Blood on the tracks: the unsolved murder of the Japanese railway chief

‘There is no end to influence,’ says Harold Bloom in his seminal 1973 work, The Anxiety of Influence — and without getting into the detail of his argument, we can say that the impact of having read and admired others is always an issue for all but the most naive writers. And while Bloom’s attempts to ‘de-idealise our accepted accounts of how one poet helps to form another’ may seem a far cry from the workings of the current literary thriller, even a passing consideration of the influence of James Ellroy, master of LA noir, on his admirer David Peace quickly raises some interesting questions on how we perceive authorship, and authority, in contemporary fiction.

Peace, who has been called ‘the English Ellroy’, draws inspiration from his predecessor not only in his prose style but also in his method, which mixes historical investigation with the techniques of fiction, a modus operandi they publicly debated in 2010.