Tuesday, 16 September 2014

Bloody Scotland - Deanston Shortlist announced!

Bloody Scotland are delighted to announce the short-list for the Deanston Scottish Crime Book of the Year Award 2014.

This year’s short-listed books are:

Flesh Wounds by Christopher Brookmyre
The Amber Fury by Natalie Haynes
Falling Fast by Neil Broadfoot
Entry Island by Peter May
A Lovely Way to Burn by Louise Welsh
In The Rosary Garden by Nicola White

This is the third year of the award, run by Bloody Scotland festival, and announced during the festival weekend. The winner will be announced at their award dinner in Stirling on Saturday 20 September 2014.

About the Award

The Deanston Scottish Crime Book of the Year Award provides Scottish crime writing with recognition and aims to raise the profile and prestige of the genre as a whole. Scottish roots are a must for competition applications: authors must either be born in Scotland, live there or set their books there. Crime fiction, non-fiction and anthologies of short crime stories are all eligible. Malcolm MacKay won the award in 2013 for How a Gunman Says Goodbye and Charles Cumming claimed the award in 2012 with A Foreign Country.

Monday, 15 September 2014

International Policing : An interview with D A Mishani

As a book reviewer, there can be very little pleasure greater than discovering new
talent, especially work that is different, work that traverses an alien terrain, work that
makes the mind think, makes the consciousness ruminate and consider what we
perceive as reality. Recently, I stumbled upon a remarkable police procedural thriller set
against the back drop of the Middle-East. It’s the second novel from an academic
crime writer Dror Mishani, and this is an extract from the review of A POSSIBILITY

It is axiomatic that as hard as it for a new author to find themselves in print, it is even harder for a non-English author to find themselves published in the English Language. This is due to the authors work finding sufficient merit [by a publisher] to commission the additional costs of translation and further editing, as well as the additional marketing effort required to place the work toward an international market. It is of little surprise that Mishani’s work leaped over these hurdles, finding himself at the forefront of international crime fiction including UK and America.

The novel opens with Detective Avraham returning to Israel, still haunted by the issues raised in The Missing File, as well as settling in with a new boss Benny Saban, and awaiting the return of his lover, Marianka who appears torn between her life in Europe and her life with Avraham in Israel. Due to staff shortages, Avraham’s boss, is pleased when Avi agrees to curtail his leave and get stuck into the workload now piling up. Avi elects to investigate a case that forms the title of the novel ‘A Possibility of Violence’. It appears that someone [possibly] is threatening the neighbourhood Holon, a suburb of Tel Aviv with what appears to be a sinister warning. A suitcase is spotted by a neighbour placed between an office license shop, and a nursery school. Avraham works alone initially as the department are short staffed, investigating what appears as a bomb-threat, or a warning.

A Possibility of Violence follows the well-worn tract of the police procedural, but what sets this thriller apart from the others, following the same trail is its intense characterisation, insights into dark motivations of troubled people, muscular and confident narrative, sprayed onto an unfamiliar and alien environment. It also appears extremely topical, when contrasted against the recent spike in political unrest in the region, due to the issues raised in Gaza. It makes you wonder what it is like living and working in such a volatile country. Mishani’s work makes you learn about Israeli life, but in a subtle and unobtrusive manner, allowing the narrative to live and breathe the land that this tale is set against.

Read the full review from Shots Here

So after a captivating read, I decided to investigate who is this D A Mishani, and with
help from his British Publishers Quercus, we arranged an interview, which throws
insight into this very interesting writer, and his work -

Photo (c) Yanay Yechieli of D A Mishani

Dror Mishani is an Israeli crime writer, winner of the Martin Beck award, and
nominated for last years CWA international dagger award. He's also a literary
scholar, specializing in the history of detective fiction and teaching in TA University.

Dror was born in 1975 in Holon, a suburb of Tel Aviv. He graduated from the Hebrew
University of Jerusalem (Law and Hebrew Literature), studied in Paris and finished
his M.A in Hebrew literature in 2005. He worked for Israeli daily Haaretz as editor,
and his latest position was editor in chief of the literary supplement, Haaretz review
of books (2005-2008). Later on he was editor of Israeli fiction and International crime
in Keter Books, one of Israel's biggest publishers, editing novels by Amos Oz, Sayed
Kashua, Henning Mankell, Fred Vargas et al (2008-2013).

His first detective novel, "The Missing File", the first in the Inspector Avraham
Avraham crime series, was published in Hebrew in 2011. It was longlisted for the
Sapir prize (the Israeli Booker), the first crime novel to be nominated since the prize's
foundation. Translation rights for the novel were sold to more than 15 territories and
the English translation of the novel, "The Missing File" (published by HarperCollins in
the US and Quercus in the UK), was nominated for the prestigious CWA
international dagger award. The German translation of the novel, "Vermisst", was 3
times on the DIE-ZEIT Krimi-Zeit list of the 10 best crime novels in Germany. In
November 2013 the Swedish translation of the novel, "Utsuddade Spar" (Brombergs
bokforlag) won the Martin Beck award for the best crime novel translated to Swedish
in 2013.

Dror's second novel in the series, "A Possibility of Violence", appeared in Hebrew in
May 2013. It was shortlisted this time for the Sapir prize (the first crime novel in the
shortlist's history) and won the prestigious Bernstein prize for best Hebrew novel in
2014. The novel's translation rights were sold to more than 15 territories and it'll be
published around the world in 2014 and 2015.

Dror lives in Tel Aviv with his wife Marta and their two children, Benjamin and Sarah. 

AK      Dror you have a literary background both academic and then later in publishing, so could you let us know who or what prompted your initial interest in reading and then writing? Was is it your family, or perhaps your schooling?

DAM   I come from a reading-home but definitely not a crime-reading one. My mother having studied English literature in the University, we had an impressive library at home, filled with Classic English literature, but not even one "crime" or "detective" title in it. Maybe this is why my first memorable independent reading experiences, as a child, are linked not with the family-library I grew up with but with the public library in Holon, my hometown.

This is where, with the help of wonderful librarians, I developed an independent sense of reading, maybe even a "taste", and most important, I discovered books as shelter, literature as a space within which one can secretly develop his imagination, his free will, his self.

Until today, days in which I don't read are usually sad days, in which I feel myself much less, as if I disappear.

AK      And let us know what early [and later] readings do you credit in giving you the spark to write?

DAM   I'm not sure I thought about writing then, but I discovered detective fiction as a reader very early on. I was 9 or 10 years old when I discovered Sherlock Holmes, and reading "The hound of the Baskervilles" is clearly the first reading experience I can remember today.

Having finished all of Holmes's stories, the librarian sent me to read Agatha Christie, which I devoured in a few weeks. And then there were no more detectives for me in the library, because there was so little detective fiction translated to Hebrew at the time!

I was so desperate for more, and maybe it was the moment when the will to bring more detectives to Hebrew was born. I'm happy to say that as an adult, first as an editor and then as a writer, I have made my modest contribution to the enrichment of detective-fiction shelves in Hebrew.  

AK      Following your academic studies in Israel and Europe, you entered journalism progressing to the literary world of publishing, with a slant toward crime fiction, so what is it about crime and thrillers that piqued your interest?

DAM   It's funny, but even after so many years of reading, teaching, editing and writing crime, I can't really say what is it exactly about this specific type of literary writing that attracts me so much.

I can try to speculate though: Am I drawn to the constant negotiation of the crime-story with questions of personal guilt and innocence (this is what W. H. Auden thought the main attraction of the genre was)? Or is it Proustian aspect of the detective, meaning the fact the detective never ends, and you can keep reading (and writing) the same character for a whole life time?

And maybe it is simply the repetitious nature of detective fiction, the fact that i can derive pleasure today from the same literary-structures I discovered as a child… 

AK       And why do you consider the crime novel to be one of the most popular fiction genres [outside of children’s fiction]?

DAM   I think the genre's global popularity has to do with the fact that, from its beginnings in 19th century crime fiction, it dealt with the most important questions of modernity and modern life. Questions such as the dangers of living in the big city, questions of urban alienation and social control, and of course, the genre's insistence to explore the deep psychology of crime and criminals - criminals that we all are, in one way or another.

AK      So within the crime and thriller genre, which books and writers do you enjoy the most and why?

DAM   I'm particularly drawn to the slow, realistic police-procedurals, which portray true crimes, true criminals and true victims, and explore them with the help of true detectives, made out of real flash and blood.

Georges Simenon was the master, just like Per Whaloo and Maj Sjowall (in their Beck series), and today the best example is probably Henning Mankell's Kurt Wallander novels. But I enjoy immensely other great writers, each of them developed detective fiction in their own way – Ed McCbain, P D James, Andrea Camilleri, Fred Vargas, Karin Fossum, Hakan Nesser, Belinda Bauer, John Verdon, Jan Costin Wagner and many many more.

I also like very much the ways non-crime writers contributed to the genre in individual works: Borges and Karel Capek's short original detective stories, Antonio Munoz Molina's "Bitter Moon" or Michael Chabon's "The Yiddish Policemen's Union" are good examples.       

AK      Was The Missing File, your first written work, or do you have older manuscripts in your bottom drawer?

DAM   It's definitely my first finished novel, although I wrote (and even published) a few short stories before, and even started writing (and left unfinished) an early novel, many years ago…   

AK      Considering the diversity of sub-genres within crime-fiction, what steered you toward the police procedural? And can you tell us what police procedurals you’ve enjoyed both older work as well as contemporary?

DAM   As I mentioned before, I like crime novels which deal with true crimes, criminals and victims, and that "use" the genre's advantages to explore human lives, human destinies and human choices. I think that every death is a tragedy – for the victim itself, of course, but also for his loved ones and for the perpetrator too - and that a good crime novel should portray these many faces of the tragedy and dare look at the sufferings and sorrows that caused it and that were caused by it.
That's why I'm less drawn, generally speaking, to the thriller or the psycho-serial-killer novels, that are so popular today, despite the fact that they all end with a psychotic breakdown of the serial killer, crying "It was all Mamas' fault!"     

AK      Detective Avraham Avraham is an interesting character, and young, a stark contrast to so many contemporary Detectives who are world-weary with age, and suffering drink, depression or other ailments of the middle ages, so please tell us the genesis of this protagonist?

DAM   Avraham was born from my mixed feelings towards the detective's heritage, I would say. On the one hand, I wanted to create a detective like others, like the ones I love, but on the other hand I had a desire to write a detective who can sometimes be wrong – and also a detective that is searching after traces of innocence rather than after signs of guilt.

One aspect of detective fiction I was always suspicious about is the fact that detectives know best and are never wrong and that they're sure every man is potentially a murderer (like Poirot, for example, often states).
I wanted my detective to be trustful, to search for innocent people, to see innocence even within guilt, and this makes him sometimes a bit blind, but I'm willing to pay that price.

I also wanted to create a detective that cares for the fates of victims and even for the fates of criminals - and for now I'm happy to say he still does.
I hope he'll remain that way in the future, despite what he learns and sees along the way.     

AK      And when your started The Missing File, did you envision your detective becoming a series character?

DAM   Yes! And from the first page.

As I said before, this is probably one of the most appealing aspects of the genre (at least in my eyes) and when I assumed the challenge of writing a Hebrew detective I knew I wouldn't write him just once. 

AK      And your choice to set your novels in Israel is an interesting one, but considering your time in Paris and England did you not consider setting your work in these regions?

DAM   I did live in Paris and in Cambridge for quite a while, and I love both cities and even think I'm familiar with them, to an extent.

But at least for now I can imagine writing only about a place and about people who I truly know - and there's only one place, one society and one "psyche" that I feel I know enough to write about – and that's Israel and Israeli society and the Israeli "psyches", so to speak. But it's true that Avraham is fascinated by other places and cultures and I hope that one day he'll have a "Parisian" investigation and a "British" one…

AK      Though your work was written in Hebrew, it has been translated into several languages, so tell me how difficult was it for your agent to place your work internationally?

DAM   I think it wasn't that hard. Crime readers around the world are probably the least "nationalistic" and the most "universal" of all readers – they love reading crime novels from around the world, discovering new landscapes and cultures while remaining within the frames of a familiar narrative structure.  

AK      I see you are a family man, which is interesting as both The Missing File, and A Possibility of Violence involve children in the narrative so is this an area that interests you, the family and the mysteries of childhood?

DAM   Definitely. I've even consciously decided that the first three novels in the series would be a "domestic trilogy", and that only afterwards Avraham would go on to discover other investigations, other crimes.

I guess the reason is, as I said before, that I wanted to write about true crimes, criminals and victims, and the home is still, hellas, the most frequent crime-scene of all (a fact that the psycho-serial-killer novels ignore; reading them you can imagine that most of us are being hurt by Jack the Rippers and not by our loved ones). And it is probably also my own first "crime scene", meaning the place in which I was, for the first time, a victim, a criminal and a detective all at the same time. 

AK      Your debut novel The Missing File was highly acclaimed with the Martin Beck Award and being shortlisted for the CWA International Dagger, so how did this affect you mentally when considering your sophomore work?

DAM   I have to say it put me in an awkward position. 

The first novel did well but Avraham himself, my protagonist, didn't do so well in the novel itself, his investigation didn’t end well at all, and so in a way I had to deal with two different experiences while writing the second novel: "his failure", "my success".

I think I dealt with this by internalizing the "trauma" of the first investigation (Avraham's trauma but probably also mine) into the second novel's plot, forcing both of us to deal with it. 

AK       How did the idea for ‘The Possibility of Violence’ come about?
It was born from an uncanny conversation I had with my 4-years-old son Benjamin.

We had dinner one day when he suddenly asked me, "Do you know I had a father before you?" and then added, "But he's already dead."

In the following days I tried to understand what he meant but he didn't have anything to add and just repeated the same sentences about the previous dead father.

I had no solutions to this mystery but our conversation haunted me - and inspired a similar scene in the novel I started writing.

AK      I see you are writing full-time now, so are you going to continue with the adventures of Detective Avraham, or have you other ideas in the pipeline?

DAM   I'm now writing the third novel in the series, which terrifies me a lot.
I'm not sure about its title yet but it's probably going to be "The policeman who went down the stairs and disappeared". And it's Avraham's first real murder investigation. After it's finished? Who knows? I do know I want to write other stories, other novels, but it’s probable that Avraham and I will get back together, this time exploring other places and other crimes.

AK      Though I avoid politics as I find it poses emotions that can get ugly, but as a resident of Israel, which currently is embroiled in a difficult situation with Palestine making the international news – it would be remiss of me not to ask what it is like being a writer living and seeing the horrors [on both sides] of the current crisis?

DAM   As a citizen of Israel, and a politically involved one, it's terrible.

I strongly believe that Palestinians and Israelis can share this unholy piece of land and live in it as neighbouring communities, and this awful summer left me almost desperate – but only almost. I still believe that the fight for just and equal lives for everybody living in Palestine\Israel is not lost, although it won't be an easy fight.
As a writer, and especially a crime-writer, it is a double challenge. In a society where so many lives are lost so easily I feel a crime writer has a mission: to restore the preciousness of life by means of telling the story of one tragic death that could have been avoided.

AK      And finally tell us a little about your current reading, as well as what you are working on, and what we are likely to see from your pen?

DAM   As for reading, I discovered and I enjoy very much an early Japanese crime novel, "Inspector Imanishi investigates" by Seicho Matsumoto (translated to English by Beth Cary). As for writing, I'm about to write the ending of the third Avraham novel and I hope you'll be able to read it in English soon…

AK      Thank you for your time and insight

‘A Possibility of Violence’ and ‘The Missing File’ by D A Mishani can be purchased from the Shots Bookstore here [both Quercus UK and HarperCollins US editions, and discounted with a promotional offer from their list prices]  

Quercus London £16.99

Harpercollins New York $22.99

Shots Ezine would like to thank Quercus Publishing, Sophie Ransom and Dror Mishani for help in organising this interview. 

The Mysterious Mark Timlin

As the Shots Team mingle at various crime / thriller fiction events, book launches and genre related activity, we’re often asked the question ‘whatever happened to Mark Timlin?

For those ‘in the know’, Mark Timlin, is an accomplished crime novelist setting most of his violent tales of noir on the backstreets of London, especially south of the Thames – with most notoriety and acclaim being reserved for his Nick Sharman mysteries, which were televised starring a young Clive Owen. Timlin also wrote under a series of pen names, including Lee Martin in his notorious Gangster’s Wives. Mark combined his fiction writing with book reviewing, working for many publications such The Independent on Sunday, as well as Barry Forshaw’s Crimetime, and he would appear at many literary events.

Mark Timlin with fellow writers Mike Ripley, Martina Cole and Russell James at Crimescene 2002 at the NFT on the Southbank of the Thames

While on business outside of London, I went to see Mark and his partner the book publicist and marketer Lucy Ramsey [formerly Publicity Director at Quercus, Lucy has spent her career in book marketing having previously worked for Headline, Hodder, Chatto and Gollancz, among others]. Mark and Lucy had recently moved out of London, and were enjoying their time away from the metropolis. It had been several years since Mark and I had clinked glasses, so I was relieved to see the Hard Man of crime-fiction in such good form, and in rude health. 

We laughed at the various times our lives crossed, though our chuckling was loudest when we recalled a wonderful lunch hosted by Peter James, with Barry Forshaw. Over wine, Forshaw discovered my passion for the Nick Sharman novels and TV series, so it was of little surprise that he commissioned me to write that section for The Greenwood Encyclopaedia of British Crime Fiction. I have extracted a section of my essay, at the bottom to act as a primer for Timlin’s Sharman novels and TV series.

So over coffee and cake, I discovered that Mark has taken a break from writing fiction, though he still reviews books for Crimetime, and various other printed as well as online publications. We laughed at the efforts Mark and Lucy had to put into refurbishing their new house, and toasted farewell to Mark’s legendary American Limousine that he had to sell during his relocation from London.

I am always amused by the surreal coincidences that life throws at us. While we chatted about what books we’d recently enjoyed, and what films and TV thrillers had come into our line of sight - all three of us had been captivated about the HBO eight episode mini-series True Detective, from the pen of former literature professor and writer Nic Pizzolatto. I mentioned that the series had reinvigorated my interest in weird fiction, of which I had read much [of that sub-genre] in my youth, and that True Detective, introduced me to the work of Thomas Ligotti. I explained that a great deal of Ligotti’s work is now out of print so it had cost me rather more than I budgeted to collect his work. Lucy Ramsey laughed and told me that many years ago when she was at [Victor]  Gollancz she worked on Thomas Ligotti’s UK debut, the collection Songs of a Dead Dreamer, which was a surreal coincidence considering that I’d known Lucy for many years, but unaware that she worked in publicity on the Ligotti debut [my current obsession]. I told her that if she had copies of this book, she should track them down as they are now worth a pretty penny on the collectors market [thanks to the exposure Ligotti’s work had gained thanks to True Detective].

I asked Lucy what she was up to these days, having relocated outside of London? It seems she is still working the Book PR sector, but as a freelance consultant, working with both publishers, as well as authors directly due to the rapidly changing publishing environment. It seems she can provide authors  and the small press a cost-effective solution to expose their work to the market, due to her contacts and connections within the sector. This is especially attractive to the small presses, and overseas authors [particularly from the US] in augmenting the sales activity [of their British Publishers] when the challenging market has little margin for overheads. I thought this might be of interest to new authors establishing themselves; so Lucy Ramsey can be contacted via her email mslucyramsey@gmail.com if you need any sales / PR support.

So as the sun set on the horizon, I bid Mark and Lucy farewell and thanked them for a wonderful afternoon in their new abode, and that I’d be back, as I enjoyed the time talking about books and of course Nick Sharman.

So for those who have yet to discover the Mysterious World of Mark Timlin, here’s an extract from The Greenwood Encyclopaedia of British Crime Fiction edited by Barry Forshaw relating to the Nick Sharman TV series -

Actor Clive Owen was coming into prominence in the mid 1990’s, following his appearance in the TV series Chancer; when he was cast as the tough South-London P.I. Nick Sharman [World Productions for Carlton / ITV] based on the acclaimed novels by Mark Timlin. As a character, Nick Sharman has his share of problems, a former police officer whose career was derailed due to drink and drugs which also cost him his marriage; he lives on the edge as a private eye scratching a living in the alleyways of South London. He has daughter Judith to support as well as a string of girlfriends and low-lifes who are forever on his case. The young Clive Owen is perfectly cast as Sharman, as he has the bad-boy good looks and a sneer that breaths life into his portrayal of Sharman, but most importantly, his eyes show the pain and the void in his heart brought about from his hard life, living day-to-day, woman-to-woman.

The first of the Nick Sharman adventures was the feature-length The Turnaround [1995] based on the book of the same name, and adapted by writer Tony Hoare and directed by Suri Krishnamma. The Turnaround actually follows the novels’ plot closely. Sharman is on a hunt to clear his name, following a case in which he’s hired by a James Webb [Bill Paterson] to find the guys who murdered his sister and her family. The case goes seriously off the rails and Sharman is on a race to clear his name as he becomes the principal suspect to the murders. Timlin makes a cameo appearance but blink and you’ll miss him. This episode pilot for the Sharman series attracted 10 Million viewers and was the only episode released on VHS.

It was not until 1996 that we’d see Owen return as Sharman in Take the A-Train [Episode 1] with supporting actress [the eye-catching] Samantha Janus playing a page-3 model. This time around Sharman investigates the [apparent] suicide of a former police colleague who appears to have thrown himself off a tower-block. Sharman’s investigation gets himself involved in a gang-war in the neon world of club-land.

Hearts of Stone [Episode 2] is probably the best of the series, due to writer Paul Abbott following the Novel’s story closely. Sharman is in pursuit of a couple of heavy-handed debt collectors when he gets roped by former colleagues from the police drugs-squad to infiltrate a dope smuggling operation. It is a mssion he can’t refuse as the alternative offered is fifteen years on the wrong side of prison bars. The episode features a manic Keith Allen playing to form.

A Good Year for the Rose [Episode 3] is actually based on Nick Sharman’s debut [in novel format], and features a cracking performance from Ray Winstone. Sharman is hired as a minder for a lesbian dancing duo when Winstone playing hard-man George Bright, hires Sharman to track down his missing eighteen year old daughter. The case takes a turn for the worse when Sharman finds Bright’s daughter dead, overdosed in a squalid squat and then Sharman ends up where else? But the local hospital.

Sharman [Episode 4] – The last in the series was an original screenplay, but does feature a scene from Timlin’s novel Pretend were dead and would be the last in this cult series. Apparently due to the uproar about violence on TV, following the aftermath of the Dunblane shootings, Carlton / ITV cancelled Sharman, just as the series was finding its feet. Tragically it has never been repeated on terrestrial or satellite TV, and is long overdue for a DVD release. In this final episode we see Sharman roped into a case of money laundering and dodgy dealings at a local bank. All the while, he’s about to get married.  

Although Nick Sharman is British, his roots from Timlin’s novels are pure Raymond Chandler as the cynical eye he deploys comes from the American P.I. tradition. Timlin will forever be remembered for Nick Sharman, as Chandler is always associated with Philip Marlowe, and those with long memories will always associate Clive Owen with Nick Sharman, despite whatever he does under the shadow of Hollywoods’ famous hill.


THE TURNAROUND [5/04/1995]
Director - Suri Krishnamma
Writer - Tony Hoare
Co-stars - Bill Paterson, Rowena King, Roberta Taylor, John Salthouse

TAKE THE A-TRAIN [4/11/1996]
Director - Robert Bierman
Writer - Guy Jenkin
Co-stars - Samantha Janus, Roberta Taylor, John Salthouse, Gina Bellman

HEARTS OF STONE [11/11/1996]
Director - Robert Bierman
Writer - Paul Abbott
Co-stars - Keith Allen, Roberta Taylor, John Salthouse, Julie Graham

Director - Matthew Evans
Writer - Dusty Hughes
Co-stars - Ray Winstone, Aide Allen, Colette Brown, Hugo Spere, John Salthouse, Roberta Taylor

SHARMAN - EPISODE 4 [25/11/1996]
Director - Matthew Evans
Writer - Mick Ford
Co-Stars - John Salthouse, Aide Allen, Colette Brown, Roberta Taylor, Danny Webb

A Good Year for the Roses (1988)
Romeo's Tune (1990)
Gun Street Girl (1990)
Take the A Train (1991)
The Turnaround (1991)
Zip Gun Boogie (1992)
Hearts of Stone (1992)
Falls of the Shadow (1993)
Ashes By Now (1993)
Pretend We're Dead (1994)
Paint it Black (1995)
Find My Way Home (1996)
A Street That Rhymed at 3AM (1997)
Dead Flowers (1998)
Quick Before They Catch Us (1999)
All The Empty Places (2000)

Sharman and other Filth (1996)

More information available from

© 2007 A S Karim extracted from The Greenwood Encyclopaedia of British Crime Fiction edited by Barry Forshaw

Mark Timlin’s work can be purchased from the Shots Bookstore - here

The Greenwood Encyclopaedia of British Crime Fiction edited by Barry Forshaw can be purchased from the Shots Bookstore - here