However good Kate Atkinson’s three previous Jackson Brodie novels have been, they were just the warm-up for this one. Though they are often called “mysteries” because the main character, Jackson Brodie, is a private investigator, Atkinson’s novels are far more character-driven than the norm, and more literary in execution–intriguing on several levels simultaneously. In the course of the three previous novels (Case Histories, One Good Turn, and When Will There Be Good News), Jackson Brodie has become a broader character, and in this one, his inner life is at least as important as the plot with which it intersects. The novel is complex, with a few threads left open at the end, suggesting avenues for further exploration in succeeding Atkinson novels, but Brodie becomes an even more interesting and sympathetic character, one whom the reader of the three previous Jackson Brodie novels will begin to understand even more fully. Though some of Atkinson’s novels have had threads of dark humor in them, this one is played “straight,” its serious story line obviously not a joking matter.
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Posted in 9a-2011 Reviews, England, Humor, Satire, Absurdity, Mystery, Thriller, Noir, Psychological study, Scotland on Mar 26th, 2011
Not a traditional mystery, Kate Atkinson’s third Jackson Brodie novel grows instead out of the terrible traumas that children and young people must endure when people they love die violently. So marked are they by their sudden tragedies, that they never really escape their pasts, and spend the rest of their lives wondering “when will there be good news.” Five separate plot lines evolve and begin to overlap here, and in each of these plots the main characters are all needy people hiding an inner loneliness from which they would like to escape. In the first plot, Joanna Mason Hunter is a physician living in Edinburgh, the happily married mother of a one-year-old, a woman who appears to have it all, but thirty years ago, she escaped a slashing attack which murdered her mother, sister, and baby brother. Though she seems to have put her past to rest, the murderer of her family is about to be released from jail. Jackson appears on the scene when he is nearly killed in a train crash on the way to Edinburgh. The narrative speeds along, ironies abound, and mistaken identities create some bizarre and sometimes darkly humorous scenes.
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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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