Case Histories continues a winning streak for Kate Atkinson which began when her impressive novel Behind the Scenes at the Museum won the Whitbread First Novel Award. Since that book, Atkinson has gleaned a keen following of readers who are prepared to follow in the surprising directions the unpredictable author takes us on. And Atkinson--so far--hasn’t let us down. The perfectly judged prose that distinguished Human Croquet is fully in evidence in Case Histories, and a new frisson here comes from the genre-stretching that Atkinson is indulging in. In some ways, this book could almost be seen as a new take on the crime novel (not the first genre one would expect the author to tackle), but the crime elements here Atkinson uses are peripheral. The protagonist here is a former police inspector who now makes a living as a private investigator. Jackson Brodie is making ends meet in a sweaty Cambridge summer and trying to deal with his own failed marriage. But if his life is adrift, perhaps Brodie can justify his existence via his belief that he can do some good for the people he encounters in his job. But he is to find that he will be irrevocably changed by those he is trying to help.
As a vividly created cast of characters surround the beleaguered Brodie, all the novelistic skills that shone in Atkinson's earlier books are fully in play. Those deluded into thinking they've picked up something resembling a standard private eye novel will find something much more rich and strange; Atkinson goes from strength to strength.--Barry Forshaw
--This text refers to an out of print or unavailable edition of this title. From the Back Cover
'Investigating other people’s tragedies and cock-ups and misfortunes was all he knew. He was used to being a voyeur, the outsider looking in, and nothing, but nothing, that anyone did surprised him any more. Yet despite everything he’d seen and done, inside Jackson there remained a belief – a small, battered and bruised belief – that his job was to help people be good rather than punish them for being bad.' Cambridge is sweltering, during an unusually hot summer. To Jackson Brodie, former police inspector turned private investigator, the world consists of one accounting sheet – Lost on the left, Found on the right – and the two never seem to balance. His days are full of people clamouring for answers and explanations. A jealous husband suspects his wife. Two spinster sisters make a shocking find. A solicitor investigates an old murder. A nurse has lost her niece; a widow, her cats. Jackson has never felt at home in Cambridge, and has a failed marriage to prove it. He is forty-five but feels much, much older. He is at that dangerous age when men suddenly notice that they’re going to die eventually, inevitably, and there isn’t a damn thing they can do about it. Surrounded by death, intrigue and misfortune, his own life is brought sharply into focus. Ingeniously plotted, full of suspense and heartbreak, CASE HISTORIES is a feat of bravura storytelling that conveys the mysteries of life, its inanities and its hilarities. It is a life-affirming work of profound insight and intelligence. --This text refers to an out of print or unavailable edition of this title.
Book Description
A major event: a new novel by the Whitbread winner, her first novel since Emotionally Weird, and probably her most commercial book yet. --This text refers to an out of print or unavailable edition of this title.
About the Author
Kate Atkinson was born in York and now lives in Edinburgh. She has won several prizes for her short stories. Her first novel, Behind the Scenes at the Museum, won the Whitbread First Novel Award and was then chosen as the overall 1995 Whitbread Book of the Year. Her critically acclaimed second and third novels, Human Croquet and Emotionally Weird are also published by Black Swan as is her collection of short stories, Not the End of the World. --This text refers to an out of print or unavailable edition of this title.
Amazon.co.uk Review
Case Histories continues a winning streak for Kate Atkinson which began when her impressive novel Behind the Scenes at the Museum won the Whitbread First Novel Award. Since that book, Atkinson has gleaned a keen following of readers who are prepared to follow in the surprising directions the unpredictable author takes us on. And Atkinson--so far--hasn’t let us down. The perfectly judged prose that distinguished Human Croquet is fully in evidence in Case Histories, and a new frisson here comes from the genre-stretching that Atkinson is indulging in. In some ways, this book could almost be seen as a new take on the crime novel (not the first genre one would expect the author to tackle), but the crime elements here Atkinson uses are peripheral. The protagonist here is a former police inspector who now makes a living as a private investigator. Jackson Brodie is making ends meet in a sweaty Cambridge summer and trying to deal with his own failed marriage. But if his life is adrift, perhaps Brodie can justify his existence via his belief that he can do some good for the people he encounters in his job. But he is to find that he will be irrevocably changed by those he is trying to help.
As a vividly created cast of characters surround the beleaguered Brodie, all the novelistic skills that shone in Atkinson's earlier books are fully in play. Those deluded into thinking they've picked up something resembling a standard private eye novel will find something much more rich and strange; Atkinson goes from strength to strength.--Barry Forshaw
--This text refers to an alternate kindle_edition edition. Synopsis
The scene is set in Cambridge, with three case histories from the past: A young child who mysteriously disappeared from a tent in her back garden; An unidentified man in a yellow jumper who marched into an office and slashed a young girl through the throat; and a young woman found by the police sitting in her kitchen next to the body of her husband, an axe buried in his head. Jackson Brodie, a private investigator and former police detective, is quietly contemplating life as a divorced father when he is flung into the midst of these resurrected old crimes. Julia and Amelia Land, long having given up hope of uncovering the truth of what happened to their baby sister, Olivia, suddenly discover her lost toy mouse in the study of their recently-deceased father. Enlisting Jackson's help they embroil him in the complexities of their own jealousies, obsessions and lust. A woman named Shirley needs Jackson to help find her lost niece. Amidst the incessant demands of the Land sisters, Jackson meets solicitor Theo Wyre whose daughter, Laura, was murdered in his office and, now that the police case has been closed, is desperate for Jackson to help him lay Laura's ghost to rest.As he starts his investigations Jackson has the sinister feeling that someone is following him. As he begins to unearth secrets that have remained hidden for many years, he is assailed by his former wife's plan to take his young daughter away to live in New Zealand, and his stalker becomes increasingly malevolent and dangerous. In digging into the past Jackson seems to have unwittingly threatened his own future.This wonderfully crafted, intricately plotted novel is heartbreaking, uplifting, full of suspense and often very funny, and shows Kate Atkinson returning to the literary scene at the height of her powers.
--This text refers to an alternate kindle_edition edition. From the Publisher
Bestselling literary crime, from a master storyteller. --This text refers to an alternate kindle_edition edition. Excerpt. © Reprinted by permission. All rights reserved.
1
Case History No. 1 1970
Family Plot
HOW LUCKY WERE THEY? A HEAT WAVE IN THE MIDDLE of the school holidays, exactly where it belonged. Every morning the sun was up long before they were, making a mockery of the flimsy summer curtains that hung limply at their bedroom windows, a sun already hot and sticky with promise before Olivia even opened her eyes. Olivia, as reliable as a rooster, always the first to wake, so that no one in the house had bothered with an alarm clock since she was born three years ago.
Olivia, the youngest and therefore the one currently sleeping in the small back bedroom with the nursery-rhyme wallpaper, a room that all of them had occupied and been ousted from in turn. Olivia, as cute as a button, they were all agreed, even Julia who had taken a long time to get over being displaced as the baby of the family, a position she had occupied for five satisfying years before Olivia came along.
Rosemary, their mother, said that she wished Olivia could stay at this age for ever because she was so lovable. They had never heard her use that word to describe any of them. They had not even realized that such a word existed in her vocabulary, which was usually restricted to tedious commands – come here, go away, be quiet, and – most frequent of all – stop that. Sometimes she would walk into a room or appear in the garden, glare at them and say, whatever it is you’re doing, don’t, and then simply walk away again, leaving them feeling aggrieved and badly done by, even when caught red-handed in the middle of some piece of mischief – devised by Sylvia usually.
Their capacity for wrongdoing, especially under Sylvia’s reckless leader ship, was apparently limitless. The eldest three were (everyone agreed) ‘a handful’, too close together in age to be distinguishable to their mother so that they had evolved into a collective child to which she found it hard to attribute individual details and which she addressed at random – Julia-Sylvia-Amelia-whoever you are – said in an exasperated tone as if it was their fault there were so many of them. Olivia was usually excluded from this weary litany; Rosemary never seemed to get her mixed up with the rest of them.
They had supposed Olivia would be the last to occupy the small back bedroom and that one day the nursery-rhyme wallpaper would finally be scraped off (by their harassed mother because their father said hiring a professional decorator was a waste of money) and be replaced by something more grown-up – flowers or perhaps ponies, although anything would be better than the Elastoplast pink adorning the room that Julia and Amelia shared, a colour that had looked so promising to the two of them on the paint chart and proved so alarming on the walls and which their mother said she didn’t have the time or money (or energy) to replace.
Now it transpired that Olivia was going to be undertaking the same rite of passage as her older sisters, leaving behind the – rather badly aligned – Humpty-Dumptys and Little Miss Muffets to make way for an afterthought whose advent had been announced, in a rather offhand way, by Rosemary the previous day as she dished out a makeshift lunch of corned-beef sandwiches and orange squash on the lawn.
‘Wasn’t Olivia the afterthought?’ Sylvia said to no one in par ticular, and Rosemary frowned at her eldest daughter as if she had just noticed her for the first time. Sylvia, thirteen and until recently an enthusiastic child (many people would have said overenthusiastic), promised to be a mordant cynic in her teenage years. Gawky, be spectacled Sylvia, her teeth recently caged in ugly orthodontic braces, had greasy hair, a hooting laugh and the long, thin fingers and toes of a creature from outer space. Well-meaning people called her an ‘ugly duckling’ (said to her face, as if it was a compliment, which was certainly not how it was taken by Sylvia), imagining a future Sylvia casting off her braces, acquiring contact lenses and a bosom, and blossoming into a swan. Rosemary did not see the swan in Sylvia, especially when she had a shred of corned beef stuck in her braces. Sylvia had recently developed an unhealthy obsession with religion, claiming that God had spoken to her. Rosemary wondered if it was a normal phase that adolescent girls went through, if God was merely an alternative to pop stars or ponies. Rosemary decided it was best to ignore Sylvia’s tête-à-têtes with the Almighty. And at least conversations with God were free, whereas the upkeep on a pony would have cost a fortune.
And the peculiar fainting fits that their GP said were on account of Sylvia ‘outgrowing her strength’ – a medically dubious explan ation if ever there was one (in Rosemary’s opinion). Rosemary decided to ignore the fainting fits as well. They were probably just Sylvia’s way of getting attention.
Rosemary married their father Victor when she was eighteen years old – only five years older than Sylvia was now. The idea that Sylvia might be grown-up enough in five years’ time to marry anyone struck Rosemary as ridiculous and reinforced her belief that her own parents should have stepped in and stopped her marrying Victor, should have pointed out that she was a mere child and he was a thirty-six-year-old man. She often found herself wanting to remonstrate with her mother and father about their lack of parental care, but her mother had succumbed to stomach cancer not long after Amelia was born and her father had re married and moved to Ipswich, where he spent most of his days in the bookies and all of his evenings in the pub.
If, in five years’ time, Sylvia brought home a thirty-six-year-old, cradle-snatching fiancé (particularly if he claimed to be a great mathematician) then Rosemary thought she would probably cut his heart out with the carving knife. This thought was so agreeable that the afterthought’s annunciation was temporarily forgotten and Rosemary allowed them all to run out to the ice-cream van when it declared its own melodic arrival in the street.
The Sylvia-Amelia-Julia trio knew that there was no such thing as an afterthought and the ‘foetus’, as Sylvia insisted on calling it (she was keen on science subjects), that was making their mother so irritable and lethargic was probably their father’s last-ditch attempt to acquire a son. He was not a father who doted on daughters, he showed no real fondness for any of them, only Sylvia occasionally winning his respect because she was ‘good at maths’. Victor was a mathematician and lived a rarefied life of the mind where his family were allowed o trespass. This was made easy by the fact that he spent hardly any time with them: he was either in the department or in his rooms in college and when he was home he shut himself in his study, occasionally with his students but usually on his own. Their father had never taken them to the open-air pool on Jesus Green, played rousing games of Snap or Donkey, never tossed them in the air and caught them or pushed them on a swing, had never taken them punting on the river or walking on the Fens or on educational trips to the Fitzwilliam. More like an absence than a presence, everything he was – and was not – was represented by the sacrosanct space of his study.
They would have been surprised to know that the study had once been a bright parlour with a view of the back garden, a room where previous occupants of the house had enjoyed pleasant breakfasts, where women had whiled away the afternoons with sewing and romantic novels, and where in the evenings the family had gathered to play cribbage or Scrabble while listening to a radio play. All of these activities had been envisaged by a newly married Rosemary when the house was first bought – in 1956, at a price way beyond their budget – but Victor immediately claimed the room as his own and somehow managed to transform it into a sunless place, crammed with heavy bookshelves and ugly oak filing cabinets, and reeking of the untipped Capstans that he smoked. The loss of the room was as nothing to the loss of the way of life that Rosemary had planned to fill it with.
What he actually did in there was a mystery to all of them. Something so important, apparently, that his home life was trifling in comparison. Their mother said he was a great mathematician, at work on a piece of research that would one day make him famous, yet on the rare occasions when the study door was left open and they caught a glimpse of their father at work, all he seemed to be doing was sitting at his desk, scowling into empty space.
He was not to be disturbed when he was working, especially not by shrieking, screaming, savage little girls. The complete inability of those same savage little girls to abstain from the shrieking and the screaming (not to mention the yelling, the blubbing, and the strange howling like a pack of wolves that Victor had never managed to fathom) made for a fragile relationship between father and daughters.
Rosemary’s chastisements may have washed over them like water but the sight of Victor lumbering out of his study, roused like a bear from hibernation, was strangely terrifying and although they spent their lives challenging all that was outlawed by their mother, they never once thought of exploring the forbidden interiorof the study. The only time they were ushered into the gloomy depths of Victor’s den was for help with their maths homework. This wasn’t so bad for Sylvia, who had a fighting chance of understanding the greasy pencil marks with which an impatient Victor covered endless pages of ruled paper, but as far as Julia and Amelia were concerned Victor’s signs and symbols were a... --This text refers to an alternate kindle_edition edition. Review
"Not just the best book I've read this year, but the best mystery of the decade."
— Stephen King
"A wonderful novel told by a great storyteller who knows just how to create a voice, an image, a metaphor. . . . This witty and literate tale deserves to be read and re-read."
— "The Globe and Mail
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"Triumphant . . . Her best book yet . . . A tragi-comedy for our times."
— "Sunday Telegraph" (UK)
"An astonishingly complex and moving literary detective story."
— "The Guardian" --This text refers to an alternate kindle_edition edition. 
![Case Histories: (Jackson Brodie) (Jackson Brodie series Book 1) by [Kate Atkinson]](https://m.media-amazon.com/images/I/41KzYo5sLAL._SY346_.jpg)
