In a book that is pure unadulterated fun, Kate Atkinson creates her second Jackson Brodie mystery (2006), featuring a series of bizarre characters, all involved with murder–either planning it, committing it, or trying to avoid it. Many seemingly unrelated characters, involved in several seemingly unrelated plot lines, make their appearance in the first fifty pages. In the main plot line, an Edinburgh automobile accident leaves “Paul Bradley,” a mysterious man and innocent victim, at the mercy of a crazed, baseball bat-wielding Honda driver. A witness, Martin Canning, the timid writer of Nina Riley mystery stories, reacts instinctively to the impending carnage, hurling his laptop at the Honda driver and saving “Paul Bradley” from certain death. A second set of characters revolves around Graham Hatter, the wealthy developer of Hatter Homes, who is in trouble for bribery, money laundering, and fraud in the building of cheap tract houses. Jackson Brodie, former cop and private investigator, in Edinburgh for a drama festival in which his girlfriend is involved, introduces a third plot line when he discovers a woman’s body on the rocks beside the ocean.
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Jackson Brodie, a former police inspector turned private investigator, is investigating three old cases, which soon begin to converge and then overlap. Three-year-old Olivia Land disappeared without a trace thirty-five years ago while sleeping in a tent with one of her sisters, two of whom have hired Jackson to find out what happened to her. Theo Wyre has hired him to investigate the death of his daughter Laura, his much-loved 18-year-old daughter, who was slashed and killed by a maniac ten years before while working in her father’s office. Theo, having spent ten years accumulating information, has turned over a roomful of files to Jackson. Shirley Morrison, Jackson’s third client, is trying to locate her sister and her niece. Her sister Michelle, married at eighteen and living with her husband and screaming daughter on an isolated farm, has vanished from Shirley’s life, and after twenty-five years, Shirley wants to find her. Filled with ironies and noir humor, the novel also reflects Atkinson’s astute observation of social interactions, as she skewers some aspects of her characters’ lives at the same time that she manages to create interest and even sympathy for them.
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Recovered physically but not emotionally from an accident which cost the life of his fiancée, followed by a downward spiral which led to his breaking of a superior officer’s nose, J McNee has wisely left the CID and has been working as a private investigator in his home town of Dundee, Scotland. Morose and cynical, he suffers from agonizing psychosomatic injuries which sometimes nearly paralyze him as a result of the violence of his past life. When he is asked to investigate a missing person by reporter Cameron Connolly, a wheelchair-bound man whose spine was broken by members of the local drug trade which he had been investigating, McNee takes the job, “off the books,” working in parallel with the Dundee CID. The missing person is Mary Furst, a fourteen-year-old girl, a promising student and artist, who is also the god-daughter of David Burns, a thug who is “knuckle deep in drug money, extortion, rackets, underground deals, and blackmail.”
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Set in Damascus, Syria, from 1931 through 1956, The Calligrapher’s Secret seems, on the surface, to be an impressionistic and romantic novel which strolls at its own leisurely pace, dropping in on first one character and then another, moving back and forth in time and across ethnic, religious, and social groups. Several main characters and families share their lives and problems, and, in the process, convey an intimate picture of life in Damascus, filled with vibrant descriptions of the city, its neighborhoods, and its varied social life. The novel is much more than a series of little domestic stories, however charming and interesting these may sometimes be. It is also a serious exploration of the issues surrounding Arabic calligraphy, issues so serious that some who want to make Arabic script more modern, so it can accommodate new words from science and philosophy, face death threats and personal attacks by traditionalists. They consider the language of the Quran, the word of God, to be sacred, inviolable, unchanging.
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When Sarah Moss, a physician in Madison, Wisconsin, falls in love with a fellow student, Ibrahim Suleiman of Khobar, Saudi Arabia, she is unable to persuade him to stay in the US. Instead, he persuades her to go to Saudi Arabia, where she obtains a job at the Suleiman Hospital in Khobar to see if she can adjust to Saudi life. What follows is a comprehensive exploration of Saudi families and Saudi society, especially the society of women and their roles in the larger Saudi world, and as Sarah learns more about the world of Saudi women, she must decide whether she can live among them forever as Ib’s wife. As the culture is explored, the reader can truly imagine what it would be like to be a woman living in this family. The way that women achieve levels of freedom on their own, despite the restrictions; their urge for independence but their flexibility within their culture; traditional bridal customs and marriage preparations; and the special society that women share with each other without the presence of men are both fascinating and well integrated into the story of Sarah’s life in Saudi Arabia.
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