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Amanda Valentine Mystery #1
The Garbage Dump Murders
A New Zealand-based thriller starring the tough and unconventional Detective Inspector Amanda Valentine. Originally published by Naiad Press as Introducing Amanda Valentine.
240 pages, Paperback
First published January 1, 1992
49 people want to read
About the author
Rose Beecham
12 books16 followersRose Beecham is the mystery pen name of best-selling lesbian romance and mystery novels writer Jennifer Knight. She is the prolific author of romance and mystery novels under three pen names — Jennifer Fulton, Rose Beecham, and Grace Lennox. She was first published by the Naiad Press in 1992. Jennifer is a recipient of the Alice B. Reader's award for Lesbian Fiction, multiple Golden Crown Literary Award winner, and Lambda Literary Award finalist for both romance and mystery.
Jennifer Fulton, Rose Beecham, Grace Lennox
Jennifer Fulton, Rose Beecham, Grace Lennox
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Displaying 1 - 5 of 5 reviews
April 10, 2018
Published in the United States under the title INTRODUCING AMANDA VALENTINE, Rose Beecham's first crime novel does just that, giving readers a first look at an intriguing and multi-layered police detective of that name. It's an engaging start to a series that still reads well, two decades on from publication.
Like Beecham, a New Zealander living in the United States, Amanda Valentine has ties to both countries (NZ father and US mother), and in this series-starter is working as a homicide detective in Wellington, New Zealand's capital, after leaving her job with the NYPD following the tragic death of her partner.
Beecham was one of a cadre of talented crime writers, including Val McDermid and Stella Duffy, who launched crime series in the late 1980s-early 1990s featuring lesbian protagonists. Valentine's sexuality is a strong and well-developed thread, adding extra hurdles for her in a career in such a male-dominated subculture as a police force. Already something of a celebrity due to her past on-the-job successes and her exotic pedigree, Valentine has to negotiate an interesting array of personalities both on and off the job, knowing that being fully herself often isn't an option. She has to shutter part of her life away, while doing her best to catch killers and keep her fellow citizens safe.
When body parts begin surfacing in Wellington's garbage dumps, Valentine and her colleagues come under increased pressure as the media, politicians, and the public all demand fast results. The spectre of 'The Garbage Dump Killer' grows, in a nation that's never had a serial killer, and Valentine finds herself in danger at work and home. Meanwhile a beautiful television reporter is showing strong interest - but what does she really want? Is she setting Valentine up for a 'gotcha' story, or could the talented but troubled detective finally be swimming in the warm waters of new love?
Beecham delivers an enjoyable mystery tale that despite being more than twenty years old, doesn't feel too dated. Of course technologies have changed (computers weren't as ubiquitous back then, and cellphones were rare and never 'smart'), but the interaction between a diverse cast of characters - the tension and drama of human relationships and criminal investigation, is timeless.
Overall, THE GARBAGE DUMP MURDERS is a more-than-solid start to the Amanda Valentine series that not only introduces a fascinating heroine but offers readers an exciting and engaging story that will have you wanting to read the subsequent books. I immediately did.
Craig Sisterson is a New Zealander who writes for publications in several countries. He has interviewed more than 150 crime writers, discussed crime fiction at literary festivals and on radio, and is a judge of the Ned Kelly Awards and the founder of the Ngaio Marsh Awards. Follow him on Twitter: @craigsisterson
Like Beecham, a New Zealander living in the United States, Amanda Valentine has ties to both countries (NZ father and US mother), and in this series-starter is working as a homicide detective in Wellington, New Zealand's capital, after leaving her job with the NYPD following the tragic death of her partner.
Beecham was one of a cadre of talented crime writers, including Val McDermid and Stella Duffy, who launched crime series in the late 1980s-early 1990s featuring lesbian protagonists. Valentine's sexuality is a strong and well-developed thread, adding extra hurdles for her in a career in such a male-dominated subculture as a police force. Already something of a celebrity due to her past on-the-job successes and her exotic pedigree, Valentine has to negotiate an interesting array of personalities both on and off the job, knowing that being fully herself often isn't an option. She has to shutter part of her life away, while doing her best to catch killers and keep her fellow citizens safe.
When body parts begin surfacing in Wellington's garbage dumps, Valentine and her colleagues come under increased pressure as the media, politicians, and the public all demand fast results. The spectre of 'The Garbage Dump Killer' grows, in a nation that's never had a serial killer, and Valentine finds herself in danger at work and home. Meanwhile a beautiful television reporter is showing strong interest - but what does she really want? Is she setting Valentine up for a 'gotcha' story, or could the talented but troubled detective finally be swimming in the warm waters of new love?
Beecham delivers an enjoyable mystery tale that despite being more than twenty years old, doesn't feel too dated. Of course technologies have changed (computers weren't as ubiquitous back then, and cellphones were rare and never 'smart'), but the interaction between a diverse cast of characters - the tension and drama of human relationships and criminal investigation, is timeless.
Overall, THE GARBAGE DUMP MURDERS is a more-than-solid start to the Amanda Valentine series that not only introduces a fascinating heroine but offers readers an exciting and engaging story that will have you wanting to read the subsequent books. I immediately did.
Craig Sisterson is a New Zealander who writes for publications in several countries. He has interviewed more than 150 crime writers, discussed crime fiction at literary festivals and on radio, and is a judge of the Ned Kelly Awards and the founder of the Ngaio Marsh Awards. Follow him on Twitter: @craigsisterson
January 31, 2021
I didn't like how, a few minutes after surveying the crime scene for the first time, Amanda is making up a whole scenario with routes, suspects and motive in her mind. At least she's not stubborn about it until the end, but it felt forced af.
The relationships between characters are not described neatly when each character is mentioned, but interspersed throughout the novels, which I appreciate.
I find it utterly bizzarre that Amanda is the cop designated to handle press in her department but is completely befuddled by the presence of journalists on her doorstep. She sounds so indignated like this is the first time it happened? But then the narration says that one of her colleagues told the press to visit her during her day off, and she doesn't go to her boss for this or lament this with anyone, not even friends. Meaning journalists knocking on detectives' homes is either normal or at least not unprecedented. So why is she so shocked? This is either red-con or plot hole.
Staying on the topic of the media, the author's novel-long, drawn out critical commentary about the media got old very, very fast. Either tells me why the protagonist thinks scathing remarks about journalists every two pages, was she forced under the spotlight during her youth? Humiliated by some talk show or tabloid? A journalist ex-lover who used her for scoop? Either do this or variegate the topics.
The commentary of sexism, internalised and societal homophobia, though, were all handled well.
The investigative plot is weird. At the beginning it sounds like there are two cases which will possibly be either connected or separate, but one of them is dropped in favour of narrating the other fully. This recurs in every Amanda Valentine novel, weird as hell.
Another thing of the investigative plot is the deus ex machina. It shouldn't be too obvious. If the protagonist approaches the lair of the antagonist with backup but enters alone and remains alone during the whole final action scene, you need to give me a reason why the rest of the squad isn't there, even just a throw-away line.
The romantic sub-plot was angsty and interesting to read.
The relationships between characters are not described neatly when each character is mentioned, but interspersed throughout the novels, which I appreciate.
I find it utterly bizzarre that Amanda is the cop designated to handle press in her department but is completely befuddled by the presence of journalists on her doorstep. She sounds so indignated like this is the first time it happened? But then the narration says that one of her colleagues told the press to visit her during her day off, and she doesn't go to her boss for this or lament this with anyone, not even friends. Meaning journalists knocking on detectives' homes is either normal or at least not unprecedented. So why is she so shocked? This is either red-con or plot hole.
Staying on the topic of the media, the author's novel-long, drawn out critical commentary about the media got old very, very fast. Either tells me why the protagonist thinks scathing remarks about journalists every two pages, was she forced under the spotlight during her youth? Humiliated by some talk show or tabloid? A journalist ex-lover who used her for scoop? Either do this or variegate the topics.
The commentary of sexism, internalised and societal homophobia, though, were all handled well.
The investigative plot is weird. At the beginning it sounds like there are two cases which will possibly be either connected or separate, but one of them is dropped in favour of narrating the other fully. This recurs in every Amanda Valentine novel, weird as hell.
Another thing of the investigative plot is the deus ex machina. It shouldn't be too obvious. If the protagonist approaches the lair of the antagonist with backup but enters alone and remains alone during the whole final action scene, you need to give me a reason why the rest of the squad isn't there, even just a throw-away line.
The romantic sub-plot was angsty and interesting to read.
Read
June 18, 2020When Amanda’s parents split up, she remained with her mother in New York City, where Amanda became a police officer. After the tragic death of her partner of four years, she moved to New Zealand, her father’s birthplace. After returning to school to get her PhD (the subject is not specified), she joins the New Zealand force and has great success, despite the fact that Wellington is a rather tame city in a rather tame country. As this book begins, body parts are turning up in the city garbage dump.
As mysteries go, this is as well written as most, and as enjoyable. Amanda’s growing attraction for a TV interviewer is a little different from most relationships we see, and surprisingly satisfying, not only to Amanda and Debby, but to the reader. Remember, though, that in books that are mostly mystery and crime, development of the minor characters is scant and some details of the crime are unfathomable. It is another of those times where the author sets up a grisly scene (body parts in a city dumping site), with interconnected bad guys (including a city official and a police officer), then has to scramble to make everything fit. They don’t. But they rarely do.
It is hard not to compare this series to the ones featuring Kate Delafield and Carol Ashton, which is hardly a coincidence, since the book was edited by Katherine V. Forrest and Claire McNab. I suppose that Naiad had been having success with stories involving high-ranking women in large-city police departments. Amanda is even described as “New Zealand’s most glamorous detective,” which puts her firmly in Carol Ashton territory.
As I mention in my reviews of the books in her Jude Devine series, Beecham is a good writer and knows how to create excitement and adventure in her stories. On the whole, though, Jude is a more refreshing character, as if out from the Naiad template, Beecham is able to write more freely.
But like most of the books in the Naiad fold, Introducing Amanda Valentine is enjoyable in a lot of ways, but the publisher is not very concerned with what kinds of reviews it might receive. This might be because in the beginning—the 1980s and early 1990s, the number of lesbian mystery authors (and lesbian authors in general) was small enough that each new release was grabbed up by almost every interested reader. In today’s publishing world—especially the e-book world—the choices are far more varied. To write something special, it has to be a bit more well rounded than Introducing Amanda Valentine.
So go ahead and read this one, and maybe the next and the next. But don’t be surprised if, after a few weeks or months, you are not able to remember the difference between this one and myriad other Naiad and even non-Naiad books.
Note: I read the first printing of the Naiad edition of this book.
Another Note: This review is included in my book The Art of the Lesbian Mystery Novel, along with information on over 930 other lesbian mysteries by over 310 authors.
As mysteries go, this is as well written as most, and as enjoyable. Amanda’s growing attraction for a TV interviewer is a little different from most relationships we see, and surprisingly satisfying, not only to Amanda and Debby, but to the reader. Remember, though, that in books that are mostly mystery and crime, development of the minor characters is scant and some details of the crime are unfathomable. It is another of those times where the author sets up a grisly scene (body parts in a city dumping site), with interconnected bad guys (including a city official and a police officer), then has to scramble to make everything fit. They don’t. But they rarely do.
It is hard not to compare this series to the ones featuring Kate Delafield and Carol Ashton, which is hardly a coincidence, since the book was edited by Katherine V. Forrest and Claire McNab. I suppose that Naiad had been having success with stories involving high-ranking women in large-city police departments. Amanda is even described as “New Zealand’s most glamorous detective,” which puts her firmly in Carol Ashton territory.
As I mention in my reviews of the books in her Jude Devine series, Beecham is a good writer and knows how to create excitement and adventure in her stories. On the whole, though, Jude is a more refreshing character, as if out from the Naiad template, Beecham is able to write more freely.
But like most of the books in the Naiad fold, Introducing Amanda Valentine is enjoyable in a lot of ways, but the publisher is not very concerned with what kinds of reviews it might receive. This might be because in the beginning—the 1980s and early 1990s, the number of lesbian mystery authors (and lesbian authors in general) was small enough that each new release was grabbed up by almost every interested reader. In today’s publishing world—especially the e-book world—the choices are far more varied. To write something special, it has to be a bit more well rounded than Introducing Amanda Valentine.
So go ahead and read this one, and maybe the next and the next. But don’t be surprised if, after a few weeks or months, you are not able to remember the difference between this one and myriad other Naiad and even non-Naiad books.
Note: I read the first printing of the Naiad edition of this book.
Another Note: This review is included in my book The Art of the Lesbian Mystery Novel, along with information on over 930 other lesbian mysteries by over 310 authors.
August 14, 2013
Okay read. Not great, but not bad, either. Mystery not very mysterious. "Surprise" revelation about two of the bad guys is contrived and pointless. Disappointed in resolution of relationship between Amanda and Debby. Overall, a pleasant enough way to pass a few idle summer hours. (Not everybody can be Jean Redmann, after all. )
November 20, 2015
Enjoyed reading a store that takes place in Wellington, New Zealand
Displaying 1 - 5 of 5 reviews