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The Warm-Blooded Detective: The Inheritance

19 Monday Mar 2018

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Review: The Inheritance, by Charles Finch
St. Martin’s, 2016. 294 pp. $26

Charles Lenox, a partner in a thriving London detective agency in the late 1870s, receives a vague plea for help from Gerald Leigh, a friend he’s barely seen since their schoolboy days at Harrow. When Charles looks into the matter, he learns that Gerald has disappeared — and what’s more, may be marked for murder because he’s just come into a sizable, unexpected inheritance.

As a latecomer to the Charles Lenox series, I’m delighted to recommend The Inheritance, not only for itself but as a refreshing change from many mysteries published these days, historical or otherwise. Instead of a sullen, troubled misfit for a sleuth, which has perhaps become a cliché, Finch offers a warm, sensitive protagonist in Charles Lenox, devoted to his wife and their young daughter. Where the typical “amateur” struggles with a grudging Scotland Yard, a conflict that goes back to Conan Doyle, Charles works in concert with the Yard and befriends its officers. (Note that the story takes place before Sherlock Holmes would have hung out his shingle.)

A former member of Parliament, Lenox belongs to the ruling class, and he married an aristocratic wife, yet he chafes at the government’s slowness to enact reforms for the general good. Where the vast majority of Victorian gentlemen would take superiority over women for granted, Charles freely acknowledges that one of his partners, Polly Buchanan, is both a better detective and a more effective executive than he.

A drawing of Burlington House, the London home of the Royal Society, from the Illustrated London News, 1873 (courtesy Wikimedia Commons; public domain in the United States)

In fact, this paragon has no discernible faults, unless you count complete boredom at the notion of germ theory, a controversial scientific issue of the day (and one that figures in the mystery). Yet the milk of human kindness makes a winning, comforting drink, even in a tale about greed and murder, and though the ending may be too tidy, how Finch narrates his story adds nuance.

Firstly, nothing ever goes as expected, and I don’t mean just the essential “no — and furthermore” to disappoint Lenox’s hopes. Rather, the narrative presents a stream of surprises, many for the reader, not the protagonist. For example, early on, Charles returns home from an investigation through the snow-bound streets to find “a young woman in a slim gray coat” waiting at his door. A relation? A client? A lover? No; it’s Polly, and you soon find out she runs the show.

Secondly, Finch takes care to give his character strong inner lives. The story of Charles’s unusual friendship with Gerald at Harrow takes up a good portion of the book, yet it doesn’t feel like a discursion or a distraction, and Finch deftly connects it to the main story and uses it to show how Lenox first became interested in detection. That’s a major part of the author’s approach, to explore his characters’ dreams outside the present moment. I also like the way he reveals the depth of feelings, trying to make them specific and concrete, rather than telling you in an abstract phrase:

He would never forget sitting alone in the duke’s grand music room that afternoon. There had been a hundred evenings of amusement and celebration here. Now it was as desolate as an empty ocean, the light going iron gray as the sun faded, the carefully situated picture frames and sofas and silver bowls each reproached by their own frivolity. It was intensely sad. In Lenox’s mind was the business of the next day. The terrible black-edged paper would have to be bought; the terrible black-edged envelopes; the terrible black wax, to seal the news in forever…

Which brings up the question of prose. It’s exuberant without affectation, the dialogue feels natural, and wit punctuates the narrative: “Lenox was rarely in such an acid mood, and Kirk [the butler] inclined his head deferentially to the celebrity of the moment.”

On top of all that, Finch manages to convey the era from the inside, something that many historical mysteries stint on. This novel, however, brings you into the Royal Society, and the fascination with science that hints at why the Victorian Age produced so many discoveries and innovations. As a bonus, you get explanations of words or traditions, such as why the British drive on the left, and Americans, the right. (Hint: It has to do with knights in the first instance, and wagons in the second.)

There are many grittier mysteries around, in which people are naturally vicious, and some of these novels are brilliant. Perhaps The Inheritance goes too far to the other extreme. Yet it remains very appealing, and I thoroughly enjoyed it.

Disclaimer: I obtained my reading copy of this book from the public library.

Affair of Honor: The Lost Season of Love and Snow

12 Monday Mar 2018

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Review: The Lost Season of Love and Snow, by Jennifer Laam
St. Martin’s, 2017. 334 pp. $17

He’s almost thirty, already Russia’s greatest poet, passionate, witty, and joyfully charismatic. She’s sixteen, gorgeous in the way that inspires poems, and yearns to free herself from a stifling household and a cruel, domineering mother. Poet and beauty are immediately attracted, and their wish comes true. Yet their marriage turns tragic, for Alexander Pushkin dies after a duel fought to defend his wife’s honor. History has blamed Natalya, because, as this novel argues, no matter what the truth, the woman’s always at fault.

Laam has written biographical fiction from Natalya’s first-person point of view, to set the record straight, and I think she largely succeeds. Yet in service to the argument, the novel occasionally suffers, so though I admire and recommend The Lost Season of Love and Snow, several parts mar the total effect.

Alexander Brullov’s watercolor of Natalya Pushkina, ca. 1831 (courtesy National Pushkin Museum, St. Petersburg, via Wikimedia Commons)

The novel begins with Alexander on his deathbed. Since everyone who knows anything about Pushkin knows he lost his life to a duel — and if you don’t know, just read the jacket flap — this puts the author in a bind. Does she reveal this out front, or does she attempt to leave the ending a surprise? Obviously, she chooses the up-front approach, and as prologues go, this one works better than most. Yet the choice demands that all tension thereafter resides entirely in the how, and since we’re told who the killer is, that places a further obstacle in the storyteller’s way. A retrospective risks making every scene superfluous until the villain enters the narrative.

To her credit, Laam does her best to overcome this problem. The courtship sections offer plenty of reversals, and Natalya suffers doubts as to her suitor’s fidelity and whether he sees her only as a bauble to possess. These anxieties create some tension and amplify the theme. Yet I was impatient to get through these scenes, and not only because the real story comes later. Natalya’s mother and two sisters are flat characters, each unfailingly mean-spirited or warm. Though the meanness provides the chance for conflict, we already understand that Natalya can’t wait to escape, so, in a sense, drawing this out serves little purpose. If, however, the author had begun the story with the courtship and suggested foreboding about the upcoming marriage, neither she nor the reader would have had to work as hard.

But the two principal players carry the show, and once they marry, their passion for one another comes through loud and clear. And as a married woman making her way in St. Petersburg society, Natalya feels the danger escalate, and so do we. This web of gossip and intrigue centers on the czar, Alexander’s patron but also a known womanizer, who woos Natalya while thwarting her husband. (Known to history as the Iron Czar, Nicholas I unfortunately comes across in these pages as wooden instead, but at least he’s plenty threatening.) Further, she acquires a reputation as a flirt, not entirely undeserved, though of course nowhere near the way jealous tongues would have it.
Besides, Natalya’s motives are more nuanced than anyone could have understood. As she observes late in the narrative:

More and more, I sought escape from our little family dramas in masquerades.… When I wore my costumes, I was no longer a wife and mother with debts and a distracted husband, but a character from a fairytale, a figure from history — a goddess. Once a group approached me at a ball to tell me how fine I looked, I longed for more people to do so. I was no longer the decorative poet’s wife. For once in my life, I felt valued for myself, not for how well my presence reflected someone else’s glory.

I like this psychological observation, which doesn’t go too far toward feminism for the time, yet sends a message. Even better, I like another gambit Laam tosses out during a flirtation between Natalya and the man who eventually forces Alexander to challenge him to a duel. Distressed by her husband’s spendthrift ways and haphazard work habits, she briefly fantasizes life with the worldly, handsome, wealthy philanderer — unconsciously killing off Alexander, if you will. Natalya immediately draws back, but I wish she’d toyed with her fantasy more persistently, for it would have engaged the boundary between thought and action that causes so much trouble in public misperception. Nevertheless, Laam is being very brave, here, risking her heroine’s reputation in the reader’s eyes. That is the author’s theme, and The Lost Season of Love and Snow tackles it forthrightly.

Disclaimer: I obtained my reading copy of this book from the public library.

The Vanity of Masochism: Mrs. Osmond

05 Monday Feb 2018

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Review: Mrs. Osmond, by John Banville
Knopf, 2017. 369 pp. $27

Isabel Osmond (née Archer) has disobeyed her husband, Gilbert, something she’s never done before. Against his will, she’s left their home in Rome to visit her dying cousin in England. After the funeral, friends urge Isabel not to return to Gilbert — a remarkable notion for the 1880s – whose cruelty and deceit have ruined any hope of happiness.

Readers of The Portrait of a Lady, the Henry James masterpiece, will recognize the situation and characters. They will also know that Isabel wouldn’t dream of taking flight from her lawfully wedded husband. But Banville has set his imagination to work, and he finds much meat in what an American-born woman of the Victorian Age would do if she discovered that her vicious husband had married her only for her money.

To pen a sequel to Henry James requires a bold, confident hand and a finely perceptive eye. Only a writer as experienced and gifted as Banville would even attempt it, and he succeeds brilliantly. Not only has he captured the Jamesian style, the discursive loop-the-loop sentences that end dead center in observed truth; like the master, Banville derives intense feeling from a gesture or an inflection of voice. As with the original, what’s left between the lines often means more than what is said. Where modern authors interrupt their narratives to reveal their characters’ inner lives (if they bother), for James, there isn’t anything but inner life. For readers who expect a faster-moving story, his approach may be an acquired taste. But he creates tension through deep emotional connection; so too with Banville and Mrs. Osmond.

Letting her eyes close, Isabel dipped into the dark behind her lids as if into the mossy coolness of a forest pool. Yet she could not linger long, for in that darkness she was sure to meet the padding, yellow-eyed, implacable creature that was her conscience. Strange: she it was who had been wronged, grievously wronged, by her husband, and by a woman whom she considered, if not her ally, then not her enemy either, yet it was she herself who felt the shame of the thing.

But to call this novel imitation James hardly does it justice. Where James expounds on the loss of innocence, a favorite theme, especially regarding Americans residing in Europe, Banville emphasizes Isabel’s masochism, so deep and relished that it amounts to vanity. There are stretches in Mrs. Osmond in which I wanted to hit her over the head, because I detest masochism and dislike literary characters who don’t struggle against it the way I’d want them to. But Isabel’s excessive sense of duty is also painful, since Gilbert Osmond must rank among the most odious husbands in literature. He’d never stoop to physical violence or even profanity, never raises his voice, and would consider it gauche and beneath him to be drunk. Yet he pulverizes everyone around him through fifty shades of disdain, many of which require no words.

Consequently, Isabel’s physical journey from London back to Rome takes second place to her inner travels. She believes she must confront Gilbert, a task that requires steeling herself and gathering information, but while she’s doing that, she tries to figure out who she is and what she wants and deserves. Naturally, she goes back and forth, because when you have spent your life as a doormat, even the experience of being cheated and lied to in the worst possible way doesn’t necessarily qualify you to stand up for yourself. Nevertheless, when Gilbert and she finally do meet, it doesn’t go as either of them expects.

I’m not the type to read modern takes on Jane Austen or Conan Doyle, but I made an exception with Mrs. Osmond and am glad I did. We’ve all known someone like Isabel, and it makes no difference that this version of her comes from the nineteenth century. You need not have read The Portrait of a Lady to enjoy it– Banville seems to assume no knowledge of it—but I appreciated the sequel more for having done so.

Disclaimer: I obtained my reading copy of this book from the publisher via Historical Novels Review, which published this post in shorter, different form.

Who Sups with the Devil: Manhattan Beach

01 Monday Jan 2018

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Review: Manhattan Beach, by Jennifer Egan
Scribner, 2017. 433 pp. $28

Anna Kerrigan likes to join her father, Eddie, on business trips around their native New York City. Anna’s too young to understand just what Eddie does for a living, and since this is the Depression, plenty of people get by in strange ways. But she’s proud, at his insistence, to provide another pair of eyes and ears, and he loves her emotional strength and quick-wittedness beyond her years. When she’s almost twelve, in 1937, Eddie brings her to meet Dexter Styles, a man who, she gathers, is very important to her family.

Years later, Eddie has disappeared. The war has come, and Anna has taken a job at the Brooklyn Navy Yard. She runs into Styles again, and she doesn’t recognize him at first; but she realizes he’s a gangster, and that sets her to wondering whether he knows what happened to Eddie.

At the time this photo was taken at the Brooklyn Navy Yard in mid- April 1945, four aircraft carriers were under construction (courtesy U.S. Navy via Wikimedia Commons)

I expected to love Manhattan Beach, not least because of the rave reviews in the press, but I find the book a disappointment. Still, there’s much to praise. From her solid, if complex, premise, Egan has spun an ambitious novel about greed, power, lust, money, self-image, and innocence lost — the important stuff. She writes compelling, many-faceted characters, develops them over time, and gives them room to stretch. Nor does she pull punches with her storyline, so her people take plenty of punishment. She has also researched her historical ground with care and love, revealing myriad nooks and crannies of Depression and wartime New York, seamlessly rendered. Some years ago, the New-York Historical Society ran a terrific exhibit on the social mood of wartime New York and the hundreds of businesses and institutions that supplied the war effort. Manhattan Beach is like walking through that exhibit, except it speaks.

Egan gives you the harbor, both topside and below water; nightclubs and gambling dens; Brooklyn walkups and country clubs; ships and churches; anyplace you could want. And she peoples them with working stiffs, sailors, soldiers, young women doing “men’s jobs,” bankers, society folk, and hoods. The parent-child scenes are wonderful; a few took my breath away. And especially with her most important characters, Egan takes care to show their inner lives, as with this reminiscence of Eddie’s:

Lying in the vast dormitory, hearing his breath melt into the collective sigh of so many boys asleep, Eddie was shamed by his own meagerness: narrow hips; a sharp, unremarkable face; hair like dirty straw. Even more than the orphans’ annual excursion to the circus, he thirsted for the moment each month when the protectory barber’s hands would touch his scalp briefly, indifferently, yet capable of soothing him almost to sleep. He was of no more consequence than an empty cigarette packet. At times the brusque mass of everything that was not him seemed likely to crush Eddie into dust the way he crushed the dried-out moths that collected in piles on the protectory windowsills. At times he wanted to be crushed.

So what’s not to like, you ask? The narrative is so complicated that the pieces don’t fit together, and I have trouble believing much of it. Styles’s life as a gangster and Anna’s as a Navy Yard worker make sense apart, but trying to weld them—at least in the way Egan wants, pushing her characters to change–the components fail to mesh, so the effort feels forced. For instance, though I understand why Styles married his wife, Harriet, daughter of an admiral turned banker, I don’t see why she married him (and that’s a key part of the setup). More significantly, the story works very hard to bring Styles on a tour through the Navy Yard, using his daughter, Tabatha, as the catalyst, whereupon she drops out of the novel almost completely, even though she and her father have a special relationship. But the biggest trouble I have is imagining that Anna would go near Styles after realizing who he is, how dangerous he can be, and what he might have done to hurt her. She wants to let loose, yes; but she’s too smart, has such a strong sense of self-preservation, and has worked so hard to get where she is that I can’t see her risking it. Not for him.

I admire Manhattan Beach for its emotional range, breadth of theme, descriptive power, and bold scheme. I think Egan’s an excellent writer. But this novel left me unsatisfied.

Disclaimer: I obtained my reading copy of this book from the public library.

A Clever Puzzle: Dancing with Death

25 Monday Sep 2017

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Review: Dancing with Death, by Amy Myers
Severn, 2017. 215 pp. $29

It’s hard to dislike a novel that begins, “‘Galloping codfish, Kitty! What the dickens do you call that?’” This exclamation comes from Nell Drury, the chef–do not call her cook–at Wychbourne Court, ancestral home of the eighth Marquess Ansley and his somewhat quarrelsome family. It’s 1925, enough time after the Great War for the love of merriment to have retaken hold, though no one has forgotten the suffering and sacrifice. Nell, a former student of the great Escoffier at the Ritz-Carlton, if you please, has much on her plate. Most immediately she’s responsible for the hors d’oeuvres and two full meals at the soirée her employers are giving.

However, the festivities also include a chummy get-together with the ghosts said to inhabit Wychbourne, and since the place goes back centuries, there are quite a few. Actually, only one person believes that there are ghosts, but she happens to be Lord Ansley’s sister,the sort of dotty eccentric that no English manse can be without, especially in fiction. Lady Clarice has many more instructions for Chef Nell, because, you know, ghosts must eat too, or, at the very least, they derive pleasure from smelling and seeing their favorite foods. As a dutiful, loyal servant, Nell keeps her opinions of this to herself; all she knows is that the evening will be complicated.

How right she is. If you’ve ever read or seen a movie in the country-house mystery genre, you need no ouija board to know that someone will die during the ghost-klatsch; that this murder will have multiple suspects; and that Nell will take it upon herself to investigate, sometimes running afoul of the police, who somehow think that solving crime is their job. But if Myers’s bow to conventions is altogether predictable, how she handles them makes all the difference.

Dancing with Death is strongest in its plot, at which Myers excels. Without introducing hidden facts that the reader couldn’t possibly have guessed–a ploy we’ve all come across, despite its lack of generosity–Myers leaves more or less everything open to view. You know the enmities, alliances, and romances running through the household; you just don’t know who’s lying to protect whom until people revise their stories. Consequently, Nell never sees more than the reader does, and since she has to balance what to tell the Scotland Yard inspector against her loyalty to Wychbourne, she’s protecting people as well, which adds another layer of tension.

The occasional wit helps. As Nell observes while visiting an aristocratic neighbor who wishes to hire her for a party:

It was a stone-built residence looking bleakly ornate compared with Wychbourne Court. I’m here for you to witness how grand I am, it seemed to be saying to her. The large reception room where she was asked to wait did nothing to contradict this assessment. Gentlemen in military uniform glared down from every wall and their long-suffering wives smiled weakly at the painters. Nell wondered whether they ever got together with the Wychbourne Court ghosts.

I wish, though, that Dancing with Death had more wit beyond Nell’s mild oaths; “blithering beets,” and the like, clever once, get tiresome after a while. And though Myers keeps the narrative percolating, she pays little attention to character. Nell’s a capable diplomat, independent, and conscious of herself as a pioneer, a woman in a field dominated by men. That’s interesting, but Myers does little with it other than to mention it, repeatedly. Very little of her past (or anyone’s) appears, and her reflections are the trite type common to the genre: “Could X be lying? That could be dangerous. Then again, Nell owed it to the Ansleys.” You get the picture.

There’s also little to define the era as the 1920s other than a few songs, dances, styles of dress, and social attitudes. The war has left its mark, we’re told, but people don’t seem to walk around with it. One Ansley daughter dabbles in socialism, and her enlightened views about class do her credit, but I’m not buying her theory that her parents don’t really care about that stuff anymore. Even to think so, without any discussion, conflict, or evidence, seems like a retrospective view of that time rather than those years from the inside.

The foreign ministers of Germany, Britain, and France try to prevent war in Europe, October 1925, Locarno. From left, Gustav Stresemann, Austen Chamberlain, and Aristide Briand (courtesy Wikimedia Commons, via Bundesarchiv)

Should historical mysteries offer a deeper perspective? I think they should; certainly, the best do. One that comes to mind, of about the same length, is Chris Nickson’s Gods of Gold. Obviously, not every writer has to be like every other, and Dancing with Death has its charms. But I know which approach I prefer.

Disclaimer: I obtained my reading copy of this book from the public library.

Making Modern Iran: The Gardens of Consolation

18 Monday Sep 2017

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Review: The Gardens of Consolation, by Parisa Reza
Translated from the French by Adriana Hunter
Europa, 2016. 260 pp. $16

This lovely, short novel has no premise to speak of, and yet it tells a story that will stay with me. Sardar and Talla, two Iranian children in the 1920s, marry out of faith, in God and each other, searching for a better life. Sardar wants to move up in the world, to see what lies beyond the mountains that frame the horizon. Talla wants to own her own home and escape her brutal father. These are modest desires, but humility comes naturally; after all, God punishes pride. Nevertheless, they also want to be treated decently, with respect, because they believe that God ordains that as well. And when they don’t find that tolerance, they keep searching for it.

In other words, Sardar and Talla are the salt of the earth, and their loving portrayal in The Gardens of Consolation takes them as they are. Neither ever learns to read or write, and superstition plays a key role in their outlook. For instance, when Sardar brings his twelve-year-old bride across the desert to their first home together, he explains mirages as the work of evil creatures that lure unsuspecting travelers into deadly wastelands. Talla, frightened out of her wits, spends the long hours plodding on their donkey in constant prayer.

Reza Shah Pahlavi, king of Iran, unknown photographer, 1930s (courtesy Wikimedia Commons)

Normally, she’s talkative and he’s silent, “contemplating the world from above like a solitary eagle,” because he thinks that’s how to understand the essence of life, without the bustle and chatter that get in the way. Illiterate he may be, and words don’t come easily, but he has abiding love for his wife and a realistic wisdom that serves him well. Similarly, by choice, not law, Talla wears the chador because no one can see her eyes, to know whether she feels sadness, anger, or fear. Beneath its cover, God is more powerful than the king, and that’s where she finds comfort, removing this shield only for Sardar in the privacy of their home.

Reza’s clearly a feminist, and she’s lived in Paris since the age of seventeen, but here, she challenges her readers’ Western assumptions. Especially during the second half of The Gardens of Consolation, she carefully describes how Iranian women have little power. But, she argues, the separation that the chador offers, however physically uncomfortable, can also provide a modicum of freedom.

Sardar and Talla have a son, Baram, whom she brings to Tehran for a religious pilgrimage, the first time she sees the capital:

Women in hats, high-heeled shoes, and silk stockings; headdresses in folded fabric, turbans of satin, of twisted velvet; hats decorated with feathers or freshly picked flowers. Other women go bareheaded. And men in homburgs, and collars and ties, some even have coats with fur collars. Over there a porter carrying buckets of yogurt piled up on his head. And suddenly a donkey nonchalantly crossing in front of the bus. And also some normal people like Talla, or Sardar: women in scarves and full robes over leggings and men in worn, ill-fitting jackets, pants that are too big or too short. . . .

Baram goes to school, where he excels at his studies, at drawing, and athletics. He represents the coming elite of the new Iran–brilliant, spoiled, patriotic, and narcissistic–and cut off from his parents. Not that he doesn’t love them; he does. But as he reaches his teenage years, he falls in love with Western movie images. Thinking more of seduction than marriage, he seeks young women from a higher social class as trophies, and since he’s handsome, charismatic, and intelligent, he has no trouble attracting them. To be sure, the seduction may go no further in physical terms than a glance, flirtatious words, or stolen kisses and a grope, yet the feelings evoked are all the more intense for being strictly controlled. But what Baram does with his success, as he views it, says a great deal about Iranian life, because he’s actually a failure. And it’s that failure that interests Reza, who derives political and cultural lessons from it.

Divided into very short chapters that recount bits of Iranian life over several decades, the narrative tells more than shows, perhaps in the style of a fable. Nevertheless, Reza has paid attention to her characters’ inner lives and linked them to the story of her native country. The Gardens of Consolation would be worth reading even if it were less accomplished, because we hear so little of what Iran is like from the inside. But this novel is memorable for other reasons, and I recommend it.

Disclaimer: I obtained my reading copy of this book from the public library.

Class Conflict: The Summer Before the War

28 Monday Aug 2017

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Review: The Summer Before the War, by Helen Simonson
Random House, 2017. 479 pp. $28

That last, idyllic English summer of 1914, Hugh Grange, a young medical student, has come to rural Sussex to visit his beloved Aunt Agatha and Uncle John. As the protegé of a famous surgeon who has all but invited him to marry his pretty daughter, Hugh may be forgiven for thinking he has the world on a string. However, two obstacles emerge to his plans.

Obviously, one is the coming conflict, of which just about everyone remains blithely ignorant in this lovely town of Rye. The other is Beatrice Nash, a young woman hired to teach Latin at the Rye grammar school, a subject traditionally a male preserve. She owes her job to Aunt Agatha, a closet feminist but no “suffragette,” who has politicked, plotted, and flattered to get the old-boy network to accept her protegée. Beatrice is intellectual, serious, and a freethinker–much like Hugh–whereas the surgeon’s daughter is a flirt, a twit, and a social climber. So there’s even less doubt whom he’ll prefer than what’s about to happen to Europe.

That predictability plagues much of The Summer Before the War. Simonson sets her battle lines right away, so that you can tell the good guys from the bad guys, or, when there’s less question of good versus bad, who’ll survive and who won’t. Her upper-class characters are completely detestable, but they’re stick figures, mere attitudes on two legs, and therefore easy targets. To cast doubt on what seems ordained, Simonson employs the “no–and futhermore,” often with skill, but toward the end especially, the story feels contrived and resolutions too neat. It doesn’t help that the novel has one or two superfluous subplots.

But to give The Summer Before the War the credit it deserves, Simonson has a knack for social conflict, and she portrays the pecking order of Rye with wit and verve. The never-ending battle against small-mindedness, gossips, sexism, and class snobbery consumes much energy in these pages, and the repartée between Hugh and his rakish cousin, Daniel, makes fun reading. (It’s a bit surprising how neither young man seems to have a home other than that of their aunt and uncle, but I’m glad they don’t.)

Rye Grammar School, which last held classes in 1907, as it appeared in 2010 (courtesy Wikimedia Commons; public domain)

Beatrice’s struggles are more compelling. She has to play the upright spinster so that the school worthies will hire her, because only a young woman of irreproachable character may come in contact with impressionable youth. Meanwhile, of course, said worthies have nothing but contempt for these lower-class children and would never lift a finger to help them, whereas Beatrice actually believes she can bring light into their lives. Further, having catered to a domineering, scholarly father who has recently died, Beatrice should, in theory, have her meager inheritance, but (male) trustees prevent her from touching it. They, and others, assume that a “girl” of twenty-three can’t be independent without losing her virtue, a criticism that extends to her desire to write books. These are the parts of The Summer Before the War that I like best.

But I like the humor too. Consider this description of an oak-paneled anteroom:

. . . between two large windows, an imposing, green malachite bust of Cromwell on a matching plinth so floridly carved with vines and flowers that Cromwell himself would surely have had it destroyed. Hugh was not familiar with any connection of the Earl North family to Cromwell. Perhaps, he thought, there was none and that was why the ugly heirloom had been consigned to oaken purgatory to intimidate unwanted guests.

The Summer Before the War unfolds at a leisurely pace, for the most part. I don’t mind that, and I regret that so few authors these days tell stories that way; they probably figure their readers won’t have the patience. They may be right, but I don’t think length is the problem. It’s depth. We That Are Left and A Gentleman in Moscow, for instance, succeed by showing their characters’ inner lives so thoroughly that I don’t care how many pages go by. Conversely, when Simonson narrates an intricate story with half-full characters whose inner lives she tells in shorthand (“he felt such-and-such”), that’s when I become conscious of page numbers.

I don’t mean to blame Simonson or single her out; I happened to read her at a moment when I’m redefining my standards. Many, if not most, novelists follow some version of what she does, which for me these days means that I can borrow a stack of promising books from the library and find only one or two that intrigue me past the opening pages. The Summer Before the War would have pleased me more had the author plumbed her main subject and characters to the greater depth.

Disclaimer: I obtained my reading copy of this book from the public library.

House of Atreus, Revisited: House of Names

12 Monday Jun 2017

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Review: House of Names,by Colm Tóibín
Scribner, 2017. 275 pp. $26

Agamemnon, waiting with his army for a fair wind for Troy, sacrifices his daughter, Iphigenia, to appease the gods. That act sets in motion a blood-will-have-blood intrigue that throws Mycenae’s House of Atreus into turmoil and evokes moral issues that inspired all three tragic dramatists of ancient Athens: Aeschylus, Sophocles, and Euripides.

Iphigenia in Tauris, as a priestess of Artemis, sets out to greet her brother, Orestes, and his friend, Pylades; fresco from Pompeii, 1st century C.E. (Naples National Archeological Museum, courtesy May Lan Nguyen via Wikimedia Commons)

Here, Tóibín has departed from the script in an always riveting but occasionally portentous narrative, and the result is a mixed success. As befits its sources, House of Names offers plenty of deep themes, and these intense, jittery Mycenaean royalty have enough ambitions, fears, and rough edges to give those themes superb scope. The story, though familiar, feels fresh, partly through reinterpretation, but largely because Tóibín knows how to evoke corners and wrinkles of character that add tension. Even though you know what happens next, you have room to hope that it won’t go that way, and he subtly encourages this delusion until it’s too late.

The novel opens with Clytemnestra, Agamemnon’s queen, narrating how her husband lures her and their daughter, Iphigenia, to his camp on the pretext that the girl was to marry Achilles. I like this section very much. Not only does Tóibín craft the warrior king into a weakling, a vacuous coward who can’t even bring the news himself, an unspeakable father to a daughter who adores him, the women attempt to resist and are crushed as if they were insects. The feminist message comes through loud and clear, but there’s more.

Clytemnestra, whom literature has long stereotyped as a bloodthirsty fiend who knows nothing beyond her treasonous lusts and desire for revenge–a misogynistic portrait, if ever there was one–receives a measure of rehabilitation in House of Names. It’s not just that Tóibín plumbs how deeply her daughter’s sacrifice shakes her emotionally. It’s that the brutality pushes her to declare, privately, that if the gods in fact demanded Iphigenia’s death–which Clytemnestra doubts–that only proves their irrelevance.

I know as no one else knows that the gods are distant, they have other concerns. They care about human desires and antics in the same way that I care about the leaves of a tree. I know the leaves are there, they wither and grow again and wither, as people come and live and then are replaced by others like them. There is nothing I can do to help them or prevent their withering. I do not deal with their desires.

But this being the House of Atreus, Clytemnestra doesn’t stop at philosophy. She swears revenge and spends the years of her husband’s absence planning how to carry it out. When Agamemnon finally comes home from Troy, Clytemnestra murders him and gives out that a rebel faction within the palace was responsible. To accomplish this, she has enlisted Aegisthus, a powerful, unscrupulous man who has own scores to settle, and, she finds, no desire to share power or anything else except her bed–and others’. Clytemnestra has miscalculated by a long shot.

And that too is a theme–how, when killing starts, it doesn’t stop. Electra, her younger daughter, swears revenge in turn, and from her narrative sections, you see that she too wants power. Whereas Clytemnestra loved Iphigenia and, once, her husband, Electra doesn’t seem to love anybody. But she hates her mother, to the point that she blames her for Iphigenia’s death. Clytemnestra has done serious wrongs, but Electra’s approach tells you that two wrongs don’t make a right.

Amid all them is Orestes, Clyemnestra’s son, who grows up an exile and yearns to return home. Again, unlike the classic treatment, this Orestes isn’t a natural leader, an outraged son who demands his birthright. In fact, he’s a born follower and wants to do right, whatever that might be. He has only two desires–to find love and not to be shunted aside. His is the saddest, most poignant perspective in the novel, a balance to the mayhem in which he must participate.

Having loved Nora Webster–and held up its prose as a model for my own writing–I’m startled to say that Tóibín’s style in House of Names fails to measure up. The language seems excessively formal, and therefore often distant; for instance, the author never uses contractions and often adds needless prepositional phrases that make people sound pompous. Sometimes, they speak as if they knew a scribe were in the room, taking dictation for posterity. The rhythm, too, becomes annoyingly noticeable in places, as with the short, choppy sentences in Clytemnestra’s voice.

But my biggest complaint, one that surprises me, is the sheer number of “he felt, she felt.” Tóibín didn’t do that in Nora Webster, a novel remarkable for its artistry in conveying inner life through subtext and by inference, with nary a cliché. Compare that with an example here, “He veered between feeling brave and feeling nervous,” and you see the difference.

As a novel of ideas and a retelling of a powerful story, House of Names is worth reading. But it’s disappointing, nevertheless.

Disclaimer: I obtained my reading copy of this book from the public library.

Feminism, No Holds Barred: The Wages of Sin

05 Monday Jun 2017

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Review: The Wages of Sin, by Kaite Welsh
Pegasus, 2017. 290 pp. $26

Sarah Gilchrist has come to the University of Edinburgh to study medicine in 1892, the first year its doors have opened to female students, and her prospects could hardly be less promising. Her parents have exiled her from her well-to-do London home for “immoral behavior,” of which she’s entirely innocent.

The main building of the University of Edinburgh medical school, completed in 1888 (courtesy Kim Traynor, 2010, via Wikimedia Commons)

But no one knows how Sarah has suffered, nor, if they asked, would they believe her. In fact, no one treats her more cruelly than her family, putting her through unspeakably barbaric, criminal horrors that she relives in nightmares. Many people go out of their way to hurt and malign her, like her aunt and uncle, with whom she lives, and whose bullying she must accept or face further punishment. At least, Sarah can talk back to the male medical students who resent the women who’ve invaded their preserve, and sometimes, even her professors. But then there are Sarah’s female classmates, the very people who should have the most sympathy, who delight in persecuting her.

Welsh excels at many things in this, her first novel. Chief of them is how she re-creates the vicious social order that imprisons not just Sarah but all women in Edinburgh, most of whom lack her advantages of wealth and social standing. It’s these women to whom Sarah dedicates herself and her education, working after hours at an infirmary in a poor neighborhood. The only thing that keeps her going is her dream of becoming a doctor, serving these people, and having a profession that will let her live in the world instead of as a cloistered wife. And she knows that one mistake, perceived or real, could cost her that dream.

So one night at the infirmary, Sarah turns away a young prostitute, Lucy, who asks for an abortion–which would have been a hanging offense for both parties–only to see the girl’s corpse soon afterward on the dissecting table in anatomy class. Sarah believes Lucy was murdered and sets out to discover who killed her, even as she recognizes that doing so may well drag her down. Not only does her quest bring her to disreputable places, she quickly arouses suspicion from a brilliant but irascible professor who’s quite capable of having her expelled from the university. Is he involved in Lucy’s death? Was he using her? These are deep waters, indeed, and Sarah learns that she’s not as good a swimmer as she thought.

In the process Welsh roils the currents, another pleasure of The Wages of Sin. Sarah should be the least worldly medical student in Edinburgh, but her sufferings and her work at the infirmary have taught her more than the others will ever know. When her female classmates pass out leaflets condemning prostitution and think themselves virtuous, Sarah scoffs in contempt:

They were so innocent. They were so lucky. They hadn’t turned away a frightened, desperate girl. They didn’t have a woman’s death on their conscience, her blood on their hands. They were little girls dressed in their teacher’s clothes, playing with women’s lives as they once played with their dolls, ignorant that all the sermonizing in the world wouldn’t save the soul of someone with a malnourished body.

As Sarah takes larger and larger risks to uncover the truth, the pressures increase from all angles. Her aunt and uncle want her to forget medicine and marry a vacuous, socially inept young man from a good family, and Sarah dares not resist openly. The irascible professor keeps running into her, alone, in places where she shouldn’t be, even chaperoned. Maybe he shouldn’t be there, either, but as a man, he has more moral latitude.

As you might guess, then, “no–and furthermore” lives large in these pages; the narrative consistently thwarts Sarah’s efforts, just when she thinks she might have gotten somewhere. For the first 90 percent of this novel, you couldn’t ask for more riveting storytelling. Throughout, Welsh has made the personal political, asked hard questions about feminism that sound as topical today as they must have seemed radical in 1892, and depicted as vivid, gritty a picture of late Victorian life as you could want.

Unfortunately, the last 10 percent nearly undoes the rest. Having pushed Sarah into a tight corner with hard-edged reality, Welsh builds her resolution on clichés. The killer turns out to have sociopathic tendencies–a cop-out and a tired convention–and is also supremely talkative, for no apparent reason other than the author’s convenience. The final confrontation feels like melodrama, a startling departure from an otherwise bold, original narrative. I think Welsh could have done better–I’m sure of it–and not just because she’s a talented writer.

But read The Wages of Sin, and you be the judge. Despite the flawed ending, I think you’ll be gripped.

Disclaimer: I obtained my reading copy of this book from the public library.

Fictional Essays: The Fire by Night

27 Monday Mar 2017

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Review: The Fire by Night, by Teresa Messineo
Morrow, 2017. 306 pp. $27

If you read this book, you’ll be getting history you probably haven’t heard, about American Army nurses during World War II. You’ll see their bravery, endurance, and resourcefulness, their heroism under appalling conditions, their competence and professional dedication, the constant sexism they faced, the emotional trauma that destroyed their psyches, and the enemies who shot at them, Geneva Conventions be damned.

Army nurse washes her clothes in her helmet, Morocco, 1943 (courtesy history.army.mil)

Even when no particular crisis presents itself, Messineo re-creates the moment-to-moment tensions that afflict her two nurse protagonists:

So begins the long task of finishing the surgeries already in progress; stabilizing those just coming into the post-op tent; giving plasma, or whole blood when available; lifting the ‘heavy orthopedics’ with their colossal casts, arms and legs immobilized by a hundred pounds of plaster. The shock patients with their thready pulses; the boys with ‘battle fatigue,’ whimpering and taking cover under their cots, thinking themselves still in the field; the deaf, the maimed, and the blind, their heads carefully wrapped and bandaged, their tentative fingers reaching out in front of them, seared and melted together from clawing their way out of burning tanks.

Consequently, The Fire by Night bears witness to the unsung heroines of World War II (if not, by implication, all wars). Such a story is long overdue. And yet, despite its powerful moments, rendered so vividly that you feel as if you can’t take any more punishment, The Fire by Night feels incomplete as a novel. In fact, it’s more like a tendentious essay–or two of them, to be precise.

I say two because the protagonists’ stories hardly intersect, and if either were omitted, the plot wouldn’t change, only get shorter. Jo McMahon serves in Europe, whereas Kay Elliott is captured in the Philippines and spends years in a Japanese prisoner-of-war camp. Though each undergoes her own, somewhat different but always harrowing trials, after a while, their struggles seem like a catalog rather than a coherent narrative. Moreover, Messineo is plainly out to set the record straight, and her earnestness undermines her.

Of the two protagonists, Jo has the advantage. Abandoned at the front lines caring for a tent of six critically wounded or ill patients, she must constantly use her ingenuity to keep them, and herself, alive. I like this story better, especially its first half, when problems multiply, she keeps going by force of will, and the men she’s tending are just bodies, not individuals yet. On the other hand, Kay’s narrative, though gripping in detail–she’s captive in what’s essentially a death camp–remains a more solitary struggle. But to varying degrees, both stories suffer from the same flaw: They fall flat when the protagonists deal with men, not one of whom has any depth.

For example, take the captain whose undermanned infantry platoon holds the position where Jo’s tent happens to be. Might he insult her, demean her rank and abilities, and say that he can’t guarantee her safety? Sure. Would he throw tantrum after tantrum and shrug off the lives of the men in her tent? I doubt it. On the flip side, Kay’s husband is a flawless human, the mere sight of whom inspired her to remove her clothes–and that’s just about all we know of him. Back at the other extreme, when Kay and Jo trained Stateside, they worked with a doctor who sexually assaulted the nurses and threatened to blacklist them if they complained. Real problem? Of course. Real guy? No; he’s cardboard, and, to no surprise, his comeuppance arrives all too easily.

Male authors can and should be faulted for failing to draw their women characters as full people. But the reverse must also be true, and to call this novel “women’s fiction” would be no excuse. More importantly, to describe sexual brutalities perpetrated by cartoon men only cheapens the impact, when subtlety would serve much better. These themes deserve no less.

I also hope that Messineo (and her editor) pay closer attention next time to the words on the page; I was startled that a writer this capable should commit so many lapses. For instance, civilians and other noncombatants are interned in a prisoner-of-war camp, not interred, as the text says here, though that might also occur eventually, as it frequently does. A bomber doesn’t hone in on a target; it homes in. Finally, the redundant phrase historical fiction novel has always struck me as the mark of an amateur–and in this book, it appears in the Acknowledgments section. Yikes.

Disclaimer: I obtained my reading copy of this book from the public library.