The Man Who Died Twice

“He’s gone car mad recently. He’s even driving into Fairhaven tomorrow. He has really come out of his shell since everyone started getting murdered. Driving here, there and everywhere like he’s Murray Walker.”

Joyce references the change in Ibrahim since the previous novel’s events. A cautious character, he has become more adventurous and determined to seize life’s opportunities. Joyce’s observation is significant as it precedes the assault on Ibrahim in Fairhaven. In the aftermath of the attack, Ibrahim will no longer drive anywhere or leave Coopers Chase. The abrupt change in his behavior emphasizes how deeply he is traumatized by the event.

“I imagine if you could hear all the morning tears in this place it would sound like birdsong.”

This observation follows Joyce’s diary account of waking up crying after dreaming she was reunited with her late husband, Gerry. Her reference to “all the morning tears” acknowledges the many other residents of Coopers Chase who mourn lost loved ones, reinforcing the theme of aging and mortality. By using a simile to compare the sound of their tears to the beauty of birdsong, Joyce highlights the bitter-sweet nature of love and loss.

“There are lifts in all the buildings, but Elizabeth will use the stairs while she still can. Stairs are good for hip and knee flexibility. Also, it is very easy to kill someone in a lift when the doors open. Nowhere to run, nowhere to hide, and a ping to announce you’re about to appear.”

Elizabeth’s determination to keep herself in good physical shape is humorously juxtaposed with her instincts as a trained spy. This passage foreshadows a scene near the end of the novel where Sue forces Elizabeth and Joyce into an elevator at gunpoint. Fortunately, Bogdan is waiting for the “ping” when the lift doors open.

“We can find them for sure, with Ibrahim’s description, but they’ll laugh in our faces in an interview.”

This statement expresses DCI Chris Hudson’s frustration with the criminal justice system. Although he has a detailed description of Ibrahim’s attacker (and even knows his name), Chris knows from experience there is insufficient evidence to charge Ryan Baird and he will walk free. Chris’s cynicism about the legal system leads him to suggest that Ibrahim’s friends take action of their own, introducing the theme of vigilantism as an alternative form of justice.

“Thinking it through now, he realizes he will have to keep people away from the stables, just in case. And of course, away from the house, that goes without saying. And away from the bodies in the cesspit, though who would go near that, anyway? And no digging. There are grenades somewhere […]. On reflection, he can’t even remember whose grenades they were, or why he had agreed to bury them, but that comes with age.”

This interior monologue conveys Martin Lomax’s thoughts as he prepares to open his garden to the public. A comic tension is created between Martin’s desire to show off his immaculate grounds and the shocking nature of what is concealed there (dead bodies, a kidnapped racehorse, and explosives). The juxtaposition draws attention to the corrupt activities that have funded Martin’s idyllic country retreat. This passage illustrates classic elements of the cozy mystery subgenre, where crimes are committed in genteel surroundings. And it humorously alludes to the novel’s theme of aging.

“They say a man who desires revenge should dig two graves, and this is surely right. Then again Ibrahim feels like his own grave has already been dug, so would there really be much harm in digging another for Ryan Baird?”

Ibrahim alludes to a proverb ascribed to the philosopher Confucius. The quotation explores the theme of revenge, describing Ibrahim’s conflicted feelings on the subject. By comparing revenge to digging two graves, the proverb presents it as a self-destructive behavior that inevitably harms the revenger and their victim. Ibrahim acknowledges the validity of this theory but also feels that Ryan has already killed him in spirit. He concludes that taking revenge on Ryan cannot make him feel any worse, and it might make him feel better.

“People here came and went, they came and went. Knowing they were here to live out their days made them vital. They moved slowly, but their time ran fast. Bogdan liked to be among them. They will die, but so will we all. We are all gone in the blink of an eye, and there is nothing to do but live while you’re waiting.”

This reflection is from Bogdan’s point of view and addresses the theme of aging and mortality. Of all the characters in the novel, Bogdan has the most serene attitude to death. Although keenly aware of his mortality, he is not afraid of dying. Bogdan enjoys the company of the residents at Coopers Chase because they share his attitude toward mortality. The awareness that their time is limited means they live each day to the fullest.

“Stephen has fallen asleep. It is happening more and more these days as he shuts down further and further still.”

This depiction of Elizabeth’s husband, Stephen, describes the slow, debilitating effects of dementia. The image of him gradually “shut[ting] down” illustrates the isolating effect of the disease on both Stephen and Elizabeth as his identity fades away with his cognitive abilities. The observation that Stephen sleeps more notes a literal symptom of his illness but also evokes the permanent sleep of death. The passage foreshadows the final chapter of the novel, where dementia is described as a condition that kills twice.

“It’s fine to say ‘what doesn’t kill you makes you stronger.’ […] But it no longer applies when you’re eighty. When you are eighty whatever doesn’t kill you just ushers you through the next door, and the next door and the next, and all of those doors lock behind you. No bouncing back. The gravitational pull of youth disappears, and you just float up and up.”

This passage conveys Ibrahim’s sense of vulnerability in the aftermath of Ryan Baird’s attack. While the depiction of aging in the novel is generally positive, the experiences of Ibrahim are a reminder of the frailty that accompanies old age. Ibrahim feels unable to “bounc[e] back” either physically or emotionally.

“‘Oh, we don’t carry our phones everywhere, Sue,’ says Joyce. ‘Purse, keys, a bit of make-up just in case, and a bag for life, that’s all you really need.’”

Joyce’s character frequently exploits the ageist attitudes of others by playing the role of a harmless old lady. Here she tries to explain the absence of Elizabeth’s phone (which is hidden in a wall) to Sue Reardon. It is one of several instances where Joyce demonstrates that she is capable of cunning and deception.

“What a tiny, formidable woman. Exactly the sort of woman you’d want parachuted behind enemy lines with a gun and a cipher machine.”

While many characters underestimate Joyce, Sue Reardon is not one of them. Sue demonstrates that she is a shrewd assessor of character as she perceives the strength and resourcefulness behind Joyce’s benign exterior. In thinking of Joyce as “formidable,” Sue chooses an adjective that is usually more readily ascribed to Elizabeth. Her assessment of Joyce as perfect spy material underlines Joyce’s character arc as she gains greater agency and independence in the novel.

“Actually this is probably not where I should have started this diary entry, so let me backtrack a moment. I’m quite tired.”

This aside from Joyce is characteristic of her narrative voice. Her diary entries follow the train of her thoughts, often digressing from the subject of murder to mundane day-to-day preoccupations and back again. This stream-of-consciousness technique gives an authentic quality to Joyce’s narrative.

“Andrew Hastings being murdered was fine by me. Easy come, easy go, that was his job. If you work in a fishmonger’s you’re going to smell of fish. And Douglas? Well, if he’s dead then he probably had it coming too. But Poppy should have been in a different story, and I’m sorry she ended up in this one.”

Joyce differentiates between Poppy’s murder and the other deaths in the novel. The fishmonger analogy conveys Joyce’s lack of sympathy for Andrew and Douglas as they were both immoral characters involved in criminal activities. The same analogy equally applies to the deaths of Frank Andrade Jr. and Martin Lomax. Poppy’s is the only death that is wholly undeserved.

“So maybe we’re about to find twenty million pounds’ worth of diamonds. Elizabeth won’t let me keep them, I know, but it will be nice to have them for a bit.”

Joyce alludes to the allure of the diamonds, a recurring symbol in the novel. For many of the characters, the diamonds represent a life-changing sum of money. Consequently, the jewels become the focus of ruthless greed, leading to four deaths. The diamonds tempt even Joyce, but she is ultimately content to keep them for a while until they are converted into a £20 million donation to Living With Dementia.

“I was going to call after her, but I thought, no, Joyce, for once in your life why not fly solo? You don’t always need Elizabeth.”

Joyce’s thoughts in this passage indicate her growing sense of agency and initiative. Considering how to identify the figure in the motorcycle helmet at the train station, she decides to check if there is another CCTV camera behind the left luggage desk. In normal circumstances, Elizabeth would come up with this idea, and Joyce would accompany her. In this instance, Joyce devises the plan and decides to implement it alone.

“Coopers Chase looks beautiful in the late autumn sun. As Donna walks up towards the village a llama tilts a quizzical head towards her over a white fence.”

This description of the Coopers Chase offers an example of a classic cozy mystery setting. The golden light over the beautiful rural landscape suggests a pastoral idyll creating a deceptively tranquil atmosphere. Throughout the novel, the charming surroundings are contrasted with the violent events that take place there.

“The case was deeply unsafe, of course. The cocaine and the bank card found in the cistern of his toilet? The anonymous tip-off? But needs must, sometimes. Chris has never done anything like this before. The Thursday Murder Club leads him further astray almost daily.”

Chris reflects on the “evidence” against Ryan Baird. Although he is aware the Thursday Murder Club has framed Ryan, Chris is prepared to proceed with the prosecution. By highlighting that Chris has never “done anything like this before,” the passage clarifies that he is not a corrupt police officer. However, his experiences of the legal system’s failings mean he is prepared to go along with the revenge plan to achieve an alternative form of justice.

“I know that now isn’t the time or place […] but how lovely she’s wearing the bracelet.”

Joyce’s comment on seeing Siobhan wearing her friendship bracelet on CCTV illustrates several aspects of the novel. The incongruous circumstances of her observation create humor, as the footage has just unmasked Siobhan as a likely accomplice to murder. Joyce’s delight in seeing her creation worn, regardless of Siobhan’s guilt, illustrates her relentless determination to find the positive in every situation. The scenario also highlights the ongoing role of the friendship bracelet as both a recurring motif and a vital clue.

“Can I say, by the way, that Poppy had put a Post-it note on the front of the file, and had put a little kiss and a smiley face on that Post-it note? And I just wonder if that’s really the sort of thing a murderer would do?”

Joyce questions Elizabeth’s conviction that Poppy is the murderer, as her instinct tells her that Poppy is innocent. Joyce’s emotional intelligence is emphasized by her focus on the “smiley face” drawn by Poppy on the Post-it note. Although the detail seems inconsequential, it expresses Poppy’s guileless character. In this case, Joyce’s intuition is superior to Elizabeth’s theorizing.

“‘Good riddance,’ Gerry would say, and Joyce quite agrees. Still, to make it happen as Elizabeth has just done? Was that worse? Or just more honest? A question for someone cleverer there.”

Joyce expresses her lack of sorrow over the deaths of criminals Martin Lomax and Frank Andrade Jr. Her belief that both men received their just desserts reinforces the thematic representation of alternative forms of justice. Significantly, Joyce also implies that Elizabeth deliberately engineered the shootout by withholding most of the diamonds. Elizabeth’s culpability for the deaths reveals her to be more ruthless than even Joyce anticipated.

“It was all Marcus Carmichael’s fault, really. Right from the very beginning. The dead man by the River Thames who never was. The unclaimed body collected from a London hospital and dressed up by her operatives. That reminder of the grand illusions of her trade. Making people believe exactly what you wanted them to believe. Making things complicated.”

Elizabeth reflects on why she overlooked Sue Reardon as a suspect. She realizes that Douglas’s reference to Marcus Carmichael reminded her of her life as a spy when nothing could be taken at face value. Elizabeth’s incorrect theory that Poppy faked her death sprang from her tendency to look for an ulterior motive in everyone’s actions. Paradoxically, Elizabeth’s finely tuned espionage skills hinder her in solving the case.

“Elizabeth is coming to understand that perhaps, just sometimes, things are exactly what they seem. When Ron hugs her, Joyce bakes her a cake, or Ibrahim laminates a document for her, they are not playing a game. They don’t need anything in return other than her happiness and her friendship. They just like her. It has taken Elizabeth a long time to accept the truth of that.”

Elizabeth’s acknowledgment of her investigative errors leads to a corresponding epiphany about her personal life. She realizes that her tendency to mistrust people has extended into her relationships. This marks a key development in her character arc as she learns to accept friendship more openly.

“‘Can I tell you what I think happened?’ asks Elizabeth. ‘Just to pass the time. Or is that all a bit “James Bond” for you?’”

Elizabeth prepares to confront Sue Reardon with an account of her crimes. Her allusion to “James Bond” playfully highlights a well-known trope of crime thrillers: the moment when the investigator confronts the villain with a detailed explanation of how and why they committed the crime. While appearing to be aimed at another character, the exposition serves to clarify events for the reader.