M. R. Hall’s take on the detective thriller is to have the protagonist a coroner, Jenny Cooper, who has investigative duties into suspicious deaths (‘a coroner examines all unnatural deaths which haven’t obviously been caused in the conduct of a crime’) and is independent of the police – answerable to no one but the Crown.
Her beat is Severn Vale, and so
Bristol and south Wales figure largely in the series of novels, of which The
Chosen Dead is the fifth. Her private life is complicated. She seems good
at choosing some awful potential replacements for her equally dreadful
ex-husband; all the while her son is growing up and making his own mistakes in
the field of personal relationships. Jenny’s earlier reliance on anti-anxiety
medication, bought on the Internet, here seems to have abated, but her nerves are put to their limits through her feisty and determined single-mindedness not to be deflected from
her duties by the influential, the deranged, the Establishment, or the
British secret services.
In The Chosen Dead Jenny
is concerned, from a growing pile of cases, principally with two
deaths: the apparent suicide of a young African aid worker who jumped into
traffic from a motorway bridge, and the sudden death from meningitis of the
young daughter of a family friend of her husband’s. The obnoxious and powerful
civil servant Simon Moreton continues to try to keep Jenny in check, and there
is a young and attractive spook who does her best to deflect her from
discovering the truth amid all the nasty goings on at Britain’s chemical and
biological weapons laboratories at Porton Down in Wiltshire, as well as in the
global pharmaceutical sector. It gathers breakneck pace and there is genuine
suspense as Jenny’s son becomes infected by a life-threatening
antibiotic-resistant bug, thanks to his mother’s involvement with the
perpetrators and whistleblowers.
The Chosen Dead is a
thoroughly entertaining and gripping yarn and will not disappoint aficionados
and new listeners alike. With but a single criticism. The opening reads
as if it was drafted to accompany the title sequence of a film adaptation. It sets the scene, but it makes the book too much like a
hundred other thrillers set in the glamorous past of the super rich and successful. The novel’s ‘backstory’ could, I suggest, have been revealed through newspaper articles Jenny and her sidekick Alison turn up later in the narrative. It picks up, of course, when Jenny Cooper takes centre
stage.
Opening notwithstanding, first-class entertainment.
* * * *
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