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As attentive as Robinson is to plot progression, spicing up his narrative with arcane knowledge about fire accelerants and competition in the painting biz ("The art world's brutal," Banks is warned early on in this story), he doesn't forget that a substantial part of the attraction of this series derives from its two evolving main characters. The contemplative, jazz-loving Banks, worried by the superficiality of his latest relationship, with a "wounded" fellow cop, finds himself increasingly jealous here of Annie's suave new boyfriend, an art researcher whose past may be short a few brushstrokes. At the same time, Annie is drawn hesitantly closer again to Banks by tragic circumstances. Although Robinson's subplot about Tina's sexual violation concludes in a rather B-movieish way, Playing with Fire is redeemed by its scorching climax and suggestively ragged denouement. Peter Robinson, together with Ian Rankin, Reginald Hill, and others, is reinvigorating the British police procedural. --J. Kingston Pierce
Fire—It consumes futures and pasts in aterrified heartbeat, devouring damning secrets while leaving even greater mysteries in the ashes.
The night sky is ablaze as flames engulf two barges moored side by side on an otherwise empty canal. On board are the blackened remains of two human beings. To the seasoned eye, this horror was no accident, the method so cruel and calculated that only the worst sort of fiend could have committed it. There are shocking secrets to be uncovered in the charred wreckage, grim evidence of lethal greed and twisted hunger, and of nightmare occurrences within the private confines of family. A terrible feeling is driving police inspector Alan Banks in his desperate hunt for answers—an unshakable fear that this killer's work will not be done until Banks's own world is burned to the ground.
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