of god-like omniscience. She is not so much in the room as in their minds. It is oddly hypnotising.

De Palma was tense. Broderick was upset with him. She’d been insulted when he complained about the service at the restaurant and didn’t believe him when he insisted that running down Madeo was a standing joke between him and his brother Bart. One of the things they liked about the place was complaining about it.

When she woke up grumbling that she had a hangover, he said, “No wonder, you certainly had enough to drink.” Broderick was furious and hurt. She told him he;d ignored her all evening, that he hadn’t even touched her, and now he was attacking her. De Palma felt bewildered. He distinctly remembered putting his arm around her. As they rehashed the evening, they felt as if they’d been to two different parties.

The great success of this book is how steady and unshowy it is. That steadiness, the pacing I mentioned earlier, means that nothing is rushed or overdramatised; the lack of false tension means that every moment comes together into something special. And because nothing is showy, it feels as though there is no filter or bias at all – it feels as though we are there.

It’s an extraordinary book. Yes, if it were about a film I loved I might have found it still more captivating – but there is something in the fact that The Bonfire of the Vanities was a flop that makes this still more interesting. Particularly as it is not forecast in Salamon’s writing, and even the gradual realisation that the film will get mediocre reviews and make a sizeable loss doesn’t come as a ‘gotcha’ – it is part of the same pacing, as the film’s journey sort of peters out, and the book concludes. Not like anything I’ve read before, but definitely one of my books of the year.

Some recent reads in brief

It’s one of those times that I’m going to summarise a few recent reads – I don’t have a huge amount to say about them, for one reason or another, but wanted to give them a mention. Some of them will go on my A Century of Books list; some of the others are just here because… well, why not. Inspired?! On with the show!

If Only They Didn’t Speak English (2017) by Jon Sopel

I heard Sopel speak at the Hay festival, and he was very good, so I was pleased when I found a cheap copy of his book. The subtitle is ‘notes from Trump’s America’, but it’s really about the path that led to it – or trying to introduce non-Americans (specifically Brits) to the culture and identity of Americans that might have made way for so dreadful a president. (Sopel doesn’t quite say that Trump is dreadful, but he’s not far off.)

The title comes from the idea that, if Americans didn’t speak English, we Brits would find it easier to recognise that it’s a whole other culture. Sopel devotes chapters to guns, patriotism, race, exceptionalism, faith, and so forth. He assumes a complete lack of knowledge from his reader – even explaining who Rosa Parks is. I think Sopel is better when speaking than he is at writing (which is perhaps just as well, given that his job is reporting) but I still really enjoyed it. I’d love to read something similar about England, to be honest (I suppose Kate Fox’s Watching the English is pretty close.)

The Cat’s Cradle Book (1940) by Sylvia Townsend Warner

This was a lovely gift from Jane a while ago, who knows that I (a) love Sylvia Townsend Warner and (b) love cats. Her novels are a mixed bag for me – I love Lolly Willowes but really dislike some others – but she is a wonderful short story writer.

This collection is framed as being a series of stories passed down the generations by cats – so they’re pretty Aesopian. A rather long introduction looks at how the framing narrator discovered the stories, and then goes into the stories themselves. It was fun to read it, but I think Warner is much better when she’s talking about the poignant or unusual moments of everyday life.

Concert Pitch (1934) by Theodora Benson

I liked Which Way?, which I read in the Bodleian years ago, and picked this one up in 2012 in Hay-on-Wye. It’s all about the romances and feuds of a bunch of actors, and… it’s not very good. I never quite managed to disentangle the characters, because they’re all very similar, and I found it a bit of a trudge to get through. Oh well.

None Like Him (2016) by Jen Wilkin

My church small group read this book together, over the course of many weeks. Supposedly it’s aimed at Christian women, but there isn’t really anything in it that would exclude men. Rather, each chapter goes through the attributes of God – eternal, omnipresent, infinite, sovereign, and so forth – and looks more into them. And each quality is slightly unnerving when you first think about it and, the more you read about it, the more you realise it’s amazing and joyous.

Stuart Turton picks his five favourite detective novels

As the paperback of The Seven Deaths of Evelyn Hardcastle has just been published by Raven Books – or The 7.5 Deaths of Evelyn Hardcastle in some markets – I asked the author, Stuart Turton, if he’d tell us about five of his favourite detective novels / murder mysteries. I’ve only read one of the books he’s chosen (Agatha, naturally), but am now intrigued by several of the others. Would you add your voice to recommend any of the others? Over to you, Stu!

The Big Sleep by Raymond Chandler

Most of the time, we’re not allowed inside the heads of famous detectives. Pry into the brain of Holmes or Poirot for too long and you’d end up hating them within 10 pages. Worse, you’d probably see the plot cogs at work, as there really isn’t much to them beside genius deductions and mandated quirks. The Big Sleep lets us into the head of private investigator Philip Marlowe, who’s a curiously sensitive soul. He takes far too much to heart, is hurt when he’s betrayed, and spends a lot of time hating the world he’s chosen to inhabit. When I finished that book, I wanted to take him for a beer and give him a hug. For me, Marlowe feels real in a way most superstar fictional characters don’t. I wish he was my mate.

And Then There Were None by Agatha Christie

There’s loads to admire about this book, including the solution, and the dread Christie heaps upon the reader with every page, but my favourite thing is the slapdash nature of the characters. The opening pages basically give us a bunch of stereotypes delivered in a line or two. Arrogant playboy drives fast car, etc. It’s only as they start getting picked off then begin to reveal their true natures and we realise that Christie was using those stereotypes against us, allowing the reader to see them as they want to be seen.

LA Confidential by James Elroy

It’s rare I have to read a book three times to understand what’s going on, or that I’d have the patience to read a book three times over, but LA Confidential jabbed it’s filthy, depraved claws into me and wouldn’t let go. The staccato writing style takes some getting used to, and it doesn’t have a lot of tolerance for plot recapping, preferring to believe the reader is as smart as the characters inhabiting the novel. And yet… man, it’s good. It’s brutal, believable, elegiac, superbly plotted and, above all, immensely entertaining.

Journey Under the Midnight Sun by Keigo Higashino

This is a murder mystery told over 20 years, where the victim and the detective are almost the least important parts of the story. At the centre of the story are childhood friends Ryo and Yukiho, who maybe the most unsettling creations to ever sit at the heart of a genre novel. We followed them through school into adulthood, creepy events following them from one place to the next. I’ve truly never read anything like this, which is enough to hoist it straight onto my favourite crime novel list, but the ending left me reeling for days afterwards.

The Maltese Falcon by Dashiell Hammett 

This book is often lumped together with Raymond Chandler’s work, a situation not helped by Humphrey Bogart playing both Sam Spade (Hammett’s protagonist) and Philip Marlowe (Chandler’s protagonist) in the movies. They are nothing alike. Chandler was a better writer, but Hammett had an eye for eccentricity that Chandler lacked. He was also far less sentimental. The Maltese Falcon concerns the search for a priceless object by three unsavoury characters, who are happy to murder, manipulate and lie to their hands on it. Unfortunately for them, Spade is better at all of it than they are. Brilliant.