Weary, wary, hard-drinking Detective John Rebus returns in author Ian Rankin's internationally acclaimed, award-winning series. As complex and unpredictable as the brooding mists that envelop his Edinburgh beat, Rebus is ever resourceful and determined--but this time, vulnerable and challenged as never before, with complications in his personal life, and events that shake him to the depths of his being....
A colleague's suicide. Pedophiles. A missing child. A serial killer. You never know your luck, muses Rebus. Driven by instinct and experience, he searches for connections, against official skepticism. But at night, unsoothed by whiskey, Rebus faces his ghosts--and the prospect of his daughter's possibly permanent paralysis. Soldiering through dank, desperate slums and the tony flats of the Scottish chic, Rebus uncovers a chain of crime, deceit, and hidden sins--knowing it's himself he's really trying to save....
Ian Rankin's Dead Souls is "crime writing of the highest order" (Daily Express).
About the Author
Ian Rankin is the worldwide #1 bestselling writer of the Inspector Rebus books, including Knots and Crosses, Hide and Seek, Let It Bleed, Black and Blue, Set in Darkness, Resurrection Men, A Question of Blood, The Falls and Exit Music. He is also the author of The Complaints and Doors Open. He has won an Edgar Award, a Gold Dagger for fiction, a Diamond Dagger for career excellence, and the Chandler-Fulbright Award. He has been elected a Hawthornden Fellow, and received the Order of the British Empire (OBE) for his contributions to literature. He graduated from the University of Edinburgh in 1982. He lives in Edinburgh, Scotland, with his wife and their two sons.
Hometown:Edinburgh, London and France
Date of Birth:April 28, 1960
Place of Birth:Cardenden, Scotland
Read an Excerpt
By Ian Rankin
St. Martin's PressCopyright © 1999 Ian Rankin
All rights reserved.
John Rebus was pretending to stare at the meerkats when he saw the man, and knew he wasn't the one.
For the best part of an hour, Rebus had been trying to blink away a hangover, which was about as much exercise as he could sustain. He'd planted himself on benches and against walls, wiping his brow even though Edinburgh's early spring was a blood relative of midwinter. His shirt was damp against his back, uncomfortably tight every time he rose to his feet. The capybara had looked at him almost with pity, and there had seemed a glint of recognition and empathy behind the long-lashed eye of the hunched white rhino, standing so still it might have been a feature in a shopping mall, yet somehow dignified in its very isolation.
Rebus felt isolated, and about as dignified as a chimpanzee. He hadn't been to the zoo in years; thought probably the last time had been when he'd brought his daughter to see Palango the gorilla. Sammy had been so young, he'd carried her on his shoulders without feeling the strain.
Today, he carried nothing with him but a concealed radio and set of handcuffs. He wondered how conspicuous he looked, walking such a narrow ambit while shunning the attractions further up and down the slope, stopping now and then at the kiosk to buy a can of Irn-Bru. The penguin parade had come and gone and seen him not leaving his perch. Oddly, it was when the visitors moved on, seeking excitement, that the first of the meerkats appeared, rising on its hind legs, body narrow and wavering, scouting the territory. Two more had appeared from their burrow, circling, noses to the ground. They paid little attention to the silent figure seated on the low wall of their enclosure; passed him time and again as they explored the same orbit of hard-packed earth, jumping back only when he lifted a handkerchief to his face. He was feeling the poison fizz in his veins: not the booze, but an early-morning double espresso from one of the converted police boxes near The Meadows. He'd been on his way to work, on his way to learning that today was zoo patrol. The mirror in the cop-shop toilet had lacked any sense of diplomacy.
Greenslade: "Sunkissed You're Not." Segue to Jefferson Airplane: "If You Feel Like China Breaking."
But it could always be worse, Rebus had reminded himself, applying his thoughts instead to the day's central question: who was poisoning the zoo animals of Edinburgh? The fact of the matter was, some individual was to blame. Somebody cruel and calculating and so far missed by surveillance cameras and keepers alike. Police had a vague description, and spot-checks were being made of visitors' bags and coat pockets, but what everyone really wanted — except perhaps the media — was to have someone in custody, preferably with the tainted tidbits locked away as evidence.
Meantime, as senior staff had indicated, the irony was that the poisoner had actually been good for business. There'd been no copycat offences yet, but Rebus wondered how long that would last ...
The next announcement concerned feeding the sea-lions. Rebus had sauntered past their pool earlier, thinking it not overly large for a family of three. The meerkat den was surrounded by children now, and the meerkats themselves had disappeared, leaving Rebus strangely pleased to have been accorded their company.
He moved away, but not too far, and proceeded to untie and tie a shoelace, which was his way of marking the quarter-hours. Zoos and the like had never held any fascination for him. As a child, his roll-call of pets had seen more than its fair share of those listed "Missing in Action" or "Killed in the Line of Duty." His tortoise had absconded, despite having its owner's name painted on its shell; several budgies had failed to reach maturity; and ill-health had plagued his only goldfish (won at the fair in Kirkcaldy). Living as he did in a tenement flat, he'd never been tempted in adulthood by the thought of a cat or dog. He'd tried horse-riding exactly once, rubbing his inside legs raw in the process and vowing afterwards that the closest he'd come in future to the noble beast would be on a betting slip.
But he'd liked the meerkats for a mixture of reasons: the resonance of their name; the low comedy of their rituals; their instinct for self-preservation. Kids were dangling over the wall now, legs kicking in the air. Rebus imagined a role reversal — cages filled with children, peered at by-passing animals as they capered and squealed, loving the attention. Except the animals wouldn't share a human's curiosity. They would be unmoved by any display of agility or tenderness, would fail to comprehend that some game was being played, or that someone had skinned a knee. Animals would not build zoos, would have no need of them. Rebus was wondering why humans needed them.
The place suddenly became ridiculous to him, a chunk of prime Edinburgh real estate given over to the unreal ... And then he saw the camera.
Saw it because it replaced the face that should have been there. The man was standing on a grassy slope sixty-odd feet away, adjusting the focus on a sizeable telescopic lens. The mouth below the camera's body was a thin line of concentration, rippling slightly as forefinger and thumb fine-tuned the apparatus. He wore a black denim jacket, creased chinos, and running shoes. He'd removed a faded blue baseball cap from his head. It dangled from a free finger as he took his pictures. His hair was thinning and brown, forehead wrinkled. Recognition came as soon as he lowered the camera. Rebus looked away, turning in the direction of the photographer's subjects: children. Children leaning into the meerkat enclosure. All you could see were shoe-soles and legs, girls' skirts and the smalls of backs where T-shirts and jerseys had ridden up.
Rebus knew the man. Context made it easier. Hadn't seen him in probably four years but couldn't forget eyes like that, the hunger shining on cheeks whose suffused redness highlighted old acne scars. The hair had been longer four years ago, curling over misshapen ears. Rebus sought for a name, at the same time reaching into his pocket for his radio. The photographer caught the movement, eyes turning to match Rebus's gaze, which was already moving elsewhere. Recognition worked both ways. The lens came off and was stuffed into a shoulder-bag. A lens-cap was clipped over the aperture. And then the man was off, walking briskly downhill. Rebus yanked out his radio.
"He's heading downhill from me, west side of the Members' house. Black denim jacket, light trousers ..." Rebus kept the description going as he followed. Turning back, the photographer saw him and broke into a trot, hindered by the heavy camera bag.
The radio burst into life, officers heading for the area. Past a restaurant and cafeteria, past couples holding hands and children attacking ice-creams. Peccaries, otters, pelicans. It was all downhill, for which Rebus was thankful, and the man's unusual gait — one leg slightly shorter than the other — was helping close the gap. The walkway narrowed just at the point where the crowd thickened. Rebus wasn't sure what was causing the bottleneck, then heard a splash, followed by cheers and applause.
"Sea-lion enclosure!" he yelled into his radio.
The man half-turned, saw the radio at Rebus's mouth, looked ahead of him and saw heads and bodies, camouflaging the approach of any other officers. There was fear in his eyes now, replacing the earlier calculation. He had ceased to be in control of events. With Rebus just about within grabbing distance, the man pushed two spectators aside and clambered over the low stone wall. On the other side of the pool was a rock outcrop atop which stood the female keeper, stooping over two black plastic pails. Rebus saw that there were hardly any spectators behind the keeper, since the rocks obstructed any view of the sea-lions. By dodging the crowd, the man could clamber back over the wall at the far side and be within striking distance of the exit. Rebus cursed under his breath, lifted a foot on to the wall, and hauled himself over.
The onlookers were whistling, a few even cheering as video cameras were hoisted to record the antics of two men cautiously making their way along the sharp slopes. Glancing towards the water, Rebus saw rapid movement, and heard warning yells from the keeper as a sea-lion slithered up on to the rocks near her. Its sleek black body rested only long enough for a fish to be dropped accurately into its mouth, before turning and slipping back into the pool. It looked neither too big nor too fierce, but its appearance had rattled Rebus's quarry. The man turned back for a moment, his camera bag sliding down his arm. He moved it so it was hanging around his neck. He looked ready to retreat, but when he saw his pursuer, he changed his mind again. The keeper had reached for a radio of her own, alerting security. But the pool's occupants were becoming impatient. The water beside Rebus seemed to flex and sway. A wave foamed against his face as something huge and ink-black rose from the depths, obliterating the sun and slapping itself down on the rocks. The crowd screamed as the male sea-lion, easily four or five times the size of its offspring, landed and looked around for food, loud snorts belching from its nose. As it opened its mouth and let out a ferocious wail, the photographer yelped and lost his balance, plunging into the pool and taking the camera bag with him.
Two shapes in the pool — mother and child — nosed towards him. The keeper was blowing the whistle strung around her neck, for all the world like the referee at a Sunday kickabout faced with a conflagration. The male sea-lion looked at Rebus a final time and plunged back into its pool, heading for where its mate was prodding the new arrival.
"For Christ's sake," Rebus shouted, "chuck in some fish!"
The keeper got the message and kicked a pail of food into the pool, at which all three sea-lions sped towards the scene. Rebus took his chance and waded in, closing his eyes and diving, grabbing the man and hauling him back towards the rocks. A couple of spectators came to help, followed by two plain-clothes detectives. Rebus's eyes stung. The scent of raw fish was heavy in the air.
"Let's get you out," someone said, offering a hand. Rebus let himself be reeled in. He snatched the camera from around the drenched man's neck.
"Got you," he said. Then, kneeling on the rocks, starting to shiver, he threw up into the pool.CHAPTER 2
Next morning, Rebus was surrounded by memories.
Not his own, but those of his Chief Super: framed photographs cluttering the tight space of the office. The thing with memories was, they meant nothing to the outsider. Rebus could have been looking at a museum display. Children, lots of children. The Chief Super's kids, their faces ageing over time, and then grandchildren. Rebus got the feeling his boss hadn't taken the photos. They were gifts, passed on to him, and he'd felt it necessary to bring them here.
The clues were all in their situation: the photos on the desk faced out from it, so anyone in the office could see them with the exception of the man who used the desk every day. Others were on the window-ledge behind the desk — same effect — and still more on top of a filing cabinet in the corner. Rebus sat in Chief Superintendent Watson's chair to confirm his theory. The snapshots weren't for Watson; they were for visitors. And what they told visitors was that Watson was a family man, a man of rectitude, a man who had achieved something in his life. Instead of humanising the drab office, they sat in it with all the ease of exhibits.
A new photo had been added to the collection. It was old, slightly out of focus as though smeared by a flicker of camera movement. Crimped edges, white border, and the photographer's illegible signature in one corner. A family group: father standing, one hand proprietorially on the shoulder of his seated wife, who held in her lap a toddler. The father's other hand gripped the blazered shoulder of a young boy, cropped hair and glaring eyes. Some pre-sitting tension was evident: the boy was trying to pull his shoulder from beneath his father's claw. Rebus took the photo over to the window, marvelled at the starched solemnity. He felt starched himself, in his dark woollen suit, white shirt and black tie. Black socks and shoes, the latter given a decent polish first thing this morning. Outside it was overcast, threatening rain. Fine weather for a funeral.
Chief Superintendent Watson came into the room, lazy progress belying his temperament. Behind his back they called him "the Farmer," because he came from the north and had something of the Aberdeen Angus about him. He was dressed in his best uniform, cap in one hand, white A4 envelope in the other. He placed both on his desk, as Rebus replaced the photograph, angling it so it faced the Farmer's chair.
"That you, sir?" he asked, tapping the scowling child.
"Brave of you to let us see you in shorts."
But the Farmer was not to be deflected. Rebus could think of three explanations for the red veins highlighted on Watson's face: exertion, spirits, or anger. No sign of breathlessness, so rule out the first. And when the Farmer drank whisky, it didn't just affect his cheeks: his whole face took on a roseate glow and seemed to contract until it became puckish.
Which left anger.
"Let's get down to it," Watson said, glancing at his watch. Neither man had much time. The Farmer opened the envelope and shook a packet of photographs on to his desk, then opened the packet and tossed the photos towards Rebus.
"Look for yourself."
Rebus looked. They were the photos from Darren Rough's camera. The Farmer reached into his drawer to pull out a file. Rebus kept looking. Zoo animals, caged and behind walls. And in some of the shots — not all of them, but a fair proportion — children. The camera had focused on these children, involved in conversations among themselves, or chewing sweets, or making faces at the animals. Rebus felt immediate relief, and looked to the Farmer for a confirmation that wasn't there.
"According to Mr. Rough," the Farmer was saying, studying a sheet from the file, "the photos comprise part of a portfolio."
"I'll bet they do."
"Of a day in the life of Edinburgh Zoo."
The Farmer cleared his throat. "He's enrolled in a photography night-class. I've checked and it's true. It's also true that his project is the zoo."
"And there are kids in almost every shot."
"In fewer than half the shots, actually."
Rebus slid the photos across the desk. "Come on, sir."
"John, Darren Rough has been out of prison the best part of a year and has yet to show any sign of reoffending."
"I heard he'd gone south."
"And moved back again."
"He ran for it when he saw me."
The Farmer just stared the comment down. "There's nothing here, John," he said.
"A guy like Rough, he doesn't go to the zoo for the birds and the bees, believe me."
"It wasn't even his choice of project. His tutor assigned it."
"Yes, Rough would have preferred a play-park." Rebus sighed. "What does his lawyer say? Rough was always good at roping in a lawyer."
"Mr. Rough just wants to be left in peace."
"The way he left those kids in peace?"
The Farmer sat back. "Does the word 'atonement' mean anything to you, John?"
Rebus shook his head. "Not applicable."
"How do you know?"
"Ever seen a leopard change its spots?"
The Farmer checked his watch. "I know the two of you have a history."
"I wasn't the one he made the complaint against."
"No," the Farmer said, "Jim Margolies was."
They left that in the air for a moment, lost in their own thoughts.
"So we do nothing?" Rebus queried at last. The word "atonement" was flitting about inside his skull. His friend the priest had been known to use it: reconciliation of God and man through Christ's life and death. A far cry from Darren Rough. Rebus wondered what Jim Margolies had been atoning for when he'd pitched himself off Salisbury Crags ...
"His sheet's clean." The Farmer reached into his desk's deep bottom drawer, pulled out a bottle and two glasses. Malt whisky. "I don't know about you," he said, "but I need one of these before a funeral."
Excerpted from Dead Souls by Ian Rankin. Copyright © 1999 Ian Rankin. Excerpted by permission of St. Martin's Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Most Helpful Customer Reviews
Almost one year ago I was browsing through books at Walmart looking for a 'good book'. I stumbled upon 'Black and Blue'. I read it through in no time and fell in love with Rebus. Since then I have purchased or borrowed every book by Rankin and have thoruoghly enjoyed each on. Dead Souls is as engrossing as the rest and again the results are not what you expect, it is full of twists and turns. Rebus seems to be a 'real' person with his own complicated personal life life as well as a full caseload. He is not your usual detective who sees everything in black and white. He questions all he sees and is not always happy about the results. I have read all the books that Ian Rankin has written and am anxiously waiting another Detective Rebus novel to find out rebus is handling his cases as well as his life.
Ian Rankin just has a way about him to tell a good story. Just reading about his surroundings, and the dialogue is outstanding.
An excellent read. Inspector Rebus has to confront his beliefs when he realises he may not have been right in 'outing' a reformed paedophile. He also has to confront his past when a couple he went to school with request his help with their missing son. All is not well with his personal and family life.But this does not detract from a superb tale of perverts and killers on the streets of Edinburgh and the dangers this leads Rebus and his friends and family into.
Ian Rankin gets it just about right, for me: Rebus is flawed, it's a dirty world but, we don't have to put up with too much detail.This is a cracking tale. Rebus is helping a girlfriend, from his past, to find her run away son, he is keeping an eye upon a released paedophile, in whose murder he plays an unwanted part, and trailing a psychopath returning from years in an American prison.Just an ordinary day, then.
In this Rebus novel he finds himself involved with a paedophile he spots at the zoo whilst stalking a poisoner. Usual well-plotted, highly developed characters and sense of time and place.
Rebus' natural disgust for pedophiles causes him to endanger a man who may be less than dangerous and Rebus is then left to somehow manage a violet mob, set on murder. This is Rankin's tenth book about Inspector rebus, and there are just no signs of slowing down. As usual, Rankin's descriptions of the working-class neighborhoods of Edinburgh, its people, it's language, its desperation, are so spot on that it's easy to get lost in the emotions and the action. With a realistic and somewhat inconclusive ending, it's even easier to lose yourself in the characters since the frustration isn't only theirs, it's yours.
The son of an old flame of Rebus' goes missing and he's asked to find the young man. Rebus 'outs' a pedophile recently released from prison to the media when he finds out his apartment faces as children's playground. A dangerous killer called Carry Oakes makes his way back to Edinburgh to settle old scores after having been held in prison in the States. These cases may or may not be related, but the only thing that's absolutely certain is that Rebus takes all of it very personally, though even with all the pressure, he's somehow managing to keep his drinking in check. It's hard for me to say whether the book itself was lacking or if I might be the one getting a bit bored with the formula. I've had to read several Rebus novels under pressure recently because I had promised to send them to someone, which is NOT the best way to read a book in the best of circumstances. All I know is that this one felt like it dragged on and on and on... and on, and I've rarely felt more relieved to finally reach the end. I'll be taking a break from Rankin for a while, and hopefully get back to him inspired anew. If not, it's not as if there was a shortage of other crime series to discover out there, is it?
#10 in the Inspector Rebus series.The book opens with the seeming suicide of one of Rebus¿ young colleagues who is also a friend, and a chase by Rebus in the zoo after a convicted pedophile who has been newly released from prison. To complicate his life even further, a serial killer who has been released from an American prison on technicalities having to do with his trial, is being returned to his ¿home¿ in Edinburg; he is considered nearly certain to kill again, but there is no cause to hold him. In addition, old friends out of his past ask him to find their son who has suddenly gone missing.These four separate, seemingly unrelated incidents form the complex, well thought through plot. Unfortunately, the writing and the characterization does not live up either to the plot potential or to the standard of Rankin¿s earlier books in the series. Rebus has degenerated into an alcoholic, blurring at least one distinction between him and other protagonists in the hard-boiled genre. People important in his past emerge, but are not terribly interesting, nor do they really add much to the story line. His love life is also a matter of indifference, both to him, his lover, and to us. What does lift the book up from boredom in this area are his relationships with his colleagues, especially his immediate supervisor and his partner.But there is no getting away from the fact that the book is a disappointment.
One of Ian Rankin's Inspector Rebus novels set in the grim, dour, downbeat side of Edinburgh that the Festival tourists rarely see, and probably don't want to.