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Case Histories, once again featuring ex-cop turned private investigator Jackson Brodie.
It is summer, it is the Edinburgh Festival. People queuing for a lunchtime show witness a road-rage incident – an incident which changes the lives of everyone involved. Jackson Brodie, ex-army, ex-police, ex-private detective, is also an innocent bystander – until he becomes a suspect.
With Case Histories, Kate Atkinson showed how brilliantly she could explore the crime genre and make it her own. In One Good Turn she takes her masterful plotting one step further. Like a set of Russian dolls each thread of the narrative reveals itself to be related to the last. Her Dickensian cast of characters are all looking for love or money and find it in surprising places. As ever with Atkinson what each one actually discovers is their true self.
Unputdownable and triumphant, One Good Turn is a sharply intelligent read that is also percipient, funny, and totally satisfying.
… a remarkable feat of storytelling bravado …
More Reviews and RecommendationsKate Atkinson was born in York and now lives in Edinburgh. She has won several prizes for her short stories. Her first novel, Behind the Scenes at the Museum, won the Whitbread First Novel Award and was then chosen as the overall 1995 Whitbread Book of the Year. She has written three further critically acclaimed novels: Human Croquet; Emotionally Weird; and Case Histories, and a collection of short stories, Not the End of the World.
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November 06, 2007: I struggled to get through both her last 2 books. Won't be a third.
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March 28, 2007: Plan on sitting down and reading the entire book as reading a chapter here & there will not deliver. I loved this book - it offered me everything I want - a crime mystery, humour especially, humanity & reality. Greatly woven characters. I was surprised that I could not predict anything in this book - finally a plot that is fresh & fun.
Whitbread Award winner Kate Atkinson struck pay dirt with her fourth novel, the breakthrough Case Histories, a dazzling thriller that introduced the engaging detective Jackson Brodie. Now, to our everlasting delight, Atkinson returns her protaganist to active duty in this stunning sequel that opens rather spectacularly with a shocking incident of road rage on an Edinburgh street. Witnessed by Brodie and a motley crew of bystanders, this episode triggers a chain of bizarre events linking everyone -- victim, attacker, and specators -- in startling, unexpected ways. As in her other "literary" novels, Atkinson digs deep into her characters' lives, rifling through their sad and sinster secrets and exposing complicated relationships with deft precision. Suffused with wit and gentle humor, and enlivened by a folksy, "entre nous" prose style that turns readers into co-conspirators, here is One Good Turn that surely deserves another.
Case Histories, once again featuring ex-cop turned private investigator Jackson Brodie.
It is summer, it is the Edinburgh Festival. People queuing for a lunchtime show witness a road-rage incident – an incident which changes the lives of everyone involved. Jackson Brodie, ex-army, ex-police, ex-private detective, is also an innocent bystander – until he becomes a suspect.
With Case Histories, Kate Atkinson showed how brilliantly she could explore the crime genre and make it her own. In One Good Turn she takes her masterful plotting one step further. Like a set of Russian dolls each thread of the narrative reveals itself to be related to the last. Her Dickensian cast of characters are all looking for love or money and find it in surprising places. As ever with Atkinson what each one actually discovers is their true self.
Unputdownable and triumphant, One Good Turn is a sharply intelligent read that is also percipient, funny, and totally satisfying.
… a remarkable feat of storytelling bravado …
In the past Ms. Atkinson has played the minor time trick of letting events almost converge and then replaying them from slightly different points of view. She does that here to the same smart, unnerving effect. And she frequently brings up the image of Russian dolls, each hidden inside another, to illustrate how her storytelling tactics work.
By the apt ending of One Good Turn a whole series of these dolls has been opened. In the process the book has borne out one of Jackson’s favorite maxims: "A coincidence is just an explanation waiting to happen."
A crowd on a busy street at Edinburgh's famous Fringe Festival witness a brutal crime. Downes has the task of portraying half a dozen characters who become entangled in the complex aftermath of what looks at first like a straightforward assault. A master of dialect, Downes portrays several characters from different classes and locales in England and Scotland with apparent ease. He also takes on, with gusto, the voice of a mysterious Russian woman. Exceptionally well performed is the voice of Martin Canning, a successful crime writer whose sleuth is decidedly more masculine than his creator. Downes has a firm grip on the swings in Martin's personality: he is by turns frightened and apologetic, yet cunning and secretive. Best known for his role in the British television series Babylon 5, Downes uses Atkinson's novel to display his range. He is aided by the seamlessly abridged text of a delightful crime novel that refuses to let the characters be merely victims or victimizers. For audio enthusiasts, this is a "must hear." Simultaneous release with the Little, Brown hardcover (Reviews, July 17). (Nov.)
Copyright 2007 Reed Business InformationHaving won a wide following for her first crime novel (and fifth book), Case Histories (2004), Atkinson sends Det. Jackson Brodie to Edinburgh while girlfriend Julia performs in a Fringe Festival play. When incognito thug "Paul Bradley" is rear-ended by a Honda driver who gets out and bashes Bradley unconscious with a baseball bat, the now-retired Jackson is a reluctant witness. Other bystanders include crime novelist Martin Canning, a valiant milquetoast who saves Bradley's life, and tart-tongued Gloria Hatter, who's plotting to end her 39-year marriage to a shady real estate developer. Jackson walks away from the incident, but keeps running into trouble, including a corpse, the Honda man and sexy, tight-lipped inspector Louise Monroe. Everyone's burdened by a secret-infidelity, unprofessional behavior, murder-adding depth and many diversions. After Martin misses a visit from the Honda man (Martin's wonderfully annoying houseguest isn't so lucky), he enlists Jackson as a bodyguard, pulling the characters into closer orbit before they collide on Gloria Hatter's lawn. Along the way, pieces of plot fall through the cracks between repeatedly shifting points of view, and the final cataclysm feels forced. But crackling one-liners, spot-on set pieces and full-blooded cameos help make this another absorbing character study from the versatile, effervescent Atkinson. (Oct. 11) Copyright 2006 Reed Business Information.
Whitbread Award winner Atkinson puts a thoroughly enjoyable spin on this character-driven detective novel, the follow-up to Case Histories. After receiving a surprise bequest, quitting his job, and moving to a French village, former detective Jackson Brodie is torn between wanting to live a quiet, idyllic life and feeling purposeless. He's visiting Edinburgh with his self-involved, increasingly distant lover, Julia, who's acting in a minor play in an arts festival. At loose ends, Brodie witnesses a road-rage incident that sets off a dazzling chain of coincidences involving a hired assassin, a meek historical mystery writer, an obnoxious stand-up comedian, Russian prostitutes, and a loathsome real estate developer and his stoic, long-suffering wife. Atkinson skillfully links the characters to one another, revealing twists from their various points of view, and in Brodie creates a likable star. Once involved in the case, he reverts to a pleasingly take-charge, strong-but-silent type who will leave readers eagerly awaiting his next outing. Highly recommended. [See Prepub Alert, LJ 6/15/06.]-Christine Perkins, Burlington P.L., WA Copyright 2006 Reed Business Information.
A murder mystery with comic overtones from the award-winning British storyteller. Resurrecting Jackson Brodie, the private eye from Case Histories (2004), Atkinson confects a soft-hearted thriller, short on menace but long on empathy and introspection. Her intricate, none-too-serious plot is triggered by an act of road rage witnessed by assorted characters in Edinburgh during the annual summer arts festival. Mysterious possible hit man "Paul Bradley" is rear-ended by Terence Smith, a hard-man with a baseball bat who is stopped from beating Bradley to a pulp by mild-mannered crime-novelist Martin Canning, who throws his laptop at him. Other onlookers include Brodie, accompanied by his actress girlfriend, Julia; Gloria Hatter, wife of fraudulent property-developer Graham Hatter (of Hatter Homes, Real Homes for Real People); and schoolboy Archie, son of single-mother policewoman Louise Monroe, who lives in a crumbling Hatter home. Labyrinthine, occasionally farcical plot developments repeatedly link the group. Rounding out the criminal side of the story are at least two dead bodies; an omniscient Russian dominatrix who even to Gloria seems "like a comedy Russian"; and a mysterious agency named Favors. Brodie's waning romance with Julia and waxing one with Louise; a dying cat; children; dead parents and much more are lengthily considered as Atkinson steps away from the action to delve into her characters' personalities. Clearly, this is where her heart lies, not so much with the story's riddles, the answers to which usually lie with Graham Hatter, who has been felled by a heart attack and remains unconscious for most of the story. There are running jokes and an enjoyable parade of neatresolutions, but no satisfying denouement. Everything is connected, often amusingly or cleverly, but nothing matters much. A technically adept and pleasurable tale, but Atkinson isn't stretching herself.
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HE WAS LOST. HE WASN'T USED TO BEING LOST. HE WAS THE KIND OF man who drew up plans and then executed them efficiently, but now everything was conspiring against him in ways he decided he couldn't have foreseen. He had been stuck in a jam on the A1 for two mind-numbing hours so that it was already past the middle of the morning when he arrived in Edinburgh.Then he'd gone adrift on a one-way system and been thwarted by a road closed because of a burst water main. It had been raining, steadily and unforgivingly, on the drive north and had only begun to ease off as he hit the outskirts of town.The rain had in no way deterred the crowds - it had never occurred to him that Edinburgh was in the middle of 'the Festival' and that there would be carnival hordes of people milling around as if the end of a war had just been declared. The closest he had previously got to the Edinburgh Festival was accidentally turning on Late Night Review and seeing a bunch of middle-class wankers discussing some pretentious piece of fringe theatre.
He ended up in the dirty heart of the city, in a street that somehow seemed to be on a lower level than the rest of the town, a blackened urban ravine.The rain had left the cobbles slick and greasy and he had to drive cautiously because the street was teeming with people, haphazardly crossing over or standing in little knots in the middle of the road, as if no one had told them that roads were for cars and pavements were for pedestrians. A queue snaked the length of the street - people waiting to get into what looked like a bomb hole in the wall but which announced itself, on a large placard outside the door, as 'Fringe Venue 164'.
The name on the driving licence in his wallet was Paul Bradley. 'Paul Bradley' was a nicely forgettable name. He was several degrees of separation away from his real name now, a name that no longer felt as if it had ever belonged to him.When he wasn't working he often (but not always) went by the name 'Ray'. Nice and simple.Ray of light, Ray of darkness. Ray of sunshine, Ray of night. He liked slipping between identities, sliding through the cracks. The rental Peugeot he was driving felt just right, not a flashy macho machine but the kind of car an ordinary guy would drive. An ordinary guy like Paul Bradley. If anyone asked him what he did, what Paul Bradley did, he would say,'Boring stuff. I'm just a desk jockey, pushing papers around in an accounts department.'
He was trying to drive and at the same time decipher his A-Z of Edinburgh to work out how to escape from this hellish street when someone stepped in front of the car. It was a type he loathed - a young dark-haired guy with thick, black-framed spectacles, two days of stubble and a fag hanging out of his mouth, there were hundreds of them in London, all trying to look like French existentialists from the Sixties. He'd bet that not one of them had ever opened a book on philosophy. He'd read the lot, Plato, Kant, Hegel, even thought about one day doing a degree.
He braked hard and didn't hit the spectacles guy, just made him give a little jump, like a bullfighter avoiding the bull. The guy was furious, waving his fag around, shouting, raising a finger to him. Charmless, devoid of manners - were his parents proud of the job they'd done? He hated smoking, it was a disgusting habit, hated guys who gave you the finger and screamed,'Spin on it!', saliva flying out of their filthy, nicotine-stained mouths.
He felt the bump, about the same force as hitting a badger or a fox on a dark night, except it came from behind, pushing him forward. It was just as well the spectacles guy had performed his little paso doble and got out of the way or he would have been pancaked. He looked in the rear-view mirror. A blue Honda Civic, the driver climbing out - big guy, slabs of weightlifter muscle, gym-fit rather than survival-fit, he wouldn't have been able to last three months in the jungle or the desert the way that Ray could have done. He wouldn't have lasted a day. He was wearing driving gloves, ugly black leather ones with knuckle holes. He had a dog in the back of the car, a beefy Rottweiler, exactly the dog you would have guessed a guy like that would have. The guy was a walking cliché. The dog was having a seizure in the back, spraying saliva all over the window, its claws scrabbling on the glass.The dog didn't worry him too much. He knew how to kill dogs.
Ray got out of the car and walked round to the back bumper to inspect the damage. The Honda driver started yelling at him, 'You stupid, fucking twat, what did you think you were doing?' English. Ray tried to think of something to say that would be nonconfrontational, that would calm the guy down - you could see he was a pressure cooker waiting to blow, wanting to blow, bouncing on his feet like an out-of-condition heavyweight. Ray adopted a neutral stance, a neutral expression, but then he heard the crowd give a little collective 'Aah' of horror and he registered the baseball bat that had suddenly appeared in the guy's hand out of nowhere and thought, shit.
That was the last thought he had for several seconds.When he was able to think again he was sprawled on the street, holding the side of his head where the guy had cracked him. He heard the sound of broken glass - the bastard was putting in every window in his car now. He tried, unsuccessfully, to struggle to his feet but managed only to get to a kneeling position as if he was at prayer and now the guy was advancing with the bat lifted, feeling the heft of it in his hand, ready to swing for a home run on his skull. Ray put an arm up to defend himself,made himself even more dizzy by doing that and, sinking back on to the cobbles, thought, Jesus, is this it? He'd given up, he'd actually given up - something he'd never done before - when someone stepped out of the crowd, wielding something square and black that he threw at the Honda guy, clipping him on the shoulder and sending him reeling.
He blacked out again for a few seconds and when he came to there were a couple of policewomen hunkered down beside him, one of them saying, 'Just take it easy, sir,' the other one on her radio calling for an ambulance. It was the first time in his life that he'd been glad to see the police.
He braked hard and didn't hit the spectacles guy, just made him give a little jump, like a bullfighter avoiding the bull. The guy was furious, waving his fag around, shouting, raising a finger to him. Charmless, devoid of manners-were his parents proud of the job they'd done? He hated smoking, it was a disgusting habit, hated guys who gave you the finger and screamed, "Spin on it," saliva flying out of their filthy, nicotine-stained mouths.
He felt the bump, about the same force as hitting a badger or a fox on a dark night, except it came from behind, pushing him forward. It was just as well the spectacles guy had performed his little paso doble and gotten out of the way or hewould have been pancaked. He looked in the rearview mirror. A blue Honda Civic, the driver climbing out-a big guy with slabs of weight-lifter muscle, gym-fit rather than survival-fit, he wouldn't have been able to last three months in the jungle or the desert the way that Ray could have. He wouldn't have lasted a day. He was wearing driving gloves, ugly black leather ones with knuckle holes. He had a dog in the back of the car, a beefy rottweiler, exactly the dog you would have guessed a guy like that would have. The man was a walking cliché. The dog was having a seizure in the back, spraying saliva all over the window, its claws scrabbling on the glass. The dog didn't worry him too much. He knew how to kill dogs.
Ray got out of the car and walked round to the back bumper to inspect the damage. The Honda driver started yelling at him, "You stupid fucking twat, what did you think you were doing?" English. Ray tried to think of something to say that would be nonconfrontational, that would calm the guy down-you could see he was a pressure cooker waiting to blow, wanting to blow, bouncing on his feet like an out-of-condition heavyweight. Ray adopted a neutral stance, a neutral expression, but then he heard the crowd give a little collective "Aah" of horror and he registered the baseball bat that had suddenly appeared in the guy's hand out of nowhere and thought, Shit.
That was the last thought he had for several seconds. When he was able to think again he was sprawled on the street, holding the side of his head where the guy had cracked him. He heard the sound of broken glass, the bastard was putting in every window in his car now. He tried, unsuccessfully, to struggle to his feet but only managed to get to a kneeling position as if he were at prayer, and now the guy was advancing with the bat lifted, feeling the heft of it in his hand, ready to swing for a home run on his skull. Ray put an arm up to defend himself, made himself even more dizzy by doing that, and, sinking back onto the cobbles, thought, Jesus, is this it? He'd given up, he'd actually given up-something he'd never done before-when someone stepped out of the crowd, wielding something square and black that he threw at the Honda guy, clipping him on the shoulder and sending him reeling.
He blacked out again for a few seconds, and when he came to there were a couple of policewomen hunkered down beside him, one of them saying, "Just take it easy, sir," the other one on her radio calling for an ambulance. It was the first time in his life that he'd been glad to see the police.
(Continues...)
Excerpted from One Good Turn by Kate Atkinson Copyright © 2006 by Kate Atkinson. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
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