Section: Reading

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Excerpt from Fleshmarket Alley by Ian Rankin

"I'm not supposed to be here," Detective Inspector John Rebus said. Not that anyone was listening.

Knoxland was a housing scheme on the western edge of Edinburgh, off Rebus's patch. He was there because the West End guys were shorthanded. He was also there because his own bosses couldn't think what to do with him. It was a rainy Monday afternoon, and nothing about the day so far boded anything but ill for the rest of the working week. Rebus's old police station, his happy hunting ground these past eight or so years, had seen itself reorganized. As a result, it no longer boasted a CID office, meaning Rebus and his fellow detectives had been cast adrift, shipped out to other stations. He'd ended up at Gayfield Square, just off Leith Walk: a cushy number, according to some. Gayfield Square was on the periphery of the elegant New Town, behind whose eighteenth- and nineteenth-century facades anything could be happening without those outside being any the wiser. It certainly felt a long way from Knoxland, farther than the three factual miles. It was another culture, another country.

Knoxland had been built in the 1960s, apparently from papier-mache and balsa wood. Walls so thin you could hear the neighbors cutting their toenails and smell their dinner on the stove. Patches of damp bloomed on its gray concrete walls. Graffiti had turned the place into "Hard Knox." Other embellishments warned the "Pakis" to "Get Out," while a scrawl that was probably only an hour or so old bore the legend "One Less." What shops there were had resorted to metal grilles on windows and doors, not even bothering to remove them during opening hours. The place itself was contained, hemmed in by divided highways to north and west. The bright-eyed developers had scooped out underpasses beneath the roads. Probably in their original drawings, these had been clean, welllit spaces where neighbors would stop to chat about the weather and the new curtains in the window of number 42. In reality, they'd become nogo areas for everyone but the foolhardy and suicidal, even in daytime. Rebus was forever seeing reports of bag snatchings and muggings.

It was probably those same bright-eyed developers who'd had the idea of naming the estate's various high-rise blocks after Scottish writers, and appending each with the word "House," serving merely to rub in that these were nothing like real houses.

Barrie House. Stevenson House. Scott House. Burns House.

Reaching skywards with all the subtlety of single-digit salutes. He looked around for somewhere to deposit his half-empty coffee cup. He'd stopped at a baker's on Gorgie Road, knowing that the farther from the city center he drove, the less likely he would be to find anything remotely drinkable. Not a good choice: the coffee had been scalding at first, quickly turning tepid, which only served to highlight its lack of anything resembling flavor. There were no bins nearby; no bins at all, in fact. The sidewalks and grass verges, however, were doing their best to oblige, so Rebus added his litter to the mosaic, then straightened up and pushed his hands deep into his coat pockets. He could see his breath in the air.

"Papers are going to have a field day with this," someone was muttering. There were a dozen figures shuffling around in the covered walkway between two of the high-rise blocks. The place smelled faintly of urine, human or otherwise. Plenty of dogs in the vicinity, one or two even wearing collars. They would come sniffing at the entrance to the walkway, until chased off by one of the uniforms. Crime-scene tape now blocked both ends of the passage. Kids on bikes were craning their necks for a look. Police photographers were gathering evidence, vying for space with the forensic team. They were dressed in white overalls, heads covered. An anonymous gray van was parked alongside the police cars on the muddy play area outside. Its driver had complained to Rebus that some kids had demanded money from him to keep an eye on it.

"Bloody sharks." Soon, this driver would take the body to the mortuary, where the post-mortem examination would take place. But already they knew they were dealing with homicide. Multiple stab wounds, including one to the throat. The trail of blood showed that the victim had been attacked ten or twelve feet farther into the passage. He'd probably tried to get away, crawling towards the light, his attacker making more lunges as he faltered and fell. "Nothing in the pockets except some loose change," another detective was saying. "Let's hope someone knows who he is . . ."

Rebus didn't know who he was, but he knew what he was: he was a case, a statistic. More than that, he was a story, and even now the city's journalists would be scenting it, for all the world like a pack sensing its quarry. Knoxland was not a popular estate. It tended to attract only the desperate and those with no choice in the matter. In the past, it had been used as a dumping ground for tenants the council found hard to house elsewhere: addicts and the unhinged. More recently, immigrants had been catapulted into its dankest, least welcoming corners. Asylum seekers, refugees. People nobody really wanted to think about or have to deal with. Looking around, Rebus realized that the poor bastards must be left feeling like mice in a maze. The difference being that in laboratories, there were few predators, while out here in the real world, they were everywhere.

Select the choice that best answers the following questions.

It can reasonably be inferred from the passage that Rebus is the:

Explanation

The opening scene is at the scene of a murder. Traditionally, mystery literature follows detectives and other resolution seekers in the protagonist roles. Given the evidence provided in the excerpt, Rebus is seeking a resolution to the mystery, meaning he likely did not commit the crime and his role will be central to the narrative, so he's more than a supporting character. Also, the voice of the passage is third-person. It explains his thoughts and actions. It does not give them to the reader in his own words, so he can't be the narrator.
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