She is also wonderful company and a rich discovery awaiting those who have yet to meet her. Warshawski survives, narrowly, to tell the story in a sharp-tongued, sardonic first person. The story is as active as any Marlowe ever encountered: sluggings, murders attempted, murders achieved, a very scary pursuit by night in a derelict building. Warshawski, Sara Paretsky did more than anyone to change the face of contemporary women's fiction. Snappy dialogue, tight plotting and realistic situations make Paretsky's unapologetically politicised thrillers a pleasure to read, whatever your viewpoint. has escaped many near-death experiences, including drowning in Chicago's swamps (Blood Shot), falling down an elevator shaft (Burn Marks), and multiple attempts to shoot her down (Dead Land). It's hard not to get caught up in her passion. Paretsky and Warshawski share a love of singing, Golden Retrievers and Italian reds. she doesn't flinch from examining old social injustices others might find too shameful (and too painful) to dig up Warshawski falls foul of the corrupt political machine when an arsonist burns alcoholic Aunt Elena out of her cheap hotel. The thing about Sara Paretsky is, she's tough. This is partly because the recurring characters continue to develop and engage the reader, and partly because of the moral intelligence that informs the writing. Some crime series grow stale over time, but there's no sign of fatigue here.
She keeps her brand of politicised noir fresh by responding to issues - social, cultural and political as well as gender - in contemporary life. Paretsky has been putting her private investigator through her paces since 1982, changing perceptions of women in crime fiction through the creation of a fiercely independent female detective.
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