Talking to young people (and anyone under 50 is young to me now), I’m often struck by the rails on which their entertainment and cultural lives run. It seems to me that people are told what is good and what they should buy — and that they accept the instruction. I remember in 1985 being in a bookshop and picking up Every Day is Mother’s Day by an author I’d never heard of: Hilary Mantel. I was bowled over. Stunned. I grabbed Vacant Possession when it came out a year later, and I’ve since read everything Mantel has published. Nutty as a fruitcake* she may be, but she’s one of the very few authors for whom I would ever be prepared to buy a hardback if getting the paperback or e-book version meant waiting.
Julian Barnes is another. Once again, I found him in a bookshop when I was browsing and came on Flaubert’s Parrot and, once again, I’ve since read everything he’s written.
It doesn’t seem to me that writers are being discovered today in that same browsing way – but I’m probably wrong. (I have been wrong, you know. Oh yes. I remember the occasion distinctly).
When I think about it, it was probably within the same 12 month period that I discovered both of those writers. And I’ve had a similar pleasure recently, but in a period of only two weeks. Neither Gillian Hamer nor Brian O’Hare is a brand-new writer in the way that Mantel and Barnes were when I found them, but they are new to me. I’d never read anything by either of them, and in the last fortnight I’ve read The Doom Murders and Murder at the Roadside Café, the first two books in the Inspector Sheehan series by Brian O’Hare, and Crimson Shore, the first in the Gold Detectives series by Gillian Hamer. I’ll be posting reviews of both of these books shortly, here and on Amazon and Goodreads, but right now I just wanted to open the window and shout for the benefit of anyone listening:
If you like crime fiction, then here are two writers you really need to add to your preferred author list.
They are not like each other, and nor do they mimic the styles of other crime writers. They are, in other words, originals. What they both possess is a mastery of the English language and an ability to grab the reader’s attention and not let go.
My brother-in-law has a saying, “As far-fetched as a bucket of shite from China,” which has led – in our house at least – to the rather more polite expression, “Chinese buckets,” and none of these three books is entirely free from a touch of Chinese buckets, which reinforces the idea that here are two very good writers. When you read the Midsomer Murders** books by Caroline Graham (and, even more, when you watch the TV series) some of the plots are so far-fetched that all you can do is laugh. O’Hare and Hamer also present plot ideas that sometimes stretch the imagination – but the writing is so good that you accept them without question.
More on these two shortly.
*I’ll take back that remark about Hilary Mantel being differently sane, not least for fear of finding myself on the wrong end of a lawsuit, and simply say what I said about writer Ellie Stevenson – that the inside of her head must be a very interesting place to be.
**By the way, if you’ve watched the Midsomer Murders TV shows but not read the books, you might find it instructive to do so, because it tells you a lot about how books can be modified when adapted for TV. To take only one example, TV’s Sergeant Troy is an eligible bachelor who is something of a feminist and always respectful towards women. Right? Well, in the books, Sergeant Troy is a rather different character. For a start, he’s married. And, in one of the earlier books, while he’s making love to his wife – and you can scrub that; he isn’t making love to her, he’s having sex with her – he tells her, “There’s no need to wake up if you don’t want to.” Does that sound like the Sergeant Troy TV has you accustomed to? No, I thought not.