In a House of Lies by Ian Rankin (Orion Books 2018)

Sutherland nodded. ‘Not much of an accent left, except when I visit family. I notice you’re English.’

She shook her head. ‘Born here; grew up there – I blame the parents. So where else have you been other than Inverness?’

‘Aberdeen, Glasgow, even Skye for a while.’

‘They have crime on Skye?’

‘I like to think I eradicated it.’ He made a little toast to himself. ‘You ever been anywhere other than Edinburgh?’

‘I was on secondment in Glenrothes when Stuart Bloom disappeared.’

‘That was lucky – if you’d been attached to the case, you couldn’t be on my team now. Conflict of interest, et cetera.

Clarke nodded distractedly. ‘So where do you live these days?’ she eventually asked.

‘Shettleston, in Glasgow.’

‘Can you see Barlinnie from there?’

‘More or less. How about you?’

‘Five minutes from here. Just off Broughton Street.

Standing in Another Man's Grave by Ian Rankin (Orion Books 2012)

“Bert Jansch was dead, too. Rebus had seen him play a few solo gigs in Edinburgh down the years. Jansch had been born in the city but made his name in London. After work that evening, alone in his flat, Rebus played a couple of Pentangle albums. He was no expert, but he could tell Jansch’s playing from the other guitarist in the band, John Renbourn. As far as he knew, Renbourn was still around – maybe living in the Borders. Or was that Robin Williamson? He had taken his colleague Siobhan Clarke to a Renbourn/Williamson concert once, driving her all the way to Biggar Folk Club without telling her why. When the two musicians stepped on to the stage – looking as though they’d just roused themselves from armchairs by a roaring fire – he’d leaned in towards her.

‘One of them played Woodstock, you know,’ he’d whispered.”

Hide and Seek by Ian Rankin (St Martin's Paperbacks 1990)

Hyde's Club. Named after Robert Louis Stevenson's villain, Edward Hyde, the dark side of the human soul. Hyde himself was based on the city's Deacon Brodie, businessman by day, robber by night. Rebus could smell guilt and fear and rank expectation in this large room. Stale cigars and spilt whisky, splashes of sweat. And amongst it all moved Ronnie, and the question which still needed to be answered. Had Ronnie been paid to photograph the influential and the rich - without their knowing they were being snapped, of course? Or had he been freelancing, summoned here only as a punchbag, but stealthy enough to bring a hidden camera with him? The answer was perhaps unimportant. What mattered was that the owner of this place, the puppet-master of all these base desires, had killed Ronnie, had starved him of his fix and then given him some rat poison. Had sent one of his minions along to the squat to make sure it looked like a simple case of an overdose. So they had left the quality powder beside Ronnie. And to muddy the water, they had moved the body downstairs, leaving it in candlelight. Thinking the tableau shockingly effective. But by candlelight they hadn't seen the pentagram on the wall, and they hadn't meant anything by placing the body the way they had.
Rebus had made the mistake of reading too much into the situation, all along. He had blurred the picture himself, seeing connections where there were none, seeing plot and conspiracy where none existed. The real plot was so much bigger, the size of a haystack to his needle.

Let It Bleed by Ian Rankin (St Martin's Paperbacks 1996)

"Mr. Haldayne has a point, Inspector." Mathieson was sitting down again, in his big Chief Executive chair at the end of the table. Tables without corners were supposed to make everyone equal, but Mathieson's chair was a leather throne. He looked and sounded completely unruffled by events thus far, while Rebus felt his head would explode.
Hundreds of jobs . . . spin-offs . . . happy, smiling faces. People like Salty Dougary, pride restored, given another chance. Did Rebus have the gall to think he could pronounce sentence on the future of people like that? People who wouldn't care who got away with what, so long as they had a paycheck at the end of the month?
Gillespie had died, but Rebus knew these men hadn't killed him, not directly. At the same time he hated them, hated their confidence and their indifference, hated their certainty that what they did was "for the good." They knew the way the world worked; they knew who - or, rather, what - was in charge. It wasn't anyone stupid enough to place themselves in the front line. It was secret quiet men who got on with their work the world over, bribing where necessary, breaking the rules, but quietly, in the name of progress, in the name of the system.
Shug McAnally was dead, but no one was grieving: Tresa was spending his money, and having a good time with Maisie Finch. Audrey Gillespie, too, might start enjoying life for the first time in years, maybe with her lover. A man had died - cruelly and in terror - but he was all there was on Rebus's side of the balance sheet. And on the other . . . everything else.

Exit Music by Ian Rankin (Orion Books 2007)

'No one's about to poison me, Rebus. Sergei and me, we see things the same way. Few years from now, Scotland's going to be independent - not a shred of doubt about that. Sitting on thirty years' worth of North Sea oil and God alone knows how much more in the Atlantic. Worst-case scenario, we do a deal with Westminster and end up with eighty or ninety per cent of the cut.' Cafferty gave a slow shrug. 'And then we'll goand spend the money on our usual leisure pursuits - booze, drugs and gambling. Put a supercasino in every city, and watch the profits stack up . . .'
'Another of your silent invasions, eh?'
'Soviets always did think there'd be revolution in Scotland. Won't matter to you, though, will it? You'll be out of the game for good.' Cafferty gave a little wave of the hand and turned his back.