Murder

Patricia Highsmith was an accretion of oddities — a woman who doted on her pet snails and carried a selection of them in her handbag, who abandoned her native America for a restless life in Europe, and who turned a habitual paranoia into literature. Now, 20 years after her death, her reputation has been substantially increased by film versions of her Ripley novels and, most recently, Carol (an adaptation of The Price of Salt, her extraordinarily bold novel of a lesbian love affair). For all that, she is generally classed as a crime writer, albeit a very superior one. As one contemporary reviewer commented, ‘Patricia Highsmith is often called a mystery or crime writer, which is a bit like calling Picasso a draftsman.

Appropriately for the dog days of British politics, there’s plenty of canine activity in this neatly groomed account of the bizarre circumstances behind the murder plot which cost the Liberal party leader Jeremy Thorpe his job and his debonair reputation in the 1970s. First yelps from the kennel came from the Honourable Brecht Van de Vater’s five springer spaniels. Ostensibly they added a veneer of respectability to their owner’s comfortable Cotswolds existence. But like many of the characters involved, appearances were illusory. His real name was Norman Vater, the son of a Welsh miner and an undisclosed bankrupt.

During the heatwave in the summer of 1895, the Gentlemen v. Players match at Lords Cricket Ground on 8 July attracted more than 12,000 spectators. Among the crowd that sunny day were two little boys from the East End of London, brothers Robert and Nattie Coombes, aged 13 and 12. That morning they had got themselves up and prepared their own breakfast. Their mother was in the house, but she wasn’t able to see to her boys, because during the night Robert had killed her. He had stabbed her with a knife bought expressly for this purpose and then, just to be sure she’d perished, put a pillow over her face. In the days that followed, Robert and Nattie had a fine old time. They went again to watch the cricket, where they saw W.G. Grace score his seventh century of the season.

The plot of Hideo Yokoyama’s Six Four begins in 1989, with the murder of Shoko, a seven-year-old girl. Fourteen years later the perpetrator has yet to be apprehended, and the case is viewed as Tokyo’s police force’s most damning failure. The commissioner of police plans to visit the home of Shoko’s father to pay his condolences, and to insist that the murderer will be brought to justice. It’s an empty promise. The job of persuading the still grief-stricken father to allow the commissioner into his home lands on the desk of Yoshinobu Mikami, the force’s head of media relations. During this task Mikami comes across an anomaly in the old murder case, one that makes him realise that a police cover-up has been in place ever since.

All it takes is a spark. In her compelling new thriller, Ten Days (Canongate, £14.99), Gillian Slovo tracks the progress of a riot as it spreads across a rundown London estate. When Ruben, a black man of fragile nature, is accidentally killed in a police action, his friends and neighbours gather to protest his needless death. This peaceful demonstration ignites into violence and looting. Resident Cathy Mason and her family are caught up in the dangers of that night and the ones that follow. Slovo takes the London riots of 2011 as her blueprint, but she moves beyond that, focusing not only on the local people but also on the new Commissioner of Police and the Home Secretary, both of whom are using the riots for their own political ends.

Valerio Varesi, the Turin-born crime writer, displays a typically Italian interest (I would say) in conspiracy theory. The Italian term dietrologia, which translates, not very happily, as ‘behindology’, presumes that shadowy consortia are everywhere manipulating political scandals. A Woman Much Missed, the fourth of the excellent Commissario Soneri thrillers to be translated into English, unfolds in present-day Parma amid rumours of Mafioso-style machinations. As always, Varesi’s lugubrious, cigar-puffing detective Soneri retains a degree of disabused integrity and is a trencherman, moreover, as he seeks out only the best buffalo-milk mozzarella and bottles of Bonarda red. Under it all, though, lies a deepening corruption, where justice may not prevail.

On an April morning in 1999, two teenagers, Eric Harris and Dylan Klebold, walked into Columbine High School in Colorado and murdered 12 fellow students and a teacher, wounded many others, then turned their guns on themselves. Among the many questions fired at Klebold’s stunned parents in the wake of this appalling event, two were especially hard for them to hear. Did they ever hug their kids? And — this from one of the many bereaved — ‘Were you a family that ever spent much time at the dinner table together?’ When brutal and frightening things happen, people want brutal and frightening explanations: the need for causality becomes paramount. If this family bred a monster, then they must have done something monstrous.

For one week in July 2010, the aspiring spree killer Raoul Moat was the only news. ‘Aspiring’ because he didn’t actually achieve his violent ambitions: by the time he died, he’d only managed to shoot three people (four if you include himself) and murder one (two if you count PC David Rathband, who was blinded by Moat and killed himself four years later). But he made it, in a way. His self-constructed mythology had all the makings of a folk hero —working-class man, wronged by his woman, a grudge against the police — and there was a public ready to embrace him. Floral tributes were left outside his home and at the site of his suicide, and a Facebook page called ‘RIP Raoul Moat You Legend!’ attracted over 35,000 likes before it was removed.