It’s Summer 1145. Bradecote and Catchpoll, complete with Under Serjeant Walkelin are sent to solve the murder of Walter, the steward of Evesham Abbey. There are tensions between the Sheriff and the Abbot, between Bradecote and the current castellan, and between the Abbey and the castle. It turns out that the Abbey’s steward is not the good man the Abbot thought he was, but a reprehensible individual, guilty of many different crimes. A second murder implicates the castle’s serjeant, who seems to be out of control. Is there a connection? It’s a twisty story which puzzles the Sheriff’s officers until the final revelation. Bradecote and Catchpoll eventually not only solve the present murders but a historical one, too. It’s nice to hear Matt Addis reading the story after Jonathan Keeble’s reading of the previous book I listened to.

April 1144. A distinctively dressed corpse is fished out of Flatbury Mill leat on the river. It turns out that he is an Evesham horse dealer who has been stabbed and tipped into the river upstream. Investigations lead Bradecote and Catchpoll (with under-serjeant Walkelin) at first to his young wife (who has a couple of lovers) and the man’s brother, but then they discover that the dead man’s sister has married the ill-tempered lord of Harvington and has died in mysterious circumstances, without her family being invited to the funeral. Is that another murder? There’s a dispute over the ownership of a mill between the lord of Harvington and the Abbey in Evesham, and Harvington has recently hanged a scribe for theft—the same scribe who verified the mill-lease as belonging to Harvington. When a Harvington serving girl is also killed, Walkelin is falsely accused.  Bradecote and Catchpoll must mount a rescue before unravelling the knotty mystery and solving the various crimes. As usual, Matt Addis’s reading is excellent and the twisty plot engaging. Just a puzzled reader's question: why change the style of the covers? This is very bland.

Audiobook narrated by Matt Addis.

October 1143. Hugh Bradecote and Serjeant Catchpoll along with apprentice Walkeling are sent by the Lord Sheriff of Worcestershire to investigate theft of salt wagons on the road from Wich (now Droitwich) , and the murder of all the packmen. A mysterious archer leaves no one alive, his deadly aim making sure that there are no witnesses. Unfortunately Lord FitzPayne is in the wrong place at the wrong time and is also killed, his (distinctive) horse and good quality sword stolen. Bradecote, Catchpoll and Walkelin are based at FitzPayne's hall where his angry and vengeful widow, Christina, is recovering from losing the child she was carrying. The clues are scant. The mysterious archer makes his kills and melts back into the forest. There are rumours that he's a ghost. The investigation is hindered by FitzPayne's cousin who has designs on Christina and the manor, and by the reeve of Wich who is worrird about losing his place.  The is was Christina's second marriage - her first having been truly horrendous, and though she didn't love FitzPayne she liked him. Bradecote, hinself recenently widowed and left with a baby boy, is drswn to Christina and a love story develops alongside the whodunnit. Eventually, thanks to Christina, there's a breakthrough and all is resolved. Matt Addis is an excellent narratore for this series. He's unobtrusive, letting the story stand forward of the narrative, yest at the same time he voiced the characters well, especially the Worcestershire voices. I like this series a lot, though I confess to reading them out of order as they become available.

Audiobook narrated by Kate Rawson.

This is the ninth instalment of the Crow Investigations series featuring Lydia Crow who - in previous books - has gone from being a lone private detective living in a flat above a greasy-spoon cafe with a resident ghost (Jason) to ousting wicked Uncle Charlie and taking his place as head of the Crow (slightly magical) crime family in their particular 'manor' in London. The family members are somewhat perturbed that her boyfriend, Fleet, is a copper. In this book. In the previous book Lydia lost some of her Crow powers and she's struggling to keep control (of herself and the family), and Fleet is also struggling at work, since his bosses are just as sceptical of his choice of girlfriend as the family is about Lydia's choice of boyfriend. Lydia's previous home burned down in the previous book and she's now living in Uncle Charlie's very nice house, but she doesn't feel comfortable there. A series of murders lands on bith Lydia's and Fleet's doorsteps. There are links to Jack the Ripper, except the victims are male. Paul Fox Lydia's one-time boyfriend and now head of the rival Fox (magical) crime family, looms quite large in this book. There is still some residual attraction, but Lydia doesn't trust him. Murders to be solved, families to be sorted. There's a lot in this book, but I'm not sure it moves the whole series story on. Kate Rawson narrates it in her usual slightly breathy little-girl-voice, which seems to work for Lydia, but I'm glad these books are fairly short.

Audiobook narrated by Chris Devon.

Adam Catchpole is a science fiction author whose book sales are slipping. He’s in financial difficulties and spiralling into depression. His agent suggests writing in a different genre, and the popular market trends are spicy romances and Christmas stories. Though he hates Christmas, he reluctantly starts a novel. An odd incident involving a dance and drama school, sets him off reconnecting with the world and he find that as soon as he opens himself up to new experiences and new people, he starts to rebuild himself. There’s also a childhood backstory which reveals why Adam hates Christmas. His own story is that of a Christmas novel – slightly schmaltzy and feel-good. A cosy story, if you’re in the mood. Chris Devon reads it very well. I’m not sure if his accent is Manx (which is where the book is set) but it’s definitely an accent, and the book is all the better for it.

Audiobook narrated by Jenny Sterlin.

First published in 1992, this is set in the (then) near future with time travel, and doesn’t to a bad job of anticipating what a future Oxford and Oxford University would be. Oxford’s history students can go back to the past to see what life was really like in (say) Victorian England, or the 20th Century, but some centuries are considered too dangerous, and the further back you go the more slippage you can expect – from a few hours to a few years, thus not landing exactly when you expected to. Kivrin Engle, a medieval history student requests a trip back to 1320 to experience the middle-ages in the years before the Black Death. Her immediate professor (James Dunworthy) is reluctant but Kivrin (under the auspices of Prof Gilchrist) goes anyway. Unfortunately, the techie on the jump immediately falls ill with a new strain of influenza just as he discovers something is wrong with Kivrin’s jump. Instead of 1320 Kivrin ends up in 1348, the year the plague reaches Oxford. She doesn’t realise this at first, but she has the Oxford flu when she lands, is cared for at a small manor and feigns amnesia to get by, as she realised the middle English she’s learned is not nearly sufficient for every day communication. The book takes place in two timelines, Kivrin and her experiences with life and plague in the 14th century and Dunworthy and co. with a potential pandemic in the book's (near-future) present with Oxford under quarantine.  Gichrist’s interference strands Kivrin in the past. She’s been vaccinated against the plague, but unfortunately her new 14th century friends are oh-so susceptible to it. This won the Hugo and Nebula awards when first published. It might be a touch dated now as you might expect from anything near-future written over a quarter century ago, but by and large it works, except Colin the teen boy character sucks gobstoppers and gets a ‘muffler’ for Christmas. Jenny Sterlin does a decent job on the narration, though she does make the professors Dunworthy and Gilchrist sound more like they’re from the 1940s rather than the 21st century, and she insists on pronouncing Caudhuri (the techie) the way it's written. (My dentist pronounces it Chow-dray, and he should know.)

Audiobook narrated by Michael Page

This is a revisit of one of my favourite books via Audible. Set is a second-world in a city not unlike pre-industrial Venice with alchemy and one specific type of magic, the Gentlemen Bastards are thieves with a difference, and Locke Lamora, The Thorn of Camorr, is their leader. He’s got a devious mind and a talent for deception and false-facing. Unlike the other cutpurse gangs, the Gentlemen Bastards have been educated by (the late) Father Chains to be more ambitious, and to run elaborate cons. This they hide from Capa Barsavi, the city’s crime boss and their supposed overlord, but when the Grey King starts to murder Barsavi’s gang-leaders, Locke and his little gang are dropped in it up to their necks and beyond. While trying to run a con to part a wealthy Don from his money Locke gets involved in both sides of the Grey King’s plans, and the Grey King has a Bonds Mage at his beck and call, a man so powerful that he can kill with a thought. Caught between the Grey King and the city’s Spider (head of the Duke’s Midnighters) Locke and his gang are in big trouble. There are plenty of exciting twists, and Locke goes through the mill (several times). Michael Page reads this well enough, though I could have wished for a little more excitement in the voice, to match Locke’s mercurial personality.

Audiobook narrated by James Anderson Foster

Media tie-in of one of my favourite TV series, Firefly, masterminded by Joss Whedon. Captain Mal Reynolds is kidnapped from a rough bar on Persephone and spirited away to a kangaroo court of Browncoats who’ve been told he’s a traitor. The crew, Zoe, Wash, Book, Jane, Simon and River scurry about trying to find a clue as to where he’s gone, while on board Serenity, five crates of dangerously volatile mining explosives are heating up towards a big bang. James Anderson Foster narrates the story well.

Audiobook narrated by Roy McMillan

Christopher Fairfax, priest, rides across remote Exmoor in the 1400s, sent by the Bishop of Exeter, to find an isolated village with a dead priest awaiting burial… except it’s not the 1400s you might think. This is gradually revealed to be a post-apocalyptic landscape, 800 years after some unknown cataclysm. It’s regressed to pre-industrial revolution levels of living. Science is proscribed, and even researching into the past and its artifacts can get you branded (literally) a heretic. The church is law. Law is the church. What Fairfax finds in that village leads him to question truths that have always been self-evident to a young believer. Expect religion, science and the apocalypse. The writing is superb, the story gripping, and Roy McMillan (who also narrated Conclave) is a perfect narrator. He subsumes his narration to the story while still subtly delineating character voices.

Full cast recording featuring Peter Dinklage as Hercule Poirot.

There’s a serial killer on the loose and Poirot has received letters from the killer simply signed ABC. There’s a new inspector at Scotland Yard, who tries to sideline Poirot as old-fashioned, but in the end they are forced to work together. First a woman whose name begins with A is murdered in Andover, then Betty in Bexhill, then a C and a D etc. Poirot and the police are baffled. I worked it out before they did. Poirot gets there in the end, despite a red-herring. I prefer straightforward reads to full cast recordings as the voices are not always well-differentiated, but Dinklage makes a good – and easily recognisable – Poirot.