by Ian Rankin
Series: John Rebus, #2Hardcover, 272 pg.
Minotaur Books, 1991
Read: March 4, 2017
Now, this is more like it. You’ve got a seasoned detective who sees something that just doesn’t jibe — a routine O. D. that just doesn’t look right. At least to him — everyone else (including the detective who’d normally be assigned to the case) is good with the obvious answer. Not at all shockingly, there is more than meets the eye to this death.
Rebus’ ex and daughter have moved away, his brother is in jail, Gill is now seeing a DJ (who seems to be pretty popular), and Rebus has a new boss (and a promotion) — so outside of Rebus himself, there’s not a whole lot to tie the two novels together. It’s not just his coply intuition (to borrow Jesse Stone’s phrase), it’s some occult symbolism, a stolen camera, and the testimony of a near-witness that make Rebus continue to investigate. He spends time with druggies, students, male prostitutes, artists, academics, and the upper crust of local society in an effort to explain the death.
There’s something to Rankin’s prose that elevates it above most of what you find in Police Procedurals — I can’t put my finger on it, but you can feel it. The description of the corpse was fantastic, filled with those little details that will stick with me longer than your typical macabre tableau à la Thomas Harris or Val McDermid. The closing image was just as strong — ambiguous, but striking. I can’t wait to see what he does as he becomes a better writer.
Rebus isn’t good with people — family, friends, co-workers, lovers — he drinks and smokes too much, and cares more about police work than anything else. Even when he makes an effort with people (not part of a case), it just doesn’t go well at all — we’ve seen this character before, but it still works — readers just like this kind of cop.
So much of this feels (when you think back on it — or when you start to realize what he’s doing in a scene/with a character) like something you’ve seen before — maybe several times. Even by 1991 standards. But when you’re reading it, somehow , Rankin makes it feel fresh. I should note, incidentally, that a lot of what you think you’ve seen before, you maybe haven’t, if you give him enough time. He didn’t cheat with the solution, or how it was reached — but it felt like it came out of nowhere (it didn’t). That’s good enough for me.
That’s 2 down, 19 to go. Knots & Crosses felt like a character study, a good crime novel. Hide and Seek, on the other hand, feels like someone is building/introducing a series. It’s a subtle difference, but important. I’m reminded of the difference between Parker’s The Godwulf Manuscript and God Save the Child. It’s only going to get better from here. I really like this character, even if I’m not doing a good job talking about him — I think that’ll change in forthcoming books. Once Rankin stops establishing the character/building the series’ foundation and starts building.Also, I look forward to getting a better understanding of Rankin’s use of the term “Calvinist.” This one was good, solid writing with a satisfying story — not dazzling, but everything you want in a procedural.