"Don't Let Go" by Harlan Coben

An audio book.

Sexy Daisy tricks older Dale Milton into driving her home from a bar while drunk - a set up. She's done it before. Rex, a cop, gets him to stop. Dale shoots and kills him.

Inspector Napoleon (Nap) Dumas is visited by police (Bates and Stacey Reynolds). He had a twin brother Leo (who he still often refers to as "you"). Leo and girlfriend Diana died together on a train line. Suicide? Murder? His parents (French father) are dead. He volunteers at a battered wives refuge (and attacks husbands who have behaved badly). 15 years before, he used to go out with Moira. When she disappeared he put her fingerprints on the database with instructions that he should be contacted if she found. Moira is Daisy, which why the police are visiting. Nap deduces that Dale was going through a divorce and had fallen into a trap that would damage his case. But the man in the car had a fake name. Perhaps he was a hit man paid to kill Rex?

He consults a schoolfriend. The dead people belonged to the "conspiracy club" - to do with a secret missile launching site nearby. The site didn't used to be secret - school trips were arranged to it - but security was increased when it became an "agriculture research centre" (when the missiles became nuclear?). 3 months after Leo/Diana's death it closed down. Other club members were Hank (brilliant but has mental problems - he's recently disappeared) and Beth (who's been out of contact for years. She's made an effort to hide her identity but they track her down).

Diana's father Oggy has guided Leo through his career. He's a police boss now. He says that on that final night he saw that Leo was high when he collected Diana.

A rumour on social media said that Hank flashed to schoolgirls. Nap tracks down the initiators and finds out it's not true - people wanted to get rid of a wierdo. Hank is found hung from a tree, castrated. He left a tape of that night.

Ellie, the boss of the wives refuge, tells him that she suspects he's been attacking husbands. He doesn't deny it. She tells him to stop.

Nap tracks down Andy Reeves, the boss of security of the old camp. He tells Reeves about the tape. Reeves assaults him, takes him to a warehouse to torture him. Moira saves Nap, killing Reeves. She takes him to the woods to relive the night. She says they were shot at. As she ran away she heard a scream. She reported nothing and has been on the run for 15 years. They go to her room and make love. Nap's still puzzled about why the murders are re-starting after 15 years. He doesn't believe that Hank killed himself. How did Moira escape from the professional hitman?

The FBI interview him with people (including a state prosecutor) around. Nap tells everyone what he thinks. An FBI agent starts to attack him. Nap knocks him out and escapes. He and Moira drive to see Beth. She says that Leo LSD'd Diana as a joke and took her to the wood. A prisoner escaped, and Diana got caught in the crossfire. Nap meets Oggy, already suspecting the truth. Oggy says he found Diana dead and killed Leo, faking their death. He was the hitman who killed Rex (he let Daisy go because she wasn't a witness to the original incident. He killed Hank. Nap stops Oggy killing Beth, him or himself. He realises that he might have caught his vigilanty tendencies from Oggy. He plans to live with Moira,

Fast paced. A good read. Some phrases attracted my attention -

• "Daisy wore a clingy black dress with a neckline so deep it could tutor philosophy" (parodying the hard-boiled style?)
• "the play button descends with an audible click" (but aren't all clicks audible?)
• "Hank's eyes dart about like scared birds trying to find a place to land" (from Nap's PoV - which explains why it's a cliche?)

Other reviews

• Kirkus reviews (What secret could the Conspiracy Club have discovered that would remain so dangerous for so long? Sadly, the answers are neither as interesting nor even as surprising as the setup. This may be the first time most of perennially bestselling Coben’s readers will beat his hard-used hero to the solution.)

"Some histories of the Sheffield flood 1864" by Rob Hindle (Templar Poetry, 2006)

A pamphlet of poems from Staple, etc, with adverts from the Sheffield Telegraph and Sheffield Times, 1864. The poems are about victims (there were over 250) and survivors - slices of life all presented in much the same voice though one's a 1st person PoV by a dead 14 year-old. I like the pamphlet - as much for the factual info as the poetry. A suicider was saved from the river and locked up over-night. When the water rose to his armpits he pleaded to be let out. He survived, but the Inspector who freed him caught typhus and died.

"Amicable numbers" by Mike Barlow (Templar poetry, 2008)

A pamphlet of poems from Dreamcatcher, Interpreter's House, Poetry Nottingham, The Rialto, Seam, Smiths Knoll and Staple. I've been in all those magazines. Many of them have long gone.

I like some of the lines - e.g. "You're a crowd of strangers at the crem" (p.23)

I like some of the poems - e.g. "The Long Loss" and "Driving home". "The house without memory" is an interesting experiment, based on "This is the house that Jack build". It uses rhyme.

There's a typo on p.9 - "An obedient hounds sleeps at our feet".

Other reviews

• Kirsten Irving (Barlow is concerned with the significance of intimate moments and quiet observations, from the blister on a palm left by a wedding ring to a phone call to a dented charm. This works well in the unspoken frustration of ‘A First Anniversary’ ... I don’t feel the observational style comes off quite as well in ‘The House Without Memory’.)
• D A Prince (It provides more nourishing reading than many full-length collections.)
• Tony Williams (the methods Barlow uses to explore this material are quiet, elliptical: he generally uses a slightly prosaic free verse, which needs the strong images he puts in to quicken things ... When things go wrong, when the sense of intimacy isn’t sufficiently realised, the poems can look slight (I didn’t like ‘Cauliflower Cheese’, for example); and sometimes (‘Shift’) I was left wondering whether a poem was slight or, rather, delicate ... My favourites here are the ones where Barlow allows more leeway to the strangeness of his imagination—‘Twins’, for example)

"Prague Spring" by Simon Mawer

An audio book.

It's 1968. Two Oxford students, Mark (1st year science, a Northerner) and Eleanor (2nd year English, more middle class), discuss the long vac in a noisy pub. They only know each other because they're in the cast of a play. She suggests that they hitch-hike around Europe just as friends. On the way to the coast they stay at her parents' in separate rooms. She tells him she still has occasional sex with her ex-fiance Kevin.

In Prague, embassy employee Sam (who's in a cooling relationship with pretty Stephanie, who's returning to London) flirts with Medalina who sleeps with Lenka who, he discovers after, was an East German honeypot spy when she was 15. Prague has experiencied a few months of relative freedom. The embassy staff speculate over what to do if Russia tries to suppress the Dubchek revolution.

Mark and Elli start hitch-hiking. She can speak French - he can't. After smoking pot they have sex, which means more to him than her. She confesses later that she can't let herself go during sex, perhaps because her mother had affairs. She'd hoped it would have been different with Mark - she likes and trusts him - but she still doesn't enjoy sex. They get picked up by a US band, "Ides of March". They meet a cellist who knows about Oxford and is soon to perform in Prague. They decide on a whim to head for Prague. To their surprise they get through the barrier - "a barber's pole, a jousting lance" - at the border with a minimum of fuss.

Sam meets Lenka's mother who tells him stories about the past - she was recently offered a medal and compensation for her rebellious husband's death. Lenka's mother has a partner who belongs to the party. Thanks to him she's a student (but she slept with him?) Sam and Lenka stumble upon a Russian army exercise. They pop to Munich and back, taking advantage of his diplomatic immunity. They pick up Mark and Ellie. Lenka gives them a tour of Prague and sorts out accomodation. The Moody Blues are in town. They see "Ides of March" in action (did Ellie share pot and have sex with them? Mark suspects so. Ellie says that what she does with her body is not his problem) and the cellist's concert. After the concert, 2 russian musicians want to defect. Sam lets them stay overnight in his flat.

The Russians invade. Sam is told to come to the embassy and not bring Lenka. Stephanie desperately tries to contact him. Elli and Mark get caught up in street action - they see Swastikas painted onto the tanks. Mark phones Sam, tells him that Lenka's been shot. A convoy's arranged out of the country - Elli, Mark and the musicians are in the same minibus. Sam rushes to the hospital. It's touch and go. Safe in Germany, Mark feels that he and Elli have recently only been together because of the situation. She says she liked Lienka and wonders if she's a lesbian. They decide where to go with the toss of a coin.

[It works for me, maybe because I'm interested in Prague. It didn't seem over-researched (the researched bits are sneaked in when czechs tell english people about their past). Videos of the Moody Blues from that time are on YouTube! Compromises, chance and fate are abiding themes. I imagine that Sam will marry Stephanie and that Eleanor will look back on the journey as a turning point. There are little glimpses of the future - e.g. at one point we're told that Mark will recall a kiss with a married woman for the rest of his life and she would later die in a New York car accident.]

Other reviews

• Roberta Silman (this consistently interesting novel adds a resonate dimension to an historical event about which we thought we knew all there was to know)
• Lisa Hill

"Honshu Bees" by Dorothy Yamamoto (Templar Poetry, 2018)

A pamphlet of poems from The High Window, The Interpreter's House, Orbis, South etc.

None of the poems tried too hard, and all had something to like. The most common shape (of the more successful poems anyway) is a surrealism/symbolism that gradually takes over from an initial observation.

"Abandoned bike" starts with "I wonder when the abandoned bicycle/ lost its last bit of bikiness.". It's easy to guess how this might continue. It manages to end with some less-easily-guessed ideas - the final loss of "how to be unique - the one/ pulled from a rank of slumped neighbours// to enjoy that special taste/ of spun air, that journey home".

Some make so little use of line-breaks that they might as well be prose - "Hares at Dublin airport" and "Autumn wasps" for example are in short-lined couplets, the lyricism of the final lines fitting easily within the style of Micros.

"Hoovers" and "Exotic" seem too light to me. I much prefer "The sound of paper" (my favourite) and "Honshu bees".

Other reviews

• Wendy Klein (In addition to her marvellous observations of animals and insects, her subjects include poems that explore her Oriental/Anglo-Saxon heritage. Her parents, particularly her father, are portrayed at various stages in their lives. ... Every poem here is so much larger in scope than its words on the page, but none more so than the title poem itself. )
• Matthew Paul ( the poems which chime with me most are those which describe Yamamoto’s English mother and, more often, her Japanese father ... Yamamoto’s depiction of surreal memory is wondrous, particularly in the title poem)

"The girl who got onto the ferry in Citizen Kane" by Sean Martin (Templar poetry, 2018)

A pamphlet of poems, one of which won the Wigtown Poetry Competition. The first poem, "Roger Barrett: Works on Paper" is provocative - short lines, essentially a list. Many of the other pieces - especially "Ballad" - are beyond me.

"Wish You Were Here" by Jodi Picoult

An audio book.

Diana (29) works for Sotherby's in New York, selling art (she used to be an artist). She has a plan for her life. Her partner is Finn, a doctor. Her art-restoration father died 4 years before. Her mother, who left years before that, returned with early onset Altzheimers and is in a care home. Diana and Finn have planned a holiday in the Galápagos Islands - she expects to be proposed to there. At the last moment he has to stay - Covid has broken out. When she arrives at the islands, her hotel is closed - lockdown. At old lady offers her a house. Her son Gabriel isn't friendly to her initially. She befriends his daughter Beatrice (14) who can speak English and (unknown to her father) is a cutter. The mother has left the family. Some messages from Finn get through but she has trouble replying. In the end the messages sound like covid-diary entries.

There are flashbacks to her career. Her best friend at work is Rodney, flamboyantly gay. In a side-plot, Kitomi had decided not to sell a painting that was on the cover of a Night Jars album, putting Diana's job at risk.

She has private talks with Gabriel and his daughter (who was bullied at school - later we learn that unknown to her father she's a lesbian). Her mother (a photograper, a Pulitzer prizewinner) has covid and soon dies.

Diana wonders why she's reviewing her relationship with Finn. Gabriel tells her that fishermen cut off shark's fins and throw the shark back into the water. She sleeps with Gabriel while feeling guilty that she doesn't mourn her mother's death. Beatrice sees them and runs away. Beatrice has hoarded (instead of posted) the postcards that Diana has written to Finn.

She wakes up and it is all a dream. While she had covid (she nearly died) in Finn's hospital she had vividly experienced months on holiday. She realises that parts of the dream had real-life causes - delirious, she'd told Finn about her doubts regarding their relationship, for example. Her mother isn't dead. but a few other parts of her dream are strangely true. She feels she's been saved for a reason. She tries to contact others who've had vivid "parallel world" experiences.

She tries to make up with her mother (via video link). When her mother contracts covid she breaks into her room, takes off her mask. Her mother recognises her for the first time in years. Diana's heard about "terminal clarity" - covid has given her mother a way to understand things, to remember other places. She soon dies. Because Diana's taken off her mask, she and Finn have to quarentine for 2 weeks. He's initially angry. He proposes. She says "you're perfect. You're just not perfect for me"

There's an epilogue. 3 years later she's an art therapist. She's living cheaply with Rodney. She visits the Galápagos Islands. She seeks correspondences with her dream.

There are many standard situations (especially the covid-related ones). There are some standard plot twists. These are often foregrounded, giving the book a literary feel. I was surprised that Diana didn't analyse her dream - why was Beatrice a lesbian? At times I felt that the author had done Covid and Galápagos research and wanted to find a way to use it. And yet, I remained interested.

Other reviews

• laurasbooksandblogs (I went into this book thinking that Covid was going to just be a small element of the book, the element that just gets Diana to the island by herself and causes this conflict where she is forced to choose between the life she had planned and the life that she fell into. ... Once the twist occurred, I began to try to predict where the story was going next. Surely, Diana had been transported to some limbo state with others who were dead or dying. And she was going to find that her found family on that island were no longer alive once she researched it further. Luckily, the story was a bit less predictable than that as the book makes a U-turn back into a standard romance book. ... we see her break her desire to plan her life out in advance and find a way to make peace with her past and move forward with her future.)
• ivereadthis (Despite these somewhat obvious developments, I found myself swept along by Diana’s life, and Picoult is adept at creating a character with obvious flaws, but much to love as well. The problems in her life plan are obvious as soon as you pick up the book, but she’s not an annoying character you want to see fail.)
• kirkus reviews (Picoult yanks this novel off life-support by resorting to a flagrantly hackneyed plot device. Somehow, though, it works, thanks again to that penchant for grounding every fictional scenario in thoroughly documented fact. Throughout, we are treated to pithy if rather self-evident thematic underscoring, e.g. “You can’t plan your life….Because then you have a plan. Not a life.”)