Cairo, 1910. Captain Owen, The Mamur Zapt, is the head of Egypt's Political CID in the heyday of British Rule. He is ultimately responsible for law and order in the Khedive's Cairo. When the rules, whether obvious or hidden, are flouted, he steps into action - although it sometimes looks like he's merely stepped sideways, out of the way.
Now it is the end of the boom, leaving banks beleaguered and borrowers in trouble whether the poorest land-working fellahin or the richest land-owning Pashas. Then a civil servant suspiciously dies at his desk. The whiff of corruption is in the air. Even Owen, who is supposed to be investigating the affair, appears to be living beyond his means. As he turns to such unlikely allies as the Grand Mufti, the local barber, and the Widow Shawquat, he penetrates to the heart of such sinister organizations as the Khedive's Agricultural Society. The rich are tricky, and money speaks louder than words, challenging Owen to use all his skills to stop the Camel of Destruction....
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Praise for Michael Pearce:
‘Remarkable’ Daily Telegraph
‘Highly recommended’ Sunday Telegraph
‘Splendid ... wittily rich ... a born novelist’ Sunday Times
‘Enjoyable ... original and charming’ Independent
Cairo, 1910: the end of the boom and everyone seems to have money troubles. Then one day a civil servant dies at his desk. Was it pressure of work or some thing nastier? The whiff of corruption is in the air, with even Gareth Owen, the Mamur Zapt, seen to live beyond his means – and he's the one who's supposed to be investigating the affair.
Owen's attempt to do so, aided by unlikely allies, the Grand Mufti and the monstrous Ali, take him to the heart of such sinister organisations as the Khedival Agricultural Society. But he soon realises that money speaks louder than words in Edwardian Cairo, and that the rich are notoriously tricky. Will the Mamur Zapt be up to taking them on? And will he be in time to stop the Camel of Destruction running through the city?
‘Another sparkling reaction in which Pearce's heart and art are drily in the right place’
JOHN COLEMAN, ' Sunday Times'
‘A plot that flexes its coils as innocently as an asp’
PHILIP OAKES, ' Literary Review'
‘This series continues to be the most consistently delightful in current detective fiction’
GERALD KAUFMAN, 'The Scotsman'
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