In a Dry Season (Inspector Alan Banks Series #10)

In a Dry Season (Inspector Alan Banks Series #10)

3.7 20
by Peter Robinson

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New York Times bestselling and Edgar Award-winning author Peter Robinson delivers an unforgettable, compelling thriller of a lost village and the deadly secrets that are unearthed upon its discovery—secrets that include murder.

In the blistering, dry summer, the waters of Thornfield Reservoir have been depleted, revealing the ruins of the small


New York Times bestselling and Edgar Award-winning author Peter Robinson delivers an unforgettable, compelling thriller of a lost village and the deadly secrets that are unearthed upon its discovery—secrets that include murder.

In the blistering, dry summer, the waters of Thornfield Reservoir have been depleted, revealing the ruins of the small Yorkshire village that lay at its bottom—ruins that house the unidentified bones of a murdered young woman. Detective Chief Inspector Banks faces a daunting challenge: he must unmask a sadistic killer who has escaped detection for half a century. For the dark secrets of Hobb's End continue to haunt the dedicated policeman, even though the town that bred them has died and its former residents have been scattered to far places—or even to their graves.

Demonstrating once again why Peter Robinson is a master of suspense, In a Dry Season is a powerful, insightful, and searing novel of past crimes and present evil.

Editorial Reviews

B& Editor
Our Review
Whither the Great Detectives?

I'm not sure if the title of the panel actually included the word "whither," but it should have. It was starchy enough. It was an online discussion of whatever happened to all those brainiacs known as the Great Detectives of the Golden Age of Detective Fiction.

I was asked to participate because I hate the so-called Golden Age. All panels need dissenters.

All this preamble is by way of saying that I actually learned quite a bit from the panel. And now I've read a novel that puts the whole Golden Age discussion into perspective.

Forty years ago, Peter Robinson's Chief Inspector Alan Banks would have been a Great Detective. He probably would have said "Zounds!" and leapt to Sherlockian conclusions every time he was presented with tiny, arcane bits of evidence. He would have had no life whatever outside the plot. He would have been permitted one eccentricity (I have always wanted one of those guys to experience flatulence every time he was in the presence of royalty), and he would doubtless have had a servant or two of "foreign" birth to assist him in his criminological travails. As I said, the Golden Age ain't exactly my spot of tea.

But fortunately, it isn't 40 years ago. And, also fortunately, Peter Robinson is determined to stretch the limits of the mystery form so that it becomes serious without becoming Serious, if you know what I mean. This is what became, thank God, of the Great Detective.

This very British crime novel looks in some depth at 1) the dynamics of a bad marriage, 2) the aching grief of a father and son who can no longer communicate, 3) the daily despondence one feels working for a boss who loathes you. The mystery itself deals with the discovery of a corpse that has been hidden away for several decades. Our Inspector Banks investigates. The clueing is as fecund as Christie and the writing graceful and evocative. The twists are done especially well; and the ending, with Banks learning that time is not linear but circular, has a quiet power that will remain with you long after you've forgotten some of the noisier novels of recent note.

In a Dry Season is also, if this sort of thing interests you, a very enlightening look at modern detection. While a number of novelists use police technology as their theme, Banks is one of the few writers who is able to show us how all the various processes apply to an actual case. Unlike a Great Detective, Banks shows us how a person might really go about trying to piece together a case, particularly one that is nearly 50 years old. It is not only a fine novel of character, it is also an excellent detective story.

Robinson is the real thing -- storyteller and stylist, very much in the Simenon mold, but with a melancholy eye and wan humor all his own. In a Dry Season is a very good novel indeed.

--Ed Gorman
Michael Connelly
A wonderful novel. From Peter Robinson's deft hand comes a multi-layered mystery woven around the carefully detailed portraits of characters all held tightly in the grip of the past.
Seattle Post-Intelligencer
Able plotter and smooth stylist that he is, Robinson is above all a gifted creator of fully fleshed and vividly presented characters...He creates a suspenseful novel with many of the dynamic qualities of more literary fiction.
Washington Post Book World
Richly layered...Fans of P.D. James and Ruth Rendell who crave more contemporary themes than either master has provided of late should look no further than Peter Robinson.
Publishers Weekly - Publisher's Weekly
Anyone who loves a good mystery should curl up gratefully with a cuppa to enjoy this rich 10th installment of the acclaimed British police procedural series. Detective Chief Inspector Alan Banks, on the skids since the breakup with wife Sandra, languishes in "career Siberia" until old nemesis Chief Constable Riddle sends him to remotest Yorkshire on a "dirty, pointless, dead-end case." It seems a local kid has discovered a skeleton in dried-up Thornfield Reservoir, constructed on the site of the deserted bucolic village of Hobb's End. Banks taps into his familiar network of colleagues to identify the skeleton as that of Gloria Shackleton, a gorgeous, provocative "land girl" who worked on a Hobb's End farm while her husband was off fighting the Japanese decades ago. Apparently, Gloria had been stabbed to death. As Banks and Detective Sergeant Annie Cabbot struggle to re-create the 50-year-old crime scene, wartime Yorkshire, with all its deprivations and depravities, springs to life. (Banks revives, too, showing renewed interest in his job, and in women.) Robinson brilliantly interweaves the story of Banks's investigation with an ambiguous manuscript by detective novelist "Vivian Elmsley," a 70-ish woman once Gloria's sister-in-law. Is the manuscript a memoir of events leading to Gloria's vicious murder, or "all just a story"? Either way, every detail rings true. Once again, Robinson's work stands out for its psychological and moral complexity, its startling evocation of pastoral England and its gritty, compassionate portrayal of modern sleuthing. Agent, Dominick Abel.
Library Journal
Robinson's latest in the Inspector Banks series is actually two parallel stories: the brutal post-World War II murder of a young British woman and the solving of the crime some 40 years later. A major complication for the investigators is that the town where the murder was committed has been covered by a reservoir for decades, eliminating most physical traces of the crime. Banks must painstakingly piece together the spotty record of the townspeople long after most of them have moved to other areas or died of old age. Robinson switches back and forth from present-day sleuthing to the time of the actual murder, with the characters of both time periods well developed and complex. Robinson tells a compelling story of war-time England that rings true. Highly recommended for all public libraries. [Previewed in Prepub Alert, LJ 1/99.]--Caroline Mann, Univ. of Portland Lib., OR
School Library Journal
YA-A fascinating whodunit. Detective Chief Inspector Alan Banks is called to attend to a skeleton found in the ruins of a deserted village. Flooded by a reservoir shortly after World War II, Hobb's End had been under water until a recent drought exposed its remnants. Thanks to modern forensics, Banks and the local Detective Sergeant, Annie Cabbot, learn that the remains were those of a young woman who had been strangled and then viciously stabbed numerous times. An apparent 50-year-old crime faces Banks and Cabbot as they go about gathering facts in an attempt to determine the identities of the victim and her murderer. The charm of this story lies in the way it is played out. Readers are privy to the thoughts of the characters from 50 years ago as their story is told as it happened. Chapter by chapter, readers learn about life in a small village in England during World War II. Interspersed with these chapters are the investigations, interviews, and research conducted by the detectives in the present day. The traits and foibles of the townspeople take shape and a portrait of the victim emerges. Despite its length, mystery buffs will find this book an easy read, and they'll be left with some questions to ponder that would make for an interesting and lively book discussion.-Carol DeAngelo, Kings Park Library, Burke, VA Copyright 1999 Cahners Business Information.
Ellery Queen
The plot and characters are expertly handled, and the fascinating details of the British homefront provide a plus.
Marilyn Stasio
...[A] mystery that must be unfolded gently, like an old letter.The New York Times Book Review
Island Magazine
In a Dry Season also harks back to World War II, but Peter Robinson's novel operates in a more complex framework of time. There's another similarity: The cops are a couple - Detective Chief Inspector Alan Banks and Detective Sergeant Annie Cabbot. But Banks is under a cloud, assigned to the seemingly impossible job of making sense of a skeleton uncovered in a Yorkshire village that's been underwater since the mid-1940s. Robinson's many-faceted characters are his great strong point, though the byways of the plot can be a little hard to follow.
Kirkus Reviews
Estranged from his carping wife, and still in the doghouse with petty Chief Constable Jeremiah Riddle after his freelance investigations in Blood at the Root (1997), Eastvale's Chief Inspector Alan Banks doesn't expect much good news—and his worst fears seem confirmed when Jimmy Riddle packs him off to Harksmere, where a drought and an inquisitive boy have combined to reveal a 50-year-old corpse under the rotting floor of a building no longer submerged in the parched Thornfield Reservoir. There's clearly no glory to be won solving so ancient a case, especially when the local investigating force consists of one sergeant, Anne Cabbot, and almost everyone who might know what happened in the abandoned village of Hobb's End is now as dead as the village itself. Starting with hints from the corpse (some fine, unobtrusive pathological work here), Banks and Cabbot slowly narrow their focus to the the household of Matthew Shackleton—a farm boy who went off to the war in 1941 after marrying lively land girl Gloria Stringer—and of his sister Gwen. Meantime, mystery novelist Vivian Elmsley, hearing of the grisly find beneath the reservoir, cowers (why?) in anticipation of Banks's knock at her own door. Crosscutting dexterously between past and present, courtesy of Vivian's memoir of the days when the countryside was shorn of its native males and overrun by charming Yanks, Robinson delicately reveals a web of passion and pain whose pattern still isn't complete.

Product Details

HarperCollins Publishers
Publication date:
Inspector Alan Banks Series , #10
Edition description:
Sales rank:
Product dimensions:
4.18(w) x 6.75(h) x 1.20(d)

Read an Excerpt

Chapter One

Adam Kelly loved to play in the derelict houses, loved the musty smell of the old rooms, the way they creaked and groaned as he moved around inside them, the way the sunlight shone through the laths, casting striped shadows on the walls. He loved to leap the gaps between the broken stairs, heart in his mouth, and hop from rafter to rafter, kicking up plaster dust and watching the motes dance in the filtered light.

    This afternoon, Adam had a whole village to play in.

    He stood at the rim of the shallow valley, staring at the ruins below and anticipating the adventure to come. This was the day he had been waiting for. Maybe a once-in-a-lifetime opportunity. Anything could happen down there. The future of the universe depended on Adam today; the village was a test, one of the things he had to conquer before advancing to the Seventh Level.

    The only other people in sight stood at the far end, near the old flax mill: a man in jeans and a red T-shirt and a woman all dressed in white. They were pretending to be tourists, pointing their video camera here and there, but Adam suspected they might be after the same thing he was. He had played the game often enough on his computer to know that deception was everywhere and things were never what they seemed. Heaven help us, he thought, if they got to it first.

    He half-slid and half-ran down the dirt slope, skidding to a halt when he reached the red, baked earth at the bottom. There were still patches of mud around; all that water, he supposed, wouldn't just evaporate over a few weeks.

    Adam paused and listened. Even the birds were silent. The sun beat down and made him sweat behind his ears, at the back of his neck and in the crack of his bum. His glasses kept slipping down his nose. The dark, ruined cottages wavered in the heat like a wall behind a workman's brazier.

    Anything could happen now. The Talisman was here somewhere, and it was Adam's job to find it. But where to begin? He didn't even know what it looked like, only that he would know it when he found it and that there must be clues somewhere.

    He crossed the old stone bridge and walked into one of the half-demolished cottages, aware of the moist, cool darkness gathering around him like a cloak. It smelled like a bad toilet, or as if some gigantic alien creature had lain down to die in a hot, fetid swamp.

    Sunlight slanted in through the space where the roof had been, lighting the far wall. The dark stones looked as slick and greasy as an oil spill. In places, the heavy stone flags that formed the floor had shifted and cracked, and thick gobbets of mud oozed up between them. Some of the slabs wobbled when Adam stood on them. He felt poised over a quicksand ready to suck him down to the earth's core if he made one wrong move.

    There was nothing in this house. Time to move on.

    Outside, he could still see no one. The two tourists seemed to have left now, unless they were hiding, lying in wait for him behind the ruined mill.

    Adam noticed an outbuilding near the bridge, the kind of place that had perhaps once been used to store coal or keep food cold. He had heard about the old days before electric fires and fridges. It might even have been a toilet. Hard to believe, he knew, but once people had to go outside to the toilet, even in winter.

    Whatever it had been, The Destructors had left it largely alone. About seven feet high, with a slanting flagstone roof still intact, it seemed to beckon him to come and vanquish it. Here, at least, was a structure he could mount to get a clear view. If the pretend-tourists were hiding nearby, he would see them from up there.

    Adam walked around the outbuilding and was pleased to see that on one side a number of stones stuck out farther than others, like steps. Carefully, he rested his weight on the first one. It was slippy, but it held fast. He started to climb. Every step seemed solid enough, and soon he was at the top.

    He pulled himself onto the roof. It only slanted at a slight angle, so it was easy enough to walk on. First, he stood near the edge, cupped his hand over his eyes to shield out the harsh sun and looked in every direction.

    To the west stood the flax mill, and the strangers were now nowhere in sight. The land to both the north and south was covered in woods, so it was hard to see anything through the dense green foliage. To the east lay the teardrop shape of Harksmere Reservoir. On The Edge, which ran along the south side of Harksmere, a couple of car windscreens flashed in the sun. Other than that, there was hardly any movement in the world at all, hardly a leaf trembling.

    Satisfied he wasn't being watched, Adam struck out over the roof. It was only about four or five feet wide, but when he got to the middle he felt the faintest tremor, then, before he could dash the short distance to the other side, the thick stone slabs gave way beneath him. For a moment, he hung suspended in air, as if he might float there forever. He stuck his arms out and flapped them like wings, but to no avail. With a scream, he plunged down into the darkness.

    He landed on his back on a cushion of mud; his left wrist cracked against a fallen flagstone and his right arm, stretched out to break his fall, sank up to the elbow.

    As he lay there, winded, looking up at the square of blue sky above him, he saw two of the remaining roof slabs tilt and fall toward him. Each one was about three feet square and six inches thick, enough to smash him to a pulp if it hit him. But he couldn't move; he felt trapped there, spellbound by the falling slabs.

    They seemed to drift down in slow motion, like autumn leaves on a windless day. His mind emptied of everything. He felt no panic, no fear, just a sort of acceptance, as if he had reached a turning point in his short life, and it was out of his hands now. He couldn't have explained it if he'd tried, but at that moment, lying on his cot of warm mud watching the dark stone flags wheel down across the blue of the sky, young as he was, he knew there was nothing he could do to avoid whatever fate had in store for him; whichever way it went, he could only go with it.

    This must be the Seventh Level, he thought as he held his breath, waiting for the impact, waiting to feel his bones breaking, grinding against one another.

    One slab fell to his left, embedded itself in the mud and tilted against the wall like an old gravestone. The other fell to his right and cracked in two against one of the floor flags. One half tipped toward him, just grazing his upper arm, which was sticking out of the mud, and raising a few drops of blood.

    Adam took a few deep breaths and looked up through the roof at the sky. No more slabs. So he had been spared; he was alive. He felt light-headed. There was nothing seriously damaged, he thought, as he started to move his limbs slowly. His left wrist hurt a lot, and it would probably come up in one hell of a bruise, but it didn't feel broken. His right arm was still thrust deep in the mud, and the slab chafed against his grazed elbow. He tried to wiggle his fingers under the mud to find out if he could still feel them, and they brushed against something hard.

    It felt like a cluster of smooth, hard spindles, or a bundle of short rods. Curious, he pushed his arm in deeper and grasped it tightly, the way he used to hold his mother's hand in town when he was very small and frightened of all the crowds; then he leaned his weight back over to the left, gritting his teeth as the pain seared through his injured wrist, and tugged.

    Inch by inch, he dragged his arm free, keeping a firm grasp on his prize. The mud made sucking, slurping sounds as he pulled. Finally, he was able to free the object he was holding. He rested it against the slab and edged back toward the far wall to study it.

    The thing lay against the flagstone in the dim light, fingers hooked over the top, as if it were trying to pull itself out of the grave. It was the skeleton of a hand, the bones crusted with moist, dark earth.

Banks stepped back to survey his handiwork, whistling along with the habanera from Carmen, which was playing loudly on the stereo: Maria Callas past her best but still sounding fine.

    Not bad for an amateur, he thought, dropping the paintbrush in a bowl of turpentine, and a definite improvement over the mildewed wallpaper he had stripped from the walls of his new home yesterday.

    He particularly liked the color. The man at the do-it-yourself center in Eastvale said it was calming, and after the year Banks had just suffered through, he needed all the calming he could get. The shade of blue he had chosen was supposed to resemble that of oriental tapestries, but once it was on the wall it reminded Banks more of the Greek island of Santorini, which he and his estranged wife Sandra had visited during their last holiday together. He hadn't bargained for that memory, but he thought he could live with it.

    Pleased with himself, Banks pulled a packet of Silk Cut from his top pocket. First, he counted the contents. Only three gone since morning. Good. He was trying to restrict himself to ten a day or less, and he was doing well so far. He walked into the kitchen and put on the kettle for a cup of tea.

    The telephone rang. Banks turned off the stereo and picked up the receiver.


    "Brian, is that you? I've been trying to get in touch with you."

    "Yeah, well ... we've been on the road. I didn't think you'd be in. Why aren't you at work?"

    "If you didn't expect me to be in, why did you call?"


    "Brian? Where are you? Is anything wrong?"

    "Nothing's wrong. I'm staying at Andrew's flat."


    "Wimbledon. Look, Dad ..."

    "Isn't it about time your exam results were out?"

    More silence. Christ, Banks thought, getting more than a few words in a row out of Brian was as tough as getting the truth out of a politician.


    "Yeah, well, that's why I was calling you. You know ... I thought I'd just leave a message."

    "I see." Banks knew what was going on now. He looked around in vain for an ashtray and ended up using the hearth. "Go on," he prompted.

    "About the exams, like ..."

    "How bad is it? What did you get?"

    "Well, that's it ... I mean ... you won't like it."

    "You did pass, didn't you?"

    "Course I did."


    "It's just that I didn't do as well as I expected. It was really hard, Dad. Everyone says so."

    "What did you get?"

    Brian almost whispered. "A third."

    "A third? That's a bit of a disappointment, isn't it? I'd have thought you could have done better than that."

    "Yeah, well, it's more than you ever got."

    Banks took a deep breath. "It doesn't matter a damn what I did or didn't get. It's you we're talking about. Your future. You'll never get a decent job with a third-class degree."

    "What if I don't want a decent job?"

    "What do you want to be then? Another statistic? Another cliche? Another unemployed yobbo?"

    "Thanks a lot, Dad. Nice to you know you believe in me. Anyway, as a matter of fact, I'm not on the dole. We're going to try and make a go of it. Me and the band."

    "You're what?"

    "We're going to make a go of it. Andrew knows this bloke who runs an indie label, and he's got a studio, like, and he's said we can go down and make a demo of some of my songs. You might not believe it, but people actually like us. We've got gigs coming out of our ears."

    "Have you any idea how tough it is to succeed in the music business?"

    "The Spice Girls did it, and look how much talent they've got."

    "So did Tiny Tim, but that's not the point. Talent's got nothing to do with it. For every one that makes it, there's thousands who get trampled on the way."

    "We're making plenty of money."

    "Money's not everything. What about the future? What are you going to do when you've peaked at twenty-five and you don't have a penny in the bank?"

    "What makes you an expert on the music business all of a sudden?"

    "Is that why you got such a poor degree? Because you were too busy wasting your time rehearsing and going out on the road?"

    "I was getting pretty bored with architecture anyway."

    Banks flicked his cigarette butt in the hearth. It scattered sparks against the dark stone. "Have you talked to your mother about this?"

    "Well, I sort of thought, maybe ... you know ... you could do that."

    That's a laugh, Banks thought. Him talk to Sandra? They couldn't even discuss the weather these days without it turning into an argument.

    "I think you'd better ring her yourself," he said. "Better still, why don't you pay her a visit? She's only in Camden Town."

    "But she'll go spare?

    "Serves you right. You should have thought of that before."

    The kettle started whistling.

    "Thanks a lot, Dad," Brian said, his voice hard-edged with bitterness. "I thought you'd understand. I thought I could depend on you. I thought you liked music. But you're just like the rest. Go see to your fucking kettle!"


    But Brian hung up. Hard.

    The blue of the living room did nothing to soothe Banks's mood. Pretty sad, he thought, when you turn to DIY as therapy, house-decoration to keep the darkness at bay. He sat for a moment staring at a brush hair stuck to the paint above the mantelpiece, then he stormed into the kitchen and turned off the kettle. He didn't even feel like a cup of tea anymore.

    "Money isn't everything. What about your future?" Banks couldn't believe he had said those things. Not because he thought that money was everything, but because that was exactly what his parents had said to him when he told them he wanted a weekend job in the supermarket to earn some extra money. It frightened him how deeply instinctive his whole response to Brian's news was, as if someone else—his own parents—had spoken the words and he was only the ventriloquist's dummy. Some people say that the older we get, the more we come to resemble our parents, and Banks was beginning to wonder if they were right. If so, it was a frightening idea.

    Money isn't everything, his father had said, though in a way it was everything to him because he had never had any. What about your future? his mother had said, her way of telling him that he would be far better off staying home studying for his exams than wasting his weekends making money he would only use to go hanging around billiard halls or bowling alleys. They wanted him to go into a nice, respectable, secure white-collar job like banking or insurance, just like his older brother Roy. With a good degree behind him, they said, he could better himself, which meant he could do better than they had done. He was bright, and that was what bright working-class kids were supposed to do back in the sixties.

    Before Banks had a chance to think any further, the phone rang again. Hoping it was Brian ringing back to apologize, he dashed into the living room and picked up the receiver.

    This time it was Chief Constable Jeremiah "Jimmy" Riddle. Must be my lucky day, Banks thought. Not only was it not Brian, the new call also meant that Banks couldn't even dial 1471 to get Brian's Wimbledon phone number, which he had neglected to ask for. 1471 only worked for the last one call you received. He cursed and reached for his cigarettes again. At this rate he'd never stop. Bugger it. Extraordinary circumstances call for extraordinary measures. He lit up.

    "Skiving off again, are you, Banks?"

    "Holiday," said Banks. "It's official. You can check."

    "Doesn't matter. I've got a job for you to do."

    "I'll be back in the morning."


    Banks wondered what kind of job Jimmy Riddle would call him off his holidays for. Ever since Riddle had had to reinstate him reluctantly after dishing out a hasty suspension the previous year, Banks had been in career Siberia, his life a treadmill of reports, statistics and more reports. Everything short of going around to the schools giving road-safety talks. Not one active investigation in nine months. He was so far out of the loop he might as well have been on Pluto; even the few informers he had cultivated since arriving in Eastvale had deserted him. Surely the situation wasn't going to change this easily? There had to be more to it; Riddle never made a move without a hidden agenda.

    "We've just got a report in from Harkside," Riddle went on. "A young lad found some bones at the bottom of Thornfield Reservoir. It's one of the ones that dried up over the summer. Used to be a village there, I gather. Anyway, there's nothing but a section station in Harkside, and all they've got is a lowly DS. I want you down there as senior investigating officer."

    "Old bones? Can't it wait?"

    "Probably. But I'd rather you get started right away. Any problem with that?"

    "What about Harrogate or Ripon?"

    "Too busy. Don't be such an ungrateful bastard, Banks. Here's the perfect opportunity for you to drag your career out of the slump it's fallen into."

    Sure, Banks thought, and pigs can fly. He hadn't fallen into the slump, he had been pushed, and, knowing Jimmy Riddle, this case was only going to push him even deeper into it. "Human bones?"

    "We don't know yet. In fact, we know nothing at all so far. That's why I want you to get down there and find out."


    "No. Thornfield bloody Reservoir. You'll find the local DS already at the scene. Cabbot's the name."

    Banks stopped to think. What the hell was going on here? Riddle was clearly not doing him any favors; he must have got tired of confining Banks to the station and thought up some new and interesting way to torture him.

    A skeleton in a dried-up reservoir?

    A detective chief inspector would not, under normal circumstances, be dispatched to the remote borders of the county simply to examine a pile of old bones. Also, chief constables never assigned cases to detectives. That was a job for the superintendent or chief superintendent. In Banks's experience, CCs usually restricted their activities to waffling on the telly, opening farm shows and judging brass-band competitions. Except for bloody Jimmy Riddle, of course, Mr. Hands-On himself, who would never miss an opportunity to rub salt in Banks's wounds.

    However busy Harrogate and Ripon were, Banks was certain they could spare someone qualified to do the job. Riddle obviously thought the case would be boring and unpleasant, or both, and that it would lead to certain failure and embarrassment; otherwise, why give it to Banks? And this DS Cabbot, whoever he was, was probably as thick as pigshit or he would have been left to handle things himself. Besides, why else was a detective sergeant stuck in a section station in Harkside, of all places? Hardly the crime capital of the north.

    "And, Banks."


    "Don't forget your wellies."

    Banks could have sworn he heard Riddle snicker like a school bully.

    He dug out a map of the Yorkshire Dales and checked the lie of the land. Thornfield was the westernmost in a chain of three linked reservoirs built along the River Rowan, which ran more or less east from its source high in the Pennines until it turned south and joined the River Wharfe near Otley. Though Thornfield was only about twenty-five miles away as the crow flies, there was no fast way, only minor unfenced roads for the most part. Banks traced a route on the map with his forefinger. He would probably be best heading south over the moors and along Langstrothdale Chase to Grassington, then east toward Pateley Bridge. Even then it would probably take an hour or more.

    After a quick shower, Banks picked up his jacket and tapped his pockets by habit to make certain he had car keys and wallet, then walked out into the afternoon sunshine.

    Before setting off, he stood for a moment, resting his hands on the warm stone wall and looked down at the bare rocks where Gratly waterfalls should be. A quote from a T. S. Eliot poem he had read the previous evening came to his mind: "Thoughts of a dry brain in a dry season." Very apt. It had been a long drought; everything was dry that summer, including Banks's thoughts.

    His conversation with Brian still nagged on his mind; he wished it hadn't ended the way it had. Though Banks knew he fretted more about his daughter Tracy, who was at present traveling around France in an old van with a couple of girlfriends, that didn't mean he wasn't concerned about Brian.

    Because of his job, Banks had seen so many kids go wrong, that it was beyond a joke. Drugs. Vandalism. Mugging. Burglary. Violent crime. Brian was too sensible to do anything like that, Banks had always told himself; he had been given every possible middle-class advantage. More than Banks had ever got. Which was probably why he felt more hurt than anything by his son's comments.

    A couple of ramblers passed by the front of the cottage, heavy rucksacks on their backs, knotted leg muscles, shorts, sturdy hiking boots, Ordnance Survey maps hanging in little plastic holders around their necks in case it rained. Some hope. Banks said hello, remarked on the good weather and got into the Cavalier. The upholstery was so hot he almost jumped out again.

    Well, he thought, fumbling for a cassette to play, Brian was old enough to make his own decisions. If he wanted to chuck everything in for a shot at fame and fortune, that was up to him, wasn't it?

    At least Banks had a real job to do. Jimmy Riddle had made a mistake this time. No doubt he believed he had given Banks a filthy, dead-end job, full of opportunities for cock-ups; no doubt the dice were loaded against him; but anything was better than sitting in his office. Riddle had overlooked the one overriding characteristic Banks possessed, even at his lowest ebb: curiosity.

    Feeling, for a moment, like a grounded pilot suddenly given permission to fly again, Banks slipped Love's Forever Changes in the cassette player and drove off, spraying gravel.

The book-signing started at half past six, but Vivian Elmsley had told her publicist, Wendi, that she liked to arrive early, get familiar with the place and have a chat with the staff.

    There was already a crowd at quarter past. Still, it was only to be expected. All of a sudden, after twenty novels in as many years, Vivian Elmsley was a success.

    Though her reputation and her sales had grown steadily over the years, her Detective Inspector Niven series, which accounted for fifteen of the twenty books, had recently made it to the small screen with a handsome lead actor, glossy production values and a big budget. The first three episodes had been shown, to great critical acclaim---especially given how bored many television critics had become with police dramas recently—and as a result Vivian had become, over the past month or so, about as familiar a face to the general public as a writer ever is.

    She had been on the cover of Night & Day, had been interviewed by Melvyn Bragg on the "South Bank Show" and featured prominently in Woman's Own magazine. After all, becoming an "overnight success" in one's seventies was quite newsworthy. Some people even recognized her in the street.

    Adrian, the event organizer, gave her a glass of red wine, while Thalia arranged the books on the low table in front of the settee. At half past six on the dot, Adrian introduced her by saying that she needed no introduction, and to a smattering of applause she picked up her copy of the latest Inspector Niven story, Traces of Sin, and began to read from the opening section.

    About five minutes was enough, Vivian reckoned. Anything less made her look as if she couldn't wait to get away; anything more risked losing the audience's attention. The settee was so soft and deep that it seemed to enfold her as she read. She wondered how she would ever get out of it. She was hardly a spry young thing anymore.

    After the reading, people formed an orderly queue, and Vivian signed their books, pausing to chat briefly with everyone, asking if they wanted any specific sort of dedication and making sure she spelled their names right. It was all very well if someone said he was called "John," but how were you to know it wasn't spelled "Jon"? Then there were the more complex variations: "Donna," or "Dawna"? "Janice," or "Janis"?

    Vivian looked down at her hand as she signed. Talon-like, she thought, almost skeletal, dotted with liver spots, skin shriveled and wrinkled over the knuckle joints, puffs of flesh around the wedding ring she could never remove even if she wanted to.

    Her hands were the first to go, she thought. The rest of her was remarkably well-preserved. For a start, she had remained tall and lean. She hadn't shrunk or run to fat like so many elderly women, or generated that thick, hard, matronly carapace.

    Steel-gray hair pulled back tightly and fastened at the back created a widow's peak over her strong, thin face; her deep blue eyes, networked with crow's feet, were almost oriental in their slant, her nose was slightly hooked and her lips thin. Not a face that smiled often, people thought. And they were right, even though it had not always been so.

    "A steely, unblinking gaze into the depths of evil," one reviewer had written of her. And was it Graham Greene who had noted that there is a splinter of ice in the heart of the writer? How right he was, though it hadn't always been there.

    "You used to live up north, didn't you?"

    Vivian looked up, startled at the question. The man appeared to be about sixty, thin to the point of emaciation, with a long, gaunt pale face and lank fair hair. He was wearing faded jeans and the kind of gaudy, short-sleeved shirt you would expect to see at a seaside resort. As he held the book out for her to sign, she noticed that his hands were unnaturally small for a man's. Something about them disturbed her.

    Vivian nodded. "A long time ago." Then she looked at the book. "Who would you like me to sign this to?"

    "What was the name of the place where you lived?"

    "It was a long time ago."

    "Did you go by the same name then?"

    "Look, I—"

    "Excuse me, sir." It was Adrian, politely asking the man to move along. He did as he was asked, cast one backward glance at Vivian, then he slapped her book down on a pile of John Harveys and left.

    Vivian carried on signing. Adrian brought her another glass of wine, people told her how much they loved her books, and she soon forgot about the strange man and his prying questions.

    When it was all over, Adrian and the staff suggested dinner, but Vivian was tired, another sign of her advancing years. All she wanted to do was go home to a long hot bath, a gin and tonic and Flaubert's Sentimental Education, but first she needed a little exercise and some air. Alone.

    "I'll drive you home," said Wendi.

    Vivian laid her hand on Wendi's forearm. "No, my dear," she said. "If you don't mind, I'd just like a little walk by myself first, then I'll take the tube."

    "But, really, it's no trouble. That's what I'm here for."

    "No. I'll be perfectly all right. I'm not over the hill yet."

    Wendi blushed. She had probably been told that Vivian was prickly. Someone always warned the publicists and media escorts. "I'm sorry. I didn't mean to suggest anything like that. But it's my job."

    "A pretty young girl like you must have far better things to do than drive an old lady home in the London traffic. Why don't you go to the pictures with your boyfriend, go dancing, or something?"

    Wendi smiled and looked at her watch. "Well, I did tell Tim I wouldn't be able to meet him until later. Perhaps if I phoned him now and went to queue at the half-price ticket booth, we could get some last-minute theater tickets. But only if you're sure."

    "Quite sure, my dear. Good night."

    Vivian walked out into the warm autumn dusk on Bedford Street.

    London. She still sometimes found herself unable to believe that she actually lived in London. She remembered her first visit—how vast, majestic and overwhelming the city had felt. She had gazed in awe at landmarks she had only heard of, read about or seen in pictures: Piccadilly Circus, Big Ben, St. Paul's, Buckingham Palace, Trafalgar Square. Of course, that was a long time ago, but even today she felt that same magic when she recited the names or walked the famous streets.

    Charing Cross Road was crowded with people leaving work late or arriving early for the theaters and cinemas, meeting friends for a drink. Before getting on the tube, Vivian crossed the road carefully, waiting for the pedestrian signal, and strolled around Leicester Square.

    A small choir was singing "Men of Harlech" just beside the Burger King. How it had all changed: the fast food places, the shops, even the cinemas. It wasn't far from here, on Haymarket, that she had been to her first London cinema, the Carlton. What had she seen? For Whom the Bell Tolls. Of course, that was it.

    As she walked back to the Leicester Square tube entrance, Vivian thought again about the strange man in the bookshop. She didn't like to dwell on the past, but he had pushed her into a reminiscent mood, as had the recent newspaper photographs of the dried-up Thornfield Reservoir.

    The ruins of Hobb's End were exposed to the light of day for the first time in over forty years, and the memories of her life there had come crowding back. Vivian shuddered as she walked down the steps to the underground.

What People are Saying About This

Michael Connelly
In a Dry Season is a wonderful novel. From Peter Robinson's deft hand comes a multi-layered mystery woven around the carefully detailed portraits of characters all held tightly in the grip of the past. At its heart is Inspector Banks. A man for all seasons, he knows that often the clues to the answers he seeks can be found in his soul.
— Author of Blood Work

Meet the Author

One of the world’s most popular and acclaimed writers, Peter Robinson is the bestselling, award-winning author of the Inspector Banks series; he has also written two short-story collections and three standalone novels, which combined have sold more than ten million copies around the world. Among his many honors and prizes are the Edgar Award, the CWA (UK) Dagger in the Library Award, and Sweden’s Martin Beck Award.

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In a Dry Season (Inspector Alan Banks Series #10) 3.7 out of 5 based on 0 ratings. 20 reviews.
Love-to-Read-DA More than 1 year ago
This was the first book I read from Peter Robinson's Det. Alan Banks' series and I enjoyed it so much I went back to the first Nook book I could find in the series and started reading them all from there. Robinson has a great writing style--the characters, particularly the recurring ones, seem real. This book is set in England (as are all of the series) and it goes back and forth from current times to WWII. It's not easy to figure out who did it until you're at the end of the book. I recently read it for the second time for my book club--it was enjoyed by all!
KnitKicky More than 1 year ago
Engaging mystery with depth of character. The WWII scenes are an interesting look into a time few still alive have experienced. Ending is predictable...but its still fun getting there.
texaskcr More than 1 year ago
What a cracking good mystery. Alan Banks is a fantastic character- multi layered and complex. Robinson's use of time and place in this novel is excellent. If you haven't read Peter Robinson before- don't hesitate to pick this one up. It is the 10th in the series, but easy to start with and you will immediately want to read all the others.
EdNY More than 1 year ago
My first Inspector Banks book and I'm a fan. Even though I started in the middle of the series, it didn't matter. Banks is in hot water with his commanding officer, Riddle, so Riddle sends him on a non-sense case. His co-worker on the case is Annie Cabbot, also persona non-grata. It is the mid-90s. Thirteen year old Adam Kelley was playing in the dried up reservoir that was once the town of Hobbs End (it was flooded in the early 1950s to make the reservoir) when he fell off a roof into what was originally an outhouse. His arm sinks in the mud and when he pulls it out, he's holding the skeleton of a human hand. Banks and Cabbot are called to the scene. Robinson alternates between current events (the police procedures to find information about the victim and her associates) and a narrative of the times leading up to the murder, since murder it is. The story has a nice blend of the varying time frames and readers get a great sense of life in rural England during WW II. The current activity is interesting as the police find it difficult to get dated information. They must surmise, guess, etc. In a Dry Season held my interest from the first page and I read it as non-stop as I could in order to find out what happened. I'm not a big British mystery fan, but this may change my mind. It's a great read.
Anonymous More than 1 year ago
First rate in every respect - hated for the story to end! by a.j. west
Anonymous More than 1 year ago
BDickens More than 1 year ago
If you haven't met DCI Banks, you need to see the human side and and how he handles the a case that involves the death of a young woman, She is thought to have run away, but instead was killed and buried, then found decades after WW11. Her story is told from the viewpoint of friend. DCI Banks is called to help out in a small town police dept. The woman is found when a reservoir drys up and the small village in the valley is revealed....a town last active during the war. Peter Robinson brings this town to life as he weaves in the past and present through investigations of the people Banks must find still living. Well done!
Marged04 More than 1 year ago
This book keeps you hopping between 2 time periods, and you really have to pay attention. I thought it was a great challenge and there were some surprises along the way! I recommend this book if you are a DCI Banks fan!
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Guest More than 1 year ago
One of the most boring detective novels I've ever read. With a lot of unnecessary details along the way, it's really hard to stay interested and care about the characters. Not much of a mistery either. The only reason why I kept reading was my respect for the people that went through hardships of World War II, otherwise I would just completely call this a waste of time. The author attempts to combine the crime fiction genre with serious literature, trying to create a 'great miltilayer story' with 'well-developed characters', but it just doesn't work. If you are looking for good detective novel with suspense and mistery, this book is not for you. And it is certainly not a good 'serious' novel either, it is simply not deep enough. The only decent thing I found about this novel is that it doesn't have much of what you would call totally ridiculous or stupid or stereotypical, but it simply is not an interesting read.
Anonymous More than 1 year ago
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Guest More than 1 year ago
I found this book to be extremely dull. Other reviewers obviously disagree, I am also disappointed to see a blurb from M. Connelly whom I greatly admire. The 'mystery' plot was secondary to Banks's love and family life. Since his personal life generated no appeal for me (even though I have two sons about Brian's age), the novel hit dudsville really fast. The trite intercutting of differing character's voices also was ineffective. The mystery itself , taking place 40 years ago, just after the war, was moderately interesting, but the solution was rushed, sort of just tagged on. Obviously, the murderer should have been Vivian, but was that too 'obvious.' Easier to have a mild mannered Yank explode, rather than the paradigmatic British spinster-crime-novelist. A murder in the present would have been appropriate--kept waiting for it. A few of the characters held my interest: Gloria, Vivian (Gwen)and, in his brief appearance, the boy who found the skeleton. I didn't respond to Banks (dull,self-indulgent, rather dense), Annie (the new woman is okay, but she needs to be put back in her box), bouncy Jenny, and all minor characters. I guess Robinson was attempting to write a psychological suspense novel, ala Ruth Rendell. He chose a poor model. I have read over 500 crime/mystery/suspense novels and only a very few have pulled it off: Thomas Cook's Breakheart Hill and Mortal Memory; Andrew Taylor's Four Last Things ( the best suspense novel I have read); River of Darkness, great on many levels. Finally, I should mention Void Moon (very underrated). I have read four novels by Robinson and could only finish two: Innocent Graves and this one. Graves has some interesting characters and a fairly good plot. Banks is dull as usual and unrealistic as a 'coppper.' There are many good to average mysteries out there: do youself a favor and find one, not written by Robinson. He is truly mediocre.