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Case Histories – Case one: A little girl goes missing in the night. Case two: A beautiful young office worker falls victim to a maniac’s apparently random attack. Case three: A new mother finds herself trapped in a hell of her own making – with a very needy baby and a very demanding husband – until a fit of rage creates a grisly, bloody escape. Thirty years after the first incident, as private investigator Jackson Brodie begins investigating all three cases, startling connections and discoveries emerge…

One Good Turn – The event thrusts Jackson into the orbit of the wife of an unscrupulous real estate tycoon, a washed-up comedian, a successful crime novelist, a mysterious Russian woman, and a female police detective. Each of them hiding a secret, each looking for love or money or redemption or escape, they all play a role in driving Jackson out of retirement and into the middle of several mysteries that intersect in one sinister scheme.

When Will There Be Good News? – On a hot summer day, Joanna Mason’s family slowly wanders home along a country lane. A moment later, Joanna’s life is changed forever… On a dark night thirty years later, ex-detective Jackson Brodie finds himself on a train that is both crowded and late. Lost in his thoughts, he suddenly hears a shocking sound… At the end of a long day, 16-year-old Reggie is looking forward to watching a little TV. Then a terrifying noise shatters her peaceful evening. Luckily, Reggie makes it a point to be prepared for an emergency… 

4. 
   Started Early, Took My Dog – Tracy Waterhouse leads a quiet, ordered life as a retired police detective-a life that takes a surprising turn when she encounters Kelly Cross, a habitual offender, dragging a young child through town. Both appear miserable and better off without each other-or so decides Tracy, in a snap decision that surprises herself as much as Kelly. Suddenly burdened with a small child, Tracy soon learns her parental inexperience is actually the least of her problems, as much larger ones loom for her and her young charge. Meanwhile, Jackson Brodie is embarking on a different sort of rescue-that of an abused dog.
   
5. 
   Big Sky – Jackson Brodie has relocated to a quiet seaside village, in the occasional company of his recalcitrant teenage son and an aging Labrador, both at the discretion of his ex-partner Julia. It’s picturesque, but there’s something darker lurking behind the scenes. Jackson’s current job, gathering proof of an unfaithful husband for his suspicious wife, is fairly standard-issue, but a chance encounter with a desperate man on a crumbling cliff leads him into a sinister network-and back across the path of his old friend Reggie⁶.
   

As Brodie reflects: “It was funny how so many men were defined by their downfall. Caesar, Fred Goodwin, Trotsky, Harvey Weinstein, Jimmy Savile. Women hardly ever. They didn’t fall down. They stood up.” She had to add names to the list as she was writing, she jokes, and if she were to write it now there would be even more to include.
The honorable exception is the man Brodie, “the last good man standing”, who always tries “to behave like a gentleman”, and although “knocking on a bit now”, is ready to dive into the sea or jump off a cliff to rescue someone. “He does have a sheepdog instinct,” Atkinson says. “He knows he’s got to protect women and children.” But he also “has such a strain of darkness in him that he is always going to be responding to the outer darkness”.
With his tragic childhood, string of divorces and melancholic outlook, he is the archetypal hard-boiled private eye; the only trait he is missing is a weakness for the bottle. “I like to take clichés and try and work with them,” she says. But when she first set him to work, she was nervous because she “hadn’t really written a male character of any substance before”, and she had no intention of writing a crime novel, let alone a detective series to sit alongside Ian Rankin’s Rebus or Colin Dexter’s Inspector Morse books. But “if you put a detective in a novel it becomes a detective novel, there’s no way round it”. Where traditional crime fiction is “very narrative driven, like a trail”, Atkinson’s genius for plotting, combined with an acute sympathy for the inner lives of her characters, has created what she likes to call “a genre of Jackson Brodie” (her publishers plump for “literary crime novel”).⁷ Readers who would never pick up a crime novel are “the biggest Jackson Brodie fans now”.
Above all, the detective is a great device for bringing together multiple storylines and huge casts – Hilary Mantel once wrote that Atkinson must have “a game plan more sophisticated than Dickens”. “There are a lot of characters,” she concedes. Does her study resemble a procedural room in a TV police drama, covered with sprawling spider diagrams? “It is your working world and you know where everybody is and what everybody needs to do,” she says. “I can do it while I’m writing it, afterwards I can’t even remember anyone’s name.” She loves an ending hence the seemingly endless endings of Life After Life somehow managing to tie everything up with forensic neatness. “Everybody gets their just deserts.”
The question of justice recurs throughout Atkinson’s fiction, which always operates according to its own morality the bodycount in a Brodie novel often rivals that of an episode of Game of Thrones. In Big Sky “everyone is breaking the law”, or taking it into their own hands in one way or another. Brodie fans will welcome the reappearance of Reggie, last seen as a 16-year-old nanny in 2008’s When Will There Be Good News?, now a young policewoman. “What else would she become?” Atkinson asks. “Now she’s never going to be allowed to be happy. Because she’s always going to be seeing bad things. She will be fulfilled.”
Atkinson has said that you can’t write a novel about happy people having happy lives. There is so much misery around, I never seem to get round to it.” But the author herself always seems remarkably cheery, in a no-nonsense Yorkshire way. “I am, on the whole,” she agrees, with that laugh. “If I was really gloomy would I write different books? Maybe this is the place for it – it frees you up, because then you don’t have to dwell in it.”
She was, however, a very fearful, anxious child, something she attributes to being “illegitimate” and not having a sibling her parents were together, but her mother was unable to get divorced following a disastrous wartime marriage. “There was a lot of suppressed emotion.” Born in 1951 and growing up above her parents’ shop in York, she was left largely to her own devices. She also wonders if she might have been “tainted” by her father’s own miserable childhood – one of poverty, violence and random accident – which she only discovered after his death, and which reads like the backstory of one of her characters. His grandmother, with whom he lived until he was 10, died falling from a table trying to get a fly paper down – “a wonderful little story: ‘Imagine the fly! Until her early 30s she never thought about becoming a writer: “I was a reader, that was my part in the whole book process.” But she won the Women’s Own short story competition – “the best moment of my life” for “the very first thing I wrote that had nothing to do with me”.⁸ This led to an apprenticeship in magazine stories: “getting everything in there in a very short space that was how I learned to write.”
She published Behind the Scenes at the Museum when she was 43. “Everyone said, you are quite old to have your first novel published, and I’d think, ‘
Well, now I can get on with it, I’ve done all the difficult thing living.’” She had been married twice and has two daughters and now granddaughters. Behind the Scenes won the Whitbread book of the year award in 1995, beating such big literary beasts as Salman Rushdie, which caused a bit of a brouhaha, with headlines such as “Unknown chambermaid wins prize” she had once worked in a hotel. The whole experience “tainted me for ever”, she says now, and she has been wary of interviews ever since. “I always feel as if I want to live as if I have a monastery inside me. I don’t want to be giving away all the time.” Although “Yorkshire will be written on my heart for ever”, she has spent most of her writing life in Edinburgh, which “cuts you off. I am beyond the wall.” She doesn’t enjoy parties or networking, “stuff that I always presume is happening in London all the time”. Although the day after we meet she is having lunch with her longtime friend Ali Smith – “she’s literally the only writer I know”, and they never talk about writing, “Never!” They will be celebrating their joint No 1 positions in the hardback and paperback bestseller lists for Transcription and for Smith’s Spring.
Atkinson has never suffered from “blank-page syndrome” and is already at work on two novels simultaneously – “It wakes me up a bit” – one of which is another Brodie. “Yes, he’s coming back in a very funny book: an Agatha Christie homage. She’s had the beginning and the title for ages – “I’ve got titles to sell” – and has already written the ending. “I’m in Jackson Brodie mode, so I may as well do it now as opposed to putting it on the shelf of ideas I have. Next on the shelf is her “Big Book”, a return to York and to the second world war, called The Line of Sight.
As she has got older, she enjoys writing more. But “it has really bad moments. A lot of the time it is completely tedious, but one good sentence can pay off for many, many years of tedium or hell.” When the novel is completed, “its done for ever. It’s in the world”, and she’s “happy just to lie there and watch Netflix all night long, because I need to just empty all that stuff out.”
She has always felt “a certain confidence” in her writing, “but you are not allowed in this country to be confident; women aren’t allowed to say ‘I think this is really good’.” While readers and critics were dazzled by the formal ingenuity of Life After Life, it is its sequel, A God in Ruins, that she believes to be her best work, “and will remain so”, she says emphatically. “That’s the book I always wanted to write. People are always telling me how they cried at the end.” But she has never made the Booker shortlist (perhaps because she is perceived to be a “genre writer” – “there’s no hope for me”), and won’t be on any future longlists as she has asked her publishers not to submit her work for prizes any more: “As long as I meet my own standards, that’s enough.”
“To have moved someone to tears and to move to them to laughter is great,” she says. “I live to entertain, I don’t live to teach or to preach or to be political. If I have a job to do it is to entertain myself first and then everyone else afterwards
Like John Banville, who writes literary novels slowly and his Benjamin Black thrillers quickly, Kate Atkinson has a twin-track publishing career. The prize-winning author of Behind the Scenes at the Museum, Life After Life and most recently Transcription also publishes crime novels featuring Jackson Brodie, a retired copper who works as a private investigator. Big Sky is the fifth of these. It reintroduces several characters from previous outings: here’s young Reggie Chase from book three, for instance, all grown up and working as a police officer; here, too, is the slinky Russian honey trap Tatiana; and here’s Brodie’s glum, on-again-but-mostly-off-again girlfriend Julia. But the book works fine on its own, as all good crime series novels must.
It takes its time to get going. There’s an excellently sinister opening – in a sort of pre-credits sequence, eastern European sisters Nadya and Katya are Skyping with the representative of an employment agency called Anderson Price Associates, who is arranging to fly them to the UK to take up jobs in high-end hospitality. No, the reader yelps, don’t do it. Sure enough, with the Skype connection severed, we learn that the swanky offices they can see behind “Mr Price” are a stage set. The opening chapters are full of little feints and teases. There’s the leisurely way in which the fates of Nadya and Katya are left undiscussed. Brodie sees a young girl climbing into a strange car and being driven off. There’s a near-drowning.
A trophy wife gets the feeling that someone is following her. And yet, at least to start with, we’re firmly in the ordinary world of suburban golf bores, seaside attractions in one-horse northern towns and a disaffected private detective, dog and sullen teenage son in tow. In a way, this is one of the novel’s most serious jokes. Atkinson roasts the old chestnut of “the banality of evil” by introducing us to evildoers in the round: their small vanities, their pragmatism, their affection for their families and loyalty to their friends. The book begins a couple of miles north of Whitby. Brodie is living in modest rural digs, sharing custody of his son Nathan with Julia, getting on with his small life. We are introduced to a trio of golfing mates. Vince is a telecoms area manager in late middle age going through a divorce; Tommy is a prosperous bouncer turned hauler; Andy runs a failing B&B with his formidable wife Rhoda. The narrative circles in its own time around the relationships and disappointments of its characters, but connections start to proliferate and secrets start to emerge.
Does Jackson Brodie know he’s in a detective. Does Jackson Brodie know he’s in a detective novel? He at least half suspects it, and as in Transcription Atkinson can’t resist a little salt-sprinkle of postmodernism. Brodie is always talking, a la Poirot, about his “little grey cells” (not that they do all that much work – his role in the plot is negligible and almost entirely accidental). One of his mantras, “If you get enough coincidences they add up to a probability”, is nicked from an old episode of Law & Order. A villain’s threat is “like a detective novel”; something else “sounded like the title of an Agatha Christie novel”; someone else is “like a character accusing someone in a melodrama”; Brodie is told “You should write crime novels” and so on.
It’s a credit to Atkinson’s dexterity that despite these clashes of tone and register the novel manages to hang together, even though the subject matter – child sexual abuse, human trafficking – and the essentially comic mechanisms of the plot, its coincidences and confrontations, seem to be at odds. How seriously are we to take it all? Atkinson artfully avoids supplying or implying an answer. "Atkinson has been better at balancing personal and professional story lines, and the presence of a figure from Jackson's past, now a cop involved in an inquiry looking at establishment figures, won't resonate for first-timers. Series fans will best appreciate this outing."
"Kate Atkinson is a master at absolutely every aspect of the novel—character and plot and voice and language and themes and humor and dialogue and on and on. I love everything about Big Sky, a giant mosaic of people and stories that fit perfectly together in a complex, beautiful pattern, offering tremendous reading pleasure on every single page." - Chris Pavone, author.
This is Atkinson’s fifth Jackson Brodie novel, but fans know that the phrase “Jackson Brodie novel” is somewhat deceptive. Yes, he is the hero in that he is a private investigator—former cop, military veteran—who solves usually mysteries. But he is not so much the central character as the grumpy, anxious, large-hearted gravitational field that attracts a motley assortment of lost souls and love interests. In this latest outing, Jackson is a half-duty parent to his teenage son while the boy’s mother, an actor, finishes her run on a detective series. Vince Ives is a more-or-less successful middle-class husband and father until his wife leaves him, his boss makes him redundant, and he becomes a murder suspect. Crystal Holroyd—not her real name—has built a brilliant new life for herself, but someone from her past is threatening her daughter. Both Vince and Crystal seek help from Jackson, with varying results. Meanwhile, Jackson’s protégée, Reggie Chase, has risen through the ranks in the police force and is taking a fresh look at an old case. That these stories intertwine is a given. “A coincidence is just an explanation waiting to happen” is one of Jackson’s maxims; it could also serve as an ironic epigram for Atkinson’s approach to the mystery genre. A small cast of characters collides and careens in a manner that straddles Greek tragedy and screwball comedy. The humor is sly rather than slapstick, and Atkinson is keenly interested in inner lives and motivations.⁹ There are villains, certainly—human trafficking and the sexual abuse of children figure prominently here—but even the sympathetic characters are complicated and compromised. Jackson has a strong moral code, but his behavior is often less than ethical. The same is true of Vince, Crystal, and Reggie. The deaths and disappearances that Jackson investigates change with every book, but the human heart remains the central mystery. Jackson Brodie is back, and he’s still kind of a dreamboat. The handsome investigator whom Kate Atkinson introduced in 2004’s “Case Histories,” played by Jason Isaacs on the BBC series, hasn’t appeared in a new book since 2011. If you haven’t met him yet, this is a fine place to start. In “Big Sky,” the former military man and police inspector has moved to the U.K.’s northeastern coast, where he’s set up his small agency. It’s an unassuming venture: “He tried not to use the term ‘private detective’ — it had too many glamorous connotations or sleazy, depending on how you looked at it. Too Chandleresque. It raised people’s expectations,” Atkinson writes.Is she waving off critics? Although this book is definitely a mystery, its structure is unusual. Jackson is barely working. Instead, he’s focused on intermittently parenting his 13-year-old son, Nathan; hoping his ex, the actress Julia, will rekindle their romance; and musing on the passage of time. The intertwined threads awaiting Jackson’s attention involve a sex-trafficking ring and an old sexual abuse scandal that echoes the true story of Jimmy Savile, the beloved British entertainer who was revealed, after his death, to have been a rampant sexual predator. The first crime doesn’t appear for more than 100 pages. There will, eventually, be blood. But the richness of this novel comes in spending time with the kaleidoscope of characters who spin together in the whirlwind ending.
Chief among these is Crystal, the perfectly groomed trophy wife of a successful local businessman. Sure, she named their daughter Candy and dresses her in a parade of Disney princess outfits; yes, she feeds her husband exactly the traditional food he wants. But she’s privately eating healthy and learning school lessons from Harry, her teenage stepson. Harry, unlike his father, is a sensitive soul. He may take after his mother, who died when she tumbled off a cliff. He reads a lot and works backstage during the summer at a variety theater with a third-rate show. He gets to know a cross-dressing singer, who is kind, and the headliner, a comedian who’s even more unpleasant offstage than on. Harry also tries to tell jokes, but he’s such a hopeless nerd that they always involve cheese.
What connection do they have to young policewomen Ronnie and Reggie? Very little. But they too orbit this universe, asking the same routine questions about the old case so many times that they become a refrain the reader can recite. More than once, the duo wind up in the middle of the action; these two tiny, novice look-alike cops are underestimated by everyone.
Meanwhile, we follow the descent of soon-to-be-divorced Vince, a hapless everyman with vague connections to Crystal’s husband. As the book progresses, Vince’s life goes from bad to worse. It might be hard to relate to Vince’s choices, but if you’ve ever been the least cool person in a group of friends, you’ll feel his pain.
Atkinson is so skilled at getting inside people’s heads that when she introduces a new character, it’s almost impossible to not feel at least a little sympathy for the person. As terrible as I feel typing this, it even holds true for one of the human traffickers, who conceals his enormous profits from his domineering wife so he can surprise her with retirement in paradise.Where is Jackson in all of this? At times, he seems like he’s serving more as a frame to the story than its driver. Now long retired and removed from his home base of Edinburgh, Scotland, he’s not able to leverage the once helpful former-policeman connections. Readers familiar with Atkinson’s earlier mysteries will recognize Reggie faster than Jackson does, despite the fact that she once saved his life. And when he’s hired by Crystal, he does such a poor job that she refuses to pay him using language I can’t share here. But in fact, Jackson is on it — he’s just not putting himself at the center of it.
Atkinson has returned to Jackson Brodie after a long break during which she published the remarkable “Life After Life” and its sequels and she seems to be having fun with it. Past books in the series have been criticized for leaning too heavily on coincidence, pointing to Jackson’s adage “a coincidence is just an explanation waiting to happen” as an easy way out. That line appears here so many times that it’s clear the author is not a victim of coincidence but using it to her best advantage.
Jackson appears to be aging basically in real time, like Michael Connelly’s Harry Bosch, whose latest books have included another younger detective. With Ronnie and Reggie, Atkinson has set up that possibility here. And she’s also left a gap in which any number of next books might double back and fill in earlier chronicles of Jackson Brodie.What I’m fairly certain of is, this story will continue, someday. The gangbuster ending flings a pile of spinning plates in the air. They could be picked up in a swath of new directions, including Jackson or not. But I hope he comes back. He’s still the empathetic, flawed, country-music-listening detective we first fell for. This book has a lot of drastic scene changes, is packed with minor characters and is in no hurry to get where it’s going.

Conclusion .

As detective genre is one of the most practical genres of all, Kate Atkinson could use it so smoothly, that it hasn’t lost its acuity even at current time. Kate Atkinson is an international bestselling novelist, as well as playwright and short story writer. She is the author of Life After Life; Transcription; Behind the Scenes at the Museum, a Whitbread Book of the Year winner; the story collection Not the End of the World; and five novels in the Jackson Brodie crime series, which was adapted into the BBC TV show Case Histories.
At the heart of these stories is private investigator Jackson Brodie, A complex and compulsive detective surrounded by death, intrigue and misfortune his own life haunted by a family tragedy, he attempts to unravel disparate case histories.
The series, which also starred Victoria Wood, Amanda Abbington and Natasha Little, is set amidst the iconic landscapes of modern Edinburgh, bringing to screen the delightful jigsaw puzzles of Kate Atkinson's novels and the complexity of her hero Jackson Brodie.
A former soldier and policeman, Jackson's tough-guy exterior belies a deeply empathetic heart. He's unable to resist coming to the rescue and is a magnet for the bereaved, the lost and the dysfunctional.
Full of entertaining and original characters, each two part story is warm, poignant and life-affirming, enjoying humour whilst exploring the darkness that underpins each crime mystery.
The series was filmed and set in modern Edinburgh, and produced by Ruby Films for BBC One and was originally broadcast from the 5th June 2011 at 9pm (BST) on BBC One and 10:45pm (BST) on BBC HD. It received the TV Dagger at the ITV3 Crime Thriller Awards 2011. Analyzing the features of modern detective fiction basing on these five series of Jackson Brodie by Kate Atkinson, I could say that she used the way so mysteriously that reader cannot break away for a second so it makes a reader to finish all series at one go.
Bibliography .

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