There are other giveaways to membership of the Dead Prose Club here, too: not least, the proliferation of sentences, paragraphs and chapters either (a) beginning with the word "And.." or (b) ending in that deadliest of all dull devices, the dreaded three dots.

As for mystery: unfortunately, both the main ending and surprise ending were blindingly obvious miles from home. I knew the outcome of the former less than fifty pages in, and of the latter as soon as the character concerned was introduced. (So - why didn't Rebus? That's supposed to be his job, isn't it?) It was frustrating, too, to reach the end of the book and discover that the three principal plot-lines didn't so much interweave, as merely take place alongside each other, at the same time. All you end up with, is three plots for the price of one.

There are other examples of clumsy plotting, too. It really does stretch credibility that a murder carried out in a welter of blood in a moving car, where the killer's identity is known to the police, is dismissed as unsolvable within hours of its discovery. One imagines the police might work a little harder on the case, in the real world - if not, we're in trouble. But then, the event must be the servant of the plot, so that's the way it has to be. Unfortunately, it blares out its own untruth as a result.

There are some well-drawn characters, Rebus himself and a couple of other male policemen. Most fizzle and fade away. Some are just ditched when their plot works itself out. That's the trouble with plot-driven fiction like this: it cannot convey the after-life of characters who exist only at the mercy of a plot-line. Even by leaving, in this case, one of the plot-lines open.

To a certain extent, I'm trying to redress the balance here. Though it should be no more than half as long as it is, "Dead Souls" is an adequate holiday read. It's only "not very good", or if you're in the mood, "OK". Don't, though, expect more than formula fiction can deliver.

But in a haze of cigarette smoke, whisky-and-waters and rain on dreary slums, Rankin makes Edinburgh sound depressingly grim - probably the last place I'd choose to write about, were I a best selling author. While there are undoubtedly a lot of crime fiction fans out there, I'm surprised so many of them choose the Rebus stories in favour of more escapist fiction.

Me, I might try another...but not just yet!

The plot is typically labyrinthine (hope i spelled it right) But simple to grasp. It throws up, as all his do, many different topical issues (peadophillia, missing persons, releasing convicted murderers etc) All of which are dealt with wonderful compassion and a biting relism.

The writing is wonderfully fresh and original, easy to understand, and the short one liners Rebus often delivers are classics of fiction. This book shows the dark side of relaity, which can all too easlity become the one people most assosciate with.

The characters are simply marvellous. Even thought you know it is wron, you are willing Rebus and Janice to get together again after all these years, even though both are spoken for. But the best character in this book (even though she is not featured all that much) has got to be Amanda Petrie. She has lodged herself in my mind, even though i finished it about 4 dayas ago, and she's still not gone. Wonderful.

Beware though, if you happen to be new to Rankin, this is not the best to start with as it assumes you have previous knowledge of the series, which if you want to fully understand the haunted character of Rebus, it is vital to have.

If you are looking to start the series, work through the series in order. The mistake i made was to not do that, and i found myself in a right old muddle!!!!