Blind Fury pdf

Blind Fury

Blind Fury
Author:
Pages: I've been happily reading the Anna Travis series by Lynda La Plante since the first book and enjoying them. Despite a few odds and ends that can be mildly annoying. Ongoing romantic angst, a tricky senior officer (in this case the early on love interest as well), and some seriously big books without always having quite enough story to fill out all of the pages.

BLIND FURY, unfortunately, nearly defeated me before the end. Which is a pity. Because the investigative elements of this book are actually not too bad. It does take a while for things to get moving mind you - but it's an interesting sort of a case, with the bodies of two young unidentified girls and an identified older prostitute seemingly having little in common. Aside from the circumstances of the dumping of their corpses, and the way in which they were raped and killed. Identifying the victims requires a lot of good old fashioned police investigative work - a lot of which is done by the team that Anna is working with - with flashes of insight from Anna herself. At the same time, for reasons best known to DCS Langton, Anna and a colleague also find themselves visiting a maximum security jail to discuss the case with a previously convicted multiple murderer who claims he has a unique insight into the mindset of this new killer.

Langton and Anna have a romantic history (they lived together at one point) and both have moved on. A while ago. It is mentioned, not quite as frequently as in earlier books, and it's sort of spiced up a little with some vaguely longing behaviour from Langton which seems to cause Anna to realise, frequently, that she's moved on. Moved on to the point where she forms a relationship with one of the guards on the unit where killer Cameron Welsh is held. And at this point the personal elements of the story start declaring themselves in bold face letters, with a little neon decoration for good measure.

BLIND FURY heads off into unbelievable territory fairly quickly - with the unfathomable concentration on an unconnected, unqualified, convicted killer as some sort of "expert" witness in the case. Which didn't stack up well on it's own, let alone when you also have to accept some of the leaps of brilliance or "intuition" elements of the normal Anna investigation style. Normally this sort of thing is a little easier to swallow as previous books have belted along at a good pace, but this one dragged. As the focus is increasingly on Anna and her personal life, the concentration on the actual investigation wanes - and that got really annoying, as the process of identifying the two unknown girls, connecting them to the dead prostitute and then the painstaking work required to try to identify suspects was reasonably compelling. Or at least it felt so stacked up beside the inevitability of the trainwreck that is Anna's personal life.

Overall there just wasn't enough of the good elements to hide or compensate for the increasingly sinking feeling of inevitability that hit as soon as a new man walked into Anna's life and the book dragged on to its foreseeable and really disappointing conclusion.


ISBN: Oh dear. Perhaps it is because I have just read two extremely well written books in this genre that this one seems so clunky and awkward? I simply cannot force myself through it. I am on page 54 and already I want to hurl it across the room in irritation.

I have just finished reading The Distant Echo by Val McDermid and Knots & Crosses by Ian Rankin. This is no coincidence as I was shopping at the Range and they were selling crime novels at two for fiver and these are three of a set of four my mum and I purchased together.

I can't remember what the fourth one is because my mum is reading it at the moment but I hope it is better than Blind Fury.

I think the story will be fine for people who don't mind dialogue that sounds as if somebody wrote it as a 'serving suggestion' for actors to later add their own characterisation, accents and personality and maybe even change the words a bit to make them sound more believable. But for me it makes painful reading.

The female detective has gone to a prison - she is an experienced officer and yet every step needs to be explained to her as if she has never even watched a police drama on tv. When she gets there she is then told in huge detail all about the set up at the prison and then told that as she is an attractive woman they want to protect her safety!!! This all delivered in a language that would not be out of place coming from a Victorian governess rather than a prison governor/officer.
In contrast McDermid and Rankin (and Knots and Crosses was his first novel) give their characters dialogue that can be read and each character identified from how they say things and what they say. In Blind Fury everybody speaks with the same 'voice' except for a Dick Van Dyke type caricature of a 'bird on the game' who lurches between various stereotypical speech patterns such as one minute saying 'nothin' and then later 'nothing' and so on and so forth. Which is fine in a script because you can let the actor catch that type of thing as they overlay it with their interpretation but for me as I'm reading it - aarghh!!

Oh well. That's just me. This is a bestseller and Lynda La Plante isn't going to be suffering from my personal dislike of her style any time soon. My mum didn't like it either although she read it to the end because she tends to finish things once she's started and is in her 80s and is retired. I have a busier lifestyle and I am more impatient so I won't be doing so. I am not interested in the characters and couldn't care less whodunnit.

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I must say that I don’t take a lot of notice of the titles of Lynda La Plante’s DI Anna Travis novels, as I don’t think they usually relate to the actual novel. I suppose this book (the latest in the series) does, but you wouldn’t make the link until the end.

This book is about another murder case that DI Travis is working on, the murder of three women whose bodies were all found just off a London motorway. It’s a dead case with very few leads. Enter a murderer in gaol who specifically states he can assist the case and get into the killer’s mind. An interesting plot line that makes you think of The Silence of the Lambs but it really doesn’t go very far, except for setting up another lover for Anna.

I’m getting a bit sick of Anna and her boyfriends- yes, she’s very morally upright and dedicated to her career, so how does having a fling in each book assist the plot? Isn’t it in detective fiction canon that all detectives end up sad and lonely?

This is a spoiler but Anna doesn’t break the mould. In what must be the most boring case covered in this series, leads continually come to dead ends and suspects / witnesses are revisited again and again. This is fiction- couldn’t there be a bit more liberty to make it interesting?

The last couple of chapters go through emotions and timeframes very quickly- a little too quickly in my opinion. The blurb on the back of the book also says a little too much about what happens at the end- I had a chapter to read, read the blurb again and immediately thought, ‘Oh, I know what happens now’.

Generally with this series I don’t expect high literature but gripping action. This time I didn’t even get one of them.

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