Ian
Rankin has been writing police procedurals featuring his alter ego,
John Rebus, for 20 years. Both the writer and the character have
grown as they've lived through the life changes that time brings.
"Often I am not sure where I end and he begins," said Rankin in an
interview. In THE NAMING OF THE DEAD, Rankin's latest Rebus novel,
he limns the policeman with a little twist. An aging Rebus is
tired, frustrated and more introspective than in any of the
previous installments.

Rebus came to law enforcement with only one goal: to stop crimes
when possible, to seek justice and to always "do it his way." He
was and remains a rogue who is not afraid to bend the rules. This
drives his superiors to distraction, especially when the inspector
is defying them. He is not above strong-arming suspects or using
reliable snitches --- some of whom have been reprised more than
once in the series, regardless of their pedigree --- like gangster
Morris Gerald Cafferty. Because Rebus never played politics in
order to earn promotions, this means that (late in his career) he
has nothing to lose. His colleagues learned early on to give him a
wide birth, and while acknowledging his brilliant detective work,
some of them openly resent him.

Then along came Siobhan Clarke, a rookie who was immediately
impressed by the work Rebus does. She was warned over and over not
to get too close to him, because the powers-that-be were afraid she
would learn his bad habits and hence become "tainted." She didn't
listen. The two gravitated toward each other and built a trust that
sees them through the darkness they face in their work. They are
close friends and grateful that they can confide in one another.
They live close by and share a passion for music, a theme reprised
in each novel.

Rebus drinks --- sometimes too much, at other times much too much.
He lives alone and is rooted to his chair, usually with a bottle of
"anything" to get through the night. But his alcoholism doesn't
appear to hamper his work. "Rebus paused for a moment…and
wondered why his blood was coursing. Answer: he was working.
Old-fashioned, dogged police work --- almost as good as a vacation.
But then he noticed that his final destination was another
pub."

THE NAMING OF THE DEAD opens with the funeral of Rebus's brother,
from which he cannot wait to escape. With perfect timing Siobhan
reaches him on his cell and tells him to meet her at "Clootie
Well," the site of a strange ménage of "offerings" in
remembrance of the dead. She has found the jacket of a recent
Edinburgh murder victim. Not far from there is
"Gleneagles…where the G8 [meeting] control center is." This
conference is comprised of international leaders, including
President Bush, and has brought law enforcement out in droves. But,
despite the security measures and number of delegates, a man falls
(is pushed?) to his death from the turret of the castle, on the
grounds of the hotel. Rebus is forced to engage in a turf war in
order to find the truth.

In addition, both legitimate protesters and those on the side of
lunacy are expected to make their various presences known. Some
strange characters emerge from the crowd, as do former hippie types
like Siobhan's parents who find themselves in the middle of a
melee. They have made friends with an odd young woman who seems to
float like a ghost in and out of focus. From here the novel becomes
complicated --- more political, philosophical, a commentary on
family relationships, memories, loss and "lives well lived." But
all the subplots are handled with finesse and in Rankin's able
hands are pulled together into a satisfying whole.

Ian Rankin's books are tightly plotted and populated with
well-drawn characters, some familiar from previous outings and
others new on the scene. By the end, readers will agree that this
is one of the best books the author has written. They may also
wonder if Rebus is ready to "just walk away from his job." Can
Rankin eliminate him and perhaps promote Siobhan Clarke to take his
place? Or if Rebus is "put out to pasture" he certainly could
continue to work with his protégé "behind the scenes."
One can only hope that Rankin finds that Rebus is too important a
creation to give up his place in the Edinburgh constabulary and
fade away.