First
Sentence: Slider jumped into the car, and Atherton peeled
away from the kerb and back in the traffic in a movement so
sleek and smooth, a dolphin would have tried to mate with
it.
A
famous literary critic's body is found in the cellar of the
construction site next door to his home. Although DCI Bill
Slider's Borough Commander would like a quick verdict of "accidental
death" to close the case and gives strict orders that
unknown Calliope Hunt is not to be questioned, Slider isn't
convinced the death was an accident. A plethora of possible
suspect means Slider and his team have their work cut out
for them, while Bill is also concerned about his wife and
truly dealing with being a father.
The
very first sentence demonstrates why Cynthia Harrod-Eagles
is such a pleasure to read. For having a way with words, she
has no equal. Her metaphors are wonderful and perfect—'One
hundred-and fifty-plus years represents a lot of history for
a building, and in value and status these had gone up and
down like a Harrods lift at sale time.' She slips in delightful
bits of humor along the way—"'I expect you're wondering
why you're here,' said Carpenter. Existentialism at this hour
of the morning? Various facetious answers flitted through
Slider's mind…"And then there's Porson, Slider's
boss, and the king of a malaprop—'Too many thieves spoil
the broth. It all gets … wafty.'
That
CH-E has set the story amongst the world of publishing is
fun. One does suspect that the characters represent people
she has known, or that they are an amalgamation of them. She
really does provide a fascinating look into that world. Harrod-Eagles
is also very good with details and with setting the scene.
She describes the location in which the characters find themselves
placing one right alongside them.
The
"what's wrong with this picture" scenarios are so
well done and can cause one to consider the details of one's
own, everyday life. It's the forensic details that determine
the path of the plot—it is a mystery, after all—but
still, it is nicely done, and the devil's-advocate banter
between Slider and Atherton is clever and more realistic,
in some ways, than were it just one character with internal
musings. One can also appreciate that although Slider and
Atherton are the leads, there is a realism in the way Slider's
team is an ensemble cast with each having their role in the
investigation.
The
realness of the story is satisfying and understandable; possible
problems at home, possible reassignment at work. These are
things to which one can easily relate. She also presents a
very realistic view of a police investigation as often being
a hard slog of minutia and focusing on the mundane. How well
done is it that when the killer is exposed, one almost feels
sympathy for them.
"Headlong"
isn't a book of gunfire or car chases, but of great characters
and solid police work, with an ending to make one smile.
Reviews of other titles in this series
Blood
Sinster #8
Headlong
#11
Body
Lines #13
Kill
My Darling #14
Hard
Going #16
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