Sword by Bogdan Teodorescu

The politics of crime…

😀 😀 😀 😀 😀

When a petty criminal is brutally killed, at first no one pays too much attention. But it quickly turns out he was only the first victim – soon there have been several murders, all carried out the same way: a method which earns the killer the nickname Sword. All the victims have two things in common. They are all criminals, and they are all members of the Roma, a minority ethnic group in Romania. Soon the matter becomes political as long-unresolved racial tensions rise to the surface, leading to outbreaks of violence. This is the story of a new, fragile democracy and of the men who are trying to make it work, or to undermine it…

This is the first book translated by Marina Sofia, long-time blogging buddy and now one of the co-founders of a new venture into translated crime fiction – Corylus books. The translation is excellent, as I expected, knowing Marina Sofia’s skill with words and expertise in about a million languages! Romanian is her mother tongue and English is the language she currently uses in her life, work and writing, so she really is the perfect translator for the book. There’s no clunkiness, and either she or the author, or both, know when an international audience might need a little bit of extra guidance to understand something that may be obvious to Romanians. This meant that, although the story is quite complex, I never felt lost.

The book is a very original take on a crime novel, looking deeply into the politics of racially motivated crime and how it impacts on an already divided society. The first chapter shows us the first murder in fairly graphic detail and it seems as if it’s going to be the start of a more or less standard crime fiction. But almost immediately we are taken, not to the police investigation, but to the corridors of power, where a Presidential election is only a few months away and all the top politicians are jostling for position. Some of the characters are named, but others are simply known by their titles – the President, the Minister of the Interior, and so on. There’s a cast of thousands (slight exaggeration, perhaps) and a handy cast list at the end, although I quickly found I didn’t need it, because in a sense who the characters are doesn’t matter – it’s their role in the politics of the country that matters. By about halfway through some of them had developed distinctive personalities, but others were simply “journalists”, “Presidential advisers”, “political commentators”, etc.

You hate the sound of this now, don’t you? But honestly, it works! It’s not really about the people, or even the crimes – it’s a political thriller about how politicians in a corrupt society manoeuvre, how they manipulate the media and how in turn the media manipulates them. It’s about Romania trying to juggle the demands of all the demanding new European and American partners they have to deal with now they’ve left the Soviet sphere of influence. And it’s a coldly cynical look at how politicians might ruthlessly inflame the divisions in society to boost their own electoral chances.

The Roma are seen as a kind of underclass, marginalised and discriminated against by a society that has written them off as criminals. They are the target of the Romanian version of white supremacists, but even the mainstream parties would rather they just stayed silent and invisible or better yet, left Romania altogether. As more victims turn up, tensions between the Roma and the Romanians grow, eventually leading to a series of violent confrontations, each more serious than the last. For those in power, a difficult balance must be struck – plenty of Romanians see the Sword as some kind of avenging angel, while the equally unscrupulous political leaders of the Roma see it as a way to lever some recognition for themselves. For those who want to be in power, it’s an opportunity – how can they best use it to bring the government to its knees?

Bogdan Teodorescu

I suspect you’d have to be interested in the skulduggery of politics to enjoy this one, although it’s certainly not necessary to understand Romanian politics specifically. The thing that most stood out to me, in fact, was that no matter the country, the corruption and the character of those who seek political power are depressingly similar. It’s so well done – too believable to be comfortable. Seeing how the actions of one man can cause a chain reaction that escalates to a point where society itself is fracturing and in danger of imploding is frighteningly relevant, especially when the basis of the story is about the marginalisation and repression of an ethnic group – something we’re all struggling with in the West at the moment. I love political shenanigans, so I loved the book, and learned a lot about Romania’s recent history as a bonus. Great stuff – highly recommended!

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The Never Game (Colter Shaw 1) by Jeffery Deaver

74% successful…

😀 😀 😀 😀

Sophie Mulliner is missing and her frantic father has offered a $10,000 reward to anyone who can find her. Enter Colter Shaw, professional “rewardist” – a man who uses the tracking skills instilled in him in childhood by his survivalist father to hunt for missing people for the reward money. The case soon becomes more complicated when another person goes missing, then another. Colter, teaming up with local police detective LaDonna Standish, must try to find each victim while they’re still alive, while also attempting to work out who is behind it all and what they’re trying to achieve. Soon the investigation will take them deep into the gaming industry in Silicon Valley, full of eccentric designers and cut-throat competition, and the whole weirdness of people who spend more time in virtual worlds than the real one.

As well as the main plot, this first in a new series fills us in on Colter’s unusual upbringing and the mystery that still hangs over him from back then, which is clearly going to become a running story arc over future books. Colter’s father bought a huge wilderness property and called it the Compound, on which he brought up his three children to be able to survive anything nature or mankind could throw at them. Although Colter then went on to college and is perfectly comfortable in the outside world, his childhood has left him unwilling to settle in a routine job and too self-sufficient to work for someone else, so he travels around the country in his Winnebago, sometimes for pleasure, sometimes chasing down a missing person for the reward money. But he’s not a traditional loner – he has friends and people he works with professionally, and still regularly goes back to the Compound to visit his mother. His father taught him to make decisions based on probabilities, so when making any decisions he runs through the various options allocating each a percentage rating of success. These percentages appeared to me to be entirely arbitrary and so became increasingly pointless and annoying as the book went on. I do hope Deaver drops that in future books because otherwise Colter has all the makings of an excellent series protagonist.

Jeffery Deaver

It took me a while to get into this and it never really turned into a heart-pounding thriller for me, but I liked Colter and loved LaDonna (who unfortunately probably won’t appear in future books, since Colter doesn’t stay in the same place for long), and I found the background story about the world of gaming interesting (though I suspect it may drive real gamers crazy since Deaver explains everything at a really basic level for the novice). It is too long at 450 pages, and the divide between the actual plot and Colter’s back story slows the pace too much, especially in the early section. The plot has lots of interesting twists and turns, though these aren’t always executed as smoothly as I’d expect from an author with Deaver’s long experience. However, the writing is excellent for the style of the book – that is, it’s plainly and clearly written, third person, past tense, with a nice balance between characterisation and action, and I gradually found myself absorbed in it. I must admit I actually found the mystery relating to Colter’s past rather more interesting than the main plot in the end, and it would be it that would tempt me to read the next book.

So overall, a good start to what has the potential to be a great series – I’d say there’s about an 81% chance of that. I look forward to finding out.

NB This book was provided for review by the publisher, HarperCollins.

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A Matter of Motive by Margot Kinberg

Look out for red herrings…

😀 😀 😀 😀 🙂

When businessman Ron Clemons suffers what seems to be a heart attack while driving to a meeting, rookie detective Patricia Stanley is sent to the scene with her partner Luke Enders. What seems to be a routine accident takes a more sinister turn when Ron loses his battle for life, and the doctors wonder why a fit, healthy man with no history of heart problems should have been so suddenly and severely struck down. Now that it looks like it may be a murder, Patricia is pleased when her boss, Sergeant Ian Grant, allows her and the equally inexperienced Luke to stay on the case, under Grant’s close supervision.

Ron Clemons seems an unlikely victim. A loved husband and father, he also seems to be admired and liked by the employees of his successful elite publicity firm. But when Patricia and Luke begin to dig down, they find that several people may have wanted rid of him. There’s been a long-running divide in the boardroom over the direction the company should take, and Ron seems to have been holding back some of the more ambitious board members. It’s also possible that there’s been some kind of fiddling in the accounts which he may have found about. But Patricia and Luke have to consider more personal issues too. Ron’s marriage may look contented enough, but who really knows what goes on behind closed doors, and when money comes into the question, the family members who will inherit must come under suspicion. There are plenty of suspects, but Patricia knows that they won’t solve the case until they can find the right motive…

I’ve been friends with Margot through our blogs for several years now, but as always I’ve tried hard not to let that affect my opinion or my review. I’m delighted to say I thoroughly enjoyed this one.

In contemporary crime I always prefer police procedurals to amateur detectives, who are great fun in vintage crime but always seem a bit contrived in modern settings. So while I enjoyed Kinberg’s last outing with her regular detective, academic Joel Williams, the set-up of this one is much more my kind of thing. It has all the assets of the older crime novel – a good-sized pool of suspects, lots of motives, clues sprinkled throughout for the attentive reader – with a nicely modern feel given to it by the appealing central character of Patricia. She’s a well-rounded character who shares her life happily with her partner Becky, but she’s still scarred by an earlier tragedy when her previous partner was murdered. This gives her character depth as we see how she’s been affected by this both personally and professionally, and the addition of her home life makes her very likeable.

It seems to me Kinberg’s writing has a different feel in this one, tighter and with a more distinctive style, and with an intriguing approach to cutting down on the repetitive dialogue which can often bog down police procedurals, especially during the interviewing of suspects, while avoiding the more abrupt approach some authors take of simply omitting all pleasantries, which never feels natural. I liked this a lot – I found I wasn’t having to apply my usual technique of skipping over the first few sentences of every conversation, but could still feel that the civilities were being observed.

Margot Kinberg

Although it’s told in the third person, past tense (hurrah!), Kinberg also allows us inside the minds of a couple of the characters – Patricia herself, and Rachel, the wife of the victim. Rachel’s thoughts are kept nicely ambiguous though, so that we feel we get to know her and sympathise with her loss, while at the same time she has to remain a suspect.

Gradually the suspect list grows shorter as Patricia and Luke find more evidence and can begin to eliminate people, but I wasn’t at all sure whodunit until the final reveal, and, in line with the title, while plenty of people had motives, the real one was cleverly handled. I found it pleasingly difficult to decide on what were clues and what were red herrings, and on looking back I think it could reasonably be called fair play.

Great stuff! All the charm of a proper classic mystery in an authentically modern setting. This is billed as a standalone, but I’d be delighted to see Patricia and Luke return some time, if by any chance the author is listening… 😉

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Serena by Ron Rash

Passionless…

😦 😦

When George Pemberton arrives home from Boston with his new wife, Serena, there waiting for him at the railway station are Rachel Harmon, pregnant with Pemberton’s child, and Rachel’s father, determined to have retribution for his daughter. But Pemberton has no sense of guilt or responsibility towards Rachel, and Serena makes it crystal clear that she’s even colder and crueller than her husband. As Pemberton and Serena ruthlessly continue to build up the fortune they are making out of the deforestation of North Carolina, Rachel must struggle to survive on next to nothing, and bring up her new son, Jacob, without a father. But that’s the least of her problems – things are going to get worse…

Having previously enjoyed Rash’s The Cove, I was really looking forward to this, and was delighted when several fellow bloggers and commenters decided to read it along with me. That makes me feel even worse about the fact that I thought it was pretty poor – no, let’s be brutally honest, I thought it was downright silly and rather tedious into the bargain. Pemberton and Serena are ridiculous characters, cold, cruel psychopaths who get away with murder again and again, despite the fact that everyone knows they’re doing it. We are expected to believe that nearly all law officers and authorities are corrupt and can be bought for a few hundred dollars – well, maybe. But apparently all businessmen and their wives are also willing to turn a blind eye to murder so long as there’s a profit in it. Yes, I hear you saying, that’s possible too. But, I reply, even when they know that the Pembertons repeatedly bump off their business partners? I know evil capitalists do anything for money, but go into partnership with people who have just murdered their last partners? I have my doubts…

The background plot is more interesting, showing the rapacious destruction of the natural resources of a still young America during the years of the Depression, contrasted against the attempts of some rich philanthropists to protect the land through the creation of National Parks. While those who want to protect the land get the most sympathy, Rash also shows how these philanthropists drove people off their holdings, depriving them of their sole means of scraping a living, in order to build wilderness playgrounds. Since these competing pressures are still very much part of today’s ethical and economic debate, I wished Rash would have concentrated his plot more on that aspect – it felt as if he set the table but didn’t get around to serving the meal.

The workers had plenty of potential to be interesting too, showing the hardships of life in the Depression even for those lucky enough to be in employment. With no legal rights and hordes of unemployed men willing to take their place, we see them unable to take any kind of stand against unscrupulously exploitative employers who show no concern for workers’ safety (although again, even in the Depression I don’t think I’d have stuck in a job under people who murdered their employees rather than simply sacking them like normal evil capitalists). Unfortunately I felt that Rash treated his lower class characters a bit like the rustics in Midsummer’s Night Dream – caricatured figures of fun, eliciting some sympathy from the reader, but mostly there to be laughed at. It took me well over half the book to be able to distinguish one from another because they were so underdeveloped, a problem I had, in fact, with the various businessmen the Pembertons moved amongst too.

Rachel’s story is the one bit that I felt really works. Her hard life and her love for her son and for this land she calls home ring true and provide the only real emotion in the book, and some of the best writing. I’d have liked to have spent more time with her, but the chapters about her are few and far between.

After Widow Jenkins left, Rachel lingered a few more moments on the porch. The sun had fallen behind the mountains now, and the cove seemed to settle deeper into the earth, the way an animal might burrow into leaves to make a nest before it slept. All the while, the thickening shadows made the mountains appear to fold inward. Rachel tried to imagine what living here had been like for her mother, but it was impossible, because what had felt like being shut in to her mother felt like a sheltering to Rachel, as if the mountains were huge hands, hard but gentle hands that cupped around you, protecting and comforting, the way she imagined God’s hands would be. She supposed Widow Jenkins was right, that you had to be born here.

As far as the awful Pembertons go, I suspect Rash was attempting to ‘do’ noir – quite early on I found myself comparing them to the equally psychopathic couple in The Postman Always Rings Twice. This comparison did Rash no favours, however, since it highlighted what I came to think is the real failure of the book, and the reason that it simply doesn’t work. Noir depends on simmering sexuality, hence the femme fatale, but there is no feeling of passion between Pemberton and Serena and she is colder than ice. While I’m not one for excessive sex scenes in books, this book was crying out for a few. Why did these two love each other? It wasn’t shared intellectual pursuits, for sure, and ambition for and love of money isn’t enough, especially since neither character seemed to care about the luxury that wealth can bring, or even its power. So it must have been physical passion and yet Rash was so coy about showing us that it didn’t seem a strong enough motivation. In The Postman Always Rings Twice, the protagonists are overwhelmed by lust, frequently indulging in rough sex, full of mashed lips, bruises and bloody biting – it might be disgusting, but it’s passionate! Here Pemberton and Serena take off their clothes and fold them away neatly in the chifforobe before getting cosily into bed together – not quite the same somehow. Freezing cold where there should have been scorching heat…

Without getting into spoilers, I will simply say that the only thing sillier than the book’s climax was the coda which followed. I laughed, and I’m quite certain that wasn’t the reaction I was supposed to have. A major disappointment – I can only hope anyone else who’s been reading along enjoyed it considerably more than I.

A link to Kelly’s review is below and I’ll add any others as I see them:

Kelly’s review

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Castle Skull by John Dickson Carr

Gothic mystery on the Rhine…

😀 😀 😀 😀 🙂

Rich financier Jérôme D’Aunay begs Inspector Henri Bencolin to investigate the death of his friend, Myron Alison. Alison died in Castle Skull, last seen running ablaze about the battlements. When his body is examined it transpires he had been shot before having kerosene poured over him and being set alight. Castle Skull belonged to the famous stage magician Maleger, whose own death many years earlier was somewhat mysterious – he disappeared from the carriage of a train in motion and was found in a river below the tracks. Did he fall or was he pushed? Or did he jump? He bequeathed the spooky Castle Skull jointly to his friends, D’Aunay and the actor Myron Alison and it has been empty except for an old caretaker ever since. Situated on the other side of the Rhine from Alison’s own house, the castle is built in the shape of a death’s-head gazing out over the river, windows placed to look like eyes, and the battlements resembling the teeth of the skull. But why was Alison there, and who killed him? D’Aunay doesn’t have faith in the local police, hence his request to the famous Parisian detective. But the local police have also called in an expert – von Arnheim of the German police, an old adversary of Bencolin’s when they were on opposite sides during the war…

The story is told by Jeff Marle, Bencolin’s young American friend who acts as his sidekick. When they arrive at Alison’s house, they find an assorted bunch of people in residence – Alison’s hearty poker-playing sister Agatha, concert violinist Émile Levasseur, modern youngsters Sally Reine and Sir Marshall Dunstan who may or may not be in love, and D’Aunay and his beautiful but unhappy wife Isobel. Bencolin and von Arnheim are soon in more or less friendly competition to find the solution to the mystery, but there’s never any doubt in Jeff’s or the reader’s mind as to who will win out in the end. After all, it’s 1931 and we couldn’t have the German win, now could we?

This is the third book in the Bencolin and Marle series, written when Carr was a young man still learning his craft. Like the first, It Walks by Night, this is as much horror as mystery, although the decadence of It Walks by Night has given way to a rather more Gothic feel in this one. There is the same almost hallucinatory air to some passages, brought on by the constant consumption of vast quantities of alcohol – there’s almost a “lost generation” feel, especially to the younger characters: Sally, Dunstan and Jeff himself. Bencolin is frequently described as Mephistophelian, both in his appearance and in his almost supernatural ability to intuit the truth. Maleger’s magic was of the scary kind – Jeff saw him once when he was a boy and found his act terrifying – and it appears he liked to be just as mysterious and frightening off-stage. And the castle itself is the ultimate in Gothic – ancient, deserted, filled with hidden passages and secret chambers, and deliciously spooky.

John Dickson Carr

The plot veers into high melodrama – perhaps a little too high. I felt at points that Carr was trying too hard, piling horror on grisly horror, with a Poe-esque feel of madness underlying the whole thing. However, it’s very effective and the evil motivating the plot matches the wonderful setting of the castle perfectly, as it gradually builds towards a tense and atmospheric climax with some truly horrifying imagery. Jeff is an appealing narrator who gets involved with the characters rather than simply observing Bencolin’s methods. I didn’t get anywhere close to working it out – looking back perhaps it’s fair play, but I reckon you’d have to have a pretty fiendish mind to solve it from the clues given. Fortunately, Bencolin has just such a fiendish mind…

Marginally, I preferred It Walks by Night, but both are excellent, and in both the horror aspects arise out of purely human evil – no supernatural elements required. I don’t know whether Carr continued with the horror theme in his later work or went down a more traditional mystery route, but the strength of his writing and plotting suggests to me that he could have done either with equal success. I’m looking forward to finding out…

NB This book was provided for review by the publisher, the British Library.

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The Mugger (87th Precinct 2) by Ed McBain

Second book syndrome…

🙂 🙂 🙂

The detectives of the 87th Precinct are trying to catch a man who is mugging women in the streets of Isola, a district of the city that is clearly a fictionalised version of New York in which the series is set. The man is becoming more violent, often hitting the women even after he has stolen their valuables, and has the strange habit of finishing his assault by bowing and saying “Clifford thanks you, madam.” So far the detectives have little to go on, and the pressure ramps up when one girl, assumed to be Clifford’s latest victim, is found dead.

Having loved the first book in the series, Cop Hater, when I read it a couple of years ago, my expectations of this one were high. It is very readable, but suffers a bit from second book syndrome – McBain seems to be working out what to do with the characters he introduced us to in book 1, and there are so many detectives flitting in and out that it’s quite hard to keep track of who’s who. McBain’s plan was to have the series work as a kind of ensemble, with different detectives coming in and out of the spotlight in each story, and from my memory of reading several of the books long ago, he does succeed in this to a degree. But eventually he succumbed and made Steve Carella the recurring lead – the detective who was the main character in Cop Hater. Carella isn’t in this one, being off on his honeymoon, and his lack is felt.

As the story progresses, Patrolman Bert Kling comes to the fore. He was friends long ago with the brother-in-law of the dead girl, and the girl’s sister asks him to look into her murder. Although this is not the job of a patrolman, Bert feels obliged by friendship to try at least, and he also hopes that it might help him in his ambition to be promoted to detective.

The major problem with the story is that the solution is screamingly obvious. Maybe it wouldn’t have been back then – it’s always a problem to know with older books whether this was perhaps the first time a writer took a plot in this direction, but I fear it’s a plot we’ve all read too often now. My secondary problem was with the amount of violence in the book and its lack of credibility. My dad, who was a boxer, always used to scoff at Hollywood cowboy films where a man would be punched repeatedly in the face, hit over the head with a chair, be thrown over a bar and crash head-first into a wall lined with glasses and then get up, jump on his horse and gallop off after the bad guys, stopping only to kiss the heroine on his way out. While there are no horses nor indeed chairs in this book, the effect of the excessive violence and the characters’ reaction to it had the same effect on me. McBain seems to be using violence and police corruption to give the book its noir tone, whereas in Cop Hater he relied much more on creating an edgy atmosphere through great descriptions of the city.

So one for fans, but not one I would suggest as an introduction to the series for newcomers. The series ran for approximately ten thousand books – well, OK, over fifty – so there are plenty of others to choose from.

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The Listening Walls by Margaret Millar

The mystery of the missing wife…

😀 😀 😀 😀 😀

Amy Kellogg and her friend Wilma are on holiday in Mexico City but it’s turning out to be a fraught time. Wilma, always moody and overbearing, is behaving even worse than usual following her second divorce. She’s drinking to excess and arguing with Amy on the slightest provocation. Then, following a drinking session, Wilma dies in a fall from the hotel balcony. Her depressed and emotional state leads the authorities to rule it as a suicide. Amy’s husband, Rupert, rushes to his shocked wife’s side, but when he returns home to San Francisco a week later, he returns alone. Amy, he tells her family, needed time to herself and has gone off to New York. But Amy’s brother Gill doesn’t believe his adored little sister would have gone off without telling him herself, and as time passes with no word from her, his suspicions grow…

Well, this is a little gem! Told in the third person, Millar lets us glimpse inside the heads of all the characters in turn but only giving us enough to tantalise our suspicions. We know that Rupert isn’t telling all he knows but we don’t know what he’s hiding. Is he a wife murderer as Gill suspects? If so, why would he have killed the woman he apparently loved? Gill suspects the age-old story of another woman and has his suspicions of who that woman might be. But if Rupert hasn’t killed her, where is Amy? It’s entirely out of character for her to have gone off on her own, this woman who has always seemed so dependant on others and so meekly subservient to the stronger characters she is surrounded by – her brother, her husband, Wilma. Increasingly desperate, Gill turns to a private detective, Elmer Dodd, and we follow him as he tries to find the truth.

The plotting is great, full of little twists that kept me puzzling over what had happened until the very last page. It’s more of a psychological mystery than a whodunit – the clues are all in the personalities and the things they do that seem out of character. The characterisation is brilliant – done with a light touch but no less astute for that. There’s Rupert’s secretary, nursing a crush for Rupert so secret she’s not even fully aware of it herself. Gill’s wife, long tired of Gill’s almost obsessively over-protective love for his little sister, is trying hard not to be glad that Amy has gone and is fighting against her instinctive hope that she never returns. The maid in the hotel in Mexico, she who listens through the walls of the title, might be a little stereotyped, but her greed and petty criminality are believable, her contempt for the rich Americans who stay in the hotel adds a good deal of humour, and her superstitions are used to give an air of real unease to some parts of the story. Elmer Dodd is excellent too. He’s a man who wants to know the truth but he’s not ruthless about it. He has sympathy for the weaknesses of human nature, and has a kind of warmth that makes people trust him.

Margaret Millar

This was my introduction to Margaret Millar after having seen her praised by various vintage crime fans around the blogosphere, and I’m very glad to have met her. A darkly twisted story, tightly plotted and lifted by some affectionately humorous character portraits and observations of society, not a word is wasted as Millar leads the reader through a labyrinth of suspicion and doubt. Great fun, and highly recommended – another author to add to my growing list of vintage crime favourites!

NB This book was provided for review by the publisher, Pushkin Vertigo.

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It Walks By Night by John Dickson Carr

Deliciously decadent…

😀 😀 😀 😀 😀

Young Jeff Marle has been summoned to Paris by an old friend of his father: the legendary detective Henri Bencolin, director of the Paris police. Bencolin has a peculiar case on his hands and feels Jeff may be interested in observing his methods. So Jeff becomes our “Watson”, and it’s through his eyes that we see the great detective at work. The case involves a madman – perhaps these days we would say psychopath – Alexandre Laurent, who was locked up after trying to kill his young and beautiful wife, Louise. That wife, her first marriage annulled, is now about to get married again, to the famous all-round sporting legend, Raoul de Saligny. But Laurent has escaped and rumour has it that he may have visited a plastic surgeon to change his appearance. He has sent a letter warning Raoul not to marry Louise and Bencolin fears that he will turn up in Paris, bent on killing Raoul and possibly Louise too. On the night of their wedding day, Raoul, Louise and the wedding party go to a fashionable gambling house, and Bencolin has his men there in force to guard them. But Laurent has the true cunning intelligence of the madman…

This is Carr’s first mystery novel, and my first introduction to his work. I thought it was totally marvellous! There are a couple of plots weaknesses, some moments where you have to take a deep breath and just let your suspension of disbelief have full rein, and it occasionally goes over the top into high melodrama. But the writing is great, and Carr creates a wonderfully creepy, almost hallucinatory atmosphere of horror and tension. In fact, it seemed to me draw as much, if not more, on the tradition of the Decadent horror writing of the fin de siècle period as on the mystery conventions of the Golden Age.

Published in 1930 and set in Paris, it offers a darker take on the “lost generation” of that time – of those living after one devastating war and seeing the approaching inevitability of another on the horizon. There is a great sense of amorality, of sensuous egoism, of a kind of cruelty of empty friendships and brutal infidelities. Drugs and drink play their part in the glittering hopelessness of the characters’ lives, and even in Jeff’s observations. One scene, where he has dinner with a young woman caught up in the case, is a masterpiece of fear heightened by the befuddling effects of alcohol – Poe-like in its creation of an atmosphere of impending horror. Grand Guignol was in my mind for much of it, since there’s no holding back in the gruesome bloodiness of the crimes, nor the pointless cruelty of them.

John Dickson Carr

As a mystery, I do think it’s just about fair play, although one has to be willing to let one’s imagination run riot a bit. There’s a locked room aspect to it, and as usual I failed to get that at all and frankly felt the solution to that part of the mystery was a bit too contrived. But in terms of the whodunit aspects – in this case, the who-is-Laurent aspect – I spotted several of the clues without realising that that’s what they were; in fact, I had sort of thought they were accidental inconsistencies rather than clues until all was explained at the end. But when the solution comes it’s wonderfully twisted, carrying the atmosphere of decadent horror right through to the end.

I’m aware that part of the reason I loved it so much is because of the horror aspects and that this may not appeal to all Golden Age mystery fans as much as it does to me. But the mystery aspect is good too and while Bencolin can be a bit too full of himself, as many of the great detectives are, Jeff is a wonderfully original creation as Watsons go, becoming deeply involved not just in the investigation but in the characters’ lives and the playing out of the plot. Wonderful stuff, and I can’t wait now to read more Carr – no wonder he’s considered one of the greats.

NB This book was provided for review by the publisher, the British Library.

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The Curious Mr Tarrant by C. Daly King

A mystery to me…

😐 😐

A collection of eight mysteries starring the mysterious Trevis Tarrant, ably assisted by his manservant, Katoh, who is actually a Japanese spy.

I must admit that sometimes the most baffling mystery to me is why a book has been included in Martin Edwards’ The Story of Classic Crime in 100 Books, and this is one of those cases. Edwards says: “The Curious Mr Tarrant is one of the most renowned collection of stories focusing primarily on impossible crimes.” It appears the stories were admired by Ellery Queen and Dorothy L Sayers, amongst others, so clearly they saw more in King than I. Apparently he never achieved popular success in his native America, though, and had difficulty finding publishers there. I’m kinda with the Americans on this one, and think it’s unfortunate this has been chosen to fill one of only four slots in the Across the Atlantic section.

It actually starts off pretty well. I gave a couple of the early stories 5 stars and another 4. But the rest ranged from mediocre to dire, getting progressively worse as they went along. The final story slumped all the way to one star.

Tarrant is an amateur detective, but his interest is purely in the bizarre. He investigates for the intellectual thrill, and has no particular interest in achieving justice. In the early stories the narrator is Jerry Phelan, a young man about town who meets Tarrant during the first case in the collection, The Episode of the Codex Curse. Jerry and the girl he loves, Valerie, are quite fun, as is Jerry’s sister, Mary – all three of them have a Wodehouse-ish vibe. They gradually play smaller and smaller roles and eventually all but disappear, and the later stories badly miss the element of humour they bring to the earlier ones. Tarrant himself is one of these annoying geniuses with a remarkable gift for working out what seems unfathomable to the mere mortals around him. I liked him well enough at the beginning but tired of him quite quickly. And the last few stories introduce a strange kind of supernatural or mystical element, which is too nonsensical to be taken seriously, but not nonsensical enough to be amusing.

Challenge details:
Book: 92
Subject Heading: Across the Atlantic
Publication Year: 1935

When reviewing a collection, I usually highlight a few of my favourite stories. Here I’m afraid there are only two that I really enjoyed, although, in fairness, both of them are very good:

The Episode of the Tangible Illusion – Valerie is refusing to marry Jerry because she thinks she’s going mad. She hears footsteps in her house when no-one is there, and sees strange images in her room at night. Jerry, having met Tarrant in a previous case and admiring his talent for explaining the inexplicable, asks him to investigate. This is the second story in the book and is very well told, with a great mix of humour, spookiness and a lovely little romance. The solution is ingenious and the detective element is stronger than in most of the other stories.

The Episode of “Torment IV” – Torment IV is the name of a small yacht, and the story is based on the idea of the Mary Celeste. One day the yacht is found abandoned, and it transpires that the family who were on it all drowned. Tarrant investigates what happened to drive them all into the sea, given that the sea had been calm and nothing seems to be amiss on the boat. This is as much horror as detection and it has a great element of suspense. Although the solution is actually a bit silly, the ending is quite effectively scary.

C Daly King

And that’s it. There’s another one, The Episode of the Nail and the Requiem – a traditional locked room mystery – which seems to be highly thought of. I fear I found it dull. The characterisation is non-existent and the whole thing hinges purely on the technical details of how the deed was done.

Overall, I couldn’t recommend this collection, although the couple of stories I’ve highlighted are worth reading should you ever happen across them. A disappointment.

(The Kindle version I’m linking to has an extra four stories that King wrote later which weren’t originally included in the collection. I’m afraid I couldn’t get up enough enthusiasm to read them.)

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In the Heat of the Night by John Ball

“They call me Mr Tibbs.”

😀 😀 😀 😀 😀

When night patrolman Sam Wood finds a dead man in the street, it’s quickly apparent the man has been murdered. It also transpires he’s a prominent person – Maestro Enrico Mantoli, a famous conductor who was organising a music festival in the town. The new police chief, Bill Gillespie, has never run a murder investigation before. In fact, he hasn’t much experiencing of policing at all – he was mainly hired because of his intimidating air of authority and his willingness to uphold this Alabama town’s resistance to change in the face of the Civil Rights movement. He orders Sam to check around for anyone who looks like he might be trying to leave town. When Sam comes across a black man sitting quietly in the Colored waiting room of the train station and discovers he has a sizeable amount of cash in his wallet, it seems the case is closed. Until the black man reveals his identity to Gillespie – Virgil Tibbs, a homicide investigator with the Pasadena police, who’s passing through Wells on his way back north after visiting his mother…

I seem to have spent a lot of time recently reading about the American South around the time of the Civil Rights movement. This book is fundamentally a crime novel with a very good plot and some excellent detection elements. But it’s far more than that – it paints an entirely believable picture of being a black man in a town that’s run by the whites for the whites at a time when segregation and racism were still entirely acceptable. It also takes us into the minds of the white people, though, showing how they are the product of their conditioning, and how they react when they are forced to reassess the things they take for granted about their own racial superiority.

(I do have one niggling reservation, about me rather than the book. It was written by a white man showing the perspective of a black man in the American South, and I am a white Scotswoman, so although it rings wholly true to me, I can’t help feeling I’m not the best person to judge the portrayals of either race in that place and time. That said, on with the review!)

Sidney Poitier and Rod Steiger in the 1967 film of the book

Gillespie is prevailed upon by his superiors to bring Tibbs in on the investigation. He has mixed feelings about it – on the one hand, he doesn’t want to be shown up by a despised black man; on the other hand, if the case isn’t solved, then he can blame Tibbs. Sam Wood ends up as a sort of unofficial partner to Tibbs, and although he’s a much nicer man than Gillespie, he too has to fight his repugnance to treating a black man as in any way equal. There are all sorts of subtle nuances that show how pervasive racism is in this society, like the white people all calling Tibbs Virgil, while he is supposed to refer to them by their title and surname, or like Sam’s unease at Tibbs sitting in the front seat of their car.

Book 46 of 90

In fact, Tibbs is the one who is most at ease with himself and with the situation. He grew up in the South, knows the rules and conforms to them, never arguing about being forced to use the Colored washroom or not being allowed to eat in the diner, nor openly objecting to the overt racist language directed at him. But he’s worked in California, a place where racism still exists for sure, but not in this formalised, legally endorsed way. While the white men think they’re superior to Tibbs because of their race, Tibbs is well aware of his own superiority in training and experience. But he’s human enough to need to prove it, so he’s driven to stay and solve the case rather than taking the easy option of simply getting on the next train out of town.

John Ball

The plot itself is very good, and the investigation takes us through all the levels in this society from rich to poor, from the cultural leaders involved in setting up the music festival, to the political class, increasingly divided between the socially conservative and the more liberal elements, to the poor people trying to scratch a living in a town that has lost its biggest employer and is struggling to find a new purpose.

But it’s undoubtedly the characterisation that makes this one special. Tibbs himself is likeable, a hero it’s easy to root for. Woods and Gillespie are more complex and they each grow and learn over the course of the investigation, about police-work but also about themselves. It avoids a saccharine wholesale conversion to woolly brotherhood-of-man liberalism on their parts, but gives hope that people and society can change, given patience and the right circumstances.

An excellent book that deserves its status as a classic of the genre – well written and plotted, and insightful about race and class at a moment of change. Highly recommended.

Book 6 of 20

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Twisted by Steve Cavanagh

The clue’s in the title…

😀 😀 😀 😀

JT LeBeau is a hugely successful author who specialises in the twist. He, or could it be she, hides his or her identity from the world, and this mystique of course only adds to the hype around her or his books. She, or is it he, will do anything to keep his or her secret…

OK, every review I’ve read of this has started in basically the same way and now I’m adding to it – this is one that’s impossible to say much about without giving away too much, so this review will be short and not very informative!

It’s all in the title – this is a book full of twists about an author who writes books full of twists. It’s clever and amusing and a bit self-referential, in that it’s lightly mocking what it itself is. Cavanagh has fun with the twists and plays with the idea of authors using secret identities, not shying away from referencing the likes of JK Rowling, aka Robert Galbraith.

It’s very well written and the plot holds together pretty well despite the twists. However, it’s light on characterisation – it has to be really, so we can continually be surprised. This makes it a light read despite some dark moments. There’s no feeling of depth, nor does the reader get the opportunity to care much about the characters. The only one I built up any kind of feeling for was the local Sheriff who was investigating the… oh, sorry, can’t tell you what he was investigating. And not surprisingly, as twist piles on twist, credibility is the chief victim.

Steve Cavanagh

One minor irritation is that Cavanagh, clearly feeling that constant repetition of he/she, her/his, etc., would be irritating, chooses to use they/their instead – grammatically tooth-drilling to my pedantic soul. We really need to create a gender-neutral word. So, since the fault lies with the inadequacy of our language, I bit the bullet and forgave the author. Just.

Overall, I found it a fast-paced page-turner that kept me amused while reading, and will almost instantly be forgotten. That’s fine, though – sometimes entertainment is all that’s wanted, and this delivers well on that score. Recommended as a well written bit of fun.

NB This book was provided for review by the publisher, Orion.

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Death of a Red Heroine (Inspector Chen 1) by Qiu Xiaolong

Murder in Shanghai…

😀 😀 😀 😀 🙂

When the body of a young woman is found in a canal, Inspector Chen of the Special Cases unit decides to take on the case, initially simply because his subordinate, Detective Yu, was the only detective available to attend the crime scene. But, once the body is identified – in itself no easy task in a country as huge and populous as China – it transpires the victim is Guan Hongying, a national model worker: a title that denotes membership of the Communist Party and a position as a figurehead and public role model for workers. So the case is indeed special, and Chen will have to try to find the murderer without revealing anything about Guan’s life that may tarnish her reputation or that of the Party.

Qiu Xiaolong is Chinese, but left the country following the Tiananmen Square protests, and now lives in America. He writes in English, and as well as being a novelist, he is a poet, a translator and a literary critic. All of these elements feed into this novel, making it an intriguing mix of insider/outsider writing. As an insider, his depiction of Shanghai and the lives of the people there in the 1990s is fascinating and detailed, describing food, clothing, customs and the rapidly changing face of Chinese life at a point where capitalism was beginning to be encouraged after years of strict communism, but where the state still had a stranglehold on every aspect of life. As an outsider, he is quite clearly writing for a Western audience, explaining things that would need no explanation for a Chinese readership, and one has to bear in mind that he is to some degree a dissident, and therefore by definition not an uncritical admirer of the political regime in force in China at that point in time.

However, I felt that he gave a surprisingly balanced picture of the regime, resisting the temptation to make it seem even more repressive than it actually was, and giving credit for some of the positive aspects of it. He also shows that many, perhaps most, people support the regime, even though they grumble about some of the difficulties and inequalities that exist within it. I thought it was a wise decision too to set the book back in 1990, just at the time that he left Shanghai for the West, so that the city he is describing is still the one he knew rather than a researched version of the present. It’s another advantage to the western reader that his faultless fluency in English means there is none of the clunkiness or occasional lack of clarity that often accompanies even the best of translations.

All this description makes the book longer than the average crime novel, but it’s so interesting and well done, and incorporated so well into the story, that I found it didn’t slow the pace to any significant degree. The underlying story is excellent, as Chen and Yu delve deep into Guan’s life, finding that she had her own secrets that didn’t fit the model image she presented to Party and public. The plot takes us deep into the culture of Party privilege, and casts a great deal of light on how the current society has developed and changed during the long years of upheaval that have marked the various stages of the Chinese revolution. But it’s also a human story, of a young woman trying to live her life in the harsh glare of publicity, of love and sex and abuse, of corruption and power.

Inspector Chen is the main character, and Qiu fleshes him out excellently, giving him Qiu’s own expertise in poetry, both Chinese and western. Chen is himself a poet, but unlike, for instance, PD James’ Adam Dalglish, he hasn’t chosen for himself an unlikely second role as policeman – Chen has been allocated his job by the Party and has no real option but to obey or to lose any hope of status and advancement, or perhaps even to mark himself out as a dissident with all the dangers that entails. Again, Qiu doesn’t overplay this aspect – Chen is embedded in the existing culture, and while he might chafe at the strict rules governing his life at some points, he largely accepts them and tries to work within them. Detective Yu is equally well drawn – lower down the social scale, he allows us to see another level of the hierarchy and the control of the Party extending into people’s lives. He’s married, and in the latter part of the book his wife comes to the fore, giving us a glimpse of the life of a traditional wife and mother, while Chen’s love interest is a modern young journalist, showing the changes that are taking place for women too at this time.

Qiu Xiaolong

The book is laced with quotations from classic Chinese poetry and surprisingly this works brilliantly at helping the western reader understand the cultural underpinnings of this society, and of reminding us, who are too ready to look down on any society that doesn’t slavishly follow the western democratic model (which is working out so well, isn’t it? 😉 ), that China has a rich cultural heritage far, far more ancient than our own.

I enjoyed this as a crime novel, but even more as a fascinating insider depiction of China at a turning point in its political journey, and as a revealing portrait of the lives of the people of Shanghai. I look forward to reading more in the series.

Thanks to Margot Kinberg for drawing the book to my attention – your blog is sorely missed, Margot!

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Murder in the Bookshop by Carolyn Wells

A messy romp…

🙂 🙂 🙂

When two men enter a locked bookshop through a window and one ends up dead, suspicion not unnaturally falls on the survivor. Philip Balfour was a fanatical book collector and his companion on his mysterious trip to the bookshop was the man he employed as his librarian, Keith Ramsay. The fact that Keith is also in love with Balfour’s wife, Alli, provides a nice motive. But Keith claims that a masked intruder came into the store, chloroformed Keith and by the time he came round Balfour was dead and the intruder had gone. The police are dubious but the owner of the bookstore (who seems remarkably unfazed by the idea of one of his best customers breaking into his shop) is sure that Keith could never have done such a thing, so he advises Alli to bring his friend, the private detective Fleming Stone, into the case.

There are all kinds of mysteries here apart from the murder. What were the two men doing in the shop? A valuable book is missing – coincidence? What was the bookseller’s assistant up to at the time that he’s not prepared to reveal to the police? Who is sending mysterious anonymous letters? Why are the police willing to let Fleming Stone keep hold of vital evidence? Why does Fleming Stone say on one page that there’s a large pool of suspects and then a few pages later that there are very few suspects?

I must admit I thought this was all a bit of a mess. The author contradicts herself from page to page as if she just dashed the words down and never went back to read it over. For example, at one point Stone decides not to tell Alli about accusations that have been made against her in an anonymous letter, then promptly ten minutes later hands her the letter and asks her what she thinks! That’s just one instance – I could have picked many, many more. It all adds to the confusion, but not quite in the way the author intended, I assume. I believe she was hugely prolific, often churning out three or even four books a year, so I guess that didn’t leave much time for editing.

However, apparently she was also very popular in her day and I can understand that too to an extent since, despite the messiness, there is still some fun in this because of the element of humour the author introduces from time to time. Her characterisation is far from being deep, but it’s often quite slyly wicked, giving a neat summation of a person in a few words. The first lines of the book will give an idea of what I mean…

Mr Philip Balfour was a good man. Also, he was good-looking, good-humoured and good to his wife. That is, when he had his own way, which was practically always.

Carolyn Wells

The investigation gets bogged down in repetition for a bit in the middle and drags, but both the beginning, when the murder takes place, and the end, when all is revealed, are better, and in retrospect, yes, I think there were enough clues there for the reader to have had a fair chance of spotting whodunit and why. I didn’t – I was too preoccupied spotting all the contradictions!

Overall, not one to be taken too seriously, but an enjoyable enough romp for those times when something a bit lighter suits your mood. And I assume that’s the secret of her appeal. However, I don’t think I’d be seeking out more of her work based on this example.

NB This book was provided for review by the publisher, Collins Crime Club.

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The Lost Man by Jane Harper

Fighting the flab…

😀 😀 😀

In the scorching heat of the Australian Outback, two brothers meet at the site of an old grave, where a man lies dead – their brother, Cameron. He is far from his vehicle and without water or anything to shade him from the broiling sun. But how did he get there? Is this some dreadful form of suicide or is there some more sinister reason for his death? Nathan, the brother closest to him in age but who has been rather detached from the family for some years, starts asking questions and soon begins to uncover tensions and secrets that make him reassess those closest to him…

This starts off with a brilliant first chapter that is creepy and horrific, though not in a gruesome way, and immediately places the reader in this vast isolated cattle-ranching country on the edge of the desert, where one mistake can mean death to the unwary, from heatstroke, dehydration or snakes. Then Harper gradually introduces us to the various family members and slowly fills in each person’s past so that we begin to understand the undercurrents that run underneath the outwardly united front the family presents to the world.

Nathan’s son Xander is visiting for Christmas. His home is with his mother in the city, so he provides another outsider view of the family, and an interesting perspective on the differences in lifestyle between these isolated ranchers and the urbanites. Bub, the youngest of the three brothers, has a chip on his shoulder about his brothers always seeming to be the ones in charge. The sons’ mother, Liz, has had a hard struggle to hold her family together despite her (long-dead) husband’s brutality and cruelty. Harry has worked on the property for so long he’s viewed as part of the family. And although he has fought against it, Nathan has always been strongly attracted to Cameron’s wife, Ilse. Throw in a couple of backpackers doing temporary jobs on the property, Cameron’s two daughters, and the folk from the tiny little local town, and there’s plenty of room for resentments and rumours, lies and secrets, to have built up in the claustrophobia of this small community.

Harper is great at creating settings, using some of the extreme conditions and environments to be found in the vastness of Australia as her backdrop, and showing how the fight to survive in harsh inhospitable conditions takes a toll on her characters, physically and mentally. Here she sets the book at the hottest time of the year, when the danger is at its greatest for anyone who doesn’t obey the rules of survival that all inhabitants are taught from childhood. If accurate, and I assume it is, it sounds quite literally like hell on earth (to my cold-seeking Northern soul, at least) and I couldn’t help wondering why on earth anyone would choose to live there. It’s not just the heat, though – Harper shows the isolation and loneliness that comes with living on huge ranches, some as large as small European nations, and suggests, again I assume with good reason, that suicide is another of the hazards of life there.

The plot is interesting, but the story comes to light only gradually, so I won’t risk spoilers by saying more about it. The weakness of the book is that it’s too gradual – it comes in at just under 400 pages and could easily have lost 100 pages or more and been a better, tighter book. After a great start, there are large parts where nothing seems to happen for ridiculously long periods of time – pages filled with mundane and repetitive dialogue and descriptions of the effects of heat that didn’t move things along at all. I considered abandoning it more than once, and skimmed many pages in the mid-section. However, it picks up again in the last quarter so in the end I was glad I stuck with it. I do wish authors (and editors) would work harder to tighten up their middles – there’s a bookish obesity epidemic out there! Especially in crime fiction.

Jane Harper

In summary, then, there’s an excellent book in here struggling to get out from under the flab. The interesting plot, good characterisation and great sense of place make it worth reading but it’s badly let down by being far too long for the story it contains. I think Harper is a talented writer (which is why I’m so grouchy!), so will be looking forward to her next novel, with my fingers crossed that she can learn when she’s done enough to set the atmosphere and get on with telling the story.

NB This book was provided for review by the publisher, Little, Brown Book Group.

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The Plotters by Un-Su Kim

Strangely satisfying…

😀 😀 😀 😀 🙂

In modern, democratic South Korea, governments can no longer get rid of political enemies as easily as they did under the military dictatorship, but fortunately there’s a whole hierarchy of assassins willing to do it for them, for a price. Not to be left out, the world of big business finds this a convenient way to rid itself of competitors too. So, up until recently, there’s been plenty of work for our lead assassin, Reseng, and his employer, Old Raccoon. But now there are new kids on the block, using modern business methods to attract all the customers. Things are about to go very wrong…

I doubt there’s anybody in the world who knows less about South Korea than me, so I can only hope this book doesn’t give an entirely realistic picture of life there, especially given it’s the bit of Korea we’re all supposed to like! Part satire and part surreal, this is one of the oddest books I’ve read in a while, and one of the most violent, but the quality of the writing and storytelling kept me totally intrigued and absorbed. It reminded me a little of Haruki Murakami, in that the world seems almost real but a little off-kilter – not quite the world we live in but close. However, unlike Murakami, there’s no overt fantasy or supernatural element to it. It’s told in the third person (past tense), but exclusively from Reseng’s point of view, so everything we see is filtered through his clearly abnormal outlook.

Reseng was taken in as a child by Old Raccoon to live in the library which provides cover for the real business of assassins for hire. With no formal education, he has picked up everything he knows from the books on the library shelves, so is full of little snippets of information but has no grounding in normal life. Brought up to be an assassin, he sometimes wishes he could do something else but when it comes to the bit, he acts without remorse, though occasionally with a passing pity for his victims. Oddly, he feels like a rather sympathetic character despite this, with just enough ambiguity about his morality to keep the reader more or less on his side. He seems to be a symptom of the problems in this society rather than the cause.

Basically, this is a tale of turf wars among the assassins, and we are restricted to their small subset of society. When Reseng carries out a contract, he doesn’t know the reason the victim is to be killed or who wants the job done. The plotters are the middlemen – someone who wants a person killed hires a plotter, who plans the details and then in turn hires an assassin to carry it out. Assassins are expendable and have a short life-expectancy, and they all accept this. But when assassins begin to be killed by competitors, this seems to go against the code and things get personal. Plus assassins aren’t quite so easy to kill as ordinary victims. And then things get more complicated when Reseng becomes the target of a woman who seems to have an agenda of her own…

Un-Su Kim

The satire element seems to be saying that the major difference between the old dictatorship and the new democracy is merely the need to do the same old dirty deeds secretly rather than openly. It also pokes a little fun at modern business methods creeping into a profession that is as old as time. There’s a surprising amount of humour in it, and the violence, while frequent and extreme, is largely kept this side of graphic and has an almost cartoonish quality to it, or maybe a stylised feel like the violence in a Tarantino film. And Reseng’s naivety about the world beyond the business has an unexpectedly endearing quality – I found myself hoping for some kind of redemption for him.

The translator, Sora Kim-Russell, deserves special mention – the translation is smooth and seamless, never jarring, and allows the excellence of the writing to come through. I could easily have forgotten it was a translation, which is the best praise any translator can earn.

I’m not sure if I’ve made this sound as appealing as it deserves. I found it compulsively readable and, despite the apparent bleakness of the subject matter, full of humour and emotional warmth. I highly recommend it as something different from the usual run of things – well written, well plotted and ultimately strangely satisfying.

NB This book was provided for review by the publisher, 4th Estate.

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Maigret’s Revolver (Maigret 40) by Georges Simenon

Drinking like a fish out of water…

😀 😀 😀 😀 🙂

Madame Maigret is upset when a young man who had called to see Inspector Maigret steals the revolver Maigret had been given as a keepsake by the American police. Mme Maigret had taken a liking to the youth and is fearful that he may intend to take his own life. Maigret fears the gun may be used for different, more criminal purposes. Either way, he feels it necessary to try to track the young man down. But first he’ll have to find out who the boy is…

This is an enjoyable entry in the long-running Maigret series. The plot is rather light, though it does eventually involve a corpse in a trunk, but the characterisation is particularly strong, I felt. We see Maigret interacting with his wife more than in some of the others I’ve read, getting a good impression of how strong their marriage is, even if Maigret isn’t the most demonstrative of husbands. We also see them in the company of friends and this gives a more rounded picture of him as someone who has a life outside work. There is a femme fatale-ish female character, with the associated sexism of the day in the descriptions of her (and any other female character who happens along). There’s a rather pathetic character, who might be bad or might be mad or might just be terrified – I’m saying no more for fear of spoilers – but I thought he was very well depicted, and also gave an opportunity for Maigret to show his humanity.

What really made this one stand out for me, though, is that the story takes Maigret to London. Though he stays mostly in one location in the city, I thought Simenon did a good job of contrasting London and Londoners with Paris and Parisians, all with a touch of humour that lightened the tone and let us see Maigret feeling suddenly less secure in an environment of which he wasn’t as much the master as usual. He’s horrified by the strict licensing laws which prevent him from getting a drink in the mornings or afternoons, but happily this doesn’t stop him from putting away enough to sink a ship in the course of the day or so that he spends there.

When he finally does find the youth and the reason behind the theft of the gun, we again see the mix in his character of equal drives towards justice and sympathy – he is not prepared to overlook crimes but he is willing to listen to and understand the reasons, and to do what he can to help those he considers worth helping. But for those whom he considers truly wicked, then he has the patience to spin a spider-like web and wait for them to trap themselves.

Georges Simenon

Good fun. I’ve been reading these randomly – they work perfectly as standalones – and have only read a few to date. Although this isn’t the most exciting plot, I think it’s the one I’ve enjoyed most so far because I got a real feel for Maigret’s character, more than in my other choices, and as a result found I liked him more as a person.

I listened to the audiobook version narrated by Gareth Armstrong, who again does a fine job. He’s very good at giving different voices to each character, each with an accent suited to their class and position, and avoids the temptation to go overboard, especially with the female characters. Overall, an enjoyable book enjoyably narrated.

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The Postman Always Rings Twice by James M Cain

Sex and death…

🙂 🙂 🙂 🙂

Frank Chambers is a bum who drifts from place to place, making a living out of gambling and petty cons. One day he finds himself at a garage outside Los Angeles without funds or a ride. He cons a meal out of the owner, a Greek by the name of Nick Papadikis. Nick’s looking for help around the place, so offers Frank a job. Frank’s about to refuse when he catches sight of Nick’s wife, Cora, a luscious brunette who oozes sensuality…

Then I saw her. She had been out back, in the kitchen, but she came in to gather up my dishes. Except for the shape, she really wasn’t any raving beauty, but she had a sulky look to her, and her lips stuck out in a way that made me want to mash them in for her.

Now Frank has a reason to stick around, and it’s not long before the lip-mashing commences. And soon Frank and Cora feel that two’s company.

My initial reaction to this novella was a feeling of disgust. Frank’s objectification and sexualised descriptions of Cora made me faintly nauseous, and their joint racism about Greeks and “Mex” and anyone else who might not be whiter than white didn’t help much. But then as I got to know Cora better I discovered she was just as revolting as Frank, so I acquitted Cain of misogyny and racism, and convicted him of misanthropy instead. And, oddly, once I reached that point, I found the book much easier to get along with.

….She started for the lunchroom again, but I stopped her. “Let’s – leave it locked.”
….“Nobody can get in if it’s locked. I got some cooking to do. I’ll wash up this plate.”
….I took her in my arms and mashed my mouth up against hers.
….“Bite me! Bite me!”
….I bit her. I sunk my teeth into her lips so deep I could feel the blood spurt into my mouth. It was running down her neck when I carried her upstairs.

There’s no doubt it’s compellingly written in the true noir style. Reading it is a little like being held up on the motorway because there’s been a crash just ahead – you know you shouldn’t stare but you can’t help yourself. As a study of two amoral, self-obsessed monsters drawn to each other through lust, it’s brilliantly done. But, like Damien Hirst’s dead cow, can it really be considered art? I’ve mentioned more than once that I tend to judge literature on the basis of Flaubert’s famous quote:

Human language is like a cracked kettle on which we beat out tunes for bears to dance to, when all the time we long to move the stars to pity.

I could see the bears frantically dancing but the stars had all gone out. Maybe that’s why they call it noir. I’d call it a glamorisation of sado-masochism, except that it’s way too sordid to be glamorous. When our lovely heroes aren’t indulging in some vicious sex that seems to involve lots of bruising and blood – but it’s OK ‘cos Cora likes being hurt – then Frank’s beating people senseless…

….When he was half out the door I cut the juice in the sign, and it blazed down in his eyes. He wheeled, and I let him have it. He went down and I was on him. I twisted the gun out of his hand, threw it in the lunchroom, and socked him again. Then I dragged him inside and kicked the door shut. She was standing there. She had been at the door, listening, all the time.
….“Get the gun.”
….She picked it up and stood there. I pulled him to his feet, threw him over one of the tables, and bent him back. Then I beat him up. When he passed out, I got a glass of water and poured it on him. Soon as he came to, I beat him up again. When his face looked like raw beef, and he was blubbering like a kid in the last quarter of a football game, I quit.

And yet, oddly, despite their vicious callousness, they are two of the most incompetent murderers I’ve come across. Of course, that’s partly the point – it’s when the police and lawyers become involved that the story reaches its real moral dilemma – under pressure, will their love/lust for one another be enough to hold them together? When you know the bad, bad things your lover has done, can you ever trust him/her? Can you be sure that when he/she says he/she loves you that he/she really does and wasn’t just using you? And once the excitement of murder is over, how do you feel about the dullness of everyday life – does the passion last when you no longer have to sneak around and hide, when there’s nothing left to plot? This second half of the book is far more interesting than the sex-saturated first half – to me, at any rate.

Book 32 of 90

I don’t know how to rate it really. It’s undoubtedly superbly done so I admire it for that. I’m not the greatest fan of pure noir so haven’t read extensively in the genre, but the little I have read has usually given me one good guy to root for amid the gritty darkness, and a femme fatale who may behave badly but is morally ambiguous. This one gives two people with no redeeming features whatsoever, so that I could only hope things would end badly for them. Again, that’s the point, so it succeeds in its aim. I found it well written, psychologically convincing, and it creates a truly noir world in which everything is soiled and corrupt and no gleam of light beckons. But it left me feeling I needed to scrub my mind out with a Brillo pad. I’ve settled on four stars – compelling rather than enjoyable, but I can understand why it’s considered a classic.

This is my Classics Club Spin #18 book.

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Tangerine by Christine Mangan

It all began that day…

😦

Alice and Lucy were once best friends, students together at the expensive Bennington College in Vermont. Now Alice is in Tangier with her newish husband. He loves the life there, the seedy bars, the feeling of danger in the streets as Morocco demands its independence from its French colonisers. Alice hates it, scared to go out alone and miserable when she goes out with her overbearing and unsympathetic husband (mind you, he’s also pretty miserable at having to go out with the whining, pathetic Alice). Suddenly one day, out of the blue, Lucy turns up at their door. This is the first time Alice and Lucy have met since that day… but no, of course we don’t get told what happened that day. As Lucy and Alice take turns at the narration, carefully ensuring their voices are indistinguishable to add an element of confusion, they each dance round the subject of what happened that day while being very careful not to tell the poor put-upon reader.

I made it to the 25% mark before deciding I could take no more. I don’t want to be unfairly brutal – this is a début, and it shows some promise. Regulars will know that I’ve spluttered with annoyance often over the whole “that day” faux-suspense thing that seems to be an essential part of so-called thrillers these days – presumably because the authors can’t actually think of anything thrilling to write about. (FF’s Tenth Law: having the narrator constantly refer to ‘what happened that day’ without informing the reader of what did happen that day is far more likely to create book-hurling levels of irritation than a feeling of suspense.) So Mangan is merely following the herd, and sadly it’s a big herd, getting bigger by the day. I was sucked in by the great cover – had this had the ubiquitous girl in the red jacket on it I’d have known to avoid it like the plague.

Had it just been the “that day” tedium, I would probably have stuck with it, though. The picture Mangan gives of Tangier at this point in time (1956) is quite well done, bearing in mind that we see it solely through the eyes of white colonials. This means there are some rather demeaning depictions of the locals that smack a little of good old white superiority, but I felt that was appropriate to the time and social status of the main characters.

Over a year now, and it was still cast in a hazy fog that I could not seem to work my way out of, no matter how long I tripped through the labyrinth. It’s better that way, my aunt had said afterward, when I had told her about the vaporous sheen my memories had taken on, how I could no longer remember the details of that horrible night, of the days that followed. Leave it in the past, she had urged, as if my memories were objects that could be packed away in boxes secure enough to ensure they would never let loose the secrets held within.

Unfortunately, however, I couldn’t tolerate the style of writing. Some people have praised it, so I’ll admit that’s a subjective thing. It’s well-written in a grammatical sense, and thankfully it’s in the past tense, except for the obligatory foreshadowing prologue. But it’s written in a kind of mock-Gothic manner, all overwrought and hyperventilating, that gradually began to drive me insane. I had company in my insanity however – in true Gothic fashion, both women have strange “nervous” conditions that cause them to have imaginary symptoms and so on, and we know from the prologue that at least one of them has totally lost her marbles by the time the story ends. It was at the point that one of them actually fainted – Mangan resisted the temptation to say “swooned” but I bet it was on the tip of her pen – that I gave up. I discovered when I looked at her author bio that Mangan did her PhD on 18^th century Gothic literature, and was unsurprised. Nor was I astonished to learn she had then topped that off with a degree in creative writing…

Christine Mangan

I didn’t hate it and I don’t think it’s awful. It’s as good as most of these identikit “that day” thrillers and better written than many. It probably deserves three or even four stars. But it’s not for me, and since I couldn’t bring myself to continue reading, then I’m afraid one star it is. Oddly, I’ll still be intrigued to see how Mangan develops – if she can learn to match her style to her subject matter and free herself from the feeling that she must follow the herd, I feel she has the talent to evolve into an interesting writer. I wish her well in the attempt.

NB This book was provided for review by the publisher, Little, Brown Book Group.

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Give Me Your Hand by Megan Abbott

“Blood will have blood…”

😀 😀 😀 😀

Back in the last days of high school, Kit Owens became friendly with new girl, Diane Fleming. Beautiful, intelligent Diane encouraged Kit to rise above the modest ambitions she had for herself, and instead set her sights on gaining a scholarship to study biology at university. But Diane also told Kit a secret – something so shocking it ended their friendship and has haunted Kit ever since. Now Kit is working as a postdoc for Dr Severin, a scientist both girls had admired and been inspired by. All Dr Severin’s team are hoping for a coveted spot on a new study she’s beginning, into PMDD – Premenstrual Dysphoric Disorder – an extreme form of PMT. But suddenly Dr Severin announces she’s taking on a new team member. Kit is appalled to discover that her old friend Diane is now to be her colleague and rival. Old secrets turn into new nightmares…

I always love the way Megan Abbott writes about the hormone-driven intensity of teenage girls and their friendships, but I’m also glad she’s beginning to take her girls into womanhood too in her last couple of books. This follows the almost ubiquitous pattern of current thriller writing of having sections set in past and present (with the past written in past tense and the present in present tense, which is at least slightly more appropriate than some uses of the annoying present tense). It also has a touch of “that day” syndrome (where the narrator keeps referring ominously to something that happened in the past), though in this case the reader is told what happened that day reasonably early on – before I got to full tooth-gnashing, Kindle-hurling mode, although it was close. Kit, of course, is an unreliable narrator. Surprisingly, despite all these stylistic clichés, I enjoyed the book, which is a tribute to Abbott’s writing.

There’s very little I can say about the plot without spoilers. I found the setting of a biology lab intriguing – it feels very well researched and believable, as Abbott shows the teamwork that is essential but also the rivalries for the limited number of grant-funded positions that offer the best opportunities for break-through research and professional triumph. PMDD is a syndrome I hadn’t heard of before, and is mostly peripheral to the plot. But Abbott employs it as a kind of vehicle for using female biology as a theme, with much – too much – concentration on blood. There’s a kind of feeling of throwback to the days of women being perceived as witchy and dangerous because of their dark sexuality. Personally I felt Abbott over-egged that aspect a bit – her adult women seemed to be as intense as her adolescents and, while she clearly wasn’t intending this, it felt to me almost as if she were suggesting that her professional women were all driven to the point of obsession, with an odd unstated link to their femaleness as the root cause. It didn’t ring wholly true to me, though it made for a nicely warped and scary story.

Megan Abbott
(© Philippe Matsas/Opale)

Did I find the plot credible? Well, no, not in the end. But the things that went over the line for me only happened very near the end, so didn’t spoil my enjoyment while reading. As usual, there were one or two twists too many, but that’s another of these laws of contemporary crime writing, sadly. The employment of all these current trends – the present tense, the unreliable first person narrator, the incredible twists, the past/present storyline – prevented me from loving this quite as much as some of her earlier books. But the quality of the writing, the excellent pacing, and the interesting plot and setting meant that as usual Abbott kept me reading well into the wee sma’ hours, so despite my criticisms I recommend it as a thoroughly enjoyable read!

PS I know I’m a tedious pedant but… the past and present sections are headed Then and Now. Fine – simple, clear and means the reader is never left confused. Plus, Now gives some excuse for present tense. Imagine my pedantic surprise then to discover that the final section of the book is headed Ten Years Later. Ten years later than now? You mean, in the future? Are we seeing it through a crystal ball in Divination class? Or do you mean Now is ten years ago – in which case it really can’t be Now, can it? Words matter. Don’t they?

NB This book was provided for review by the publisher, Picador.

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The Mystery of the Yellow Room by Gaston Leroux

Brilliantly baffling…

😀 😀 😀 😀 😀

Mademoiselle Mathilde Stangerson is attacked in her yellow bedroom by a murderer wielding a mutton-bone. When her father and the other people in the house break down the door, Mlle S is on the floor and her murderer is nowhere to be found. There are three exceedingly strange things about this – one: how did the murderer get out of a room in which the only door and window were securely locked; and two: why does everyone keep calling him a murderer when Mlle S is still alive…; and three: a mutton-bone???

OK, to my great disappointment I discovered a mutton-bone is actually the name given to a club-like weapon much used by villains of the day, so that solves number three. Number 2 – the murderer with the living victim – becomes progressively more hysterical as the book goes on and Mlle S stubbornly refuses to die. I couldn’t help wondering what she felt every time a newspaper or one of the characters talked about her murder.

The real meat of the thing, though, is not on the mutton-bone, but in the question of how the murderer got out of the room. Enter our hero, Joseph Rouletabille, (a nickname meaning “Roll Your Marble”, given to him, presumably, on account of his large round red head), a young journalist who at the age of eighteen has already acquired a reputation as an inspired amateur detective. He is introduced to us by our narrator, Jean Sainclair, a young lawyer and friend who acts as Rouletabille’s sidekick.

Off they go to the Château du Glandier, where they will meet Mathilde and her father, her fiance, her loyal and devoted servant, and various assorted estate workers and villagers, all with or without alibis and motives, and all behaving suspiciously in one way or another. Even Frédéric Larsan, famed investigator of the Sûreté, will find himself hard put to it to come up with a solution to this baffling mystery, and when he does, it will be entirely different from Rouletabille’s solution. Who will prove to be right? And how will he (the one who’s right) prove he’s right? And will they catch the murderer before the murder victim is finally murdered???

Rouletabille
By Josep Simont i Guillén – Published on October 19, 1907 on the front page of the French newspaper L’Illustration where the story was first serialised

This is a fabulous little romp that is more and more fun as it goes along. First published in French in 1907, I can’t find anything to tell me who the translator was. At first, I felt the language was quite stilted and thought it could do with a modern update. But as the book’s general mildly melodramatic tone began to come through, I realised the style of the translation is actually perfect for it. It makes it feel terribly French and very old-fashioned – both things which add considerably to its charm.

The plotting is great, enhanced by a couple of detailed floor plans allowing the reader to try to get to the solution before Rouletabille. (I failed miserably!) The initial mystery of the locked room is only one of the “impossible crime” features – there is another halfway through which is not only baffling but quite spooky, and there are other sections where Leroux creates a beautifully tense atmosphere. But overall the book leans more towards entertainment with lots of humour, especially in the rivalry between Rouletabille and Larsan. I love that the title of the first chapter is In Which We Begin Not to Understand – sets the light-hearted tone superbly before the book even begins. The villagers are about as welcoming as the ones in The Wicker Man, complete with a surly publican and a witchy old crone with an exceptionally scary cat called Bête du Bon Dieu, so some lovely almost Gothic touches sprinkled into the story.

Rouletabille’s ability to see through the fog of confusion to the truth that eludes all others is well-nigh miraculous, enhanced by Sainclair’s supreme admiration for his young friend. Rouletabille is the master of the enigmatic utterance, throwing suspects into terror while keeping Sainclair (and me) totally befuddled. But when all is revealed, we see that we have indeed had all the clues all along – well, all the important ones anyway – and it’s only our inferior brain-power that has left us trailing in Rouletabille’s brilliant wake…

Hercule Poirot wasn’t baffled, of course, when he read this book. He talks about it in The Clocks, saying…

“And here is The Mystery of the Yellow Room. That – that really is a classic! I approve of it from start to finish. Such a logical approach!… All through there is truth, concealed with a careful and cunning use of words… Definitely a masterpiece…”

… and Poirot (and Ms Christie) knew a thing or two about crime fiction. Poirot is not Rouletabille’s only admirer among the fictional detective classes – John Dickson Carr’s Gideon Fell refers to the book as “the best detective tale ever written”. I must say the physical book from the Collins Crime Club series is gorgeous too, with a great cover, including quotes from Poirot and Fell where normally there would be puffs from fellow writers. Made me laugh with delight before I even opened it.

Gaston Leroux

I’m so glad to have had the chance to read this one, since I’ve seen it referred to often in my recent travels through vintage crime. And I’m even more glad to be able to say that I feel it fully deserves its reputation, both for the skill in the plotting and for the entertainment value in the storytelling. An essential read for vintage crime fans!

NB This book was provided for review by the publisher, Collins Crime Club.

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