Reader Reviews

Write your own review

Cloggie Downunder

another Atkinson masterpiece.
Death At The Sign Of The Rook is the sixth book in the popular Jackson Brodie series by award-winning best-selling British author, Kate Atkinson. When Dorothy Padgett dies, Jackson is asked by her twins, Hazel and Ian, to look for a painting missing from her bedroom.

It’s a Renaissance-era portrait and they claim not to know if it’s worth anything, but want it back for sentimental reasons. They believe that Dorothy’s carer, Melanie Hope took it when she left but they don’t want to involve the police, and Jackson feels there’s something decidedly shifty about the pair.

He quickly deduces Melanie’s phone is a burner, checks out the address (fake), chases the painting’s provenance (something dodgy there too) and then does a little research into art theft. A couple of interesting items online have him wondering if the same woman is posing in roles that virtually guarantee her invisibility (cleaner, carer, housekeeper) and then making off with valuable artwork.

One of the thefts was from Burton Makepeace House, the home of the Marquess and Marchioness Milton, and DC Reggie Chase investigated without success. A call from Jackson Brodie, about this, or anything, isn’t really welcome: “Jackson Brodie’s MO was disruption. His attitude to the law was like that of a Wild West sheriff. All that coincidence-being-an-explanation-waiting-to-happen baloney was just a cover for not following procedure.”

“She was reluctant to let him back into her life. He constituted part of the mess out there on the mean streets. Whenever she saw him, he brought a tsunami of it in his wake that would have defeated Marie Kondo.” But what he tells her is certainly intriguing…

Atkinson’s plot is interesting and topical, and before Reggie and Jackson find themselves in the midst of a Murder Mystery Weekend where not all the corpses are actors, and not all the guns are props, there is a visit to a funeral parlour and a crusty old neighbour, and Nancy Styles novels left behind. Atkinson throws a snowstorm and a murderous prison escapee into the mix just to add a bit more excitement. By the time DCS Louise Monroe and her team turn up, Reggie has been reminded that Jackson “was always making the distinction between justice and the law. She was always trying not to.”

But Atkinson’s strength is her characters and some of their inner monologues are an absolute joy, filled with dry British (and often very black) humour and understatement. Jackson’s narrative is peppered with Julia’s (previously delivered or else anticipated, but inevitably critical) comments, or those of what he calls his “pop-up Court of Women” any time female issues come up, while Reggie is often plagued by Jackson Brodie comments.

Atkinson carefully builds up her characters until the reader is invested in them and really cares about their fate. Of those characters, Honoria Milton delights while Ben and Simon pull at the heartstrings. There is humour, too, in certain situations and the snappy dialogue, with its tangents and asides, including many laugh-out-loud moments.

Atkinson has a wonderful way with words and some of her passages are superbly evocative and vividly descriptive. While it is not essential to have read the earlier books of this series, denying yourself that pleasure is surely cruel. This is another Atkinson masterpiece.
This unbiased review is from an uncorrected proof copy provided by NetGalley and Random House UK Transworld.

Other books by Kate Atkinson at BookBrowse

8 more...