Today I am visiting the wonderful Jenny Kane with the opening lines of my latest crime thriller, Sandman. Please join us
There is shouting on the boat. Commotion. Men and women, encouraged by each other, stronger en masse, pushed against the wall, are demanding water. Haji doesn’t know what started the riot. It could’ve been that more people had pushed up from the stern, escaping the flooding. They were being squashed and have grown desperate. Despair breeds defiance.
Two of the smugglers come down to deal with the situation, both armed. They brandish their weapons in a display of might. Haji sighs. They are deluding themselves if they think they have the monopoly on killing. Despite their guns and their theatrics, Haji reads fear in their faces. People are screaming, waving their fists.
‘No water! No water left!’ The older one of the smugglers presents his empty hands in a gesture of helplessness. He turns and points towards the dark horizon. ‘Italia! Wait! Italia close! Europa!’ The sun rising in front of him hits the metal of his automatic pistol. It shines in Haji’s eyes. People aren’t listening or they don’t believe the smuggler’s assurances. The shouting intensifies and, when that happens, children begin to cry. It’s mayhem. Some passengers have risen to their feet and are approaching their minders, fearless and furious. Demanding water. Pleading for water. The younger of the two smugglers loses his footing and slips. He is angry for his humiliation and to cover up for it he grabs a shabby man closest to him and pushes him down towards the stern. The shabby man falls to his knees, splashing water around him. Another person is thrust on top of him. And another one. The smuggler is throwing people across the deck into the flooded stern. ‘You want water?’ he yells, his voice high with irritation. ‘You got water down there!’ He kicks another person – it’s a woman. Her companion hurls himself at the assailant, but the older smuggler reaches for his pistol and shoots the man.
Dead silence. And then the widowed woman starts wailing and scrambles towards her husband’s body. Others join her and the boat begins to sink.
It was inevitable.
Large bubbles, swollen with air, boil over – the stern submerges within seconds. Everyone presses to the bow, but it’s no good. The bow is going to go, too. Someone, the skipper rushes out of the cabin and sends a flare into the sky. It explodes, red illuminations in the grey morning sky.
People are jumping off the boat before its mass drags them into the depths. The family of five – Haji’s neighbours – are in disarray. The father and Boy have dived in, the father with the four-year-old girl in his arms. The mother and the baby just fell into the sea, and gave in to it without a fight. They went down like a smashed block of concrete. Boy is splashing haplessly, screaming, choking on water. Haji realises Boy cannot swim. He dives in and searches for him in the whirlpool of sinking bodies; his fingers meet Boy’s arm, and they claw at it. He pushes him up towards the light of the rising sun.
It is a matter of seconds for the boat to vanish from sight and a matter of half an hour before the sea swarming with people becomes calm and still. Haji and Boy are treading water, waiting for a miracle. Haji isn’t one to let go and he is right not to – he hears a distant buzz of a helicopter. He recognises it instantly. He knows the slashing of the air with the rotating blades. He points to Boy, ‘Rescue,’ he says. ‘Wave arms!’
They both wave them, and they shout.
The helicopter pauses over their heads. Water ripples around them, unsettling Boy. Haji has to grab hold of him again. A harness on a rope is being lowered from the helicopter and when it hits the surface it is dragged along it, close enough for Haji to get hold of it. He fastens it under Boy’s arms and watches him being lifted to safety. Then he dives between the waves, and swims away. The land – Italy – cannot be too far. He knows helicopters can’t fly far and he can see the outline of the coast. And even if he doesn’t make it to the shore, he’d rather die free than be captured.
This is the fourth book in my DI Gillian Marsh detective series.
In this thriller DI Marsh takes on a seasoned Afghani ex-soldier who is on the mission of taking revenge on the West for the losses he and his kind suffered at the hands of the Soviets and then the Allied Forces that occupied Afghanistan during the War on Terror.
The story takes the reader to Afghanistan, Russia, Syria, Italy and finally Britain.
The array of characters ranges from a Falklands war veteran, through an ex-Rhodesian farmer to a group of young men on a stag night and finally to the homeless living in the depths of the West Country.
Praise for Sandman:
One of Anna Legat’s great strengths is the ability to create a cast of believable and sympathetic characters using well-chosen detail. In “Sandman”, this is overlaid with a sense of impending tragedy as the plot draws them towards the fateful and fatal train journey.
Like a rollercoaster Sandman took me on a breakneck journey, with the route and the final destination impossible to predict. Unstoppable.
This is a book impossible not to finish!
DI Gillian Marsh is a handful. She can be abrasive and insubordinate. She is a thorn in her boss’s side because she simply doesn’t know her place. She is every murderer’s worst nightmare because if you’ve got something on your conscience you won’t shake her off your scent. Her team know not to get in her way as she steams through her cases like a runaway train that will wait for no one. No, Gillian isn’t likeable, but that doesn’t worry her. She wasn’t born to be liked – she was born to get to the bottom of the matter. That takes dogged determination, hard-nosed attitude and never letting go. It is no wonder that with all those characteristics, DI Marsh is affectionately known as Pitt Bull.
I am quite particular about not labelling DI Marsh as a lady-detective. Not because she isn’t a lady, but because she wouldn’t appreciate the label – the gender label. When she’s on a case, she isn’t a woman. Neither is she a man. She has no gender.
She is just a damn good detective.
I have been brought up to take gender equality for granted. I have never submitted to gender stereotypes and have led my life as a human being, full stop. If I had to describe myself, I would never start (or finish) with I am a woman. Womanhood would constrict me to one side of humanity. I wouldn’t want to miss on what the other side had to offer. I wouldn’t want to take sides. So no, I am not a feminist. I don’t see a point in gender wars. I have now passed my beliefs to my protagonist. I won’t have her defined by reference to men or be seen through a man’s eyes. Gillian doesn’t aspire to be man’s equal, or even to be better than any man. Her straightforward and uncomplicated objective is to be the best in absolute terms, without bringing sexuality into it.
I like to think of DI Gillian Marsh as the prototype of the next generation – the post #me-too generation. I like to think of her as the #not-me generation. No one would dream of reducing her to her femininity. No man would dare to take advantage of her womanhood. Make no mistake, Gillian Marsh would not be abused. Being a woman does not make her vulnerable. That’s how she is and that’s how I like her.
That’s what makes her a damn good detective.
Gillian is tenacious and methodical. She analyses cases to death. She calls that inventorising. In her head, she runs an inventory of facts and evidence, mulls them over, tries different angles and matches all the pieces until they all fit together. She doesn’t give up. That constant and entirely absorbing process leaves her little time for domesticity.
Her daughter, Tara, is her Achille’s heel. Gillian is an impromptu mother. She blunders through motherhood, plagued by insecurities and anxieties. God knows how she gets through mothering without major incidents! Probably beginner’s luck. And there is another character flaw on the domestic front. It is to do with men. Gillian doesn’t know quite what to do with them after sex. Men seem to slip through her fingers like sand. She can only give them so much of her time, and that is never quite enough. But that’s the choice she knows she has to make. She has to choose her job. After all, she may not be the greatest lover the world has seen, but –
…she is damn good detective.
Re-blogged from Accent Press:
My third DI Marsh mystery, Thicker than Blood, is being released into the wild world tomorrow.
To give you the flavour of the story and the characters, here comes a sneak preview:
Liam Cox is twiddling his thumbs, willing the priest to take a shortcut to that part where he says, ‘Go forth, the Mass is ended’, the answer to which is quivering on Liam’s lips, ready to come out: ‘Thanks be to God!’
But the priest is taking his time, sending out fumes of frankincense and pronouncing the glory of the Almighty left, right, and centre. Mother must have paid a fortune for this memorial service and she expects good returns on her investment. It will be a while yet. Liam has to grin and bear it. He remembers those long church hours of Sunday Mass stretching into infinity, a purgatory for a small boy with his mind on climbing trees. Today, nearly forty years later, his mind is still on earthly matters, such as his stumbling business. Mother could help, if she wanted to co-operate, but before they get to that he must sit through this spectacle, biding his time. This will please her. ‘Your father will be proud of you,’ she will say, as if Father would have given a toss even when he was alive. Now that he is dead, and has been so for two years exactly, he cares even less. But it matters to Mother. She still believes in all this mumbo-jumbo of praying for the dear-departed in the hope that it will make their afterlife easier.
Oh well, you can take a nun out of a nunnery, but you can’t take the nunnery out of a nun.
‘God, give me strength!’ It is rather hypocritical of Liam to pray for divine intervention under the circumstances of his uncharitable thoughts, but he hopes the loving God will overlook them.
He fidgets, and Mother shushes him, just like she used to when he was a youngster. She puts her forefinger to her lips and frowns at him, whispering, ‘Sit still!’
Liam turns to sit on the other cheek, because the bench is hard as hell and his backside is aching. He catches a glimpse of people on the back pews. Not many people. Maybe ten in all. They are old faces he remembers vaguely from his childhood, faces of no significance now. Right at the back sits a man. He also has a face that is vaguely familiar, but Liam can’t put a name to it. He isn’t that old either: late forties, thick blond hair and beard, Liam’s build. What is he doing attending a mid-week memorial Mass? Who is he? Liam has a strong feeling he should know who that man is.
The priest bellows, ‘Go forth, the Mass is ended!’
‘Thanks be to God!’
When it rains, the freshly turned soil glistens with its own oily sweat. It gives out the scent of musk. It is carnal. Unwashed. Intimate. Mildred loves the smell of ploughed fields in the rain. It makes her feel alive and, at the age of seventy-six, it is a feeling to be cherished. She inhales deeply and holds it in, getting intoxicated on fresh air. Her thoughts ebb and flow inside her skull, the rows of turned earth an extension of her brain waves. She pauses for the hundredth time, and scans the fields. They permeate her. It isn’t so much that she owns them as it is that they own her.
Raindrops crack open against the sou’wester she is wearing over her scarf. It is an old scarf – they don’t make scarves like that anymore. It’s the kind the Queen favours, with a bold floral pattern and a rich, aged-gold border like a picture frame. Her green waterproof anorak keeps her bones warm and dry inside. She could stand here and look at the fields for hours. And inhale them. Mildred sucks in the air greedily. Young people don’t appreciate the simple pleasure of drawing breath, she thinks. They take in air and spit it out without relishing it, like fast food.
‘Mum, we’ve got to be moving. I’ve got millions of things to do back at the office,’ Liam points out with an exasperated scowl. He is a big bull of a man; fleshy, flushed with the effort of walking, already short of breath. And patience. Just like his father, Mildred observes. Reginald too was always annoyed, always had something better to do, something urgent waiting round the corner. He was chasing it relentlessly, like a dog chasing its own tail. He had had no time or patience for Mildred – he simply tolerated her. Nor had he had the time or patience for the land. He had cultivated it without love, without a pause for thought.
‘Mother!’ Liam is talking to a brick wall.
‘Give her a break. She’s catching her breath,’ Colleen tells him.
Mildred smiles at her daughter. In her doe-brown walking boots and a knee-length pleated skirt of demure black under the frills of her exuberantly purple poncho, standing under a green-and-red check umbrella, Colleen is a mismatch of colour and style. Her ripe-plum coloured hair, pinned on top of her head, has fallen out of the bun in thin wisps and is clinging to her neck and cheeks as if the purple hair dye has run. She is puffed and frumpy. She has never cared about her appearance. No wonder she has never married. It used to worry Mildred, but it no longer does.
It is four p.m. Mildred was hoping she could offer them a snack before they left, considering the effort they have made to be here. They didn’t have to come to the service. She half-expected to hear the usual excuses: a dentist appointment, a meeting with a client, the car has gone for service…They surprised her. Seeing them arrive gave her that tiny flutter of motherly pride deep inside her stomach. Liam had even herded in Stella. She stepped out of the car wrapped in a slinky black fur coat, wearing six-inch heels, looking like a penguin on stilts. She used to be a beautiful girl – peachy complexion, slender body. No wonder Liam put up such a fight over her and used every trick in the book to seduce her away from his brother, David. Would he do the same nowadays? He probably would. He is his father’s son. He owns things and he owns people. He won’t let go of what’s his without a fight.
They are standing together. Stella is desperate to squeeze under his umbrella and save both her fur and her hair from ruin. Her narrow heels have sunk deep into the ground and she is leaning forward to maintain balance. An expression of angelic patience graces her face. ‘She’s going to catch her death in this rain,’ she says, unwisely presuming that Mildred can’t hear her. Mildred can, but she is selective about responding. She won’t waste her breath on flippant remarks. She won’t get herself wound up. Sometimes it is easier to pretend she is deaf as a post. That way she can keep track of what is said behind her back.
‘Mother, please, let’s get a move on!’ Liam is such an ankle-biter.
Mildred stirs. ‘Will you stay for a snack and a cup of tea?’ she asks. ‘It won’t take Grace a minute to whip up sandwiches. I have scones and fresh clotted cream. Strawberry jam, homemade…’
‘I’m in, Mum. I’d kill for hot tea. And your strawberry jam…’ Colleen takes her gently by the arm and leads her down the path.
‘Thank God for that!’ Mildred hears Liam mumble under his breath. She is not sure what he is so grateful to the Lord about: the strawberry jam or her being on the move again. His shoes squelch on the muddy ground. Stella’s heels dig into the clay like chisels. When did she become such a madam? She used to live two houses down the lane, on Dove Farm. She used to run about barefoot.
It was his mother’s idea to walk to church. There was the civilised option of taking the car, but she would have none of it. ‘There’s a perfectly good shortcut,’ she’d said. ‘I’d be the laughing stock of Sexton’s Canning being driven five hundred yards in a car! It’s only ten minutes on foot.’ So they went treading through mud and cowpats to please her.
At the gate, Esme is talking to that farmhand – an Irishman whose name Liam never remembers. He became a permanent feature on the farm after Father’s death, or perhaps it was only then that Liam started noticing his sulky presence. All sorts of scum crawl out of the woodwork when a man dies. They feed on hapless senile widows, like ticks on blood.
They are standing by the stables where Esme keeps her horse. Rohan, she calls him. It costs a fortune in insurance. Liam wishes his daughter would spend his money in a more constructive way. But she won’t. She has always been contrary, like her grandmother. Chose to study biology. He asked her why she couldn’t go one step further, become a vet. Push herself a bit. It would give her something concrete in hand, but no! – biology is what she wanted. What do you do with biology? Put your diploma in the bottom drawer and volunteer to do odd jobs for the National Trust; let your father pay the bills.
The farmhand sees them approach, hangs his head low, and disappears inside the stables, taking the horse with him. There’s something shifty about that man! Liam is a good judge of character, and he doesn’t trust him as far as he can spit. He will have to get rid of him. He will have to make lots of changes around here.
Esme is waving, a big smile on her face. She is pretty ‑ strawberries and cream, like her mother used to be at that age. What is she doing talking to that man? What can they possibly be talking about?
Of course Nothing to Lose is a work of fiction and any resemblance to actual people, living or dead (dead is more likely to be the case in crime fiction), or actual events is purely coincidental. And yet something or someone real has to feed the author’s imagination…
In Nothing to Lose my imagination gorges on my fears. Real fears, if fears can be real.
The story starts with a head-on collision resulting in four deaths. That head-on collision, on that particular stretch of that particular country road had happened in my mind many a time before the book was written. Every day, travelling to work in the morning I saw that accident happen over and over again.
It is a treacherous road: after a limited length of dual carriageway where every lunatic frantically overtakes everything that moves (slower than himself), the road narrows abruptly and climbs up a steep hill, facing the morning sun which on a bright day can be blinding. Bear in mind that on the other side of the hill there are equally impatient lunatics keen to get to the top ahead of the pack, hoping that luck is on their side. I could easily be one of them (I don’t suffer Sunday-drivers on a Monday morning gladly), but then I see it happen – the head-on – and I slow down, and stay in line behind the slow coach with a belching exhaust. Call it a premonition.
After Nothing to Lose was written, a head-on collision did indeed occur in that very spot, in the dazzling midday sun. A man, having probably pushed his luck too far, ploughed into the oncoming traffic. He got away with his life. My characters did not. But that is where fiction begins.
Nothing to Lose is now OUT and can be purchased in all major bookshops, and online on Amazon.
I was thrilled earlier today to discover a little parcel on my doorstep. It contained my author’s copies of Nothing to Lose, a second instalment of DI Marsh mysteries. The cover is amazing and in keeping with the first book, Swimming with Sharks.
The blurb on the back reads:
After a head-on collision resulting in four deaths and a fifth person fighting for his life, DI Gillian Marsh is sent to investigate. Nothing seems to add up. How did four capable drivers end up dead on a quiet, peaceful country road?
As Gillian unpicks the victims’ stories, she edges closer to the truth. But will she be able to face her own truth and help her daughter before it’s too late?
Nothing to Lose will be launched on 7th April 2017, but it can be pre-ordered on Amazon, through the Publisher or from any major bookshops.