Kate Atkinson has an idea for a fun side-hustle: at some point in the future, when she’s done with the second world war, and with her jaded private eye, Jackson Brodie, she’ll bring to life the creative projects that have hitherto existed only as facets of her characters’ lives. She’ll take the fortune teller Madame Astarti from her third novel, Emotionally Weird, and put her at the centre of her own series of mysteries; she’ll conjure up a script for Green Acres, the rural soap opera that features in her two short-story collections, 2002’s Not the End of the World and last year’s Normal Rules Don’t Apply; she’ll craft episodes of the TV police procedural Collier, in which Brodie’s one-time girlfriend Julia played a pathologist. And finally, she’ll flesh out the breathtakingly hammy murder mystery that a cast of clapped-out actors perform at Burton Makepeace, the stately home that is the setting for her new Jackson Brodie novel, Death at the Sign of the Rook.
Writing these scenes – teeming with aristocrats, actors, Russian countesses, clergymen and a “fastidious little Swiss detective” – were Atkinson’s treat, she tells me, as she constructed the novel during lockdown. “I would have done so much more of that,” she explains, as we sit sipping coffee in a studiedly antiquated hotel near her home in Edinburgh. “But I thought, I can see that I would just annoy people. I had to keep going back to Jackson.”
