“Violence had its echo.”
A Song for the Brokenhearted is the third volume in William Shaw’s Breen and Tozer trilogy. The dynamic between these two main characters, both outsiders for different reasons, are a major draw for this series. CID CS Cathal Breen, known as ‘Paddy’ doesn’t ‘fit in’ with his Division, and Helen Tozer, never taken seriously by her male colleagues, is a young female policewoman, Temporary Detective (“Probationer,”) who hails from the countryside. In the first book, She’s Leaving Home, the mismatched team of Breen and Tozer tackle a murder case, in The Kings of London Breen investigates the murder of a wealthy art collector, and this final book in the trilogy, opens at the Tozer farm. Helen has given up on her career and has returned home to work. Breen is there for.. well read The Kings of London for that one.
The series is unique for its 60s setting–Tozer, in the first book is the source of many sexist comments and expectations from her male workmates who think she exists to make their coffee and giggle over their jokes, and meanwhile Beatlemania rages through Britain. Shaw’s characters are firmly rooted in their time, so we have speculation about why a nice girl like Helen Tozer wants to be a policewoman, but the answer to that lies in her past.
That brings me to A Song for the Brokenhearted–anyone who read the first and second books in the series knows that Tozer is haunted by the brutal, unsolved slaying of her sister Alexandra. This vicious crime is the root cause for Tozer’s career choice, and the murder is so deeply embedded in the character of Helen Tozer that we know its solution had to occur somewhere in the series. With Breen bored out of his mind on the Tozer farm, he grasps how the unsolved murder permeates the household. He begins poking around in the cold murder case.
Murdered people never really go away. They stay with you. If you never discover why they were killed, or who the killer was, it’s worse. As a policeman he knew this from the families and friends of the victims that he’d met over the years. Now living here, the dead girl was all around him in this house.
Using Tozer’s influence, he accesses the old files and discovers that information regarding a key witness, one of Alexandra’s many secret lovers, is missing from storage. After discovering the name of this witness, a wealthy local married man, Breen begins digging into the case, and the past comes back with swift retribution.
As with the previous two books in the series, the author does an excellent job of recreating the 60s atmosphere without nostalgia, and since this entry in the trilogy is set, mostly, in the countryside, the 60s references are more social values than star power, so at one point, for example, we see a pregnant woman puffing away at a cigarette–funny how that seems shocking these days, and hear about jury selection for the Kray brothers’ trial. Shaw presents the generational gap between Breen and Tozer as the world of the 50s clashing with the 60s. This is a world in flux with rapidly shifting values. In this novel, there’s an additional element of colonialism, and the Dirty business carried out in Kenya washes up in unexpected ways in spite of, apparently, being swept under the rug.