A Greek crime novel

Nightmare in Athens, by Petros Markaris, is the first crime novel I've run across that's set in modern Greece. Markaris's main character is Costas Haritas, a detective in the Athens police, and the novel sticks to his first-person narration. At first, the novel has something in common with Donna Leon's books--Haritas has a nincompoop boss, whose attractive secretary helps out Haritas, and the detective's home life is a big part of the book. But unlike Leon's detective, Haritas and his wife tolerate one another at best, and their only child is away in medical school. And though the story starts out toward a Leon-like dissection of the injustices of a judicial system that is tilted toward the wealthy and influential, Markaris's tale veers into his own territory with a plot that becomes increasingly complicated as each likely suspect is set aside in favor of another, and as the original crime is set aside in favor of subsequent murders. the tale expands in this fashion until it ultimately comes back around to the story's beginning, and if the complicated passages (and some of the names that are a bit too much alike to an American ear) bog the reader down, there is a payoff in staying with it for the resolution of all the threads (if not a judicial resolution). Like some other books I've reviewed recently, this one is not a "least likely suspect" story (and yet it is). There's no thread of clues, opposed by red herrings, that will lead a reader to discover the truth before the detective does, and yet many of you may figure out who the final "reveal" will reveal as the murderer. But it's the slow investigation, the complexities of Greek history and social life, and the personalities of detectives, victims, and suspects that carry the novel forward, and what begins as a more straightforward mystery ends in the territory of noir, with dark overtones coming from all directions (albeit a few melodramatic overtones as well).

Framed, by Tonino Benacquista

Framed, the third novel in translation from French crime-writer and film writer Tonino Benacquista, fulfills the promise of his first novel, Holy Smoke, much more than the second novel, Someone Else. But Framed is very different from Holy Smoke (and from the Highsmith-y Someone Else). If you want the further adventures of the comic hero of Holy Smoke, in translation, you'll have to read the subtitles of a film from a couple of years ago, Love Bites. Framed is not a series novel, but it is indeed noir fiction, in the tradition of, perhaps, David Goodis. Antoine (the trick of naming his hero "almost" after himself is not intrusive here or in Holy Smoke) keeps his day job, as an art handler in a contemporary art gallery, and his night passion, for billiards, completely separate--his friends in one world know nothing of the other world. Unlike the choice that classic noir would surely have made, most of the novel focuses on the day world (dark though it indeed is) rather than the billiard hall. The choice is telling: Benacquista lets us know that he knows where his tale would traditionally be told, and indeed comes back to that world for his denoument; but he shifts the focus into a new realm for noir, fully and realistically rendered (if quite cynically portrayed). Framed is a short and fast novel, a fun read, and highly recommended.

Alicia Gimenez-Bartlett

There is a genre of crime novels that includes (as one of its characteristics) a close focus on police rather than on the traditions fo the mystery, police procedurals that take seriously the cop's point of view, in form as well as in the profession of the protagonist. Dog Day, by Alicia Giménez-Bartlett, is one of those crime novels. There is a mystery, just as for any police investigation, but there is no series of clues, no unveiling of the "least likely suspect." There is no reason for a reader to pick out the murder or murderes in this story from the rest of the characters. The crime is clarified through successive discoveries of evidence and witnesses, gradually, as if a lens were gradually being focused on the crime. The discoveries are not prefigured or hinted at before the police themselves reach the point of disclosure. There is an element of dramatic irony (a trope characterized by the audience knowing more than the characters), in that surely a reader (an American reader anyway) who will guess a crucial fact of the investigation long before the police do (I won't tell you what that fact is, but it has to do with dogs, like much of the plot of Dog Day). But for the most part, Gimenez-Bartlett stays narrowly focused on her detective, Inspector Petra Delicado, the first-person narrator. We follow everything through her eyes: the facts of the attack that begins the case and the subsequently discovered dog-thefts; the people met (and relationships begun) in the course of the story; the irritations of her relationship with her sergeant/partner; and the meanings that the case takes on for Petra and the other characters (insofar as she understands them). The writing is much more direct than in the most famous Spanish detective series, the novels of Manuel Vazquez Montalban, whose books are to me less satisfying as "noir fiction" or crime novels than those of Giménez-Bartlett (Vazquez Montalban is too digressive, too indirect for me--his concern frequently seems to be mostly with a pair of problems--what's for dinner and what are the political implications of a crime). Although the Montalbano novels of Sicilian writer Andrea Camilleri are (like the name of his policeman) based upon Camilleri's fondness for Vazquez Montalban's novels, Camilleri's books are (like those of Giménez-Bartlett, based on the only example to be translated thus far) more direct and more enjoyable, though both he and she share the older novelist's penchant for specifying what's for dinner (and lunch) and both, like Vazquez Montalban, are careful to include the social environment as both setting and ultimate cause of events. Giménez-Bartlett in particular evokes Spanish fatalism in the face of the horrors as well as the pleasures of life--and her detective's cheerful fatalism maintains the true noir spirit even in the most light-hearted or comic episodes of her novel. I will put Giménez-Bartlett on the lenghtening list of novelists in other languages for whose translations I will await impatiently (and thanks to Europa editions for bringing her books and those of other crime novelists into English).

Pessimism in Noir--a question

I think of noir fiction as being characterized by pessimism as much as anything else: there's no assumption of the "goodness" of man or of the possibility of achieving any kind of purity in life. Noir is about the impure streets, and one of the differences between noir and conventional mystery fiction is that the middle-class characters of the conventional mystery drive through the streets without stopping. The "cozy," characterized by drawing rooms, libraries, and the other trappings of Agatha Christie and the Clue board game, is the model for that sub-genre of crime that I'm lumping together as "mystery fiction." Some books, of course, cross back and forth across that line. Simenon, for example, peoples his novels with middle and lower middle class characters, yet there is a pervasive atmosphere of the streets (and of pessimism) in his Maigret novels (though these often hinge on that staple of the cozy mystery, the assembly of all the characters in a climactic unveiling of the Truth), and the non-Maigret novels are often claustrophobic family dramas of the lower-middle class (the home is in these novels a merciless trap rather than a refuge). I'm reminded of my taste for pessimism in noir by one more factor that irritates me in The Priest of Evil, which I've just commented on in the previous post. The villain in Joensuu's novel controls his victims by means of telepathy and hypnotism, unexplained by any other "daylight" version of what he's doing. He is even able to murder one victim through hypnotism, though I've heard that you can't actually make a hypnotized person do something that he or she would not be able to make him/herself do awake. The "spiritualist" aspect of The Priest of Evil harks back to the dawn of the mystery novel, in Poe, Wilkie Collins, etc., and that is not in itself a bad thing. Bringing that sense of menace to contemporary stories is an accomplishment to be envied. However, to speak more specifically about noir fiction, I don't think spiritualism has an appropriate place in this genre; fatalism, yes, even karma. But telepathy? Let me know what you think.

Matti-Yrjana Joensuu

Matti-Yrjänä Joensuu is that rare commodity, a working policeman writing police procedurals. The police portions of his novels are as correct and convincing as you would imagine they would be. But there are some problems with his recently translated The Priest of Evil. First a small thing that I find annoying whenever this sort of thing happens in a novel. The author (or translator, but in the circumstances I lay the error at the feet of the writer and his editor) portrays two detectives staring at sections of CCTV surveillance videotape with a magnifying glass, investigating the images of a murder suspect frame by frame. It's a technical thing, perhaps, but if you think about it for even a second, you should realize that there are no images on videotape that can be seen with a magnifying glass, not frame by frame or any other way. He's thinking film, but of course no one uses film in closed circuit cameras in public places (in this case the Helsinki Underground). That mistake doesn't make me throw the book across the room--not quite. The other problem with this novel is bigger. Joensuu spreads the story and the narrator's point of view across several characters in addition to his detective, Harjunpää (his detective in nine novels, only one of which has previously been translated, some years ago, as The Stone Murders--see my earlier post). The splintered narrative is hard to follow at first, and then hard to stay interested in. The effort is ultimately rewarded as the narrative begins to pick up speed, but there are lots of repetitions in both the killer's religious iconography and the detectives' rehash of the clues. Repetition is one of the tricks of the fiction trade (you have to remind the reader of what's gone before because the novel is too long to expect the reader to remember everything), but too much repetition of details can clog up the narrative--as it does for a long time here. The murderer/priest is one of the narrators, and his delusions are intricate but not particularly credible as a paranoid fantasy. The other characters, two children and the father of one of them, are caught up in Joensuu's extended portrait of unhappy families and awful parents (Joensuu, judging from this novel and The Stone Murders, is very interested in families and children, and the socioeconomic framework that supports them). There is also an evident attempt at reflexivity: one of the children is named Matti, and his father is a novelist with a triple name--both factors that point to Joensuu having placed himself metaphorically in the narrative on the side of the civilian-victims rather than his detective or villain. That reflexivity, and his interest in families, suggest that unhappy families, divorce, and family violence and retribution are important to Joensuu. But he doesn't make them all that interesting, and his story is a bit earnest for my taste (none of the wild, dry Finnish humor of the Raid TV series--see my earlier post--or the movies of the Kaurasmaki brothers. And one more complaint: the print in this English version fo the novel is too small, a factor that isn't always irritating, but when I'm already irritated with a book, it makes reading the text all that more a trial instead of a treat. But all my complaints and reservations apply for the most part to the considerable effort of getting involved in The Priest of Evil. If you stick with it, somewhere around halfway through the book the narrative picks up speed, begins to make more sense, and sucks you into the inevitable progress of the characters toward one another and toward a climax. The improvement in the book is proportional to the amount of space given to the detectives rather than the killer, who never really comes alive in spite of his malevolent potential. The conclusion contains several surprises and develops from the author's concern for families rather than a straightforward plot--though because of that shift away from the conventional detective novel, the ending is not what you expect. Altogether, I'm glad I persisted through the novel, but it could have been as good as its best passages, but it unfortunately isn't. And of the Euro-Crime series published by Arcadia Books that I've already read (including the quite excellent Dominique Manotti novels from France) this one is the least satisfying as a whole.

Self's Punishment

I promised a Finnish novel next (The Priest of Evil), but first...Bernhard Schlink, best known in the U.S. because Oprah Winfrey chose his book The Reader for her book club, wrote Self's Punishment, a detective novel, with Walter Popp in the late '80s, roughly the era in which the novel is set. Though Oprah's endorsement usually signals the middle-brow, The Reader was not so well received by some of her fans--who found it intellectual rather than oriented toward a story. Evidently Schlink has written other crime novels, but none have yet been translated into English. Based on Self, I'd like to see the others. Self's Punishment is as close to classic noir, in the strain from Marlowe to Chinatown, as it is possible to be in a contemporary (more or less--the novel is from before the fall of the Wall and seems a little quaint because so much has happened since then) German context. Self's name is Selb in German, and the name really needn't have been translated--the existential or psychological import of the translated name is not necessary, or even helpful, to the novel. And as is too common, the title is changed from something like "Selb's Justice" to Self's Punishment--which is also not really helpful. Self is a retired Nazi prosecutor who became a private investigator after the war. The novel is not, however, about the progress of a detective in the difficult years after the war or the years of the German miracle. It's about the past returning to bite him in the course of a routine investigation late in his career. The one false note (and I'll have to be careful not to reveal too much in this comment) is that he would have been chosen by his former school friend, Korten, to investigate a security breach in the Chemical firm Korten now heads. It might also be considered a flaw that Self is very good in hand-to-hand combat, considering his age--except that he's succesful more in anticipating his opponent than any fancy technique or physical power--and the fistfights keep the noir character of the novel at the forefront rather than the author's literary ambitions (noir being a physical medium more than a primarily intellectual one). Self, like Germany (a point made explicitly in the novel) has elided his guilt as a participant in the Nazi horror by immersing himself in the daily life of the post-War. The connection with the ambience of Marlowe and Chinatown develops slowly, in the very "daily," even quotidian investigation and life of the elderly detective. What develops is not so much sympathy for Self as immersion in the dailiness of his life on the part of the reader. So that when his investigation results in a death (perhaps more than one) and finally leads to its conclusion, it involves the reader in the network of guilt, politics, and history that Self is mired in. Self's Punishment is a quiet book rather than a sensational one, and the power of its central premise is more powerfully told than in the more typical melodrama of thrillers that try to evoke politics and history. Forget the Oprah connection--this is a book that is effective as noir, as narrative, and as a novel.

A Finnish thriller by Kjell Westo (maybe not so thrilling)

My wife and I have this discussion about TV cop shows: I can't stand it when there's a lot of "soap opera" about the cops' private lives. That's why I like Law & Order and don't like NYPD Blue. And it's why I don't like a certain kind of novel, whether it aspires to noir or not. Too much "soap opera" impedes what Paul Cain referred to in the title of his classic (and classically depressing) A Fast One. The best noir progresses inexorably toward its conclusion. Kjell Westö's novel Lang starts out great: The narrator, an old friend of the Lang of the title, is woken up in the middle of the night by a panicky Lang who needs to borrow a shovel. Great, I say to myself, this has the ring of violence and also comedy--maybe this is another Getting Rid of Mister Kitchen (see earlier posts). But alas no. This is that dreaded sub-genre, the literary thriller. Simply speaking those words condemns the novel, in my lexicon. Too many "art" novelists think they can write a crime novel and when they do, it comes out baggy or full of "soap opera." Westö's Lang mentions the novelist Joyce Carol Oates favorably (while disparaging his girlfriend for reading Bridget Jones's Diary instead). But Westö's novel is a bit too much like an Oates novel, arty perhaps, but not much of a thriller. The novel is in fact a mystery-woman novel of the sort pioneered by Lawrence Durrell in his Justine. Lang's lover, Sarita, has mysterious secrets that make her, at her core, unavailable to Lang. But the real mystery is why she would indulge this pretentious asshole (a novelist and talk-show host) as much as she does. Westö does make fun of his character as a pretentious bore, and he distances the narrative by having a narrator who is a friend, assembling the story from notes that Lang sends him from prison (the end of the shovel incident being foretold in the nature of the narrative). There are also several interesting or comic literary conceits (the letters from prison, not presented directly but referred to by the narrator, recall Humbert's prison confession in Lolita; and the narrator includes a review of his own earlier work written by Lang--a highly unfavorable review). That's all very clever, but how much of the back-and-forth sexual relationship and mysterious former husband do we really have to sit through before the tale of the shovel comes back into the foreground. Writers of art novels do periodically think they can write noir, without realizing that the genre is note a mere finger exercise that they can toss off, or a genre without its own imperatives into which they can simply pour their usual literary interests. The effective crime novel is an art of its own, entertainment perhaps (like the Bridget Jones that Lang disparages though to me an entertainment of broader concerns and interests); But not an entertainment that is simple to imitate. Westö is a Swedish-speaking Finn, part of a linguistic minority within a very distinctive culture--I was hoping for more from his contribution to the crime novel. Next, I'm reading a Finnish language crime novel--maybe that one will be better (and I'm not saying anything about the conclusion of Lang--if anyone cares, leave me a note and I'll add something about it.

Allan Guthrie and one comment on Derek Raymond

A couple of readers have mentiond Derek Raymond's Department of Unexplained Deaths or "factory" novels, and that they're being reprinted by Serpent's Tail (more kudos to Serpent's Tail). I should have gone into some detail about Raymond, but it's been a while since I've read them. A good excuse to go back--my memory is that they're noir to a depth that is almost surreal. I just read Allan Guthrie's first novel, Two Way Split, and it has a surreal side, too. The complex, fragmented narrative has a secret lurking at its center, revealed in the denouement. Even before that secret is revealed the narrative has a weird movement that contributes, rather than retards, its motion forward as well as its noir atmosphere. When the secret IS revealed, the novel tips into a milieu that has only been hited at earlier--has anyone read Jim Thompson's asylum comedy, The Alcoholics? It's a wild and funny surreal noir comedy, and Guthrie's first novel takes a step in that direction, as well as a step in the direction of Thompson's more straight noir novels. The sequel is much more straightforward, but still a pleasure--while Two Way Split is perhaps a more distinctive accomplishment. Check out Guthrie's extensive website, Noir Originals, which has a great deal of information about other authors as well.

Stuart MacBride and a more general observation

I'm reading Stuart MacBride's Cold Granite (at a reader's suggestion) and not quite done yet. But since I'm not doing plot summaries anyway, I'm going to go ahead and post (since I'll be away from my computer for a few days). Reading Cold Granite is kind of like watching a very good cop movie or TV series, really more Joseph Wambaugh than Thomas Harris, even though the novel deals with a serial killer situation. MacBride keeps careful control of point of view, only leaving his main character's perspective for the occasional preview of a crime scene. That control is a key to the success of MacBride's approach, which is both light and dark, comic and menacing. And, like Wambaugh but unlike even McBain, MacBride captures the flow of personalities, events, non-events, irrelevant occurrences, and false leads that can make a cop story both fun and revealing (not just about cops but about the larger social setting). Cold Granite is set in Aberdeen (the Granite City, apparently) and the setting is gritty and wet (the author all but apologises to the citizens of Aberdeen in an foreword). But the focus is on personality, which allows the comedy to develop naturally (again, as in Wambaugh--though no one would describe a Wambaugh novel as "noir," I think, and MacBride does come closer to the topic of this blog). I'm looking forward to more of MacBride, when I can get my hands on the later novels. One thing about Cold Granite is that it seems to be catching the detectives in mid-series, as if the reader has known about some of the back-story that comes out in little bits through the book--it's an effective device to lure the reader into a series novel without indulging in the kind of "mythologizing," a la, for example, the first episode of the Lone Ranger (if any of you readers remembers that, or if it's still circulating somewhere in the ionosphere). You feel as if you know these characters already.
The general observation is more of a question--I've been thinking about gratuitous, sadistic violence after reading Simon Kernick's novels. There's one passage, a kind of throwaway character analysis that Kernick does a lot, in which a man casually tortures another man with a hot steam iron. The torture is not essential to the novel, just to the character description, and somehow the sadism is more pointed, more sadistic than if it were part of the main thread of the story. Though there's certainly a lot of violence in noir fiction, is there a place for such casual sadism?

Couple more by Simon Kernick

I promised a couple more UK novels before going back to the Continent, and here are a couple by Kernick--but there's one more UK work (from Scotland) still in my pipeline before we move on to Finland: Stuar Macbride was recommended to me by one of this blog's readers, and I've gotten hold of a copy that looks very tantalizing. But first, as they say: Simon Kernick has 5 novels out now, I think, but I've only read through #3. I reported on #1 earlier, but here I'll just say a few words about The Murder Exchange and The Crime Trade, two almost unbelievably complicated cops-and-mobsters stories. Kernick uses a first person narrator, one of his detectives, for some of the narrative and third-person for others, and in the case of The Crime Trade this device leads to what I would consider a flaw--the annoying withholding of information. Of course, all "mystery" writers withhold information. But when Kernick follows an undercover cop, in great detail throughout the novel and withholds a large piece of his life and character from the reader, I feel a bit betrayed. The Murder Exchange is, I think, a better novel with a (for sure) bigger payoff in the fast and violent conclusion, but it is even more complicated than its sequel--Kernick relies on an Afterword to tie up all the things he hasn't been able to deal with in his narrative. Kernick's novels have a lot to like, and there are frequently very funny and very violent passages (often at the same time), but so far all of his novels have alternated these parts with long longeurs, to my mind, and the novels could have used some judicial editing--they're a bit too long as well as too complicated, and I tend to lose interest in the repetitious dialogue that he has to indulge in to keep the details of the plot in the forefront of the reader's mind.

Cathi Unsworth and what's next

I'm going to talk about a couple more UK writers (the one shown here is the U.S. cover, which I prefer to the original, for a book I've been saving for a while) and then it's back on the international circuit, with two writers from Finland (one writes in Swedish, the other in Finnish), a Cuban, and more. First, The Not Knowing, by Cathi Unsworth, another estimable noir novel from Serpent's Tail. TNK includes an English version of Southern Gothic, like Thomas Hardy crossed with Deliverance (or maybe Daniel Woodrell): at the heart of the novel is a novel-within-a-novel that Unsworth's heroine, Diana, takes seriously as a crime novel, though it's really more "wretched of the earth" kind of stuff. The set-up is that Diana works for a new magazine, Lux, that deals with crime fiction, music, and the culture scene (particularly the scene around what she calls "psychobilly," a marriage of punk and rockabilly that sounds fascinating (I need to do some research and find which bands or what scene she's portraying here--anybody have any ideas?). As the novel gets going, there's a spectacular murder of a filmmaker who's just made a splash with an updating of the great British gangster films of the 50s (and its success has spawned a craze for the style of the Kray twins). The texture of this aspect of the novel is wonderful--Unsworth is able to move back and forth from the film world, to publishing, to the pubs frequented by the musicians, and it's all great fun. Diana is likable, though she falls more into the role of victim than active agent or investigator (kudos to Unsworth, though, for not setting her up as an amateur detective, England is already crawling with those, to judge from the mystery lists). Also to Unsworth's credit is that the denoument doesn't involve any transformation of her heroine into a kung-fu master (mistress?) or any hero-on-a-horse--the conclusion arises from character rather than cliche. But the false heart of the novel, for me, is the novel-within-a-novel--I just can't accept it as seriously as the characters in the novel do. I'd rather be hearing more about some of the minor characters, such as 50s gangster-film star Niall Flynn, whose career was resurrected by the murdered filmmaker's success, or Detective Linehan, who is merely sketched in here, but seems likable and intimidating by turns, a good combination for noir. I'd read another book by Unsworth, though, and hope she fulfills the promise of this first book (apologies for my caveats--maybe it's just me).

Allan Guthrie

After Allan Guthrie posted replies to a couple of my questions, in earlier posts of this blog, I felt compelled to seek out his novels. I just read the first one I got my hands on, Kiss Her Goodbye, which is apparently his second novel. On the basis of this book, I'll definitely keep looking for the other one, Two-Way Split. People claim that what Ian Rankin writes is "tartan noir," but Guthrie's Kiss Her Goodbye is much more the genuine article--a real throwback (and in some ways a respectful updating) the original noir fiction, the pulp novels of the 50s. Hard Case Crime, the publisher, has recognized this relationship with a noir-pulp homage cover, by pulp paperback master Chuck Pyle. The big difference between Rankin and Guthrie is that Rankin seems always (or at least frequently) to reach for crimes that lead "up" to the middle class, to the government, to the power structure. Noir originally dealt primarily with the criminal class, working class, street life of society. Think of Jim Thompson, James M. Cain, or that pulp classic (by a British writer, I believe) No Orchids for Miss Blandish by James Hadley Chase. I should write a separate post about Miss Blandish, but suffice it to say that this book is exactly the Southern white trash pulp novel that Faulkner originally intended his Sanctuary to be, before his literary sensibility took over, obscuring the very pulpy events by bringing in his larger aesthetic and social concerns. There may be some sort of moral lurking in Miss Blandish, but it's primarily a guilty pleasure. Guthrie's novel is a bit more than that--though it's a fun read too. Kiss Her Goodbye is about the criminal class, but he doesn't patronize or caricature his characters. They never act or talk like cliches. And though his plot is very straightforward, it moves along at the logical pace of his characters' lives, emotions, and motivations. And in spite of the heavy weight of family drama, pain, and death, it's also a funny book (not in the burlesque fashion of Bayswater Bodycount, but in an organic way, appropriate to characters who would not want to be taken any more seriously than they take themselves. I'm looking forward to Two-Way Split. One further point--Guthrie finds a way to solve one of the vexing problems of all crime fiction these days--the cell phone. Nothing is more boring than transcribing people's phone calls--but how do you move people around and get them in face-to-face encounters these days when it's so easy to just call them on their mobile. And how do you maintain suspense and surprise about where people are and what they're doing when most folks would just get the phone out of their pocket and call to find out. Cops can claim (as Simon Kernick cops do in his Murder Exchange) that they'd rather surprise people face-to-face to see reactions, etc. But what about civilians? Guthrie gets his hero so mad that he throws his phone across the room, smashing it to bits. Then he's too busy, in this fast-moving novel, to get another one. Problem solved, and he has to run all over Edinburgh to find people and to find out what's going on.

More Ken Bruen (and maybe the last reviewed here)

Before I make some comments on Ken Bruen's most recent novels, I want to thank those who've responded to some of my recent questions. You've reminded me of a couple of writers by whom I've only read one book--particularly Charlie Williams and David Peace. I can't remember why I stopped after the first Peace novel--I need to go back and have another look. Charlie Williams is a very dark and very funny writer, but his first novel was enough for me, for a while. Still, I'd highly recommend anyone who likes noir, crime, or black humor to run (don't walk) to get hold of something by Williams. Now to Bruen--I'm going to make some comments about The Dramatist first, then come back and edit this post with some comments on Vixen (so last year! in terms of Bruen's output--there's another in this series due out this summer, Calibre). The Dramatist is the most recent of the Jack Taylor/Galway private eye books. Bruen churns these out according to not a formula but a sensibility or an atmosphere, carried forward (seemingly effortlessly and endlessly) by the author. Up to the end, I think the Dramatist is the best of the Taylor novels (and the next most recent, dealing with the famous Magdalen Martyrs, the worst). Taylor is less self-flagellating, sober, and honestly trying to connect with people. The plot (as always with Bruen) is really secondary--the results of his investigation come late and without much punch. The point of the books is travelling the hard road (the Calvary road, almost) of Taylor's journey through Galway and other Irish towns. But the ending to The Dramatist (don't worry, I won't give it away) ruins the whole thing for me. One reviewer at Amazon extols the ending for its sadness--in fact, there's a character who seems to exist in the novel only to die senselessly, and thereby send Jack careening off the water wagon and back into the bottle and his pal, despair. That senseless grasping for the maudlin effect makes me go back and re-evaluate the other characters and events--and in that re-evaluation I'm forced to regard all of the characters as mere props to provide Jack with a reason to fall back into the sewer where he was at the beginning of the series. I'm afraid I won't be able to follow his progress in and out of that sewer any more. The virtues of Bruen's writing are all still here--in particular his references to other noir writers, a gracious and helpful benchmark for his own writing--but have gotten a bit repetitive. And, as in some cases before, Bruen is writing so fast (and not getting the editing or fact-checking that he really needs) that he's not getting his facts right. In earlier books, he has misspelled the noir authors' names, and in these recent books he refers to Oz, the HBO show, as an "Australian prison drama." Oz is about Oswald State Prison, in the U.S.--and why is Bruen referring to it at all if he's that unfamiliar with it? And why is the editor/publisher not catching that kind of mistake? Bruen is endlessly creative, in the sense of generating lively text seemingly ad infinitum, but not so creative in the sense of giving the reader new experiences. Vixen has the typical Bruen virtue or limitation, depending on your point of view, of being a quick, brief read. And Vixen is part of what is to me Bruen's best series, ensemble-police-procedurals featuring a group of cops surrounding Brant, a hard man whose taste in fiction runs to Ed McBain, in homage to the inspiration for this series. But where McBain's 87th Precinct novels are at their heart humanistic, liberal, and sympathetic to the trials and tribulations of his cops and even the general public, Bruen's series is deeply cynical, sarcastic, and anti-humanist. Also a lot of fun--there's lots of wise-cracking and politically incorrect attitude on everyone's part. The plots meander around in the fashion of Elmore Leonard's best books--twisting and turning according to the characters inner needs rather than any imposed plots. The police work is brutal and not very intricate. The speed of Bruen's writing is a virtue in this series, reinforcing rather than undercutting the focus on character rather than events and (given the ensemble character of the series) not dwelling too much on the self-loathing that some of these characters possess in almost as large a dose as Jack Taylor. But unlike Taylor, these characters may be struck down again and again, but they keep on going, like Beckett's characters, with resignation and humor rather than succumbing totally to the drugs and booze that they do, indeed, imbibe.

Irish-canadian-austrian noir novel

About as international as it can be while being set in one small region, John Brady's Poacher's Road is by an Irishman living in Canada writing about Austria. Brady, known for his Minogue novels set in Ireland, has started a new series featuring Probationary Gendarme Inspektor Felix Kimmel, whose beat is small-town Austria in the south of the country, near both Graz and the Slovenian border. Internationalism is a theme of the novel too--international crime (smuggling in particular) in the new Europe. Brady's novels are not known for ratiocination or even so much for solid policework, though he does focus on policework. His novels are about talk, the flavor of speech and the networks of communication, ethnicity, and family that the talk both reveals and attempts to conceal. Poacher's Road is primarily a long, oblique conversation between Kimmel and a Kripo detective who is both exploiting Kimmel and helping out his career. The solution to the mystery aspect of the book is almost secondary, as is the plot. But then in noir fiction, the plot and the resolution of a mystery are not the primary elements--noir is about surface effects and the depths that they reveal. Put another way, noir is about interactions among the inhabitants of dangerous streets, and the unpleasant realities of the society that is the larger environment of those streets. Most noir is conducted in narrative (first or third person), though, rather than conversation--narrative of violence, first person voices or interior monologues of varying degrees of despair or resignation (noir not normally being the cheeriest or most optimistic of genres). Brady, though, gets the indirection of real conversation just right--concealing as much as it reveals, revealing impressions, emotions, and facts slowly, as if in negotiation among the participants. And his dialogue is embedded in the region, particularly noticeable in the Irish novels--here he puncuates the English dialogue with phrases from Austrian rural dialect (followed by the character saying the same thing in English, which ought to be irritating but is surprisingly effective--perhaps since dialogue, if realistic, is repetitive anyway). This novel may be hard to get--only available in Canada at the moment--but it's worth the trouble, as another example of a very talented writer's work.

Another English writer: Simon Kernick

Simon Kernick has 3 novels out, in the U.S., and a couple more in the U.K., but I've just discovered his work through the first of the novels, The Business of Dying. Kernick seems to be doing a quasi-series, in the same way as Deon Meyer--running characters but not the same hero (and in Kernick's case, not the same point of view), as well as doing at least one stand-alone thriller. The Business of Dying is a first-person narrative about a crooked cop: I won't go into too much detail about the structure, since there are a couple of surprises I wouldn't want to deprive anyone of--speaking of that, I don't usually read the plot summaries on the book cover if I can avoid it. I think they ruin the flow of a narrative by (sometimes erroneously) creating expectations outside the narrative's own flow. For the same reason, I don't do plot summaries here, for the most part. Kernick seems to be playing with point of view--one novel in the series shifts from one first-person narrator to another and the third novel is evidently in the third-person in at least the third novel in the series. Without a running hero, the first person is probably hard to maintain--getting into the head of a different character every time, while maintaining the same setting and some of the same characters, sounds a bit difficult, not to speak of gimmicky, in the way of Rashomon (it will be interesting to see whether the novel that does shift point of view falls into that). But back to The Business of Dying, Kernick's novel starts off with a bang (literally) and goes along pretty well for a while, but it gets repetitive and slow toward the middle third. I think the problem may be that he never really made me care much what happened to any of the characters. The main character here (and evidently also in one of the later novels in the series), Dennis Milne, turns out to be very talented or very lucky in tight spots and fights, and as such he's a bit reminiscent of Parlabane in Brookmyre's novels--but not as funny or engaging. By the time the plot picked up again in the last third, I'd almost put the book down as a lost cause. But I'm glad I didn't--when the pace picks back up, there are considerable rewards in excitement and even comedy, along with lots of corpses. A good read, but I'm reserving judgment about Kernick, overall, until I've read one or both of the subsequent novels.

English noir: an annotated list, part 1

I focus mostly on noir fiction in translation, meaning I don't deal with English-language novels very often, but I posted a few comments on Scottish noir the other day and got some good feedback and suggestions. So I thought I'd start a list, with some comments, of the English crime fiction that I've liked. In no particular order:
Bayswater Bodycount, by Graeme Gordon: I really liked this one, about a street war between Palestinian and Jewish gangs in London, with a bunch of violent little-people thrown into the mix. I keep waiting for the 2nd novel from Gordon, billed as Barking Mad, but I guess after a number of years of being promised, this one is never going to happen.
Bayswater Bodycount was published by Serpent's Tail's Mask Noir series, edited by John Williams, and actually anything published by them (British, international, or U.S.) is good--avoiding the middle-class-cliches of genre mystery fiction in particular.
Ken Bruen--multiple titles. I liked the early novels (the Mas Noir ones) and the White trilogy, but Bruen is a real text machine, the books just keep coming. I think the volume of his writing is outpacing his ideas, because, to me, the newer books, particularly the ones set in Ireland, are affected and repetitious. Although they've gotten rave reviews here in the U.S., so who knows, maybe I'm wrong. He certainly has a distinctive voice (albeit sometimes seeming a bit too much like J.P. Donleavy).
John Milne: I think he only has three, maybe four titles, but they're all good--another down-and-out detective-hero, but done very skilfully.

Mike Ripley: I liked the first Angel novel I read, but after a while, they get a little tiresome. They're of very even quality, it's just that I got a little tired of the narrator's voice.
Lauren Henderson: I like her crime fiction, although her work was veering toward romance even before she turned to the "chick-lit" genre in her more recent work. Her first three or four crime novels had great titles (Dead White Female, etc) and a smart-ass narrator that was very likable.
Liz Evans: Not my cup of tea. Too much a series franchise, not enough substance. Same for Emer Gillespie. Same for Stella Duffy, though she's better than the other 2. I don't know why I like Lauren Henderson and not these other "Tart Noir," to use the phrase she and Duffy cooked up, it's just that she seems to have a more original voice, less of a genre series shtick. Or is it a "guy thing" that's keeping me from seeing the greatness of these female crime writers? But I think Denise Mina is a lot more original, does that do anything to keep me from being a sexist pig?
John Harvey: All of the books are well written, but I can understand why he retired the Resnick series--how far down the melancholy-unto-despair road could the character go before he either committed suicide or dragged himself out of his rut and got on with his life. But the 2 Resnick novels dealing with the Polish thief were very good, on all levels.
John B. Spencer: I've tried a couple of his novels, but I can't get into them--something cliched or stilted about them. Same for Paul Charles.
Carol Anne Davis's books are certainly dark, but they're really character studies, and the characters don't have much to recommend them.
Maxim Jakubowski: I know he's done good anthologies, but his noir fiction is just like his porn--very artificial.
Russell James: I've liked the ones I've been able to get my hands on--very cinematic, as I remember.

Charles Higson: he's gone on to do the "official" James-Bond-as-a-kid novels, which is a shame, because all of his earlier books are readable and one is a downright howlingly funny black comedy--Getting Rid of Mister Kitchen. Go read that book, and the others, too, if you have time--but that one is a wonder.
Bill James: I think I've dealt with him elsewhere--very strange and funny, but repetitive if you try to read a lot of them in a short time.
Julian Rathbone: Of course.
More later--and please leave notes with your suggested readings and additions to this list.

Jo Nesbo, The Devil's Star

The Devil's Star, by Norwegian crime writer Jo Nesbo (blogger evidently doesn't support the slash that's supposed to be through that second "o" in the author's name) is a first class thriller and police procedural. It is a long book, but it's crammed with material, and if you think you have figured it out, just keep going--every time the book seems to settle into a comfortable genre, it changes ground again and the reader is off to the races. There are a couple of points where the plot is a bit sketchy, and one or two spots where it's even a bit difficult to see what has happened, but the thrill of the ride is worth a few bumps. Detective Harry Hole is even more down and out than the typical, classic noir hero. He has hit bottom and is only kept on the force because it's a holiday weekend and everybody else is on vacation. A grisly murder in an apartment's shower turns sinister when the murdered woman is discovered to have a red, star-shaped diamond inserted under her eyelid, as well as a finger cut off. More murders, diamonds, and stars accumulate, as well as an offer from Hole's nemesis (a detective that Hole is convinced murdered a female detective, perhaps in a previous book not yet translated--the plot has the feel of something being revisited) si suspiciously friendly, offering Harry an ambiguous job that sounds suspiciously like a vigilante operation. But Harry sobers up long enough to get serious about the case, and to yearn for the girlfriend that kicked him out. All the characters are believable and complex, and the Oslo setting is densely portrayed. Of all the police procedurals I've read recently, this one was the most involving, the most satisfying.

Scottish (or tartan) noir (in part)

There are too many writers of noir fiction in Scotland, and they're too diverse, to sum up in a single article. There's Peter Turnbull (police procedurals of a high standard by a former social worker who knows the streets, novels set in Glasgow if I remember correctly); Ian Rankin (my interest in him is growing, due to several recommendations from writers like Deon Meyer as well as a couple of pretty good BBC series made from his books--though when I read them the first time around, his novels, set in Edinburgh, didn't engage me much); Denise Mina's bleak novels of an underclass dependent on anti-depressants; Christopher Brookmyre's thrillers (the best of them are perhaps too funny to be really noir); Val McDermid is Scottish (don't know if she still lives there, though), and her novels are certainly very dark; then there's Douglas Lindsay, whom I haven't read (hard to find in U.S.) but I hear he's "darkly funny," as they say; and there's the series (several books anyway) by William McIlvanney, featuring Jack (I think that's his first name) Laidlaw--and these are the most purely, classically noir novels set in Scotland that I know of (though I'm for some reason usually less interested in organized crime villainy, very prominent in these books, that individual criminals).
There's also a large crop of mystery novels set in Scotland, more of the cosy or middle-class mystery variety than noir, going back many years--in comparison to the noir novels listed above (and their ilk) this stuff is very Nancy Drew, to me--Alex Gray or Simon Brett, for example.
What do you think? Have I missed any "real" noir novels of Scotland? Let me know--and let me know what you think about Douglas Lindsay--should I be investing in the overseas shipping to get his books?

South African noir fiction

South African crime fiction is bracketed by two writers who started out as crime reporters, James McClure and Deon Meyer, but other than that fact the two writers and their novels have little in common. McClure is English, writes in English, and is basically a satirist. His crime novels pair up a white cop and his black sergeant, in the age of apartheid. One lives in a house, the other in a dirt-floored shack. Their interaction is strictly determined by law and custom. Their creative misuse of that law and custom is the basic premise of the series (which is overtly racist, in a satirical manner, and also sexist, but without the benefit of satire). These characters cannot survive the end of apartheid: the author suggests, as a reason that his series did not continue, that both will die in the turmoil and retribution surrounding the pre-reconciliation days: neither side is able to appreciate the characters' contribution in dealing with people regardless of apartheid, and both will take the rap for propping up the system by upholding the law in a corrupt and unjust society. Three novels by Wessel Ebersohn follow a Jewish medical examiner through the thickets of crime in a criminal society, but the bleakness of the outlook (perhaps a pessimism that the society would ever change) casts a pall over the plots. Another writer who coped with the culture by lampooning apartheid in its heyday, also in English, was Tom Sharpe, who went on to write academic comedies once he returned to England (after being kicked out of South Africa)--Sharpe's two South African novels are technically speaking police procedurals, but in fact are riotously funny travesties of life in South Africa. If satire and comedy were the only means of dealing with the realities of apartheid, noir fiction may be one of the best ways of dealing with the harsh realities (and possibly the high hopes as well) of post-apartheid South Africa. Two writers, both based in and writing about Cape Town, one of the most beautiful cities in the world and, despite a high crime rate, one of the safer cities in the country. One of them, another English speaker, is Michael Williams, a writing teacher whose writing is paradoxically a bit wooden. His best book is Hijack City, which pairs a younger white detective with a black mentor. Williams's portrait of racial realities in the new Cape Town, but the portrait is accurate even though the author's point of view is a bit self-righteous or politically correct. More interesting and even more accurate in catching the tone of the new reality is the work of Deon Meyer, an Afrikaans writer whose work is a fascinating window on a new Afrikaans point of view. Dead Before Dying, actually his first novel, has just arrived in the U.S., following Heart of the Hunter (actually published 3rd in its original language and in England) and Dead At Daybreak. The novels are marginally interconnected but in fact independent, not a series. In Dead at Daybreak, detective Mat Joubert is a wreck, his wife has died, he has a new boss who's a bureaucrat more than a cop, and he can't drag himself out of the bottle. His current case, through which he'll have to prove himself to his new boss, concerns murders committted with a pistol that has a long heritage in the old South Africa, and Joubert has to confront his own pain with that of the grieving families of the murder victims. But there is considerable humor as well as "tourism" in this glimpse of crime and redemption in the new South Africa. In Dead at Daybreak, former cop Zatopek van Heerden is hired as a private investigator to find the missing will of a murdered antique dealer, and in alternating chapters his own story, leading up to his partner's death, his guilt, and his leaving the force, is told. This book is more skilful perhaps than the first novel, but both stand up very well. The third book, Heart of the Hunter, concerns a reformed Xhosa assassin (whose story overlaps with van Heerden's in this book and the previous one), on the run across the country. Heart of the Hunter indulges the author's love of motorcycles, and it's a thriller plus road movie that gives a fascinating panorama of South Africa--but to me the thriller plot is less interesting (less "noir" maybe) than the 2 cop stories, though the portrayal of a black hero (even if by a white writer) is an interesting development (something similar occurs in one of the Wallander novels by Mankell, but the author is ultimately interested in another of his geopolitical plots rather than in the black character (Afrikaaner nationalism, Russian intelligence agencies, and an international plot with "high stakes"). Meyer's book is more authentic, concerning South African and his Xhosa her, but I guess Heart of the Hunter is more myth-making than noir fiction, and though the myth is told in an interesting way it's finally a bit too heroic to quite fit in the classic noir genre. But its success has brought us American editions of the first 2 books by Meyer, and we can hope others will follow (I can't quite tell if there are others already published in Afrikaans that are awaiting translation--does anybody know?).

Luca di Fulvio and The Mannequin Man

The Mannequin Man, recently published in English by Bitter Lemon Press, is a baroque, operatic crime novel something like the novels of Carol O'Connell, or perhaps a much longer and more lushly written relative of Massimo Carlotto's crime novels. But unlike Carlotto's or O'Connell's books, which are firmly rooted in the Padua and New York of the real world, Luca di Fulvio's novel is set in an unnamed city that's maybe Genoa, or a parallel Genoa. This placed but placeless quality of the setting is of course not new--the 87th precinct novels of Ed McBain are one example. A more recent one is the vaguely North European setting of Borkmann's Point (see earlier post). But The Mannequin Man is wordier and more "mythological" than either, without quite being a Gothic novel, its central serial killer not quite a Hannibal Lecter. So there is a realistic, police procedural core to the story, obscured though it may be in the melodrama of the central love story, between the detective at the center of the narrative and the primary female protagonist/victim. There are lots of heaving breasts (large ones) and a hero trying to "save" their lover by abandoning her. There are also grand narrative metaphors, such as a garbage strike slowly burying the city under mountains of rubbish as the murderer increases the level of evil in the story, and an anthropological theory that broadens the significance of the story of a crime into the story of the human race. That's a lot of weight for a crime story to bear, even an operatic one, and di Fulvio's novel just manages, in spite of its substantial length, to keep the story moving without quite succumbing to the overheated romance-novel elements of the plot and the writing. The flaw I find at the heart of the narrative is that the killer speaks in two voices (as in Nesser's Borkmann's point) for the first half of the novel, under his actual name in his "daytime" life and without a name in his secret life of the night. In the second half of the novel, these two voices join and the narrative follows the killer more openly. But the split in the first half of the novel still feels like a trick. It's not really my taste in "noir," but then neither is Carol O'Connell--so don't let me stop you from experiencing the distinct pleasures of this "compelling" story, to use a word that is itself a bit overheated. On the other hand, I'm halfway through Jo Nesbo's The Devil's Star, which has a plot that might have been equally overheated (drunk cop jolted out of his alcoholic stupor by a serial killer right out of Twin Peaks) but is instead solidly grounded in Oslo and in a terse language that moves the tension-filled story forward (though this book is also very long) easily and with excitement. And a point I will return to later is that the point of view is more carefully controlled by Nesbo than by di Fulvio or Nesser--the narrator dwells in the consciousness only of the central character and what could be called "witnesses," both literally and figuratively, leaving us to discover the killer (and the plot) along with them rather than having it served up openly (as with di Fulvio) or with an element of sleight of hand (as is more the case with Nesser's least-likely-suspect).

Chinese and Southeast Asian crime/noir

There are actually a few crime series set in China, but only one genuine Chinese noir (translated into English) that I know of. Two series set in China are Qiu Xiaolong's Death of a Red Heroine and its sequels and Lisa See's Flower Net and sequels. Both series have 3 volumes now, I believe, and both are by Chinese-Americans and were written in English. Of the 2, Xiaolong's is the more immersed in China and in a particular city, Shanhai. See's novels follow a Chinese detective whose lover is American, and who has spent time in the U.S. And Xiaolong's books are more strictly police procedurals, rather than thrillers, and as such a persistent theme is the interference of the political realm into the world of police, crime, and justice. Wang Shuo's Playing for Thrills, on the other hand, is genuine, full bore noir from a Chinese writer. A caution, though: It's literary noir, in the vein of Japan's Ryu Murakami or Kobo Abe, but with a much livelier style than Abe. Very dark, funny, breezy, but the crime aspect is only a device to get things moving. There's also a movie version of Playing for Thrills. In Southeast Asia, there are noir or noir-esque novels from Singapore (Gopal Baratham's Moonrise, Sunset, which is a gloomy portrait of the city-state but from an author who can't stay gloomy very long--so it's lighthearted in a funny way; and Hwee Hwee Tan's Foreign Bodies, which has an oddly religious theme that undercuts the noir aspect of the story of the sometimes draconian justice system in Singapore). There is a good bit of Korean noir on film, but the only fiction I know of is the series by Martin Limon, who exploits his knowledge of the U.S. presence in Korea in his novels about American M.P.s dealing with crimes in and around U.S. bases. Soho Press published the first couple of Limon's novels and are now publishing the Colin Cotterill novels about Cambodian crime, from the point of view of a pathologist. Personally, I have not found the Cotterill novels very interesting or entertaining, and Cotterill is attempting the very difficult task of writing as an outsider from an insider's point of view. John Burdett's novels about a Bangkok policeman who also runs a brothel (there are 3 of them now), though, make Cotterill's novels look better--Burdett strives to create a Buddhist pimp who works for a corrupt police department, but along the way he makes the exploitation of women in the Thai sex trade seem a trivial matter, the "girls" love what they do and make lots of money and that's the end of it. And the voice of Burdett's character/narrator is a stream of repetitious, self-justifying cliches about Buddhism, prostitution, and even murder. Plus the books are too long. Send me a note if you think I'm wrong about Burdett, who chose Bangkok as a good locale for a crime series, rather than writing from intimate experience of the place--a new kind of colonialism, perhaps. I don't know of any Vietnamese noir, though the country and its history, interlaced with U.S. history, would seem to make Vietnam a great place for noir fiction. There's always Graham Green's Quiet American, but that was a long time ago.

Gianrico Carofiglio, A Walk in the Dark

Carofiglio's second legal thriller is now in English. The novel is set in Bari, in the Puglia region of southern Italy, and "stars" a not-very-confident defense lawyer whose private life is a bit less of a mess than in the first novel. Most legal thrillers don't really fit in the "noir" category (and I must admit I'm not very fond of legal thrillers in general). But Carofiglio's books depart from the genre in significant ways, just as they depart from the conventions of the mystery. A Walk in the Dark is not really a mystery at all, certainly not a murder mystery (though violence and dead bodies are part of the story). The only revelation at the end deals with who the book is actually about (something that many readers will have figured out before then). Like many noir novels, Carofiglio's books deal with the darkness at the heart of society and in the hearts of many of its citizens. The melancholy but not tortured character of Guerrieri, the narrator and main character, is a bit lighter than the normal noir anti-hero, but he is an anti-hero nevertheless, and the situations with which he is forced to deal (because of his clients) is certainly dark enough. His stock-in-trade clients are petty criminals, providing income for Guerrieri by being repeatedly arrested. In some senses he has a kinship with Rumpole, but without the jokiness, or perhaps it is his usual clientele that has something in common with that of Rumpole. But Guerrieri becomes increasingly involved with his more desperate clients (an African immigrant unjustly accused in the first novel, see my earlier post on Italian noir) and in this case an abused woman. His normal melancholy and legal ineptness dissolves through the course of his involvement, and he becomes a powerful, though not always effective in the sense of the hero-on-a-white-horse of the usual hero of legal fiction. In the end, what remains is a sense of Guerrieri's personal growth (unlike some series characters, he is changed by the experiences of his narratives) and a sense of the unpleasant realities of dealing with other people, and of the unjust and unfeeling layers of contemporary society. Plus these books give a glimpse of a part of Italy rarely seen in fiction, much less crime fiction (and for me, gaining some insight into new places and new populations is a driving force in my interest in international noir fiction).

The Three Evangelists, by Fred Vargas

Fred Vargas is the pseudonym of a French woman who is a historian and archaeologist. Her profession shows through more in the recentloy translated The Three Evangelists than in her earlier detective novels (see earlier posts here) which were odd, a bit mannered, but more conventional than the new one. Her writing is typically Dickensian, attributing a very specific personality profile to each character and continuing to emphasize that profile throughout the novel. In The Three Evanvelists, the three characters referred to in the title (Mathieu, Marc, and Lucien) are historians of, respectively, prehistory, medieval, and "Great War" eras. They rent a house, each taking a floor that is an archaeological stratum based on their historical periods (Mathieu on the ground floor, and so forth). And the personalities of each are defined by their era of study: Mathieu a primitive, etc. But Vargas employs these perhaps too consistent characteristics in a comic vein that never becomes irritating, and the comedy never overwhelms the story, which builds slowly and inexorably to a violent conclusion. And no one in crime fiction today can top Vargas's "mcguffin" in this novel: a tree that appears with no warning or explanation in a former opera diva's back yard. The story of the tree is in some senses more compelling than the murder plot, and has certain characteristics of Poe's detective stories, perhaps a nod to the inventor of the genre. Vargas's novels are comic without being funny, in the sense that she moves characters around in a narrowly defined artificial world with more purely authorial intent than realism, as well as the sense of her narrowly defined and rigidly maintained character portrayals. Vargas is working in a genre that might be called satire (though there's no clear object being satirized, other than the modern world). As such, her novels may be an acquired taste. I must confess that I found her first two novels a bit peculiar, stylized in almost the way that Jacques Roubaud's "Hortense" novels, which are anything but noir though based on a kidnapping story. Roubaud is concerned with literature, not crime, and that can't be said of Vargas--her tales compel the reader with atmosphere, character, and narrative, rather than cleverness, as is the case with Roubaud. But there is enough stylization to make a comparison with Roubaud apt. Nevertheless, these perhaps very French novels are an interesting counterpoint to the much more realistic crime novels of Dominique Manotti, Jean-Patrick Manchette (whose 3 to Kill is a wonderful revenge story) or Chantal Pelletier (more of a purely genre writer).

review of classic european noir, 3 Dutch, one French, one Swiss

With this post, I'll begin an overall review of some classical European noir and detective fiction--really just an opinionated list of the best of Europe. Beginning with the Netherlands, for no good reason (I just spent a few days there). Amsterdam has been fruitful territory for Bantjer and Janwillem van de Wettering (with detectives Grijpstra and de Geer), plus the Van der Valk novels by Nicolas Freeling, who is English not Dutch. I think Bantjer's novels (I think I have his name right, but can't find anything to verify it right now) are pulp. A bit of fun but not even worth reviewing, in my estimation. I'm not myself a big fan of the Grijpstra and de Geer novels, but they do demand to be taken seriously, in all their peculiarity. Van de Wettering's writing is based on the characterizations of his two detectives, and on the underlying buddhist perspective of one of the detectives and of the author. For me, the plots are engaging the the interplay of the detectives is a bit distracting. There is something distracting about Freeling's stories, too, but I think it's in the style of the writing and in the plotting. Freeling's novels strike me as being written quickly and without revision, in the model of Simenon, one of the undeniable inventors of the detective and noir forms. Simenon wsa known to write his many, many novels rapidly and according to the advice given him by Colette: leave out the adjectives. The lean, quick prose moves the novels along with few distractions, but allows for two flaws in his works. One is that he often reverts to the already, in his day, hoary gimmick of solving a plot by gathering the suspects all in a room and getting them talking. The second flaw is that a kind of "master narrative" flows through all of Simenon's fiction, a family drama in which the blame for murders and other problems often lies with a mother, or at least a woman. Some of the writers who admittedly stole much from Simenon (Ed McBain, Sjöwall and Wahlöö) gain in range in power by not succumbing to that kind of personal psychology and canned plot devices. One other classic crime novelist who is only now getting into English is Switzerland's Friedrich Glauser, three of whose 1930s-era Sergeant Studer novels have been published by Bitter Lemon Press in the UK. Previously, only Friedrich Dürrenmatt's short crime novels were the only Swiss crime stories to be translated (as far as I'm aware) and, to me, Dürrenmatt's novels are not very satisfactory as noir--he's really concerned with dramatizing ideas (of an existentialist sort) and the stories don't engage much as character studies or crime stories. Glauser, on the other hand, is completely convincing as a crime novelist, but I find Studer to be a bit too plodding, and the stories a bit dated and provincial. What do you think?

Point of view in noir fiction

I'd like to throw a question out concerning point of view in current crime fiction in the noir genre. Looking back at the classic noir, point of view was, it seems to me, tightly controlled: commonly first person narratives but even if in the third person, the point of view was confined to a limited consciousness--mostly the main character, with occasional forays into other settings outside that person's presence, either in the authorial voice or the consciousness of another character. In this way, the classic noir both conceals the "solution" to the mystery or the perpetrator of the crime but also tightens the atmosphere in the service of tension in the narrative. Lately, in for instance the novel Dead Horsemeat that I just reviewed, the consciousness is collective: the point of view shifts from one character to another. Without counting, I'd say there are about 10 different heads that the narrative gets into, relating what the character sees and thinks. The more splintered point of view is perhaps a reflection of our contemporary consiousness itself--we see society (and even ourselves) as splintered, kaleidoscopic. The "solution" of the plot is revealed gradually as these points of view converge in the climax (or sometimes don't). There are of course plenty of first-person narratives in the mystery genre, more broadly speaking--I recently read a couple of Liz Evans novels, very much in the first person, told from Grace Smith's limited point of view. But as with Evans's books, the first person today seems to convey a cuteness or cleverness that shifts the work out of noir into a more "cozy" genre, even when the novel is in an urban setting. Is a first-person noir detective story possible today? Of course it is, there are always exceptions to any general tendency that can be spotted. But I think that the kaleidoscopic narrative (difficult though it can sometimes be to sustain, and irritating as it may be once you start noticing that the narrator is in everyone's head, but concealing something from the reader nonetheless) is a more accurate representation (as well as more like cinema narrative) of reality today.

Noir from France: Dead Horsemeat, by Dominique Manotti

No picture available at the moment: I'll add it later. I've been waiting impatiently for Dominique Manotti's Dead Horsemeat for several years, since reading her excellent police procedural Rough Trade when it first came out in English. Manotti places her procedurals into carefully constructed historical milieux: Rough Trade occurs in the middle of an immigrant workers' strike in the clothing trade (the original French title of the book refers to the dark Sentier, the rag trade district). Dead Horsemeat uses the student rebellion of 1968 and the fall of the Berlin Wall to bracket a story about drug trafficking, prostitution, horse trading, and corruption in high places. Manotti's chief detective, Daquin, is openly gay (a major factor in Rough Trade, less central here), giving him an edge as an outsider within the close community of the drug squad in Paris. A new member of the team is brought in to provide expertise in the horse-racing scene, and the crew works diligently through a complex plot evolving from the horses to drugs to pressure from government officials. Manotti is one of the few crime novelists who has, even in translation, her own style. She uses the present tense, clipped phrases, and tense dialogue to create a fast-moving story with the flavor of the streets. Rough Trade was a revelation, and if Dead Horsemeat doesn't quite measure up, it's only because the first novel created such expectations for the second. But the links to recent French and European history provide a grounding in a broader context that makes Dead Horsemeat resonate even more than Rough Trade (which was itself very resonant) in our own world, almost two decades down the line since Manotti's tale. This one is Very Highly Recommended! And if you haven't read Rough Trade, get it asap.

Sun Storm, by Åsa Larsson

Åsa Larsson's Sun Storm keeps the reader unsettled: every time you think that the plot is settling into a cliché, Larsson provides a twist, not just to startle but to keep the story full of both tension and realism. The book is not a police procedural, but a policewoman is a prominent character and her investigation, along with her colleagues, is central to the book (without providing a resultion to the plot). The central character is a lawyer forced into investigataing a murder, somewhat like Liza Marklund's intrepid reporter, constantly being thrown into the middle of a murder. But whereas Marklund's character is implausibly skillful in getting out of tight spots, Larsson's Rebecka Martinsson is simply a woman with a past, caught up in the intrigues of a small town that she thought (and hoped) she had left behind forever. The setting is also intriguing--the far northern town of Kiruna. The main thread of the plot Iand of the book's atmosphere) is religion--specifically a uniquely Swedish brand of revivalist/fundamentalist Christianity of the "crystal cathedral" sort. The lure of a "cult" of that sort for ordinary people and also for a certain kind of psychopath is a key theme of the book--but Larsson skilfully avoids demonizing the religiosity of the church at the center of the plot by using a former convert, Rebecka, as her main character. The Lappland environment recalls a wonderful novel by Kerstin Ekman, Blackwater, that is also a crime story--albeit one that is extended by language and narrative far, far beyond (in page count and content) it's "McGuffin," to use Hitchcock's term for the event that drives a crime story. Ekman's novel is heavy sledding (little pun, please forgive me, given the snow everywhere up there in Lappland) unless you get wrapped up in it--if you do, it's a fascinating portrayal of difficult relations among Swedes, Lapps, and leftover hippie-dropout-types in a local commune. Larsson's novel, far shorter than Ekman's, doesn't present any hurdle of that sort and moves along much more quickly, with more tension. But Larsson's language is also rich, her evocation of the far north equally involving and vivid, and her resolution, though more in line with a thriller perhaps than Ekman's, dramatic rather than melodramatic. All in all, we can thank the current Scandinavian crime boom (started off, presumably, by the success of the Wallander books) for making it possible for English speakers to read a book as good as Sunstorm, and if the book blurb is to be believed, the sequels that Larsson is producing. One thing that is evident in this book as well as several others I've read recently is a casual violence against animals, used as a dramatic device. In the case of Sunstorm, this particular plot device is a weakness, a cliche even--a flaw in the book that is the only really off-putting aspect of the novel. In some other cases, the violence against animals is more integrated into the structure but more "on-screen" and harder to take. Is this a theme that anyone else has noticed in contemporary crime fiction?

Yet more new Swedish noir in translation

Borkmann's Point by Håkan Nesser is the newest of the current crop of Swedish crime novels to reach the U.S. market. But Nesser's novel is a bit different from the others. The setting is not Sweden, not exactly anyway. The beat of Detective Van Veeteren, Nesser's central character, is an unnamed European country that is something like the Netherlands, or perhaps coastal Denmark. Or maybe coastal Sweden. In a way, Nesser has staked out the territory of "new Europe" for his detective, giving himself considerable leeway in controlling the setting (but losing the anchor of a real city, one of the things I go to international noir fiction for).
Nesser's novel is a puzzle, solved in the "least likely suspect" mode, perhaps more a straight mystery than noir fiction. But the inability of citizens to rely on the justice system for justice, a dark sensibility, and the oddly disorienting fictional world bring the novel close enough to noir to be considered here. The narrative has considerable drive, though the investigation is not very systematic, as police procedurals go. Van Veeteren's self confidence echoes (distantly, fortunately) that of Poirot. On the other hand, the family problems of several of the characters give a "reality effect" in amassing detail surrounding the characters' lives. And the progression of murders, and of the detectives' efforts to catch up with the murderer, are the primary sources of that narrative drive. To me, this novel is not quite as interesting as Eriksson's Princess of Burundi, but he avoids what I see as a flaw in the Wallander books--a tendency to reach for global conspiracies in the resolution of local crimes. And it's fascinating to see Nesser build up a circumstantial, believable world from scratch. Plus the explanation of the book's title is interesting and completely unexpected...
Synopsis: A drinker is stalked and murdered, with an axe, in the woods on his way home from a bar. Obviously this is not the first novel in this series, becuase there is some unfinished business between the star detective, Inspector Van Veeteren, and his son, who is on parole and the two are at the beach together. No more explanation is offered, since the detective is immediately called away to the nearby town of Kaalbringen to deal with the axe murder. In Kaalbringen he meets the police chief, Detective Chief Inspector Bausen, and detective Beate Moerk, plus several other less well delineated detectives (Moerk and Munster both occupy the narrator's attention nearly as much as does Van Veeteren--Moerk is in fact a fully realized character, at least in the first half of the novel). Eventually, they're joined by Van Veeteren's trusted lieutenant, detective Munster. The two victims, a business man and a vagrant, seem to have nothing in common. Then another man is discovered when his girlfriend returns to their apartment--the axe is still buried in his back. The twists and turns from there on follow a familiar pattern, and there is what I consider to be a flaw in the point of view--the killer speaks, giving the reader details of his motivation, and the character who will eventually be revealed to be the killer also speaks, separately and in the voice of his "daytime" character so to speak, with no mention of the motivating compulsion that we know from the killer's monologues. So there is a blatant attempt to fool the reader, and these two voices are not really reconciled in the conclusion.

More new Swedish noir by Kjell Eriksson

Kjell (pronounced "shell," I believe) Eriksson's newly translated The Princess of Burundi (I should really start crediting the translators: Ebba Segerberg did a great job with translating this one from the original Swedish) is one of (probably the best of) a new crop of Scanidinavian crime novels hitting the shelves in the U.S. and U.K. this year. This is another "collective" novel of a sort, since none of the detectives in this police procedural dominate all the others. There are a couple of characters who come forward, though, as well as some of the families of the principals in the crime. There is no Sherlock Holmes who solves the crime by himself--on the other hand, it is less of a self-consciously social novel in the sense I use the word "collective" with respect to The Beast (see earlier post on that Swedish novel). Eriksson's detectives work in Uppsala, the famous Swedish university town, and there is a subtle variation on the "town and gown" theme that is as common in crime novels as in "mainstream" fiction (since Lucky Jim at least). The class boundary is here clarified by exposure to, and participation in, crime, and the line is drawn in an effective manner by Eriksson. Detective Ann Lindell (whose role here suggests that she may be a more prominent figure in others in this series not yet translated) remarks (with regard to the cultured detectives of a certain genre of crime fiction) that the cops she knows are not cultured, not great readers (see my comments on Garcia-Roza's detective Espinoza). She comments that her crowd is perhaps better at what they do because they are closer in class, taste, and education to those with whom they most often work, the perpetrators and victims of crime. Another of the detectives, Berglund, comments at the early stages of the investigation that "Solving a crime was a matter of discerning a pattern...and in that way this man and his context, his part of town, his expressions, gestures, and language were a part of the answer," and that when confronted with the puzzle that a crime represents for him, the investigator must put together "the pieces of the puzzle, the puzzle of the town..." These comments get to the heart of what makes a crime novel "noir," and also what makes crime novels (and to me, particularly the international ones) so interesting. To be effective, a "noir" writer must get to the heart of a city, and also give a certain amount of the surface detail, the "map" of the city. Eriksson's book is not a travelog, though--his characters have the pessimism about society and about the bureaucratic realities of policing that make "noir" noir. If I find one flaw in The Princess of Burundi, it's in the plotting--especially of the ending. Without giving too much away, I hope, I found the solution to this puzzle a bit unsatisfying, not in the way the book ends but in the revelation of the criminal's identity. It seems almost as if the author had originally designated one character to be the murderer, and then decided that wouldn't work--so he came up with the most similar character he could as the perpetrator. Still, the plot moves forward without any other artificial contrivances, and the conclusion has a genuine inevitability and pathos. This is a good one.

Brazil's Luiz Alfredo Garcia-Roza

The fifth of Luiz Alfredo Garcia-Roza's Rio de Janeiro crime novels featuring Chief Espinoza is now in English--a good occasion to review the whole series (The Silence of the Rain, December Heat, Southwesterly Wind, and A Window in Copacabana). On the face of it, this is a series I should like--even want to like. The setting is exotic and interesting, and there are the elements of noir (a bleak portrait of modern life in general and the particular setting, corruption in the police force, jarring crimes, poverty and despair). Plus the tone is fairly light (given the material), allowing for a certain dry comedy. But I just can't seem to get into the series--they are not novels I can easily imagine going back to again and again, as I would do for some other series. The plots are intricate and turn on believable events that are integrated into the society in which they happen. In fact the plots are the main interest of the series, because there is little character or interaction among characters. Espinoza is a writer's idea of a policeman--he's obsessed with books (his no bookcase bookcase--made entirely of books--is a feature in all the books). He cares little about what he eats but the novelist is careful to talk about what he's eating--and since Espinoza is not all that particular, the meals are usually pretty boring (in contrast, for example, to the meals of the main characters in the novels of Spain's Montalban or Italy's Camilleri). None of the other characters have much personality, other than a few colorful characteristics. The other cops are either routinely corrupt or, in the case of Espinoza's few trusted lieutenants, simply not corrupt--they have no other personality (though Garcia-Roza does give them little snippets of life outside their work). The text is very "narrated," rather than growing integrally out of the setting or the characters. Garcia-Roza is present in every word. I've been tempted to refer to the novels as like Doyle's, since there is a puzzle character (but no similarity in methods between Holmes and Espinoza). The novels seem almost parable-like--tempting me to compare them to Kafka (though the tone is much lighter in Garcia-Roza). I think perhaps they are simply too self-consciously literary, as are the novels of, for example, Cuba's Leonardo Padura, whose detective is a frustrated writer--but Padura's novels are full of telling detail about life in Havana, life in Cuba, life in the modern world. And the characters are (though in some ways just as cipher-like as Garcia-Roza's) colorful in interesting and believable ways, ways that further the stories. In the end, I still want to like Garcia-Roza's novels and will probably look at any new ones (in the library--I don't think I'll buy them any more), but I don't find myself wishing that the translator would hurry up...

A Swedish "Beast"

The Beast by Anders Roslund and Börge Hellström is a "collective" novel of the sort attempted by certain novelists in the 20th century--not focused on a single hero, but shifting among a kaleidoscope of characters (in this case a couple of policemen, several prison guards, a pedophile murderer, the father of a young girl, a group of Swedish rednecks, and assorted other characters. Their stories (told in the 3rd person) are intertwined until all the threads ultimately come together, with several twists that take the plot beyond that of the average crime novel, in an ultimately not-unexpected ending. Rigosi's Night Bus (mentioned in an earlier post) has a similar intertwined structure, but whereas that novel is a rollercoaster of a comic thriller, The Beast is an all-around indictment of a society whose limits and ethics are tested by the strains of a child molester's exploits and their awful aftermath. Most of these characters are damaged (and the one flaw I would find in the novel is that the "back story" of a few of the characters molested youth is a bit overdone), and none come out of the novel without further damage. But the novel is compelling, and the technique is carried off almost flawlessly--collective novels are often tedious and unfocused, but this one is driven and tightly wound. One aspect of noir fiction that is seldom plumbed by current authors is the thinness of the veneer of civility in an entire society, rather than a narrow spectrum of an enclave such as the criminal underworld. The Beast does plumb those depths, convincingly and tensely.

Helene Tursten's The Torso suffers from a couple of problems with respect to the noir tradition (or anti-tradition, as may be). The first is one I mentioned in my last post, a certain woodenness in the language that I would (without any evidence) attribute to the translator. The woodenness reflects some aspects of the Swedish language--for one thing, if you translate some Swedish swear-words more or less literally, they sound pretty mild, so that in this translation, the main character (detective Irene Huss) says things like "Yipes" when we would (in American or even more so British spoken language) expect "Fuck." I can't exactly fault the translator in respect to instances like that, but I might hope for a livelier equivalent to Swedish expressions like "djävlar," which literally means "devils" and is short for "a thousand devils," but is used more like "damn" in English. The other problem is one that Tursten shares with the better-known books of Henning Mankell--a reflection of the "political correctness" of Swedish culture. In one of the early Wallander books by Mankell, the main character is devastated by being caught for driving under the influence, hardly the cause for much soul-searching in non-Scandinavian crime fiction. Tursten's police squad, and in particular detective Huss, seem inordinately shocked in The Torso by fairly straightforward kinky sex, and a bit self-righteous about smoking and other non-sexual sins. Still, these attitudes of the Swedish characters are believably contrasted in The Torso with more worldy attitudes of the Copenhagen police detectives who figure in this novel prominently. Overall, I found The Torso to be pretty effective as a noir-ish police procedural, and actually fun to read (except for the annoyances mentioned above), though there's one more flaw I could mention--that old cliche the "snuff film" makes a guest appearance here. Fortunately the plot doesn't turn on that mythic video genre, but on a more gruesome and believable genre of serial killers, involving necrophilia. On balance, then, I wold recommend The Torso, which in some ways is better than the Wallander books, if you think like I do that the morose Wallander is getting a little tiresome--if Huss's family life is a little too sunny, perhaps some of the other Scandinavian crime novels coming out this spring will prove to be a better balance. The next novel I'll be dealing with, The Beast, by Roslund and Hellström, is not a police procedural at all, so it will likely be either a contrast or (even better) an antidote to the various excesses or failings of these more prominent (in the U.S. anyway) Swedes.

More Scandinavians

Had a reply to my recent post on (mostly) male Scandinavians: "Asa Larsson - Sun Storm (Apr), Anne Holt - What Is Mine (Jul) and Liza Marklund - Prime Time (Sep)." I don't think of Marklund as "noir," more of a mainstream thriller kind of thing. Still, it's another female voice in the stream of Scandinavian crime fiction that's coming out now. I don't know Larsson but look forward to that and to the Holt. The new Tursten novel (The Torso) has some of the same problems as her first novel in English--due to (I presume) the translation. The text is a bit wooden in English, but the novel's forward movement is only impeded a bit. More later--I haven't finished the book yet.

New Italian noir from Giampiero Rigosi

The newly translated Night Bus by Giampiero Rigosi (from the UK's Bitter Lemon Press) is a wild ride, a combination of Pulp Fiction and the Pink Panther. The story, with a large cast of characters, is told in short blackouts that weave the strands of the plot around and around, tightening the chararcters in the web that Franz, a bus driver who is perhaps the only innocent in the whole lot, sees in the streetmap of the city of Bologna that he navigates on his bus route. Night Bus should actually come with a warning label--Rigosi is so good at keeping the story (and the suspense) going that the book is hard to put down. I actually could not pick it up and start reading unless I knew I had a substantial block of time to give to it. At every turn, a new complication or twist pops up to keep the story going at its breakneck pace. It's obvious that Rigosi is a skilled writer, and that his aims are above the level of pulp, but he never condescends to the reader or the genre. As dark as the story is, and as many corpses as do pile up, the comedy remains at a high level. And while you may think you see a particular resolution coming, Rigosi manages to keep surprising the reader by avoiding plot cliches that are irresistible to most mainstream thriller and mystery writers. I regret that it will take a while to get any further novels from Rigosi translated, and that we're at the mercy of boardroom decisions about whether and when we'll see any more at all (maybe I should brush up on my Italian). But for now, Night Bus is one of the best noir thriller's I've read in a long time, and clearly the best of Bitter Lemon's fine list of translated noir fiction.

noir, crime, middle class, Serpent's Tail

Quote from Pete Ayrton, publisher of Serpent's Tail Press, on their Mask Noir series (published in Jacket, no. 4, July 1998--an online magazine): "The crime list has really taken off since we last talked. It started with the whole P. D. James controversy. P.D. James gave this interview to the World Service of the BBC — which, you know, you’re not meant to listen to in the UK. It went out at 3.30 or so in the morning, broadcast for Latin America or somewhere, and she made the point that the middle classes were the suitable subject for crime fiction because the working classes didn’t make moral choices. Regardless of what one thinks of what she said, it certainly led to a loud and controversial debate over the nature of crime writing, who are its protagonists, who are its natural subjects. And obviously there is a recognition that the UK is changing as a society, it’s becoming multi-ethnic, whole hierarchies are disintegrating and contemporary crime writing has to reflect this changing reality of contemporary British cities. And the literary traditions of the cosy, the rural inspector, no longer seem adequate for the genre to cover the reality of British life." This is a reference that I've mentioned before, regarding P.D. James's incredible statement. Comments?

upcoming scandinavian, italian, french, more

Just a hint of what's coming out (and what will be appearing here in the near future):
Arnaldur Indridason (Iceland): Voices
Tonino Benacquista (France): Framed
Luca Di Fulvio (Italy): The Mannequin Man
Gianrico Carofiglio (Italy): A Walk in the Dark
Matti Joensuu (Finland): The Priest of Evil
Jo Nesbo (Norway): The Devil's Star
Dominique Manotti (France): Dead Horsemeat
Anders Roslund (Sweden): The Beast
Giampero Rigosi (Italy): Night Bus
Kjell Eriksson (Sweden): The Princess of Burundi
Fred Vargas (France): The Three Evangelists

This is a sudden glut of novels that I've been either waiting for their publication dates or have just discovered while foraging through Amazon, Amazon.co.uk, and Bookfinder. Is there any significance to the fact that only 2 of the authors are women (and both of those French)? Manotti and Vargas (that's a pseudonym) are the 2 among this group. Though there are a number of women working in the noir tradition, these are the only ones in this crop. Of course there's also Helene Tursten's The Torso, which I haven't included but will be out this summer (from Soho Press), so maybe this is a very small, mostly male window on noir...

noir can't outdo reality sometimes

In Atlanta, in 1987, a hit man carrying a "delivery" of roses shot a socialite twice with a 9mm pistol in a Buckhead (upscale in-town suburb) townhouse when she answered the door to accept the flowers. The estranged husband's trial is going on in Atlanta right now. The husband, who was moving to Florida, asked the trucker who drove the moving van to "take care of" his wife. The trucker says he didn't believe the husband was serious until he got $12,500, half of the $25,000 the husband had offered him, in the mail. So the trucker picked up a bartender and a stripper in North Carolina, drove to Atlanta, bought the roses, and told the bartender to go to the wife's door posing a delivery man. He says he heard two shots and the bartender came back to the car sprayed with blood. I don't know how they caught the trucker, but he got 20 years after agreeing to testify against the husband. They've never caught the bartender and have no evidence he existed except for the trucker's statement. This is as close to a noir or TV crime show plot as reality gets, but no matter how hard they try, the writers and the TV shows just can't make "murder for hire" seem as tawdry as the reality (plus the fact that it took from 1987 to 2006 to bring the husband to trial isn't reflected in the TV shows, though in noir fiction sometimes the timeline is more accuate).