Michael Carlson

In the days of cheap paperbacks, publishers sometimes printed two pulp novels in one volume, back to back. Ariel Winter has done one better, because The Twenty- Year Death consists of three novels, dealing with murders committed over the course of two decades, each told in the style of a great crime writer. The first is set in 1931 France, hommage to Georges Simenon’s Inspector Maigret. A corpse found floating in the flooded drains of Verargent turns out to come from the local prison, from which there is no escape. Inspector Pelleter has just visited the prison to interview a serial killer he has arrested, and is drawn into the investigation.

With Blood’s a Rover James Ellroy finally finishes his ‘Underworld USA’ trilogy. With Blood’s a Rover James Ellroy finally finishes his ‘Underworld USA’ trilogy. It’s been eight years since the second volume, The Cold Six Thousand, written in a staccato shorthand prose that seemed always about to veer out of control, marked the apotheosis of Ellroy’s feverish and frenetic style. Something had to give, and at first it was Ellroy himself, who suffered a breakdown and eventually quit Middle America to return to his spiritual home of Los Angeles.

Thomas Pynchon’s reputation has risen and fallen over the past five decades; one of his conspiracy-chasing characters might note a pattern of inverse relation to rises and falls in the world’s financial markets. Gravity’s Rain- bow, 36 years ago, confirmed Pynchon as America’s new great reclusive genius; since then battalions of academics have made careers reinforcing his reputation for obscurantism, while sharp-jawed reviewers have leapt upon each perceived failure to top that book with the excitement of jackals scenting a dying lion. Inherent Vice may generate huge sighs of relief from both sides; it’s a third the length of Pynchon’s previous novel, Against the Day, and it’s structured as a detective story.

Homicide, by David Simon; Death Dyed Blonde, by Stanley Reynolds David Simon was a Baltimore Sun reporter who, having spent a Christmas Eve observing the city’s homicide squad, somehow got the department’s permission to spend an entire year with them as a ‘police intern’. The result, in 1991, was this stunning book, now published for the first time in this country, following the massive critical success of the television show Simon created, The Wire. The Wire may be the first programme praised in the media by more people, at least in this country, than have seen it on screen, which may define a cult classic.

When David Rose visited Columbus, Georgia, to write a story about capital punishment in the United States, it drew him inexorably into a decade-long battle for justice on behalf of Carlton Gary, a black man on death row, convicted 20 years ago of a series of rape/murders of elderly white women committed some eight years earlier. The handsome, womanising Gary, what would now be called ‘a player’, was an unlikely candidate for such killings, and the ‘violation’ of the title is as much his by the criminal justice system as that of the murder victims. The setting is pure To Kill a Mockingbird. Columbus is a typical small Southern city, its economy dependent on nearby Fort Benning.

In Alan Furst’s nine novels, it always seems to be twilight. The second world war is being fought off-stage, or, as in The Foreign Correspondent, approaching with grim inevitability. Furst’s world is one of railway stations filled with steam, dark cafés filled with smoke, lonely hotel rooms filled with apprehension. It is populated by exiles and fixers, journalists and spies, police and politicians, honest, corrupt, or a bit of both. Business is transacted in four languages at once, five if lying counts as a separate tongue. The characters might have wandered in from films, Hollywood noirs shot by German expressionists, French gangster flicks starring Jean Gabin, or black and white Hitchcock.

‘Suspicion is a shifting shade,’ Mark tells the police lieutenant who’s questioning him, and no one appreciates the tensions of suspicion better than Thomas H. Cook.  Cook remains relatively unknown, though he’s garnered numerous crime-writing awards, including an Edgar for The Chatham School Affair. Places in the Dark and last year’s Red Leaves rank among the very best suspense novels of the past two decades.  The Murmur of Stones is typical of Cook at his best. Its small-town setting is gently New England, a timeless stage that is the present but could just as easily be 50 years ago. It’s more the New England of John Cheever than Stephen King or H. P. Lovecraft, yet just as horrific.

In 1976 Godfrey Hodgson published In Our Time, a portrait of America in the years from ‘World War II to Watergate’. To this American, newly arrived in Britain, it seemed remarkable that the best social history of my country during my then brief lifetime should have been written by an Englishman. His sharp eye captured both a society in turmoil and one imbued with immense postwar promise. He combined critical distance with an innate, almost American optimism. Nearly three decades later this sequel, as its title implies, is far less optimistic. Hodgson would certainly agree with Richard Nixon’s campaign manager and Attorney-General, John Mitchell, who said, on his way to gaol, ‘This country is going so far to the right you won’t recognise it.

One might assume that the Oxford novel, like some long-delayed train finally pulling into Paddington, has run its course. Bright young things flee back into their stately towers as tourists prowl the streets in search of Sebastian Flyte and his chums. But today's Oxford student is just as likely to be commuting from London in search of the MBA degree that will allow him to take over the rail network. Moreover, readers of the most successful Oxford fiction of recent years expect a city littered with corpses, with opera echoing among the spires as Inspector Morse sorts out the killers from a very different set of dons. Academic fiction has life beyond Oxford, unlikely as that may seem.