Dead and Buried by Stephen Booth

Another Ben Cooper music reference, a regular part of Booth’s Cooper and Fry series. This song is about the landscape of the peak district, the setting of Booth’s books.

 

______

Dead and Buried starts in north Derbyshire moorland  with fire burning through the dry peat landscape.

dead and buriedInvestigations are reopened into the unsolved disappearance of a wealthy tourist couple when the fires help uncover new evidence.

Diane Fry has been transferred to a city based department, but along with her new senior officer is brought back to Edendale as part of a “serious crimes” investigation. Inevitably old difficulties are rekindled when she has to work with Ben Cooper again.

Those difficulties are exacerbated when Fry discovers the body of a murder victim in an isolated, abandoned pub that Cooper had intended to check out, before being distracted by the nearby firefighting efforts.

This is the 12th in the Cooper and Fry series, and while each book is self contained, with its own specific central crime investigation, there is an increasing overlap between books as relationships develop and characters grow.

In the past few weeks I’ve read four of the series one after the other, being drawn along by the ongoing lives of the characters. I suspect it won’t be long before I start the next book. This one has an almost cliff-hanger ending, with Ben Cooper having to face the life changing consequences of this current case.

When I wrote about the previous Stephen Booth book, I mentioned the mix-up with Diane Fry’s car, where the Peugeot she’d disposed of in book 10 made a reappearance in book 11. With Dead and Buried, Booth restores the new black Audi she’d bought to replace the Peugeot.

I’ve previously (as above) provided videos of Ben Cooper’s musical choices. For a change here’s a song from Diane Fry’s playlist.

Advertisements

The Devil’s Edge, by Stephen Booth

devils edge

A series of home invasions seem to be getting increasingly violent. 
Labelled “The Savages” by the press, the gang responsible, who tend to target the rich, start to get a fan following on social media, being portrayed as modern day Robin Hoods.

In the village of Ridding, overlooked by an escarpment known as the Devil’s Edge, the gang seem to have escalated the violence, leaving a woman dead and her husband critically injured.

Ben Cooper, recently promoted to Sergeant, leads his new team in the investigation, while his former boss DS Dianne Fry has basically been sidelined and sent on a bureacracy-laden course.
Cooper has his suspicions that the local deadly attack had nothing to do with the previous violent robberies, but it’s a view not shared by his superiors.

When it seem like there has been a breakthrough in the case, DS Cooper’s position becomes precarious due to disturbing personal developments, and DS Fry is returned to the local fold to liaise with investigators brought in from another division.

A minor quibble: the author seems to have forgotten that Dianne Fry changed her car in the previous book, in this one the traded Peugeot returns.

Whenever I’ve written about Stephen Booth’s books, I’ve mentioned their mix of local folklore, history and landscape. Also frequently mentioned is the difficulty faced by the farming community, having to face significant change  in the business landscape, often making untenable the farming life that has been passed down from generation to generation. Ben Cooper listens to the following song towards the end of the book.

 

 

Past Reason Hated by Peter Robinson

past reason hated

When Caroline Hartley is discovered savagely murdered in her living room, an LP record of Vivaldi’s Laudate pueri sung by Magda Kalmar is playing, set on repeat. The victim had never liked classical music and her partner claims she had never seen the record before.

Where did the record come from? Why was it playing? Did it have any significance to the murder?

Banks walked back to the window and lit a cigarette. What the hell was it about the music that bothered him? Why did it have to mean something? He would find out as much as he could about Vivaldi’s Laudate pueri

It’s been a while since I read one of Robinson’s DCI Banks books, and this one has been a welcome change from the “True Crime” I’ve been reading recently. It was good to get back to a story with an element of the unknown, a “page-turner” that I could read without knowing the outcome before I started, and also have the “comfort” of knowing that it wasn’t portraying the crimes and resulting suffering of real people.

This is the fifth of the DCI Banks books and its not a coincidence that the majority of crime books I’ve been reading are parts of various series. Most of them have been more than merely crime mysteries and their resolution. In the best of them the returning characters grow and develop through their experiences.

While Past Reason Hated was a “good read”, it wasn’t free of problems.

The book was first published in 1991, and I think like some of the previous Banks books, the writing shows its age.
For example, I’m not sure that a description of

“groups of female office workers [laughing] about the way the mailroom boys hands had roamed during the office party”

stands up very well almost 30 years later.

Also, the book’s opening scenes, at wedding reception, include excerpts  of  what used to be known as “rugby songs” – crude, often misoginistic ditties associated with men’s sporting teams. Again this tended to add an out-dated feel to the book.

And annoyingly, Robinson also revisits an earlier facination with breasts – this time when Banks visits a Soho night club with topless barmaids.
In more recent books (not part of this series) those “dated” elements aren’t there – or are not as noticeable

As a contrast, the book also visits territory that would have had a different political charge to it  almost 30 years ago, before LGBTIQA+ became a fashionable, ever expanding acronym.
Two of the major characters , including the murder victim were lesbians, and other characters express an assortment of attitudes towards them, some of which wouldn’t be acceptable in current western secular societies, but  the narrative itself leans more towards a live and let live attitude.

One thing made clear in all of Robinson’s work is his deep and eclectic love of music. Alan Banks shares that love and throughout the books references are made to various pieces of music, of many genres, that he plays while driving or walking.  Part of the pleasure beyond the books is tracking down examples of the tracks Banks plays.

 

The video above is one part of the recording playing at the murder scene.
It is based upon Psalm 112.

Psalm 112
Praise the LORD.
Blessed are those who fear the LORD,
who find great delight in his commands.
Their children will be mighty in the land;
the generation of the upright will be blessed.
Wealth and riches are in their houses,
and their righteousness endures forever.
Even in darkness light dawns for the upright,
for those who are gracious and compassionate and righteous.
Good will come to those who are generous and lend freely,
who conduct their affairs with justice.
Surely the righteous will never be shaken;
they will be remembered forever.
They will have no fear of bad news;
their hearts are steadfast, trusting in the LORD.
Their hearts are secure, they will have no fear;
in the end they will look in triumph on their foes.
They have freely scattered their gifts to the poor,
their righteousness endures forever;
their horn will be lifted high in honor.
The wicked will see and be vexed,
they will gnash their teeth and waste away;
the longings of the wicked will come to nothing.

The Dead Place, Stephen Booth

An unidentified skeleton. Sinister phone calls. A missing office worker (probably abducted, maybe murdered). And a dead dog, shot through the heart.
All keeping the Edendale police busy in the Derbyshire peak district.
Is there a genuine crime to investigate or is someone with a death fetish playing macabre games? If there is a crime – has it been committed yet?
What is relevant and what is a distraction?

The Dead Place is the sixth in the Cooper and Fry series. Like the previous books, history, folklore and landscape each play a significant part in the story.

Both DC Cooper and DS Fry are challenged by their own experiences of death, making this case particularly difficult for Dianne Fry, as memories of an earlier case are revived.

A Daily Mail quote on the front cover says “not for the squeamish”. I suspect the warning relates to the book’s detailed descriptions of what happens to a body after death. The worst parts are not necessarily the natural results of decay, instead I found the more disturbing aspects were descriptions of the unnatural cosmetic processes used upon the dead to keep up appearances for grieving family leading up to the funeral or cremation.

Those attempts to sanitise death (due to a fear of death?) are also evident in the language used to avoid it.

Cooper knew that he’d have to face up to his own death some time. Like most people, he’d always thought he could avoid it for ever. And perhaps he’d read too many stories in which people didn’t actually die. Instead, they passed away, breathed their last, or were no more.

I’ve enjoyed all of the Cooper and Fry books I’ve read so far, but out of the six, I found this one a little less appealing; not because of it’s often grim (though fascinating) content, but because it seemed less straight forward and focused than the others. The conclusion brought loose ends together but I felt dissatisfied with the resolution of the ambiguities and uncertainties set up earlier. However, as part of an ongoing series, there are other aspects of this story that make up for that dissatisfaction.

We learn more about DS Fry’s past, and her troubled relationship with DC Cooper shows some signs (maybe temporarily) of mellowing. Ben Cooper also faces new family challenges, that are not associated with the memory of his hero father (who had been killed years earlier during his own police service).

And yet again DC Ben Cooper’s music collection stirs the pool of nostalgia.

We clearly have the same musical taste. Gloria introduced me to the Scottish band Runrig early in our friendship.

Cooper listens to the following song while driving away from an incident he was investigating.

Musical Tastes of Fictional Characters (2)

In a previous post about the music enjoyed by fictional characters I mentioned a Waterboys reference in Stephen Booth’s  first book Black Dog. The reference is in fact in his second book, Dancing With the Virgins.

 

‘That was the river, this is the sea’

Ben Cooper turned up the volume on his stereo and opened the cover of his Waterboys CD. He was amazed to find it dated from 1985. In fact, most of the music he possessed was the stuff he had liked twelve or fifteen years ago as a teenager.

 

 

Musical Tastes of Fictional Characters

One thing I’m enjoying when I read Stephen Booth’s books is the occasional musical reference. It seems like his Detective Constable Ben Cooper (maybe even Booth himself?) shares my musical taste.

I think it was in Booth’s first book Black Dog* that Cooper listened to the Waterboys, and in the book I’m currently reading, Blind to the Bones, Cooper has borrowed another CD from my collection: Green Blade Rising by the Levellers.

Here’s a track from the album.

Ben Cooper poked around for a CD to play on the way back to Edendale in his Toyota. He found a recent Levellers album and was pleased by the title Green Blade Rising.

On the way out of the village, he noticed two men with a tractor and a length of rope near the pool in the river. Another man was standing in the water in PVC waders. He was already pretty well covered in duckweed as he struggled to attach the rope to one of the boards that floated on the surface of the pool.

‘Strange,’ said Cooper to himself. And he tapped his fingers to the Levellers as he drove out of Withens

 

____________________

see correction here