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AGAINST the backdrop of London in 1940, the first of Laura Wilson's planned series of crime novels, Stratton's War, introduces us to her leading character, DI Ted Stratton (published in trade paperback by Orion, £9.99).

The city is experiencing increased rationing, bombs raining down and blackouts, and Stratton's world is one of constant struggles in both his professional and personal life.

Following the death of a former movie star, Stratton's instincts lead him to question the coroner's suicide verdict at the behest of his superiors. It is the beginning of a lengthy investigation, exposing a murky existence dredging up profiteering, spying, counter-espionage agencies, family feuding, the class divide and attitudes to homosexuality - to name but a few themes.

That these subjects are combined, yet never threaten to complicate the story, is a credit to the writer.

Like the best crime novels, Stratton's War coaxes intrigue, consistently challenging the reader to ask questions, second-guess the involvement of characters introduced in the narrative and, like all good books, encourage the reader to turn the page.

Stratton is likeable, uncomplicated, displaying all the traits, both positive and negative, associated with a member of the force. Unlike many police characters, he appears "normal", more rounded than the usually adulterous, ginsoaked stereotypes this genre can often be guilty of - and this book is all the better because of it.

He takes solace in his garden, is sympathetic towards his stressed wife, upset by the evacuation of their children, and his life constantly reminds us of the hardships and sacrifices of the era.

Wilson uses wartime London as an effective tool, blending the characters in Stratton's home life seamlessly, in contrast to his work colleagues and more unsavoury types. It is early days yet, but on this evidence, there is plenty of mileage left in this character. I look forward to future investigations.

James Cleary

✍ ✍ ✍

The Savage, by David Almond, illustrated by Dave Mckean (published by Walker Books, £7.99) is a clever and spooky book, bringing the surreal to the real.

Blue, the main character and narrator, is writing a book about a savage. He starts writing it to try and deal with the death of his father and his feelings about a bully at his school called Hopper.

But what he doesn't know is that the story of the savage is happening for real, out there.

The more he writes, the more he realises this, and gets to know the savage. The savage has no-one. He is wild, vicious and a killer.

Until he meets Blue. Then he realises he isn't a nasty bully, but is just a kid. The more they bond, the more the savage is tamed. And a friendship is formed. And so the story of The Savage is written.

The savage helps Blue understand that his father will always be there for him. But remember, he might be tamed, but he still has a taste for flesh. So don't go down to the woods today or you might meet a nasty surprise!

Samuel Brooker, 13

✍ ✍ ✍

Set in the harsh farmlands of postwar Mississippi, Mudbound by Hillary Jordan tells the story of six people who are fated to affect each other's future (published in hardback by William Heinemann, £12.99).

Laura, married late in life at 30, is the sexually naive wife of Henry, a solid, salt-of-the earth farmer.

From her comfortable middleclass life, she moves to Henry's mud-sodden land, and hates it.

But then his brother, the charismatic, flawed Jamie, arrives. Mentally scarred by his experiences as a pilot in the Second World War, he drowns his memories in whisky and women. Where others see a troubled soul, Laura sees excitement, and tensions begin.

Added to the mix is the clever, strong Ronsel, decorated as a warhero but treated as a second-class citizen because of the colour of his skin. He and Jamie form a forbidden friendship, which sends shock waves through everyone's lives.

Jordan is a powerful writer, drawing a flood-ravaged, mud-caked landscape where her characters play out their bleak lives - but, surprisingly, it's not a depressing read. Essentially Laura's story, in the last chapter it suddenly becomes Ronsel's, and it's a shame that this novel, whose tale of racial inequality is so powerful in the telling, ends up hitting you over the head with a politically correct hammer. It didn't need to do that to be shocking.

Cayte Williams

1:15pm Friday 25th April 2008

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