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Dianne Dempsey

A good detective series depends on the author’s ability to devise canny plots with attendant clues and blind alleys, but of greater importance is the central detective who acts as a charismatic guide through the miasma of murder and mystery. There are many compelling detectives in crime fiction: think of Inspector Maigret, Hercule Poirot, Adam Dalgliesh, Kay Scarpetta and Stephanie Plum. However, with the exception of Sherlock Holmes and Dr Watson, and, more recently, Stieg Larsson’s Lisbeth Salander and Mikael Blomkvist, memorable couples are rare in the sleuthing game.

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Wagner’s Creek is a rundown seaside village full of fibro shacks, rubbish and the ‘dirt poor’: ‘Their boredom and despair was as high as the dry grass in their yards and as deep as the ruts in the road – and their hearts seemed as broken as their hanging gates and peeling fences.’ Elizabeth Stead’s other novel, The Fishcastle (2000), was also set in a seaside village where, as in Wagner’s Creek, strange things happen. Time goes more slowly in Wagner’s Creek, and the weather is different from everywhere else.

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Miss Maude Silver, Miss Jane Marple, where are you, with your splendid and authoritative bosoms, your discreet inquiries, natural reticence, and cunning powers of deduction? Oh, a long way from these sisters in crime.

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The Blind Eye by Georgia Blain & Bella Vista by Catherine Jinks

by
September 2001, no. 234

Reading Australian novels is often like gazing through an album of snapshots taken by various photographers attending the same party. The subject matter will depend on what stage of the evening the photos were taken – all the way from pre-dinner drinks to the finale of a Bacchanalian brawl – and it will depend, of course, on who is taking the photos. What is the photographer looking for? Who are the subjects that captivate?

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