John Rebus spent his life as a cop putting Edinburgh's most deadly criminals behind bars. Now having been convicted of a homicide, he's joined them…

A convict is brutally murdered in his locked cell deep in the heart of Scotland’s most infamous prison. Sleeping in a cell across the floor lies John Rebus, the equally notorious detective. Stripped of his badge and estranged from his police family, he is now fighting for his own life - protected by an old nemesis but always one wrong move away from the shank. As new allies and old enemies circle, and the days and nights bleed into each other, even this legendary figure struggles to keep his head.

They say old habits die hard, though. The death stirs Rebus’s deductive - and manipulative - impulses, setting off a domino-chain of scheming criminals, corrupt prison guards and perhaps only one or two good souls who may see it all through.

But how do you find a killer in a place full of them?

Originally published by the Standard Bank as part of a curated exhibition in May 2011, this prestigious volume celebrates the life and works of Peter Clarke (1929–2014), one of South Africa’s foremost artists. A mere 500 copies were originally published, all taken up at the exhibition, and continued demand has led to its re-release.

Clarke left his job as a dockworker in Simon’s Town to devote himself to art. The wisdom of this decision is reflected in a remarkable career, which extended over some six decades and was acknowledged in the awards of the Order of Ikhamanga (silver) in 2005 and a Lifetime Achievement Award in 2010.

Listening To Distant Thunder: The Art Of Peter Clarke recounts an artist’s life in the context of the social history of South Africa from the 1940s onwards. His images reflect the social disruption of the Cape Flats, and the trauma of his community’s forced removal from Simon’s Town to the bleak apartheid township of Ocean View. Yet Clarke’s images have avoided bitterness, and his work is a perceptive scrutiny and celebration of life in all its aspects.

Illustrated with over 200 reproductions and photographs, this book was researched and written by well-known South African art historians Philippa Hobbs and Elizabeth Rankin, in close collaboration with the artist over almost seven years.

John Rebus spent his life as a detective putting Edinburgh's most deadly criminals behind bars. Now, he's joined them...

As new allies and old enemies circle, and the days and nights bleed into each other, even the legendary detective struggles to keep his head.

That is, until a murder at midnight in a locked cell presents a new mystery. They say old habits die hard...

However, this is a case where the prisoners and the guards are all suspects, and everyone has something to hide.

With no badge, no authority and no safety net, Rebus walks a tightrope - with his life on the line.

But how do you find a killer in a place full of them?

John Rebus stands accused: on trial for a crime that could put him behind bars for the rest of his life. Although it's not the first time the legendary detective has taken the law into his own hands, it might be the last. What drove a good man to cross the line? Or have times changed, and the rules with them? Detective Inspector Siobhan Clarke faces Edinburgh's most explosive case in years, as a corrupt cop goes missing after claiming to harbour secrets that could sink the city's police force. But in this investigation, it seems all roads lead to Rebus - and Clarke's twin loyalties to the public and the police will be tested to their limit. A reckoning is coming - and John Rebus may be hearing the call for last orders...

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.