My sixth collection of short stories was published in 2022 by Soho Press (USA) and Sphere (UK).

It includes a ‘story within a story,’ telling of an embarrassing encounter forty years ago with Ellery Queen (the late Fred Dannay) after I submitted my first-ever short story to his magazine in 1981. The Bathroom is reprinted in the new collection together with my account of the real murders that inspired it.

“The sixteen dazzling selections in this inviting collection from MWA Grand Master Lovesey range from his first published short story, ‘The Bathroom’ (1973) to three new ones . . . This is a thoroughly entertaining compendium of the best of the best by one of the best.” Publisher’s Weekly starred review

“The sixteen remarkable tales . . . beg the question: with Peter Lovesey in the world, why does anyone else bother writing mysteries at all? His fiction, both long and short, is charming, the narrative always so smooth it seems effortless, and the plots clever enough to keep even the most suspicious reader guessing (and thrilled) all the way to the delicious end.” Mystery Scene

“Lovesey, whose fans regard him as a one-man Golden Age of Detective Fiction, is with us again bearing 16 short stories plus a history lesson plus a bouncy poem. The qualities that make his work special are all on display here.” Booklist

“A celebratory display of the many things an accomplished veteran can do with the short mystery.” Kirkus Reviews

“Each of the stories is a small gem with a touch of macabre humor. Anyone who knows Peter Lovesey’s work will be delighted by this collection and those who won’t will have a pleasant introduction.” Mystery & Suspense Magazine

SHOWSTOPPER will be published by Soho Press in the United States on December 6 2022 and Sphere in the United Kingdom on January 12 2023.

This is the twenty-first Peter Diamond mystery in a series that started with THE LAST DETECTIVE. The pre-publication reviews speak for themselves:

“ANOTHER TRIUMPH FOR A VETERAN SLEUTH WHO’S PRETTY UNSTOPPABLE HIMSELF” Publishers Weekly Starred Review

“MORE THAN 30 YEARS INTO THIS SERIES, LOVESEY SHOWS NO SIGN OF LOSING STEAM OR INGENUITY”  Kirkus Reviews

“PETER LOVESEY CONTINUES TO AMAZE WITH HIS INGENIOUS PLOTTING AND PLEASING STYLE” Deadly Pleasures Mystery Magazine

“AN ENTICING, FAST-PACED MYSTERY THAT WILL LEAVE READERS GUESSING AT EVERY TURN” Goodreads

Detective Superintendent Peter Diamond doesn’t believe in jinxes. When he is ordered to investigate a top TV series plagued by a series of misfortunes, he is unmoved. The incidents were spread across six years and Diamond is no fan of Swift – a long-running show that glorifies criminals and mocks the police. He decides that the local newspaper is making a sensation out of nothing. He puts the junior member of the squad on the case.

But when young officer Paul Gilbert goes on location with the TV unit and witnesses another near-death incident, the jinx must be taken more seriously. The press learn that Diamond himself is taking charge, putting him under pressure to account for the mishaps, accidents and disappearances and come up with a solution. But his troubles have barely started. Behind this so-called jinx lurks a killer who must be found and stopped.

DIAMOND AND THE EYE was published in the UK by Sphere on July 8, 2021
and in the US by Soho Press on October 12, 2021

THE SHEAR AMAZING SLEUTH

Of all the weird characters Detective Superintendent Peter Diamond has met in Bath, this one is the most extreme: a twenty-first century private eye called Johnny Getz, whose office is over Shear Amazing, a hairdressing salon. Johnny has been hired by Ruby Hubbard, whose father, an antiques shop owner, has gone missing, and Johnny insists on involving ‘Pete’ in his investigation.

When Diamond, Johnny and Ruby enter the shop, they find a body and a murder investigation is launched. Diamond is forced to house his team in the dilapidated Corn Market building across the street. His problems grow when his boss appoints Lady Bede, from the Police Ethics Committee, as an observer. Worse still, Johnny conducts his own inquiry by latching onto Ruby’s stylish friend, a journalist called Olympia.

Shootings from a drive-by gunman at key players create mayhem and the pressure is really on. Can the team stop more killings in this normally peaceful city? What happened to Ruby’s father? And will Johnny crack the case before Diamond does?

This is the twentieth Peter Diamond novel. Books in the series have twice won the Crime Writers’ Association Silver Dagger as well as the Anthony, Barry and Macavity awards and been shortlisted for the Edgar and the Los Angeles Times Book Prize. Peter is the only living British author to have been honoured with the two top honours in crime writing: the CWA/Cartier Diamond Dagger and Grand Master of the Mystery Writers of America.

Here’s a dip into the opening page:

‘Mind if I join you?’
Peter Diamond’s toes curled.
There’s no escape when you’re wedged into your favourite armchair in the corner of the lounge bar at the Francis observing the last rites of an exhausting week keeping a cap on crime. Tankard in hand, your third pint an inch from your mouth, you want to be left alone.
The stranger’s voice was throaty, the accent faux American from a grainy black-and-white film a lifetime ago. This Bogart impersonator was plainly as English as a cricket bat. His face wasn’t Bogart’s and he wasn’t talking through tobacco smoke, but he held a cocktail stick between two fingers as if it was a cigarette. Some years the wrong side of forty, he was dressed in a pale grey suit and floral shirt open at the neck to display a miniature magnifying glass on a leather cord.
‘Depends,’ Diamond said.
‘On what?’
‘Should I know you?’
‘No reason you should, bud.’
No one called Diamond ‘bud’. He’d have said so, but the soundtrack had already moved on.
‘I got your number. You’re the top gumshoe in this one-horse town and you’re here in the bar Friday nights when you’re not tied up on a case. What’s your poison? I’ll get you another.’
‘Don’t bother.’ Diamond wasn’t getting suckered into getting lumbered with a bar-room bore who called him bud and claimed to have got his number.
‘You’ll need something strong when you hear what I have to say.’ The bore pulled up a chair and the voice became even more husky. ‘Good to meet you, any road. I’m Johnny Getz, the private eye.’
‘Say that again, the last part.’
‘Private eye.’
Against all the evidence that this was a send-up, Diamond had to hear more. ‘Private eye? I thought they went out with Dick Tracy.’
‘Dick Tracy was a cop.’
‘Sam Spade, then. We’re talking private detectives, are we? I didn’t know we had one in Bath.’
‘What do you mean – “one”? I could name at least six others. The difference is they’re corporate. I’m the real deal. I work alone.’
‘Where?’
‘Over the hairdresser’s in Kingsmead Square.’ An address that lacked something compared to a seedy San Francisco side-street, which was probably why the self-styled private eye added, ‘The Shear Amazing Sleuth. Like it?’

A Peter Diamond Mystery

Washington Post, April 28, 2013

‘The Tooth Tattoo’ offers fascinating glimpse into string quartets, by way of procedural
By Patrick Anderson

I have no idea how many string quartet aficionados enjoy crime fiction, but they should hasten to read the veteran British writer Peter Lovesey’s fascinating “The Tooth Tattoo.” Strictly speaking, the novel is a police procedural, but the kicker is that the prime suspects in three murders are the members of a world-class string quartet called Staccati.

I hasten to add that readers who, like me, know little or nothing about string quartets (my musical highlight each year is the Birchmere’s Hank Williams tribute) can still savor this ingenious novel.

At the outset, Peter Diamond, who heads the criminal division of the Bath, England, police, is vacationing in Vienna with his elegant friend Paloma. She wants to visit Beethoven’s home, but he’s more interested in seeing highlights — the sewer, the Ferris wheel — of Carol Reed’s Vienna-based 1949 movie classic, “The Third Man.” As they wander, the couple chance upon a flower-strewn memorial to a young Japanese woman who drowned in the Danube a few years earlier. Paloma is moved by the tragedy, but it’s not Diamond’s case, so he’s indifferent. Naturally, she berates him for his alleged inability to express his feelings. “What do you expect?” the detective retorts. “I’m a bloke.”

In this country he’d say, “I’m a guy,” but it’s all the same. So is the outcome: The argument escalates, he stubbornly defends his right to be a guy, and she dumps him.

Soon the drowned woman in Vienna becomes newly relevant when another young Japanese woman is fished out of a canal in Bath — for that is Diamond’s case. He learns that both women loved string quartets, and that Staccati was playing in both Vienna and Bath at about the time they went missing — and possibly were murdered. One of the women had a “tattoo” on her tooth that featured a musical note, although they really aren’t tattoos but small chips that can be glued on. That’s the source of the book’s title, which is the only thing I didn’t like about it.

We soon learn a lot about the four members of Staccati. Ivan, a dour Russian violinist, co-founded the group with a woman called Cat, who is huge (“the girth of a sumo wrestler”), bawdy and a virtuoso on the cello. Andrew, the second violinist, is brilliant musically, although he rarely speaks and is thought by the others to be autistic. Finally, there’s Mel, the newcomer to the group, who plays the viola, chases girls in his spare time and was recruited to replace Harry, who mysteriously vanished after a concert in Budapest. The four argue a lot and have little in common except their love of music, but that’s enough to keep them together.

Lovesey has won many prizes for his crime fiction; we expect fine writing and devilish plots from him. But the wonder of this novel is how deep he carries us into the world of a string quartet. He knows the music, and he makes clear its beauty, its challenges and the passions it arouses in both musicians and their audiences.

One highlight of the novel is a two-page, all but microscopic description of the quartet’s rendition of Beethoven’s Opus 131. Here’s a small sample: “Toward the middle of the first movement the violins speak to each other with the last six notes of the fugue motif and then viola and cello take up the dialogue in one of the loveliest passages in the entire quartet repertoire.”

This novel will probably teach you more than you ever expected to know about string quartets. Did you know that celebrated players often use instruments on loan from wealthy collectors? Mel is using a rare 1625 Amati viola, valued at more than a half-million dollars, and only too late he discovers that there’s no such thing as a free viola.

You’ll learn of their frustrations, too. Cat denounces what she calls the “music merchants,” of whom she says: “They take second-rate artists with pretty faces, groom them, call them the voice or the player of the century, and turn them into stars. .?.?. The quality of the sound is crap, they’re off-key, and the great gullible public doesn’t seem to notice.”

Eventually, the deaths of the two young women are followed by that of someone close to the group. We agonize over whether one of these dedicated musicians could be a killer — or is the culprit an outsider? — but Diamond sorts things out with his usual aplomb. Lovers of good music and a good mystery should not miss this delightful tale.

Anderson regularly reviews mysteries and thrillers for Book World.

THE TOOTH TATTOO

By Peter Lovesey

Soho. 348 pp. $25.95

See more information about The Tooth Tattoo here on PeterLovesey.com

[This review originally appeared in the Books section of the Washington Post]

Master Of Moods, Comic And Grim

[This review of Stagestruck by Tom Nolan originally appeared in the Wall Street Journal on July 2, 2011]

Chief Superintendent Peter Diamond, the series character created by British author Peter Lovesey 20 years ago, may not much resemble the rugby player he once was—the belly bulging over his belt sees to that—but he still knows how to bull his way through a workplace scrum. Though he is sensitive about his appearance, you wouldn’t know it from the way he strides “in warlike mode” through his police department in Bath, England, where the other coppers know not to argue with him when he has his “arms folded and jaw jutting in Churchillian defiance.”

Diamond, who has become a widower in the course of the series, is an old-fashioned policeman: impatient with forensic delays, hostile to computers, less than fanatical about the proper handling of evidence. He even quit the force once because he was unable to adapt to change; he was lured back but remained determinedly uninterested in learning new tricks. He knew that he was “no Sherlock Holmes,” but “his self-respect as a detective wouldn’t let him walk away” from a vexing case.

In “Stagestruck” (Soho, 325 pages, $25), the 11th book in the series, the puzzling events in Diamond’s latest investigation begin with the facial burns suffered by a fading pop singer in the first moments of her debut as an actress, on the stage of Bath’s Theatre Royal. A makeup mishap appears to be the cause—but seemingly no crime is involved. Then one of the theater’s crew is found dead backstage, and the case becomes a priority.

It proves a challenging assignment for Diamond: The gruff detective has suffered a lifelong, inexplicable fear of being inside theaters. The phobia began in childhood, but he hasn’t a clue what caused it. His female boss suggests that he see a psychiatrist (“This is in danger of becoming an obsession”); but the investigator takes a more direct approach, tracking down an old teacher who may be able to shine light on a long-ago trauma.

The book’s title thus serves double-duty: Diamond is struck with panic before the proscenium, while victims are struck by real violence backstage.

Mr. Lovesey’s narrative is swift, but he takes time out for local color and abundant humor, the latter springing from the book’s quirky characters, including the matriarch who opens her estate for charity functions (“They come from miles around for a slice of my famous lemon drizzle cake”) and the Gilbert-and-Sullivan-quoting patrolman whose verbal gymnastics—”Permit me to introduce Constable Reed. Reed can write at speed, so Reed is needed. Oh, yes, there is a need for Reed”—drive Diamond to distraction.

The most engaging character, of course, is Diamond himself: always driving slowly “at his usual steady 40” but quick with judgments. He warns a patrolman: “You’ll soon learn that I’m not easy to work for. Whatever you do, it’s wrong.” But a female friend tells him: “I quite enjoy your grouchy moments. You can be amusing and curmudgeonly at the same time.”

Mr. Lovesey is a wizard at mixing character-driven comedy with realistic-to-grim suspense. And in a writing career spanning four decades, he has created a stylish and varied body of work that includes—in addition to nearly a dozen Peter Diamond titles—eight Victorian thrillers with Sergeant Cribb in charge; three Edwardian comedies of manners and mystery; a Hollywood silent-movie-era caper; a 1920s ocean-liner adventure; two novels of life in the English country and city in the 1940s; and four volumes of short stories. Mr. Lovesey’s sports novel, “Goldengirl” (1977)—published under the pseudonym Peter Lear—was made into a movie, and dramatizations of his Sergeant Cribb series were seen in the U.S. on PBS’s “Mystery!” series in the early 1980s.

The first Cribb thriller, “Wobble to Death,” marked Mr. Lovesey’s fiction debut in 1970 and is still a good introduction to the author’s work. Mr. Lovesey, a former English teacher, wrote the book hoping to win a £1,000 fiction-writing prize (he did). The title derives from the name—”wobbles”—given to six-day walking competitions that were held in Britain in the 1880s. The fatal poisoning of a “champion pedestrian” during such an event introduced readers to Sergeant Cribb—40ish, not eccentric but with a sense of humor all his own—and his diligent assistant, Constable Thackeray.

Maybe the best of Mr. Lovesey’s stand-alone books is “The False Inspector Dew” (1982), a tale set in 1921 mostly aboard the ocean liner Mauretania. A henpecked dentist and his girlfriend (who reads too many romances) have booked passage under assumed names, intent on murdering his wife. The complications and coincidences that ensue among a large ensemble cast range from the bizarre to the hilarious, as if in a film directed in alternate sequences by Alfred Hitchcock and Preston Sturges.

That Mr. Lovesey would make a midcareer transition from period fiction to contemporary police investigations is just as surprising as one of the sudden mood shifts in any of his idiosyncratic works—and just as satisfying.