Fever_of_the_BloodNew Year’s Day, 1889. In Edinburgh’s lunatic asylum, a patient escapes as a nurse lays dying. Leading the manhunt are legendary local Detective ‘Nine-Nails’ McGray and Londoner-in-exile Inspector Ian Frey. Before the murder, the suspect was heard in whispered conversation with a fellow patient – a girl who had been mute for years. What made her suddenly break her silence? And why won’t she talk again? Could the rumours about black magic be more than superstition? McGray and Frey track a devious psychopath far beyond their jurisdiction, through the worst blizzard in living memory, into the shadow of Pendle Hill – home of the Lancashire witches – where unimaginable danger awaits…

Having been singularly impressed by de Muriel’s debut, The Strings of Murder, introducing uncouth Scottish detective ‘Nine-Nails’ McGray, and softy Southern detective Ian Frey, there was more than a hint of excitement when A Fever Of The Blood arrived, replete with a raven’s feather- perfect marketing for this blogger. So how did our tenacious, and wonderfully ill-matched detective duo fare in this new instalment of de Muriel’s Victorian inspired series? There is dark witchcraft afoot, and Frey and McGray find themselves in more than a spot of peril…

One of the joys of a second book in a series is to see how the author further develops their characters, and the shades of dark and light they apply to their central protagonists. This is certainly true of this book, as the asperity and bravery of Frey increases in his tussles with his obnoxiousness and fearless counterpart McGray. However, by the same token there is a slight softening of the edges of McGray himself, as details of his family background come into focus, and a new, dare I say it, more touchy feely side is exposed. Yes. What are the odds of that? Admittedly, some switches in their characters can be explained by the dark forces of witchcraft that are at work upon them throughout this murderous adventure, but I liked this little teasing of our perceptions about the pair, that de Muriel has woven into the book. The book is again infused with the crude wit and ripostes of McGray, when frustrated by the buttoned-up protestations of Frey, and these moments of humour are perfectly placed throughout. Equally, in true pantomime style there is a boo-worthy crew of baddies to thwart and torment our heroes, and the grotesque Lady Ardglass makes a reappearance but with little change in her own character- once an old crone, always an old crone- and whose blighted family history lays at the centre of this latest devilish tale. There are evil witches, good witches, lunatic asylum patients and ineffectual policemen, and a wonderful manipulation of our senses as to who is good, who is bad, and who is actually more than a little bit of both. The characterisation is lively, playful, and at times incredibly dark and chilling, and de Muriel balances all these contrasting aspects of his protagonists and antagonists with an assured air.

There is an unrelenting pace to the book as Frey and McGray embark on a game of cat and mouse as they seek to track down asylum escapee Joel Ardglass, offspring of the hideous Lady Ardglass, but find themselves in the sight of some unholy creatures, and a final denouement in the shadows of Pendle, Lancashire, with all its allusions to the famous witchcraft case. Indeed, the majority of the book sees Frey and McGray in a state of frenetic perambulation, led onward by the mysterious green glow of witches’ beacons, and the will o’ the wisp tendencies of their fugitive from justice. It’s fair to say that more than one mishap befalls them along the way, and there are some real nerve-shredding moments as the plot progresses. So in addition to being a real tale of ominous derring-do, there is, as explained by the author’s notes, the careful inclusion of factual reference to witchcraft and its practices in days of yore. Also, de Muriel has taken a little bit of artistic licence drawing on his Mexican heritage, and integrating some little details of the dark arts that herald from his own homeland, which adds to the overall colour and interest of the witchcraft narrative.

So, it’s all deliciously dark, violent and compelling, with new nuances to the characters of, and the relationship between our earthy Scotsman McGray, and his rather reluctant counterpart Frey. There are dark arts, light humour, and a sense of unrelenting excitement and danger. It’s a romp, and a very enjoyable one at that.

(With thanks to Penguin for the ARC)

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