Amazon.co.uk Review
Our culture's obsession with serial killers as its own dark shadow sometimes obscures the fact that people kill for other reasons than sex. In
Killing the Shadows Val McDermid's new detective, academic psychologist Fiona Cameron, has become something of a maverick because of her insistence on using other sorts of profiling as well as the standard psycho-sexual ones; she has refused to work for the Metropolitan police any more because of a murder they failed to solve because they took another psychologist's advice. Yet the woman murdered on Hampstead Heath preys on her conscience, along with her own murdered sister, as she works for the Spanish police on a killer who decorates the sights of Toledo with dead tourists. And then someone starts killing crime writers and Fiona's lover Kit is on the killer's list. Val McDermid's ingenuity and solid sense of how crime and investigation works have made her one of the dominant figures in contemporary British crime writing.
Killing the Shadows is one of her best books yet, both for its powerful critique of modern policing and for the serious questions it asks about our fascination with the deadliest of criminals. --
Roz Kaveney
Review
'McDermid's capacity to enter the warped mind of a deviant criminal is shiveringly convincing' Marcel Berlins, The Times A Place of Execution: 'Compelling and atmospheric... a tour de force' Minette Walters The Wire in the Blood: 'This is a shocking book, stunningly exciting, horrifyingly good' Ruth Rendell
In McDermid's latest novel, anyone who isn't a serial killer is either a victim of one, a relative of a victim, investigating serial killers, teaching university courses on them, writing books about them, or any combination of the above. Makes you nervous doesn't it? Professor Fiona Cameron is an academic psychologist who uses computer technology to help police forces track serial offenders. In short, she's a criminal profiler who happens to live with thriller writer Kit Martin, who has become well known as a novelist in the mode of Thomas Harris. Then a serial killer appears intent on ridding the world of crime writers, who from the evidence of this novel are such an unpleasant bunch that one can only applaud his good taste. McDermid has moved to the rarified atmosphere of those crime writers whose books are advertised on television. That proves that she's a player and you can lay money on the fact that this book will climb the best seller lists. (Kirkus UK)
As Francis Blake leaves the Old Bailey, gleefully celebrating the dismissal of the charges against him for raping and murdering a young mother on Hampstead Heath while her two toddlers watched, neither Steve Preston of the Met nor his good friend, psychological profiler Fiona Cameron, is supposed to still be working the case. But they are, unofficially, whenever they can steal a moment. When she's not off in Spain consulting about a serial killer on the loose there, Fiona is also worried that her partner, thriller writer Kit Martin, may be next on the list of a serial killer who's already polished off three crime writers in the same gruesome manners they depicted in their fiction. Steve and his colleague Sarah Duvall, busy scouting leads Fiona's provided to the Hampstead murder, think Kit's in no danger, but when he's abducted, Fiona heads off to search for him in the wilds of Scotland, where the killer is planning to exsanguinate Kit and paint the cabin walls with his blood, just as in his book. Sarah will deal with a publicity-seeking confessor and Steve will nab the real Heath villain, but it will be up to Fiona to save Kit-down a pint of blood and in the rifle sights of his tormentor-and finally come to terms with the her young sister Lesley's murder by a serial killer who's never been found. Pretty murky motivation, not helped by the tic of brandishing the perp's journal every several chapters. McDermid has handled the duel between serial killers and profilers better in "The Mermaids Singing "(1996). (Kirkus Reviews)
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