Screams in the night…
😀 😀 😀 😀
On the night of their wedding, Kenzo and his new bride Katsuko have retired to the annexe of the family home after a day of ritual celebration. The remaining guests are staying with the rest of the family in the main house, but they are startled awake in the middle of the night by screams and the sounds of a koto (a Japanese stringed instrument) twanging wildly. By the time they get to the annexe, it’s too late – Kenzo and Katsuko are dead, brutally slain by someone wielding the katana which is usually kept in the main house. But the annexe is sealed – all doors and windows locked from the inside – and the snow which has just fallen is pristine, with no trace of footmarks. How did the murderer get in and out, and who is the strange three-fingered man who’s been seen in the neighbourhood recently, asking for directions to the house?
The author, through his narrator, is quite open about having been influenced by many of the classic locked room mysteries of the Golden Age, giving special mention to The Mystery of the Yellow Room by Gaston Leroux and the works of John Dickson Carr, an accepted master of this form of mystery. I haven’t read a lot of Carr, but for my money Leroux has clearly been the main influence on the plot and style of this one.
As so often happens with locked room mysteries, I felt that characterisation and motive came in as poor seconds to the intricacy of the way in which the murder was contrived. That’s not to say that the plot is weak – in fact, the reason for the murder is interesting and based firmly in the mores of the society at that time, and indeed it depends strongly on an understanding of the character of the murderer. But I felt these were presented too much as a given, rather than the reader learning about them for herself by observing the characters interact. Without getting into spoiler territory, so forgive vagueness, I also felt that one of the other characters’ behaviour was stretched well beyond the limits of credibility purely because s/he had to act in the way s/he does to make the murder method work. However, as I said, this is a common occurrence in locked room mysteries, and no worse in this one than in many others – it’s just not a sub-genre I’m particularly fond of.
The translation by Louise Heal Kawai is mostly very good, flowing and readable without any feeling of clunkiness. However the translator has chose to leave too many Japanese terms for my taste – I can see that this keeps the Japanese flavour better, but often I simply didn’t know what was being described and nor did my built-in Kindle dictionary. Sometimes, she would explain a word on its first appearance, but not always, and even when she did it meant I frequently had to search back to remind myself. This is a subjective criticism, though, and it certainly wasn’t a big enough problem to seriously affect either my understanding or enjoyment of the book.
The all-important murder method is extremely convoluted, and rather depends on a fortuitous fall of snow at exactly the right moment, which felt a little bit like cheating. However, in general the plot is fair play – the clues are all given, although this poor reader missed nearly every one!
Overall, then, I enjoyed this short novel with a few reservations, and I’m sure it will appeal even more to real aficionados of the locked room mystery who might be more interested in the method than the characterisation. And it did make me go to youtube to find out what a koto looks and sounds like…
NB This book was provided for review by the publisher, Pushkin Press.