Tuesday, October 14, 2014

Peter Anderson, The Unspeakable

In The Unspeakable, set in the dusty northern provinces of South Africa in the last decades of Apartheid, Peter Anderson invokes a number of literary precedents, but one in particular, James Hadley Chase, whose novels are glimpsed in a roadside diner’s book rack, kept coming back to mind as I read the main narrative thread of the novel. There is a pulp-noir sexuality driving the story, as well as a cast of characters (the professor, his pretty young girlfriend, a cameraman who is her former lover, and a black sound technician and driver) whose interactions lead toward a violent blowup. 

The story is told in the voice of Rian, the cameraman, hired to record the professor’s documentary film on the origins of the human race, but the novel’s roadtrip through the South African wilderness also provokes Rian’s memories of childhood on an Afrikaner farm, and these reminiscences are vivid and evocative. Particularly in the longest of these flashbacks, dealing with events leading up to the father’s suicide in front of his young son, Anderson not only suggests some South African classics such as J.M. Coetzee but also America’s Southern Gothic fiction, with its folkore and racism. 

In the best segments of Rian’s adult story, the casual racism of the white people (Rian included) in contrast to the hardscrabble lives of tribal peoples encountered along the way suggests another South African precedent, the detective stories of James McClure, particularly in the direct portrait of lives violently twisted in mental and behavioral ways by Apartheid. 

But most of the narrator’s main story depends on a series of adolescent fantasies and absurd actions on the part of all the white principals, involving jealousies and overt sexual proposals that are necessary for the plot to move to its tumultuous conclusion, but are in themselves a bit hard to accept. Here again, a South African precedent comes to mind, in Tom Sharpe’s lampoons of an Apartheid-era police force, but Peterson’s characters are not drawn as broadly or with as much comedy, and the contrast to the other parts of the story is jarring. At one point, the professor (mostly portrayed as a buffoon) suggests the group abandon the archaeological documentary to film instead an interracial porn film featuring the girlfriend and the driver, which would be a dangerous act for the driver in that era. And several acts of violence seem arbitrary and unmotivated. 

At one point the author, through his narrator, suggests that the novel’s title refers to the possibility of addressing the unsayable by means of stories, but there is also an unspeakable act at the end, a chilling indictment of institutional racism (again reminding me of McClure’s evocation of Apartheid), flowing directly from both the naturalistic and absurd elements of the story, and its impact requires a reader to accept both at face value.

Tuesday, October 07, 2014

Fuminori Nakamura, Last Winter We Parted

Each of Fuminori Nakamura's novels published in English so far is quite different from the others. The newest, Last Winter We Parted (from Soho Press, translated by Allison Markin Powell), is a twisty noir thriller, with murder, false identity, sexual perversion, and revenge. The story alternates among several narrators, focusing on a photographer who is awaiting execution for the murder (by fire) of two young women. The first fire was thought to be an accident and he was burned in a possible attempt to save the first of the victims, the second, almost identical fire was most damning evidence against him (and there is some evidence that, instead of rushing to aid the women, he photographed their deaths).

A writer approaches the condemned man for an interview, intending to publish a book on the murderer and his crimes, but the killer deflects the writers advances in odd ways, as does the murderer's sister. And the writer discovers a subculture of lifelike dolls, created by a master artist who at first refuses and then agrees to model these dolls on living women (rather than lost wives or lovers).

The doubling (of the two victims, of the dolls and their living counterparts, and some other doubles that I can't mention without spoiling the plot) is essential to the story's exploration of identity and desire, and also essential to the sudden reversals of the story itself. The book is an old-fashioned house of mirrors, told in terse, mostly short chapters from various limited points of view that only reveal prismatic views of what's going on. Nakamura's book requires (but also rewards) close attention: it is in a way a Postmodern revival of some of the tropes of classic noir and hard-boiled fiction, with a specifically Japanese sensibility.

Thursday, October 02, 2014

Tana French, The Secret Place

It's been obvious since her first book that Tana French's true milieu, as a writer, is adolescence: all her books include a substantial element of childhood or youth, and sometimes even the adults talk and act like teenagers. But in The Secret Place, adolescence per se is her subject, specifically the tiny worlds of tight adolescent friendships. There is an odd supernatural/telekinetic element to the story (though it's not a Irish ghost story), which is resolved near the end in a way that illuminates French's view of these relationships in particular.

The story revolves around a private girls' school in Dublin. There are two "tracks," a current investigation that takes place all in one day and a back story, looking at the girls through the lens of two cliques, rivalries of a sort. What we don't get much of is the "school" part of their experience: most of what the girls are shown doing is worrying about their friends, contemplating the opposite sex, and dodging responsibility for their minor crimes, as well as the big one: the murder that occurs at the end of the backstory, a year before the current investigation.

What sparks the investigation is the reunion of two characters from a previous French novel (she tends to daisy chain her novels, shifting the focus in a new book to minor characters from a previous book). Holly Mackey is one of the girls in the school. She has discovered a note posted on a "secrets" board at the school (a physical board rather than a website), with text stating that the person posting the note knows who killed a boy a year ago on the school grounds. She brings it to a cold-case detective she had encountered in that earlier book, Stephen Moran (who is the narrator of the current-day portion of the book). Moran would love to shift over to the murder squad, and he takes the note to Antoinette Conway, the officer in charge of the original investigation, hoping to get in on a reopened murder case.

Moran gets his wish (Conway's a pariah in the department, currently without a partner), and though the rest of his part of the story is a long day of chasing down leads within the walls of the school, in both sections of the story we get a very great deal of teen angst, conversation, and attitude. The teen interactions (with each other and with the detectives) mostly ring true, and are sometimes painfully funny (painful comedy having been an element in the previous book in which Holly and Stephen featured, Faithful Place, whose main character was Holly's father Frank). But the sheer amount of teen-dom is a bit daunting (possibly only to an outsider like myself). And, as I mentioned before, the adults can begin to sound childish themselves, wrapped in their own envies and jealousies.

Finally, the payoff at the end (not so much the discovery of the killer and the motive as the resolution of the metaphorical elements of the story) is good enough to make the book rewarding, even if you, like me, don't relish spending quite so much time in YA-land. French has staked out a particular territory, and continues to mine it succesfully--and this time the metaphorical level of the story is particularly effective in a melancholy manner.

Friday, September 19, 2014

Police, by Jo Nesbø

Some of Jo Nesbø's Harry Hole novels stretch credulity a bit when Harry gets into impossible situations and works his way out of them somehow. That doesn't stop the stories from being great entertainment, though. Police, the latest and perhaps last (a great many readers may have assumed the previous novel was the last, given how it ended) is a more straightforward police procedural, with Harry offstage (spoiler alert) for a good portion of the time.

His absence gives the other detectives (both his friends and his enemies) a chance to come forward into the spotlight (hence the more conventional structure) and the result is a quite enjoyable novel, with a lot of twists and turns (Nesbø likes to take the reader down a path, only to reveal that things are not what he has seemingly prepared you for).

The story follows the progress of a serial killer of policemen, seemingly punishing the individuals and the force for their failure to complete a series of earlier investigations. While some readers may guess who is performing this crime wave (there are some hints, but many, many false leads connected to very violent people who don't happen to be involved in this particular series of murders). And there are some ongoing characters who will meet their ends along the way.

There's a lot here that will depend on a familiarity with the books that have gone before, so this isn't the place to start with Harry. Harry himself, though, when he appears, is quite a bit more human and likable than he has seemed in the low points of his drunken self-destructiveness or the high points of his amazing abilities. He reaches a point from which he might fade into the sunset or become a detective of a more normal sort (perhaps the former would be more appropriate for such a larger than life character). There is, however, a bit of unfinished business at the end that seems to lead to another chapter...

Opinions about Harry or the current state of his career?

Sunday, August 31, 2014

crime victim's reading room

Last Monday night someone came up on the deck of my beach house, poured gasoline on the decking by the back door, and set it on fire. The house is pretty much a total loss, between flames, smoke, and water. That house is where I kept most of my books of international crime fiction, about 450 copies, and though none of them burned, all are thoroughly smoked and wet. Though the books are certainly not our biggest problem at the moment, I thought I should post a brief elegy for them here, in a place where people might understand this particular piece of the loss. The  photo is from the "reading room" on the top floor, not originally so open to the view. The library is just behind you, if you are standing where the picture was taken from. The detectives from the state fire marshal's office are looking for the arsonist, but no report so far.

Friday, August 29, 2014

Review of Carlo Lucarelli's new novel

I had one request for an English version of my review in Italian (below) which is pretty good for a blog response. So here goes:

Between 1994 and 2000, Carlo Lucarelli, the master of italian crime fiction, published 4 novels featuring Inspector Grazia Negro, a detective in Bologna. Only two of them have been translated, Almost Blue and Day After Day. All the stories deal with a brutal serial killer. Lucarelli has just published a new novel with Inspector Negro, in 2013. After these thirteen years between the last and the newest novels, Grazia and her lover Simone (who has been in all but one of the books)are trying to have a baby, and she is hot pahhy at all to be investigating a serial killer: but Bologna has one, nonetheless.

The tracks of the killer carry the inspector and her colleague in the Carabinieri to a popular song by Andrea Buffa, The Dream of Flying (also the title of the novel). The song is comic, at the beginning. A loose translation of the first verse is:
Since I was young I've dreamt of flying like a bird,
but now when I press against the air my weight isn't a good thing,
I fly like a brick, like a stone, like a wrench
It seems obvious that flying without wings is a problem.

But Buffa is really talking about two important social issues: the story of the song deals with the death, on a construction site, of a foreign worker. And Lucarelli's serial killer wants to kill all the people who are involved in the death of a construction worker, also a foreigner. It seems as if there's not just one killer, as the murderer sends messages to the police, until a psychologist consulting on the case suggests that in fact it is one person with a multiple personality.

I've heard that most psychologists today don't believe in the diagnosis of multiple personalities, but Lucarelli has created from the idea an interesting novel from his diverse materials: the policewoman, the song, and the social environment of the city. Can we hope for a translation, perhaps of this book and the first one in the series, some day?

Carlo Lucarelli: Il sogno di volare

I'm taking advantage of a homework assignment in my Italian class to post a short review in Italian of Carlo Lucarelli's new Grazia Negro novel (corrected by my teacher--thanks Federica!). If anyone's interested I can add an English version.

Fra il 1994 e il 2000 Carlo Lucarelli, il maestro dei gialli Italiano, pubblicava quattro romanzi con protagonista il personaggio Ispettore Grazia Negro, una poliziotta a Bologna. Solo due di loro sono stati tradotti, Almost Blue (il titolo originale è in Inglese) e Un giorno dopo l’altro. Tutti le sue storie tratta di un serial killer brutale. Lucarelli ha appena pubblicato un nuovo romanzo con Ispettore Negro, nel 2013. Dopo questi tredici anni, Grazia e il suo amante Simone stanno cercando di avere un bambino, e a lei non piace per niente di indagare un altro serial killer, ma Bologna ne ha uno, nonostante tutto.

Le tracce dell’ assasino portano l’ispettore e il suo collega dei Carabinieri à una canzone popolare del cantautore Andrea Buffa, Il sogno di volare (che anche è il titolo del romanzo). La canzone è divertente--il primo versetto è:

Da giovane avevo un sogno, volare come un uccello
Ma adesso che schiaccio l’aria, col mio peso non mi pare bello
Io volo come un mattone, come un sasso, una chiave inglese
Volare senza le ali, è un problema mi sembra palese

Ma Buffa sta veramente parlando di due importanti questioni sociali: la storia della canzone tratta di una morta sul lavoro di un lavoratore extracommunitario. E il serial killer di Lucarelli vuole uccidere tutta la gente che è coinvolte nella morte di un operaio in un cantiere. Ma sembra che non sia solo un assassino fino a quando uno psicologo suggerisce che è infatti una persona con personalità multiple.

Il maggior parte degli psicologi oggi non credono nelle personalità multiple, ma Lucarelli ha creato un romanzo intesressante dai materiali diversi (la sua poliziotta, la canzone, e l’ambiente sociale della sua città).

Friday, August 22, 2014

New review at Los Angeles Review of Books

My first review at Lost Angeles Review of Books is now live, discussing two new books dealing with dark passages of Italy in the 20th century : http://lareviewofbooks.org/review/bleak-world-italian-noir
The books I'm reviewing there are Dominique Manotti's Escape and Maurizio De Giovanni’s By My Hand. (The Los Angeles Review of Books is a nonprofit literary and cultural arts magazine in great American tradition of the serious book reviews.)

Philadelphia noir series

Just a word about a TV series that I'm guessing too few people are aware of: The Divide, on basic cable channel WE tv. It's a smart updated noir set in the Philadelphia of today but hearkening back to the classic noir Philly writer, David Goodis.

The Divide begins with an Innocence-Project-like group that specializes in revisiting the DNA evidence in prior convictions, in this case investigating the conviction of a white man awaiting the death penalty for murdering 3 of the 4 members of a middle-class black family. The cast includes the surviving daughter of that family, the black district attorney and his family, a young man convicted of complicity in the murders, now serving a life sentence, and members of the legal group, with a particular focus on a law student whose own father is imprisoned for a crime he may not have committed.

But what's interesting about the series is the issues it confronts, beyond the issues of crime and punishment. The continuing reverberations of race as an issue in American life are at the forefront, but also the influence of money and position on law and politics. It's a smart blend of ideas, dialogue, issues, and plot that's among the best things on television right now. WE tv isn't a flashy pay cable channel and isn't as well known as some of the basic cable outlets, but this series deserves a wide audience, and would reward a bit of binge watching if you can get it on demand or streaming. Several thumbs up...