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Barbara Ludman

A clash of worlds

Barbara Ludman reviews <i >The Slaughter Pavilion</i>, <i>Thirty-three Teeth</i> and <i>Fear of Animals</i>.

From a thriller to a whodunnit, South African style

Alan Lipman and Barbara Ludman review three books that offer different perspective to South African life.

A mystery too elaborate

Barbara Ludman reviews <i>Six Suspects</i> by Vikas Swarup.

From torture to humour

A feast of new South African crime novels criss-crosses various genres, writes Barbara Ludman.

Creeping through our defences

Barbara Ludman reviews Robert Baker's latest book about the indelible impact of epidemics.

Badass redefined

Barbara Ludman reviews new police procedurals and a courtroom drama.

Cape Town: Inspiration for crime?

<i>Payback</i> by Mike Nicol (Umuzi) and <i>Dead Point</i> by Peter Temple (Quercus) are reviewed by Barbara Ludman.

An entertaining dose of surrealism

Barbara Ludman reviews Rafael Reig's <i>Blood on the Saddle</i> and <i>A Pretty Face</i>, set in a dystopian world where the oil has run out and parts of Madrid have been flooded, so one gets around by boat, bicycle or elevated electrobus, as well as Michael Harvey's <i>The Chicago Way</i>.

The serious business of crime

Crime fiction doesn't always make easy reading, writes Barbara Ludman.

Crime reviews

Why are readers so stuck on series? Do we count the cast as personal friends or are we longing for the familiar in a world out of control? Whatever the reason, the authors of crime novels tend to be caught in a web of their own spinning, unable to jettison a likeable or interesting protagonist and create something different.


In his new life Mac Faraday is a blacksmith set up on his late father's spread not too far from Melbourne. In his old life, he was a senior detective in the Australian federal police, but he left after a stakeout went sour and he's trying to forget the whole thing. Then his friend on the next farm is found hanging in a machine shed.

Untimely deaths

Psychotics knocking off young women feature prominently in three new releases. Barbara Ludman wonders why.

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