‘The Devil You Know’ has a lot to recommend it: great world-building, a twisty plot, a fresh take on the supernatural and a strong sense of place.

I liked Carey’s take on the ways in which the dead return and the impact it had on everyday life, not least of which was to provide a living for freelance exorcists like Castor. I was impressed by his re-imaging of Loup Garou, making them scary and deeply repulsive and by the idea that Castor’s exorcism depended on music rather than the Catholic bell, book and candle ritual. I particularly liked the way the supernatural world was grounded by and integrated with the very human depravities of organised crime and people trafficking and that the action all occurred in a London that I recognised, making it easier to believe in.

At this point, I would normally be recommending ‘The Devil You Know’…