The Mermaids Singing

I've been watching (read: obsessing over) the BBC's Wire in the Blood over the last couple of weeks, and but haven't been terribly inclined to read the source material – which is more than a little odd for me, I normally have to immerse myself in that kind of thing. Something about the stories and the way they were being told kept me from it. On the whole, I'm not a big serial killer fiction kind of guy–I'll dip into that type of thing occasionally, but generally if it's from an author I follow (I'm a little more inclined to handle the subject on TV than I am in movies or in print, but even then...)It was an aside in a blog entry by Lee Goldberg, contrasting TV series adapted directly from books vs. those based on the character/franchise that gave me the necessary push. I thought I knew what he was getting at, but wanted to see it in practice.

The Mermaids Singing is the first installment in the novel series (which was also the first story adapted for TV), the setup is essentially this: Detective Chief Inspector Carol Jordan and her the Assistant Chief (who's name I can't recall atm because the book's already back at the library) are convinced that a series of murders are the work of a serial killer, despite the outright (and seemingly blind) hostility Jordan's immediate supervisor has to the idea. The Asst. Chief recruits a local psychologist, Dr. Tony Hill, to work out a profile of the killer–luckily, he's heading up a nationwide task force to profile killers of this sort in an effort to help the police. Jordan's assigned to liaise between Hill and the investigation. As they work together, the two recognize kindred spirits and a shared idea for how a profiler can best assist the police in their investigations (both for this case and others), and a friendship–and partnership–develops between the two.

McDermid's point of view keeps jumping from character to character – primarily between Hill and Jordan, with a handful of supporting characters getting their moment in the sun – with journal entries from the killer in between chapters. Normally I'm not crazy about this technique, but on the whole, I thought it worked here – particularly as a way of focusing on the two methods of tracking the killer: the police procedure (seen through Jordan's eyes) and the psychological profile (Hill's). Hopefully as the series progresses we lose the voice of the killer, while we see Jordan's and Hill's voices become stronger.

The killer's work is highly sexual in nature, but not even the densest copper needs Hill to tell him that. McDermid makes a lot of hay along these lines – almost, but not quite, going overboard. Not just with the killer's sexual problems, but with one of her protagonists as well. The thematic link here worked well, but I hope that's not something that's dwelled upon in future installments.

It's not an equal partnership, by any means, Jordan's in the driver's seat, and she's not too intimidated or outclassed by Hill's expertise. I think a little of that is lost in the TV series, where it almost seems that the detectives are but means for Hill to gather information that they are clueless when it comes to interpreting. In fact, it's solid police work that saves the day–police work guided by the profile, no doubt, but police work nonetheless.

But I'm getting ahead of myself, I think I see what Goldberg was talking about: as an adaptation, the TV show captured the essence of the core of characters, and did a fantastic job of bringing 85+% of the novel to screen. The changes in plot were small, and the one new character introduced helped the adaptation into a better set up to an ongoing series than the novel did. That character also toned down the least appealing feature of Hill's character, making him palatable to TV.

As a novel, it worked well (even without reference to the TV series), the relationship with Hill and Jordan will easily lead to further cases together, and character development. McDermid's style, and the cleverness of her plot, definitely create a desire to see further adventures with the pair, and it's easy to see why this is a series that's lasted over a decade.

Even after seeing the tv show and knowing what was going to happen, I haven't felt so much suspense in a book in a long time.

The Mermaid's Singing is written extremely well. It sounds twisted but my favourite parts were the chapters that were told from the killers point of view. It gave a good insight into the cruel, twisted and deranged mind of someone who can't even be described as human.

Before I started reading this book, if read reviews that said it was very graphic and some people couldn't finish it. I didn't think it was too graphic. I think it gave just the right amount of detail to get into the mind of the killer and to get a vivid picture of what those poor men must have gone through.

Anyway, I loved this book and will for sure continue with the series.

Having read [b:A Place of Execution 91487 A Place of Execution Val McDermid https://d.gr-assets.com/books/1311971779s/91487.jpg 1179513] i felt it was time to learn where my much loved Wire in The Blood characters came from. And I was not at all disappointed. Profilers are everywhere now but this 1995 book nails it on the head not just in introducing a wonderfully flawed character of Tony Hill but at explaing his job and what he does. Five stars given today reflects what this book is/was for the genre twenty years ago. Don't read if you are a bit squaeemish about torture (there is plenty) but it is a cracking good crime thriller and I will be back for more.

First book by Mcdermid that I've and I quite enjoyed it, not too difficult a read unlike a lot of other crime novelists whose first in a series is often a bit labored.
I did guess what was going on quite early on, mainly due to how the killers 'diary' entries were presented, but I never know whether that's the authors intention or not? Are they deliberately letting me feel a little smug?