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When a student vanishes in Edinburgh, there is pressure on Rebus to find her, particularly as she is the scion of a family of extremely rich bankers. Needless to say, this is more than just the case of a spoilt rich girl breaking out of the cage of family responsibilities, and a carved wooden doll in a coffin found in her home village leads Rebus to the Internet role-playing game that she was involved in. And when DC Siobhan Clarke, a key member of Rebus' team, tackles the Virtual Quizmaster, Rankin finds himself struggling to save her from the same fate as the missing girl.
Consummate plotting has always been Rankin's trademark, and that skill is put to maximum use here. The balance between developing the characterisation of the ill-assorted team of coppers that Rebus assembles and the labyrinthine twists of the plot is maintained with an iron hand, and Rankin's mordant eye remains as keen as ever:
"You okay, John?" Curt reached out a hand and touched his shoulder. Rebus shook his head slowly, eyes squeezed shut. Curt didn't make it out the first time, so Rebus had to repeat what he said next: "I don't believe in heaven." That was the horror of it. This life was the only one you got. No redemption afterwards, no chance of wiping the slate clean and starting over. Rebus said "There is no justice in the world." "You'd know more about that than I would", Curt replied.
--Barry Forshaw --This text refers to an out of print or unavailable edition of this title.
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THE PLOT. When a young student disappears, something in Rebus's gut tells him she's not a runaway. For a start, she comes from a super-rich family. But there's also an intriguing clue: a coffin of a wooden doll found near her home. So Rebus embarks with Siobhan Clarke on an investigation that spans age-old crimes and modern technology in an Edinburgh built (almost literally) on the graves of the dead ...
I loved the use of Edinburgh, the old granite lady herself, as virtually an extra character. The premise that certain haunting places produce (and reproduce) particular crimes is one also brilliantly used in Dexter Dias's thriller "Power of Attorney", only that Dias uses London to equally compelling effect. James Lee Burke uses Montana similarly in "Bitterroot".
This is the best Rebus for some time. I can't recommend it too highly.
And if you like Rebus, I'd also strongly recommend Dias's cop/lawyer David Kilkenny in "Power of Attorney" and Billy Bob Holland in "Bitterroot".
Rebus's character has developed brilliantly, and the way characters from previous novels appear again is deftly handled, almost like a crime Dance to the Music of Time.
It's not the strongest in the series, perhaps because of the lack of a more apparent nemesis for Rebus, either in the police force or in the crime underworld. That said, the standard of the series is so incredibly high that this is not intended as a slight.
Highly recommended if you've already read Rebus, but if not, start at least with Black and Blue, if not at the beginning of the series.
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