The Complaints


Book Description

'Unmissable Rankin, as gripping and involving as any Rebus story' CHOICE; 'A brilliant book' GUARDIAN From the No.1 bestselling author of A SONG FOR THE DARK TIMES 'On the evidence of THE COMPLAINTS it looks as if Fox will be just as sure-footed a guide to the city as his grizzled predecessor' DAILY EXPRESS. Nobody likes The Complaints - they're the cops who investigate other cops. Complaints and Conduct Department, to give them their full title, but known colloquially as 'the Dark Side', or simply 'The Complaints'. Malcolm Fox works for The Complaints. He's just had a result, and should be feeling good about himself. But he's middle-aged, sour and unwell. He also has a father in a care home and a sister who persists in an abusive relationship. In the midst of an aggressive Edinburgh winter, the reluctant Fox is given a new task. There's a cop called Jamie Breck, and he's dirty. Problem is, no one can prove it. But as Fox takes on the job, he learns that there's more to Breck than anyone thinks. This knowledge will prove dangerous, especially when murder intervenes.







Lawn Boy


Book Description

Recipient of the 2019 Alex Award​​ “Mike Muñoz Is a Holden Caulfield for a New Millennium--a '10th-generation peasant with a Mexican last name, raised by a single mom on an Indian reservation' . . . Evison, as in his previous four novels, has a light touch and humorously guides the reader, this time through the minefield that is working-class America.” --The New York Times Book Review For Mike Muñoz, life has been a whole lot of waiting for something to happen. Not too many years out of high school and still doing menial work--and just fired from his latest gig as a lawn boy on a landscaping crew--he’s smart enough to know that he’s got to be the one to shake things up if he’s ever going to change his life. But how? He’s not qualified for much of anything. He has no particular talents, although he is stellar at handling a lawn mower and wielding clipping shears. But now that career seems to be behind him. So what’s next for Mike Muñoz? In this funny, biting, touching, and ultimately inspiring novel, bestselling author Jonathan Evison takes the reader into the heart and mind of a young man determined to achieve the American dream of happiness and prosperity--who just so happens to find himself along the way.













Siam's New Detectives


Book Description

Visual evidence is the sine qua non of the modern criminal process—from photographs and video to fingerprints and maps. Siam's New Detectives offers an analytical history of these visual tools as employed by the Thai police when investigating crime. Covering the period between the late nineteenth century and the end of the Cold War, the book provides both an extended overview of the development and evolution of modern police practices in Thailand, and a window into the role of the Thai police within a larger cultural system of knowledge production about crime, violence, and history. Based on a diverse set of primary sources—police reports, detective training manuals, trial records, newspaper stories, memoirs, archival documents, and hard-to-find crime fiction—the book makes two related arguments. First, the factuality of the visual evidence used in the criminal justice system stems as much from formal conventions—proper lighting in a crime scene photo, standardized markings on maps—as from the reality of what is being represented. Second, some images, once created, function as tools, helping the police produce truths about the criminal past. This generative power makes images such as crime scene maps useful as investigative aids but also means that scholars cannot analyze them simply in terms of mimetic accuracy or interpret them in isolation for deeper meaning. Understanding how modern legal systems operate requires an examination of the visual culture of the law, particularly the aesthetic rules that govern the generation and use of documentary evidence. By examining modern policing in terms of visual culture, Siam's New Detectives makes important methodological contributions. The book shows how a historical analysis of form can supplement the way many scholars have traditionally approached visual sources, as symbols requiring a close reading. By acknowledging the productive nature of images in addition to their symbolic functions, the book makes clear that policing is fundamentally an interactive, creative endeavor as much as a disciplinary one.