On a freezing November night, 14-year-old Arwel Thomas, turns up dead in a railway tunnel outside Bangor, an apparent victim of sexual abuse and a runaway from the local children's home.
DCI Michael McKenna and his colleagues are slowly drawn in to the web of relationships and power struggles surrounding Arwel and his peers in the claustrophobic world of childcare institution, where nothing and no one can be taken at face value and ethical structures bow to expediency and greed. A world in which they find Elias ab Elis and his wife, blessed with worldly wealth, lurking in the shadows, cursed and impoverished by their own dark tragedies.
In this dark world McKenna finds families existing in a twilight of ignorance and stupidity and children consigned to the scrap-heap of life. Forced to confront his own frailties through his investigations, McKenna must probe the underbelly of this seamy culture in order to get at the truth, however destructive it may be.
Alison Taylor never intended to be a crime writer. In 1986 she was working as a senior social worker for the former Gwynedd County Council. Increasingly disturbed by reports of the alleged abuse of children in care, she took her concerns to the police. As a result she was fired. What her actions have helped to expose is one of Britain's worst scandals of institutionalised physical and sexual abuse in children's homes in North Wales. Because of the extent and nature of the allegations, in 1996 the government took the rare step of ordering a Tribunal of Inquiry, which began hearing evidence in January 1997, and is due to report this year. Alison Taylor won two national awards for her selfless work in this area; the first Community Care Readers Award, and the Campaign for Freedom of Information Award in 1996. Disillusioned by the prospect of returning to social work, Alison concentrated on writing. Her first novel Simeon's Bride evolved from a short story written for a national competition and was published in 1995. It won her outstanding critical acclaim and comparisons to PD James and Ruth Rendell. Her second novel In Guilty Night was a compelling story containing the controversial issue of child abuse. And most recently, The House of Women was published in 1998, again to widespread acclaim from the media. A television series featuring Superintendent Michael McKenna is currently under negotiation.
Alison Taylor has a son and a daughter, and has lived in north Wales for many years. Her interests include baroque and classical music, art and riding.
The writing is heavy handed and ponderous - painful to read. Neither the writing nor the plot flows easily and the characters are very stereotypical. The woman who is matron at the children's home has 'a brutish silhouette' and 'looks as mean and forbidding as her miserable habitat.' The author refers to the female inhabitants as 'wenches and hussies.' The dialogue is stilted and wooden. I think the story underneath could be quite good but I am not prepared to wade through the mire to find out.
The naked body of a runaway teenage boy is found near an old railway tunnel, and enquiries lead the police to the local children’s home where they are confronted with several disturbing incidents. DC Janet Evans, the daughter of a local church minister, is newly appointed to the police station, and is already causing waves with her out-spoken views. Doctor Eifion Roberts offers his usual advice to his close friend DCI McKenna. This was a hard book to read due to the subject; however, the author, due of her earlier career, handled it extremely well. I am enjoying this series so far, and am happy to recommend it to other readers of this genre.
Depressing really. Snarky comments, misogynistic remarks, and this from the cops. Pointless rambling about the marriages - or not - of the 2 DCIs. Seemed to agree with the nasty idea that the poor and abused all deserve ill treatment and are that way because they want to be, even the kids.
I quote: "Children in care often allege abuse. It's part of the child's nature to lie"
The police procedural stuff, well what? Occasionally talking to people and leaving when told to. Ignoring what these kids keep telling them.
The only part of the book I liked was the bits about his cat.
A small police force in an impoverished and isolated part of north Wales has to deal with the longstanding abuse of minors in the care of the local authorities. It is a horrific and believable account of the relationships between overworked and nearly burnt out cops and self protective social workers who value their own job security and appearance of virtue most of all and blame the young people in their care for almost everything evil that befalls. Grim but gripping.
I liked her book "Simeon's Bride" but found this a chore, one I gave up on a little more than halfway through the too-many 339 pages. It's too depressing and drawn out. I got tired of the bickering between the police team and the setting of the children's "home" run by sadistic people got old. Hardly any of the characters had any redeeming qualities which made it hard to care about any of them.
Really enjoying the DCI McKenna series so far! I read 'In Guilty Night' in both German and English versions which really enhanced the story. Very moody and atmospheric storytelling.
I would like to thank Netgalley and Endeavour Press for a review copy of In Guilty Night, a police procedural set in North Wales.
I read Simeon's Bride in the 90s when it was first published and was blown away by it but never got round to reading more in the series so when offered the opportunity to read In Guilty Night I jumped at the chance. All I can say is what a difference 20 years has made to my perceptions.
Chief Inspector McKenna and his team are called in when a train driver spots a body at the side of the track. The body belongs to Arwel Thomas, a young boy who had absconded from a care home the previous week. What unfolds from there is a story of abuse and stonewalling from Social Work.
The plot is excellent and quite gripping as McKenna and his team try to prise information from uncooperative witnesses and bicker amongst themselves about their approach. I can forgive a lot for a good plot but I found the writing style and some of the author's character portrayals hard to stomach. Given that by 1996 when the novel was originally published many scandals of abuse in children's homes had been well publicised I think that the attitude of social services in the novel in ignoring complaints and twisting the facts is fairly unbelievable and I strongly dislike the fact that there is not a decent human being among these characters. It is still fashionable to deride social work departments as incompetent but that is to deny the very many who are hardworking and dedicated in very difficult circumstances. I would have preferred a more balanced approach rather than the author using every opportunity to pursue her own agenda. I also take issue with her portrayal of homosexuals which is again nasty, ill informed and prejudiced.
I found the writing style oblique, elliptical and hard to follow. It made the read hard and I got to the stage that I couldn't care less about justice for Arwel or the fate of any of the characters.
While I applaud Alison Taylor's courage in tackling such an important subject (the abuse of at-risk children at the hands of those employed to protect them), I was not particularly impressed by In Guilty Night. Despite being rich in detail, the novel did not have a clear structure. Rather than progressing in a forward direction, In Guilty Night meandered. Over and over again, McKenna and his team are prevented from interviewing the children and staff of Blodwel, despite evidence of murder. Higher ups interfere. Sadly this is realistic, but the reader is kept in limbo for 2/3 of the book. The repetition and lack of progress gets boring pretty quickly. The novel would be far better if it had been streamlined more before publication. Topping it off, the ending is realistic but not very satisfying. Justice is on hiatus as the culprits are unreadable, and the investigation into the individuals involved is still in progress.
Alison Taylor has a definitive understanding of institutional abuse and the ingrained prejudice against children in care. That is extremely clear. Unfortunately, despite or perhaps because of its realism, In Guilty Night falters.
3/5
I received a copy of In Guilty Night from the publisher and netgalley.com in exchange for an honest review.
How long has it been since I read a book written in the '90s? This author hit my to-read list when I picked up Simeon's Bride at a beach used book store. Her books are hard to find, so I downloaded it - chalk one up for Kindle.
I like the doggedness of the characters, the way they work the system and thwart the system. I'd like to think all police officers seek justice for those without power, without being bullied by those with power. As a former social worker, I found the depiction of social workers to be harsh (they (we) are not all bad eggs). But lots has happened since this book was written, including increased accountability for the children in care. I'd like to think the situation of this book is unlikely to happen now. I'd like to think...
Recommended as an easy read, not hard on the brain, and satisfactory when the good guys win.
Good heavens, what a sinister place Bangor and its surrounds are, especially if you're in care. This is book two, so we have done established characters, the three policemen, who seem to spend a lot of time bickering, and the pathologist. Added to the mix this time is a policewoman, also quite good at bickering. The stories of abuse and neglect in the children's home are fairly hard core, but more so, is the way social services turn a blind eye, and how when investigating the death of a young boy, nobody wants to tell the truth. Again,Taylor hits the nail on the head with a feeling of claustrophobia that comes in small towns, of everyone knowing something, but just not telling. A great time up to the first McKenna book.
This entire review has been hidden because of spoilers.
As police procedural novels go, this one became quite complex.
The dialogue in places is quite politically questionable. However this helps to add reality to the story.
This is a novel which explores many stereotypes: Gender Social attitudes Sexual proclivities
Somehow, there is also an undercurrent of humour in the style of writing.
Clearly Alison Taylor has drawn the ideas for this novel from her experiences as a senior social worker. I think this is why I like the book. It has a sense of realism in the way it deals with some extremely distasteful subjects.
The ending is not for the faint hearted.
My thanks go to Netgalley and Endeavour Press for a copy to review in exchange for this review.
I would like to thank NetGalley and Endeavour Press for giving me the opportunity to read this in exchange for an honest and open review. Child abuse is a very emotive subject to write about. Ms Taylor has managed to write about it in a sympathetic was. This is a very dark story but the murder or suicide of a young boy would be. The police are hindered at every turn by the staff at the care homes and the social workers. I would like to think that 20 years later this would not happen. Although. because of the subject matter I did not enjoy this book, I will certainly be looking at other books by Ms Taylor.
Didn't really enjoy this book at all to be honest. It had a good story line but it was very confusing and jumping from one character to the other. Not speaking Welsh was a bit of a pain too as most of the character/place names are Welsh and it's hard to know how to pronounce the words. I didn't like the style of writing, didn't warm to the characters and the writing spoiled what could've been a really good story - the outcome came as a bit of a damp squibbed - blink and you'd have missed it! Doubt I'd be tempted to read any more of her books.
Pretty good read. It starts off strong but begins to lag a bit halfway through. I did enjoy the dashes of humor thrown in. I would probably read other books by this author.
I tried to get along with this book, but found it just too jumpy and unstructured. It's always a disappointment not to be able to warm to characters, but those of In Guilty Night left me cold.