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Perpetrators: A Meal in Winter

04 Monday Feb 2019

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Review: A Meal in Winter, by Hubert Mingarelli
Translated from the French by Sam Taylor
New Press, 2018. 138 pp. $15

One brutal Polish winter in an unspecified year during World War II, three German soldiers embark on a mission they dislike because remaining in camp would require them to do what they like even less. Emmerich, Bauer, and the unnamed narrator evade their despised lieutenant, a self-important martinet, to go hunting one of “them.” If the trio brings their quarry back to camp, they’ll be spared having to execute those prisoners already collected. But if they pretend to have caught one and shot him or her on sight, the lieutenant won’t believe them and will be certain to assign them the mass killing duty, which disturbs their dreams and troubles their consciences.

Since “one of them” means a Jew, A Meal in Winter is therefore a Holocaust novel, and an unusual one, at that. Not only does Mingarelli focus entirely on Emmerich, Bauer, and their unnamed comrade — the perpetrators — the author casts them strictly as men ordered to perform a task they hate, which poses moral dilemmas. The real sadist, therefore, is the unseen lieutenant, who has placed the three in their predicament. What’s more, they seem neutral, if not indifferent, to Jews, whereas a Polish civilian who happens on them is a vicious anti-Semite. Emmerich, Bauer, and the narrator are reservists, meaning they’re older men, and Emmerich has an adolescent son he’s worried about, an anxiety his buddies try to help them with.

No Holocaust story I’ve ever heard starts from such a focus on individuals rather than mass actions, but that doesn’t mean A Meal in Winter couldn’t have happened. Mingarelli plainly wants as spare and simple a narrative as he can get, preventing the perpetrators from hiding in a large group. That approach works well in some ways, but others, not.

The understated prose conveys the frigid, barren winter landscape, the physical difficulties of coping with it, the trio’s attempts to pull through their hardships together, and, from the outset, having to choose between unpalatable alternatives. Such is their state of mind that when they capture a Jew and find an empty house in which to warm up, that counts as a special occasion:

When I turned around, there was smoke floating from the chimney. The sight lifted my heart. Added to the fact that we had avoided the shootings and that there had been no wind since the morning, it was no exaggeration to say that this had been a good day.

And of course Emmerich’s sharp eyes [which had spotted their captive] had made it an even better day, for tomorrow we would undoubtedly avoid the shootings again, if there were any. Bringing one back meant we would have the right to go out searching again. Nobody would be giving us evil looks…. Unlike today, we would even be able to wait for the kitchen to open so we could get our rations. We would be entitled to all of that tomorrow.

So far, so good. A Meal in Winter is a haunting novel, to be sure, a razor-sharp moral tale that attempts to explain how men caught up in a heinous crime contribute their share of it. Mingarelli, a writer of great subtlety, never lets his characters soapbox; like most soldiers, they’re largely inarticulate, especially about feelings. So it is that when Emmerich frets about his son at home, and whether the boy will take up smoking — what the soldiers do plenty of — I read that as his prayer that his son will never have to hunt and kill anybody.

But there’s one problem with A Meal in Winter. Emmerich, Bauer, and friend are still killers, and they’re chasing down victims who pose no threat. They’re not fighting off Russian soldiers or Polish partisans; in fact, they’re not fighting at all, because the people they’re hunting have no weapons. Like most soldiers, these three concentrate on how to stay warm, eat enough, and get safely through another day — but that program requires them to murder innocents. Consequently, they’re unsympathetic — at least, to me — and if I’m supposed to be impressed that they tell the anti-Semitic Pole to quit foaming at the mouth, forget it.

Conversely, if Mingarelli wants to show how these men kill without malice or conviction, you could argue that’s even worse than if they were die-hard anti-Semites. Granted, a key strength of this novel is how Mingarelli leaves plenty of space for the reader to slip into the story and ask, “What would I do in this situation?” But though I understand the soldiers’ plight, which Mingarelli describes in remarkably few yet vivid words, I can’t call them victims, care about them particularly, or identify with them; they’re moral placeholders, no more.

Nevertheless, as a moral exercise, A Meal in Winter will challenge readers, and there’s much to be said for that. This slim novel won’t take you much time — I spent longer writing this review than I did reading the book — yet I’m confident it will stay with you.

Disclaimer: I obtained my reading copy of this book from the publisher via Historical Novels Review, where this commentary appeared in shorter, different form.

Walking Dead: The Deepest Grave

15 Monday Oct 2018

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Review: The Deepest Grave, by Jeri Westerson
Severn House, 2018. 200 pp. $29

The waning years of the fourteenth century are a bloody time in London, it seems. Recently buried corpses have been seen traipsing about the cemetery at St. Modwen’s church, dragging their coffins. A seven-year-old has confessed to killing his best friend’s father, a wealthy cloth merchant, and a relic related to St. Modwen has disappeared from that same household.

Enter Crispin Guest, the so-called Tracker of London, who solves mysteries like these for sixpence a day. The Deepest Grave is the eleventh novel of the series featuring his adventures, but Westerson catches you up on his previous career as a knight serving John of Gaunt, when Crispin had a title, lands, and power. He lost them because he backed the wrong horse when Richard II ascended the throne. If the series goes another seven historical years, Crispin’s fortunes should improve when Henry Bolingbroke, Gaunt’s son, usurps Richard’s crown. Naturally, however, Westerson’s characters don’t know this, and just about everyone reminds Guest, in one way or another, that he’s a traitor lucky to be alive. One who’s kinder is his former lover, Philippa Walcote, mother of the boy who has confessed to murder — an impossibility, by all accounts, yet the child figures to hang unless Crispin can work his rational magic.

Renold Elstracke’s posthumous 1617 print of Dick Whittington, fourteenth-century London’s famous lord mayor, and his equally famous cat (courtesy National Portrait Gallery, London, via Wikimedia Commons)

I like Guest’s comedown, which forces our hero to earn an honest living and abide in humble conditions, with his apprentice, Jack, and Jack’s pregnant wife. This unusual ménage makes for an intriguing setup and offers opportunities that, unfortunately, Westerson fails to exploit. For instance, the narrative never delves past the surface of its disgraced protagonist’s feelings, whether as a once-favored somebody who has lost everything, or a middle-aged man who has never married. The narrative tells you straight out that he has regrets, but I wanted to see them in action, especially his struggle with them, and how others might view them. Further, he’s too decent to chafe at his reduced circumstances, which I find unrealistic and a shame. Anyone of any era would have strong feelings about falling from grace, and this is the fourteenth century, when venality’s the rule rather than the exception.

But Westerson has a different agenda. Character doesn’t drive The Deepest Grave, which is fine, but I wish it were harder to tell the good guys from the bad, or that her people showed more than a single, overriding trait. Also, a few interactions Crispin has when he’s not solving crimes feel predictable and pat; I’d like this book a whole lot better if his private life were messier.

What all this adds up to is a generic feel, which I see echoed in the prose:

He was able to enjoy the night, the stars peeking in and out of the cloud cover, wisping across the night sky between the tall buildings. The glittering stars marched ahead of them on a cloudy trail. The shops and houses were blue in the falling light. Only the wealthier houses had gleaming candles shining through glass windows. The rest were barred with shutters, with only a stripe or two of light.

To me, paragraphs like these—the only exterior descriptions in the novel–give little sense of London or fourteenth-century English life. I get that the sky is cloudy, but I don’t really visualize it, or what Guest thinks about it; and that sky could have been there yesterday as well as five hundred years ago. How tall were the buildings? What did the glass look like? The streets?

I’m also skeptical that Guest’s belief in reason rather than Scripture meets so little surprise or opposition, when such thinking was a burning offense. Does Jack, who grew up a thief as a young child, really quote Aristotle, as Guest does? Would a fourteenth-century man, no matter how erudite or educated, link the heart to the pumping of blood? (Westerson could have made that point a different way, but the phrasing jumped out at me.)

Nevertheless, The Deepest Grave has its charms. Westerson integrates the two stories, the churchyard walks and the merchant’s murder, with skill and economy. She deftly employs “no — and furthermore,” so that nothing comes too easily for Crispin, who makes mistakes. Unlike Crispin the man, the Tracker of London follows a less predictable path, and the puzzles will keep you guessing.

The Deepest Grave makes thinner, less satisfying fare than other historical mysteries from Severn House, but it’s entertaining and clever in its way.

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.

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.

Hunting Dissidents, and the Truth: The Seeker

10 Monday Aug 2015

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Review: The Seeker, by S. G. MacLean
Quercus (UK), 2015. 398 pp. £14

A politician once said of Germany that it took half the country to control the other half (and he was speaking around 1900, well before either world war). I get the same chilling impression of midseventeenth-century London from The Seeker, a mystery that involves murder, royalist conspiracies, and the terror of speaking one’s mind.

Cover by Henry Steadman (Courtesy Quercus Books, UK).

Cover by Henry Steadman (Courtesy Quercus Books, UK).

It’s 1654, and after a fractious, savage civil war, Oliver Cromwell has seized power, employing a vast, pervasive spy network to root out anything he considers subversive. His most ubiquitous, feared agent is Damian Seeker, who seems to know whatever you shouldn’t have done, when, and with whom. So if you’ve spoken against the Lord Protector Cromwell’s joyless, repressive regime; longed for the Stuart monarchy to return; written a poem extolling liberty; or merely sat in the same room as someone who’s done any of these, when The Seeker comes for you–and he will–don’t bother to deny a thing. It’s better not to.

However, what makes Seeker more than an extraordinarily energetic, gifted goon is a passion for truth, no matter where it leads. Consequently, when an assassin fells John Winter, a soldier who enjoyed the Lord Protector’s favor and sat in his inner council, it’s more than a security breach. It’s also a murder case, and finding the killer matters, not only because he could strike again, but–well, because. And from the first, Seeker doubts that Elias Ellingworth is the killer, even if he was discovered near Winter’s body, holding the bloody knife, and even if he’s penned seditious pamphlets.

To find the real murderer, Seeker must follow a sinuous trail that quickly branches in several directions, all of which appear to threaten the regime. Coffee houses, the latest fad in London, are the perfect breeding ground for conspiracy, though they’re also places for free conversation on any topic under the sun. I like how MacLean plays this theme. Cromwell’s followers pretend that they have swept away a tyranny based on birth and replaced it with a temperate government that values merit. But, as Ellingworth insists, the Lord Protector has betrayed the democracy he once professed and instituted a tyranny of his own. That Seeker, a commoner of humble origins, hunts down dissidents to uphold an unjust, autocratic ruler lends the conflict a fitting irony.

Little is known about Seeker’s origins, though, for the man never talks about himself or his feelings, if he even has any. He’s all work. However, Maria Ellingworth, the imprisoned suspect’s sister, interests him, and I doubt I’m giving anything away by saying that the young woman’s naive honesty and directness slowly seep through his defenses. It’s obvious from the get-go, though anything but obvious how it will end.

That’s The Seeker’s greatest strength, I think. Except for a scene or two recounted out of order to withhold a secret, the novel is exceptionally well plotted, no mean trick, given the sheer number of characters. Further, MacLean excels at hiding whether certain key characters are friends or foes, sometimes up until the end. I could have done without a cliché action or two, as when Seeker holds off his men to battle a traitor in single combat, but that’s a minor quibble. I love the period details, which flow seamlessly through the narrative and lend atmosphere. The language does slip occasionally, though; I’m certain no seventeenth-century Englishman would have ever used the phrase liaise with.

Seeker’s also pretty thin as a character, yet he’s the deepest of the lot. Late in the novel–too late, I think–we’re told (not shown) why he’s so loyal to Cromwell, and why he loves order above all. But I’m not entirely persuaded, and I think it would have taken little to establish this in small ways throughout the narrative. Seeker has potential–why is he so fierce, and why does truth matter to him?–but this book doesn’t exploit his inner conflicts. Maybe in future installments, MacLean will show more of him and her other characters.

Nevertheless, I enjoyed The Seeker. In the interest of full reporting, let me add that the novel won the 2015 Crime Writers’ Association Endeavour Dagger for Historical Fiction.

Disclaimer: I obtained my reading copy of this book from the publisher in return for an honest review.

Defenestration and Other Sports: Night Life

06 Monday Apr 2015

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Review: Night Life, by David C. Taylor
Forge, 2015. 332 pp. $26

I have to like Michael Cassidy, a New York detective who throws a cop out a third-story window–the guy needed it–and who, in 1954, at the height of the McCarthy witch hunts, tells Roy Cohn to stick it. For those of you whose grandmothers didn’t wish Roy Cohn a lingering death from throat cancer, as mine did, and have therefore never heard of him, he was Senator Joseph McCarthy’s legal counsel. So within the first ten pages of Night Life, I was already enrolled in the Michael Cassidy fan club and having a good time.

The Army-McCarthy hearings, 1954. McCarthy stands at right; Joseph Welch, opposing counsel, seated, left. (Courtesy U. S. Senate Historical Office)

The Army-McCarthy hearings, 1954. McCarthy stands at right; Joseph Welch, Army counsel, seated, left. (Courtesy U. S. Senate Historical Office)

Cassidy defies expectations in several ways. First, he’s not of Irish ancestry, no matter what the name suggests, and how his father got that name figures in the story. Second, Michael comes from a comfortable, middle-class background (his father’s a successful Broadway producer) and appreciates jazz and modern art. Third, though he’s uptown by birth, there isn’t a pickpocket, madam, or hood he doesn’t know in Hell’s Kitchen or the meat-packing district, and he has a tolerant, persuasive way with them that nets him bits of information.

And that’s what Cassidy needs, because a Broadway dancer has been found tortured to death. Normally, nobody would care. But for some reason, the FBI (“the Feebles”), the CIA, and the Mafia are all interested, and they have ways of declaring their curiosity or punishing those who talk out of turn. Meanwhile, a tough, beautiful woman moves into the apartment downstairs from Michael’s, just the cure for his lonely, broken heart, a person with whom he can share his bed and his troubles.

I like how Taylor portrays his characters, including Michael’s father and siblings–the family scenes are terrific–the theater folk, the political figures (McCarthy, Cohn, J. Edgar Hoover), Michael’s building superintendent, the police. They seem alive to me, and they make the novel hum, even more than the constant reversals or conflicting evidence that Michael must sift through. Best of all, to this transplanted New Yorker, the city feels alive too, in its speech, sights, and smells. I’m so tired of reading about New York from authors who don’t know the place. Taylor does:

A bearded man in a white robe stood on a milk crate at the corner of 49th and tried to interest the hurrying people in the fast-approaching end of the world. The clatter and bong of pinball machines and the whoops of players at the shooting games rattled out the open door of the arcade on 47th. Just past it was a discount store that had been GOING OUT OF BUSINE$$$$ for six years. It sold cheap portable radios, Japanese cameras, World War II surplus equipment, and knives that couldn’t hold an edge at ROCK BOTTOM PRICE$$$$$.

Night Life does suffer from stereotypes, though. Nearly every woman in this book, Cassidy’s sister included, is gorgeous, and she’s just about the only one who doesn’t want to take his clothes off. Michael performs many feats of derring-do, some of which are less than believable, particularly toward the end. Yeah, this stuff belongs to the genre; but still.

Most dubiously, he has dreams that predict danger–correctly, as it turns out. Taylor handles the clairvoyance well enough so that you don’t hear wind chimes or spooky music, yet for a cop who has his feet firmly planted in the grit, it doesn’t quite add up. The ending, too, stretches credulity in a couple ways, not least a loose end–a dangerous loose end–left untied.

Even so, Night Life is just too lively to dismiss. When Michael catches one of the Feebles rifling his desk and tells him to buzz off, the Feeble asks, “Got something to hide, Detective?” To which our man replies, “Pictures of your sister from when I worked Vice.”

Got to love it.

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

A City Burned

26 Monday Jan 2015

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Review: Shall We Not Revenge, by D. M. Pirrone
Allium, 2014. 323 pp. $17

For most Chicagoans, the winter of 1872 means untold hardship. The Great Fire has ravaged the city, destroying thousands of homes and workplaces, and the shantytowns that spring up to house the destitute and jobless offer no comforts or hope. People do what they must to stay warm in bitter cold, make it through another day, and keep their families together. Relief is paltry and slow, but criminals may be found everywhere. Gang bosses know where there’s money to be made, often thanks to corrupt police, who look the other way for a cut of the take.

Chicagoans of all classes flee from the Great Fire. From Frank Leslie's Illustrated Newspaper, 28 October 1871. (Courtesy Chicago Historical Society)

Chicagoans of all classes flee from the Great Fire. From Frank Leslie’s Illustrated Newspaper, 28 October 1871. (Courtesy Chicago Historical Society)

It’s in this brutal, gritty atmosphere that someone has killed a rabbi in his synagogue, bashing in his head with one silver menorah and stealing another. Was the motive robbery? The rabbi was much loved in his struggling neighborhood for good works, so it’s unlikely that anyone held a grudge. Yet he was also engaged in secret activities that no one wishes to talk about.

Newly appointed detective Frank Hanley must solve the case, and he faces long odds. Even beyond the native distrust city residents have for Chicago’s finest or the immigrant population’s belief that police are oppressors, to the Jews mourning their beloved leader, Hanley’s an outsider, an Irish Catholic who couldn’t possibly understand their ways or respect them.

From this premise, Pirrone (a pseudonym) crafts an engrossing story that keeps twisting this way and that until the very end. It includes a growing attraction between Hanley and Rivka Kelmansky, the late rabbi’s daughter, who helps him gather clues and navigate the cultural shoals that threaten to swamp the investigation at every turn. I like how the author frames Jewish rituals and customs from Hanley’s perspective, and how his misperceptions of them sometimes lead him to the wrong conclusions. I also like how she describes the city, the poor, modern police procedure in its infant days, and the underworld that so often evades justice. The sense of time and place is so strong that it almost carries the narrative by itself.

 

He sighed and trudged down the sidewalk. The cold kept the planks from sinking into the frozen mud beneath and dampened the pervasive odors of moist lumber and rotting vegetables. The light was thin and gray, like the remnants of snow on the ground, and flurries swirled in the air. Not enough to cover the dirty snow-crust and muck, unfortunately. . . . He loathed winter . . . [e]specially now, with the city’s scorched bones still bared to the sky and the taste of smoke in the air.

What I disliked was how the author writes her characters. With few exceptions, they’re either all good or rotten to the core. Hanley in particular feels too good to be true, not least his rapid recovery from severe injuries. He’s always on the right side, without prejudices, a good boy who even washes the dinner dishes and treats all women with respect. His only flaw is a bad temper, but what o’ that? Likewise, his immediate boss has unshakable trust in Frank–a neophyte–which leads to interventions that feel contrived, at times. More nuanced portrayals would have given Pirrone even more tension than she achieves.

Her prose, vivid though it is in description, falters at emotional moments. Too often, the narrative tells what the characters feel, sometimes even to repeat what they’ve already shown.

That said, I enjoyed Shall We Not Revenge for the story and the setting, a historical background that I’d never read about.

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