A title like Darling Death does half the work before a word is read. The endearment and the threat sit in the same breath, and that tension is the signature of the psychological end of crime fiction, which is where Adam Southward is placed in our catalogue.
Biographical detail is thin on the ground, and we prefer a short honest note to a padded one. On the evidence of the book, this is a writer working in contemporary crime with an ear for menace rather than procedure, and with enough confidence to let a nine-hour story build in its own time.