Monday, July 28, 2014
Karin Fossum: The Murder of Harriet Krohn
At the center of the novel, instead, is the murderer, Charlo Torp, a compulsive gambler who lost his marriage and his daughter due to that compulsion's effects on the family. Now, he has turned to theft, initially to get out of debt but finally as the basis for a redemptive gift to his daughter, but his target, the titular Harriet, doesn't cooperate.
Most of the novel occurs after the murder and in flashbacks, Charlo re-envisioning his life as a reformed addict. He's not a total sociopath, there are moments of guilt. But he is so focused on his goal (to reestablish contact with his daughter) and so self-centered that the guilt and even the fear of being caught are minor impediments to his plan.
Staying in Charlo's point of view is a risky narrative strategy: he is not a pleasant man, and his self-justifications are painful. What Fossum gains is a sense of doom related to the inevitability of classic tragedy: we know that this is not going to end well, and though we see the daughter only through Charlo's eyes, we feel as much compassion for her as for Harriet. Sejer becomes primarily the engine of the fate we know is coming.
Fossum's experiments with the genre are not always to my liking, and I still prefer her more directly police-procedural novels: but The Murder of Harriet Krohn is a remarkable descent into the mind of a troubled, twisted soul who is less a hardened criminal or a psychopath than simply one of us, twisted by ego and addiction into a disastrous parody of normality.