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Hunger and Love: I Will Have Vengeance

03 Monday Oct 2022

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Review: I Will Have Vengeance, by Maurizio de Giovanni
Translated from the Italian by Anne Milano Appel
Europa, 2012. 212 pp. $16

Commissario of Police Luigi Alfredo Ricciardi doesn’t need his job, strictly speaking. Financially secure, a rarity in Naples in 1931, and of aristocratic lineage, he could be a gentleman of leisure if he wished, marry a woman with blue blood like his, and live pleasantly, attending parties and the opera. But Ricciardi’s job lends him his sole purpose in life, and the reasons why make him one of the most compelling fictional detectives I know of.

He has no friends or family, save a seventy-year-old woman who was his nanny during his childhood, and who feels free to lecture him on his workaholic habits as she serves him dinner, typically an hour before midnight. Neither sociable nor personable, Ricciardi puzzles most of his subordinates—indeed, most people he meets—and if it weren’t for his brilliant track record, nobody would want to work for him. His brigadier, Maione, is the only policeman on the force to realize how everyone misjudges Ricciardi, whose deep green eyes seem perpetually full of sadness. If anything, the commissario feels too much.

But even Maione doesn’t know why, or what ghosts lurk in his boss’s mind—literally. Ever since Ricciardi stumbled across a murder victim in his parents’ garden as a child, a scene he privately euphemizes as the Incident, he’s been deluged by empathy for the dead. As he walks around Naples, he hallucinates corpses he’s seen in the past, imagines what they felt just before they died, and, remarkably enough, uses that perception as an investigating technique. That’s how Ricciardi lives his work, for he’s known all his life “that crime is the dark side of emotion.”

The Incident had taught him that hunger and love are the source of all atrocities, whatever forms they may take: pride, power, envy, jealousy. In all cases, hunger and love. They were present in every crime, once it was pared down to its essentials, once the tinsel trappings of its outward appearance were stripped away. Hunger or love, or both, and the pain they generate. All that suffering, which he alone was a constant witness to.

And oh, by the way, Ricciardi hates opera and its excess of feeling.

Teatro San Carlo, Naples, the world’s oldest continuously active opera venue (courtesyflickr.com/photos/stojaphotography/18734141725/in/photolist-, via Wikimedia Commons; public domain)

His singular opinion on that subject for his time and place figures in I Will Have Vengeance, for not only does the title come from an opera, the murder victim is a famous tenor. In life, Maestro Arnaldo Vezzi’s singing and stage presence commanded devotion from adoring audiences, but nobody liked him up close, especially not the managers, cast, and crews who had to work with him, and whom he terrorized. Even so, his star power was such that money flowed in his direction, and wherever he performed, he drew packed houses.

Consequently, who’d kill the goose that laid so many golden eggs? What provocation would push a member of the opera company to commit that murder and sweep all practicality aside? Those are the questions Ricciardi wishes he could answer, for the killing happened in Vezzi’s dressing room during an intermezzo, which points toward a perpetrator who’d have free backstage access.

Besides the hard-working Maione, assisting Ricciardi is a priest who loves opera. Thanks to a network of favors granted and received, Don Pierino Fava manages to witness performances from a spot just behind the curtain, as he does the fateful night in question. At Ricciardi’s request, he explains the opera’s story line and the ins and outs of operatic performance—details that matter to the investigation, dear reader, so pay attention. But it’s not just business between priest and commissario; the good Don Pierino, though flabbergasted that Ricciardi hates opera, also senses the shadow over the man’s soul.

I Will Have Vengeance moves like lightning, without waste motion or words, proving once more that a character-driven mystery can be just as riveting and suspenseful as its plot-centered cousin. As with the opera, every detail matters, and all’s in plain sight, something I appreciate. There are no tricks here, no rabbits pulled out of hats. I also like the departmental politics, and how Ricciardi handles his boss, an incompetent with friends in high places, which is to say that the commissario shows him no respect. Occasionally, that allows de Giovanni to work in subtle political commentary about Mussolini or his Fascist regime.

Another subplot I like concerns the sole outlet for Ricciardi’s softer feelings, a young woman who lives in a building across from his, and whom he likes to watch embroider at night. Trust me, it’s not creepy, and there’s more going on than even the hawk-eyed Ricciardi can guess.

I Will Have Vengeance is a masterful mystery, and I heartily recommend it.

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

Blackmail and Murder: Hot Time

25 Monday Jul 2022

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Review: Hot Time, by W. H. Flint
Arcade, 2022. 267 pp. $27

August 1896 witnesses a record “hot wave” in New York City, as the newspapers call it, searing temperatures that kill thousands of people as well as horses that drop in harness, blocking the streets. Political temperatures run almost as high, as a presidential election campaign prepares for its autumn stretch. William Jennings Bryan, the Democratic candidate opposing William McKinley, will speak at Madison Square Garden, expected to draw an overflow crowd, and the police have uncovered purported plans by anarchists to stage a violent demonstration there, maybe even to kill Bryan.

Police Commissioner Theodore Roosevelt, who makes little secret of his ambitions to ride McKinley’s coattails to a coveted government post, perhaps with the Navy Department, is also trying to weed out the corruption among New York’s constabulary. Aiding him in this Herculean task is Otto (Rafe) Raphael, the first Jew to wear the uniform of New York’s Finest, and Minnie Gertrude Kelly, the department’s first woman stenographer.

Jacob Riis and Theodore Roosevelt tour the slums, 1894 (from Riis’s book, The Making of an American, 1901, via Wikimedia Commons; public domain)

Complicating matters is William d’Alton Mann, whose dead body has been found near the Brooklyn Bridge. The police report ascribes the motive to robbery, and Commissioner Roosevelt accepts the judgment, even when Rafe, who’s had the chance to investigate on his own — overstepping his authority — points out a key fact. Mann’s gold cufflinks, likely the most valuable items on his person, remained untouched.

What’s more, Mann was an infamous blackmailer, gathering poisonous secrets about the rich and powerful, perhaps even Commissioner Roosevelt himself, and threatening to print them unless sizable sums are paid. Rafe, who admires Roosevelt without being blind to his faults, doesn’t know what to think — and keeps digging.

For me, the chief pleasure of Hot Time is the political and social atmosphere. Flint, a pseudonym for a well-known historian of the Gilded Age, has lovingly re-created that era and many of its figures, well-known or otherwise, the latter including the blackmailer, our inquisitive constable, and ground-breaking stenographer (though the author has taken license with biographical fact).

It’s not just that J.P. Morgan, Mark Hanna (senator, kingmaker, and McKinley’s handler), Bryan, and Jacob Riis, the reporter who exposes the degradation of New York’s slums (and wrote How the Other Half Lives), float through these pages. Flint has underlined how even reformers like Riis disliked and distrusted immigrants, Jews especially, and how the populist Bryan wanted the United States to close its borders.

I’m a little surprised that Flint has ignored Tammany Hall, which ran the police department like a fiefdom and brought about the corruption Roosevelt’s trying to counter. (I’m also curious about how Tammany, a Democratic machine, would have viewed a candidate who wore the right party emblem but opposed immigration, to which the organization owed its roots and power. Maybe too complex for a mystery novel.) But otherwise, the author portrays an engaging portrait of a time when bigotry and fears sound all too familiar to us today.

I also like the depiction of New York itself, of the Lower East Side and what was then “uptown,” the area in the lower Thirties. Flint brings to life the hard existence of newsboys, usually homeless young children, whose welfare was one of Roosevelt’s pet causes. One boy, called Dutch, figures heavily in the story:

At the Bowery, [Rafe] crossed under the elevated tracks, grateful for a moment’s respite from the sun. His usual newsboy was on the corner. Brown hair stuck out from under his woolen cap, and he stood with a habitual hunch, like a stray dog wondering whether the next passerby was good for a handout or a boot in the ribs.

But Hot Time, though intriguing as a historical novel, falters as a mystery. The narrative implies the killer’s identity fairly early on; only the motive remains unclear, and though it turns out to be politically satisfying, I find it somewhat hard to credit. The real tension comes from remarkable chase scenes involving Dutch’s acrobatics, and though they’re hair-raising, I wanted more of a puzzle. It’s as though the narrative can’t decide whether it’s a mystery or thriller.

As a detective, Rafe is dogged, intelligent, and good-hearted. There’s a whisper of attraction between him and Minnie, the stenographer, which can go nowhere, for religious reasons. For the most part, I believe Rafe’s Jewishness — thank you, Mr. Flint — and his family’s living conditions seem real too.

However, certain conversations feel like information dumps, and I wish Rafe’s interior narration depended less on rhetorical questions, sometimes a half-dozen or more in a row. Whenever an author resorts to that device, I sense a perceived need to remind the reader what’s been learned (or not) and uncertainty as to how best to convey this, except in shorthand.

Consequently, if you read Hot Time, concentrate on the atmosphere and the derring-do, and you’ll see the narrative in its best light.

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

The Price of Revenge: The Blood Covenant

27 Monday Jun 2022

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Review: The Blood Covenant, by Chris Nickson
Severn, 2021. 212 pp. $29

Leeds, 1823. Simon Westow, a thief-taker, meaning someone who retrieves stolen goods for a fee, hears from a doctor friend about two deaths that disturb him deeply. A pair of young boys has been murdered, apparently by a factory overseer. Leeds, starting to gain a reputation for its textile mills, witnesses a great deal of industrial child abuse. That’s because children, hired to scoot below the machinery to perform certain tasks, rebel against the long hours of exhausting labor, and the foremen don’t spare the rod.

J. M. W. Turner’s 1816 watercolor, Leeds (courtesy Yale Center for British Art, via Wikimedia Commons)

Since Simon himself just managed to escape that life and has two young boys of his own, the news of the deaths causes him sleepless nights. On one such, he goes for a walk and happens on a young man, throat cut and hand severed, being pulled from the river.

Despite Simon’s curiosity and principles, none of this need have anything to do with him. Leeds mill owners are beyond the law, for this is early nineteenth-century England, and money buys many things, including constables and magistrates. And Simon, though he’s investigated murders before, prefers to stick to thief-taking, a less dangerous, better-paying proposition — not to mention he’s recovering, slowly, from an illness for which a doctor friend has no name.

But when circumstances connect the boys’ deaths and that of the man pulled from the river — none too convincingly, I might add — Simon begins to probe all these crimes, hoping to find a measure of justice in a society where the word has little meaning. Before he’s done, many bodies will fall, mostly in hand-to-hand combat, of which The Blood Covenant provides many scenes. Leeds is one rough town, and if you wish to live out your portion of natural days, you’d best keep a well-sharpened knife in your pocket and know how to use it.

Nickson, the author of the excellent mystery series featuring the Leeds policeman Tom Harper, set toward the end of the century, has once again shown the gritty side of a cruel city. How people managed to live in that place back then makes the hairs on the back of my neck stand up. That the disenfranchised receive no protection from the law goes without saying. Further, Nickson reminds readers about the evils of the factory system, which remain with us, if in different forms, if in sweatshops overseas.

Nevertheless, though the first three installments in this series may deserve the name mystery — I haven’t read them — this fourth volume doesn’t. Few puzzles emerge demanding solution, or, to put it another way, every question has an answer easily obtainable by putting a coin in the proper palm. Rather, the narrative offers a progression of violent confrontations, as the evildoers will stop at nothing to have their way. That requires our hero to remain vigilant, constantly looking over his shoulder, and he must dig deeply into his resolve and skill. Consequently, given that framework and the public stakes of justice for those who never receive any, The Blood Covenant feels more like a thriller.

Mystery or thriller, the chief pleasure here, aside from the historical atmosphere, is the plot, which moves rapidly. The characters, though, seem flat to me, either all good or all bad, with one crucial exception — Jane, Simon’s friend and associate, whose street smarts, surveillance skills, and knife handling put his in the shade. A nice reversal, there, and Jane’s inner conflicts offer complexity too. Raped by her father at a young age, then pushed onto the street, she has a particular view of life that stands out in even this novel of death and heartbreak.

As for the storytelling, I prefer the Harper novels, though again, I admit that The Blood Covenant may be an outlier within its series. The narrative tells far more often than it shows, sometimes to state or repeat the obvious. The descriptions have little or no emotional resonance, precise though they may be in detail, as with this one, about a mill owner’s home:

It was a room to impress guests, decorated in the finest taste that money could purchase: a wallpaper of pale, comforting blue and white stripes, an oil painting of a naval battle hanging over the mantel, long-clock ticking soft and serene in the corner. The chairs were upholstered in deep blue velvet. A plush Turkey rug covered the polished floorboards. It was all understated, a dignified announcement that Arden had arrived, that he was respectably rich these days. It was exactly what people expected from a house in Park Square.

Nickson plainly has a cause, and a worthy one, about wealth perverting the law. The pages do turn easily, as you wonder how Simon will finesse or force his way past the barriers that keep getting placed in his path. But if you read The Blood Covenant, you may find the theme and story the most rewarding aspects of the novel.

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

Trauma and Post-Trauma: Death at Greenway

30 Monday May 2022

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Review: Death at Greenway, by Lori Rader-Day
Morrow, 2021. 414 pp. $28

Bridget Kelly, a nineteen-year-old nurse-in-training, has been dismissed from a London hospital, probably an unusual occurrence to begin with. Worse, this is April 1941, wartime, and with nurses in such short supply, you just know Bridget must have messed up horribly. In her parting words, the nurse matron has harangued Bridget for coldness, arrogance, inability to concentrate, and more besides. Whew.

But Matron has given her one last chance: to accompany a group of young children to Devon, where they’re to be evacuated for the war’s duration, presumably safe from the bombs hitting London daily. The country house that will be their billet belongs to Agatha Christie, a fact of no consequence to Bridget, who doesn’t read stories — they hit her in the gut, literally.

Agatha Christie, Dame of the British Empire, in 1958; photo of a plaque (courtesy Torre Abbey.jpg: Violetriga, via Wikimedia Commons)

Rather, she’s wondering how to manage ten children, a chore that scares her, and for which she thinks she has no aptitude. Meanwhile, she’s reeling from the deaths of her mother and younger siblings from a German bomb, so the sight of any child can be dangerous for her.

When she first sets eyes on her charges-to-be at the train station, her heart sinks, because she has imagined older children, easier to care for:

The children were tots, baby fat in their knees below shorts and skirts, socks pulled up or sliding, shoes scuffed or untied. They had tags affixed to their coats and child-sized gas masks in paper cases and straps around their necks. They wore caps or hats or bonnets and flung them to the ground in a tantrum. Those who were carried by their mums kicked to be let down. Two were infants, dear God.

But Bridget has one hope, a fellow nurse to share the load — until that nurse, who claims also to be named Bridget Kelly, doesn’t seem to know the first thing about children, the human body, or caring for anyone else’s needs. For that matter, as Bridget discovers, few people or things she runs across are as they seem. No sooner have they arrived in Devon than she has her doubts about the house staff, the people leading the evacuation, and the local characters, whose intense suspicion of outsiders may have a darker side.

Her skepticism is often warranted, but as Matron’s criticisms ring repeatedly in her ears, you begin to wonder just what was going on there. For instance, is Bridget really arrogant? Hardly; she’s too self-effacing by half. She only seems withdrawn, because when circumstances call for intense emotion, her post-traumatic stress kicks in, manifesting itself as the aforementioned hits to the gut. And that, of course, she can’t reveal.

But that’s only for starters. As she tries to settle in, an intruder or two stalks the property, precious food supplies go missing, and, eventually, a dead body washes up on shore. Connected events, or coincidental?

Mysteries and thrillers generally go by the moniker of plot-driven, but not Death at Greenway. This one’s character all the way, and it’s masterful. You get the nurses, the staff, the neighbors, the atmosphere, the house, the PTSD, and they all move the story. Aside from Bridget and her nursing colleague, I single out the local doctor, who’s too handsome by half and sensitive to feelings but somehow off, and an artist living on the property who’s got a battleship-sized sense of entitlement.

Rader-Day peels back layer upon layer of mystery, misunderstanding, and “no — and furthermore.” If the narrative proceeds more gradually than in other mysteries — the dead body, for instance, doesn’t show up until page 115 – the tension nevertheless keeps you riveted.

How? The author shows you Bridget beneath the skin and the fear, isolation, and resentment everyone breathes with each inhalation, which marks them and makes for potent drama. I admire that kind of storytelling, which doesn’t need a man with a gun to raise the stakes. This narrative may seem “quiet” for a mystery, to use a publishing buzzword that no two people define the same way. Gentle reader, don’t be deterred.

I’ve also never read as gripping or accurate a description of post-traumatic stress, unless it was in Daniel Mason’s fine novel, The Winter Soldier — and he’s a psychiatrist. Moreover, Rader-Day captures the underside of Britain’s so-called finest hour, portraying less-than-heroic behaviors, reminiscent of Lissa Evans’s novels, though without the irony or humor. Here in Devon, they’re playing for keeps.

For those who like Agatha Christie — I don’t particularly — the setting will appeal as well. And just in case you’re thinking from what I’ve said that the mystery must take second place to the characterization and somehow muddle its way through, let me assure you that the plot goes through as many twists and turns as the seaside Devon roadways.

Death at Greenway is a fine mystery and a brilliant re-creation of the British home front, worth your time in both respects.

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

Washington, 1942: Louise’s War

11 Monday Apr 2022

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Review: Louise’s War, by Sarah B. Shaber
Severn, 2011. 194 pp. $28

American involvement in World War II is six months old, and everybody and her sister flocks to the nation’s capital to find a job. Louise Pearlie, whose husband has died years before and can’t bear to remain in rural North Carolina, has brought her excellent secretarial skills and work experience to the Office of Strategic Services, the intelligence organization. Gossip has it that the Allies will invade North Africa within months, hence the OSS search for maps of the coastline and experts who understand the beaches.

A 1943 poster for the Office of War Information by George Rapp (OWI poster 55, courtesy Library of Congress; public domain)

One such authority is Gerald Bloch, a French Jew married to a school friend of Louise’s. From what little news she’s received, Louise gathers that Gerald and Rachel are stuck in Marseilles, while reports say that the Vichy government has made sure that no Jews will receive exit visas. Deportation looms, and Louise, who owes Rachel a huge debt, wishes she could help.

Theoretically, the OSS could claim that Gerald Bloch would provide necessary information concerning the upcoming invasion. But the file on him goes missing during the confusion ensuing from the fatal heart attack suffered by the director of Louise’s section. At first, she thinks nothing of this, but soon, at tremendous risk, she sets out to discover how and why a sensitive dossier could simply vanish, and whether recovering it would save the Blochs.

It’s an excellent premise, if a mite dependent on coincidence, but Shaber’s narrative has a lot going for it. For starters, I like how she’s drawn Louise. Growing up poor and churchy, Louise doesn’t quite know what to make of the big city, where old values get shunted aside in the business of making war. The tremendous crush of people in a hurry and under pressure, with ambition and money to spend, offers temptations she’s not used to, but which attract her. Her parents want her to remarry, but she enjoys her independence, even if she wonders what it would feel like to have the financial security and creature comforts she’d never afford on her own.

That said, Louise also knows that many, if not most, men expect women to keep quiet and use their brains only to help solve male problems, for which, of course, they’ll receive no credit. But her common sense doesn’t prevent her from wanting what might not be good for her. I like that complexity.

The other winning facet of Louise’s War is the atmosphere. Whether it’s fabric shortages, the bus company’s refusal to hire Black drivers, people trying to get around the sugar ration, or the habit of traveling GIs tossing letters out train windows, knowing that someone will stamp and mail them, Shaber knows her ground and deploys details with skill. Here, Louise rolls her eyes at the portrayal of women in a popular magazine:

In its cheerful stories women skipped off to work in full make-up with neatly coiffed hair pulled back in colorful do-rags, carrying lunch pails full of healthy home-made food. Their overalls didn’t get dirty no matter how filthy the job. If they weren’t married with an obliging mother at home caring for their children, they were engaged to a shop foreman or a military officer. None of them were war widows or lived in boarding houses or had to park their children in crowded day nurseries.

Given that keen eye and grasp of psychology, I’m surprised to stumble across a cardinal error. Louise’s first-person narration works just fine, but, for some reason, Shaber shoehorns brief, usually first-person, sections belonging to minor characters, ostensibly to reveal information Louise couldn’t know. Since these look as clumsy as they sound, you have to ask, Does the reader need to know? I doubt it.

Pretty much everything would have kept until Louise manages to discover it, and her ignorance could have heightened the tension, complicating her attempts to parse conflicting evidence. As it is, the story telegraphs answers to a couple major questions when, with little effort, the author might have shaded the account of events to create doubt and keep the reader guessing along with Louise.

Less glaring to the general reader, though unfortunately common in fiction, the Jewish characters don’t feel genuine, which turns them into a narrative convenience. I also object to how certain authors consistently say “Nazis” to identify those who invaded other countries and committed mass murder and expropriation, as though “ordinary” Germans distanced themselves from those crimes.

I can’t help think that the author, or her publisher, wants to separate people we like from those we can hate with abandon. Too bad. Similarly, the novel presents a likable, admirable protagonist, born and raised in North Carolina, who befriends the Black women servants in her boardinghouse without a second thought. That seems a little easy.

Nevertheless, in other ways Louise’s War brilliantly presents a city during conflict, a heroine whose voice draws you in, and a mystery that will keep you turning the pages.

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

Reconstructed Mystery: The Unknown Woman of the Seine

28 Monday Mar 2022

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Review: The Unknown Woman of the Seine, by Brooks Hansen
Delphinium, 2021. 261 pp. $26

This much is true. Sometime during the late nineteenth century, a young woman drowned in the Seine, and the gypsum death mask created to memorialize her face became famous. What a face it was — serene, people said. Others spoke of her innocence, her beauty. The poet Rilke wrote of her deceptive smile and what knowledge might lie behind it. Artists studied the re-created face as a model; copies of her likeness could be found in Parisian studios and academies. Nabokov had a character write a poem about her. Camus, it was said, showed her off at parties. Man Ray photographed her.

Photograph of the famous death mask, ca. 1900, photographer unknown (courtesy http://totenmasken.com/totenmasken/html/body_galerie.html, via Wikimedia Commons; public domain)

To all, the dead woman’s mask represented a quality that touched them, so they invented her story, a biography, a mystery, and how she might have met her end. That background brings us to the current novel, beguiling, occasionally baffling, which offers a coherent explanation, as tense as any whodunit and as meticulously observed as any narrative of any kind.

Hansen’s story begins with a scene in a morgue, November 1889, after the unknown woman’s body has been on display for a month — yes, they did that, apparently — after which the mask maker plies his craft. It’s a prologue, therefore unfortunate by nature, and a bit confusing, at that. But Hansen skillfully rewinds the intrigue from there, chiefly through the eyes of Émile Brassard, a gendarme who’s had a checkered career, partly because his brilliance upsets people, a circumstance the author understates with deft hand.

In fact, if any single word describes The Unknown Woman of the Seine, it’s understated. I admire novels in which nothing is predictable, yet whose randomness derives entirely from characters with opposing goals (not authorial convenience). I also admire those novels that ask me to draw inferences rather than explain themselves, which involves me in the narrative and lets me meet the story halfway, rather than have it spooned into my mouth.

That said, Hansen demands a lot of his readers, and I’m not always up to it. A dose of bewilderment works wonders, though, for you share Brassard’s curiosity and puzzlement. He first sees the woman in the woods far from Paris, while she’s burying a corpse — and none too deep, because subsequently, the wolves get to it easily. Brassard might arrest her, but he can’t, because he’s applying to be reinstated in the gendarmerie after military service in Indochina, so he’s not officially on duty. Moreover, he’s traveling to his reinstatement hearing, so his time isn’t his own.

Consequently, he must walk a tightrope, following the woman while covering his tracks from both the participants and his superiors. Hansen does a marvelous job integrating his hero’s employment troubles with the mores and politics of the time, folding that into the detective’s quest to figure out who the woman is and why she was burying the dead man. If she killed him, as is likely, Brassard assumes there are extenuating circumstances, and he wants to know the story. So do you.

However, he, and the reader, must have infinite patience before things start to make sense. Also requiring patience are references to images of Buddhist philosophy, which go above my head, and which seem — to me, at least — to have little relation to the story. No doubt I missed something.

But the reader who can stick it out will be well rewarded, especially those who like dogs — Brassard’s is quite the canine investigator, perhaps a little too good to be true, yet their relationship is marvelous. The journey the narrative follows could not be more beautifully rendered, whether Brassard’s thoughts, the landscape, or the city of Paris, particularly the presence of that newly built tower, Eiffel’s monstrosity, as some think of it.

Here, the detective considers his reinstatement, as variable and hard to fathom as the heavens themselves:

If the sun said, All is well, all will turn out in due time, the moon knew better. The moon said, Beware. The moon shed light on the darker and more difficult truths, and he could feel them this evening as he wrote — the low clouds of doubt drifting into his brain, or looking like wolves just behind the tree line, grinning and shimmering with the knowledge that his confidence was without ground; he was fooling himself; the matter of his reinstatement is not nearly as simple or assured as he liked to think.… There were men out there who doubted him, and who made it their business to undermine him.

Such magnificent writing rolls easily into your mind, creating inner life, physical setting, and tension, all at once. The narrative’s final pages lack the clarity I would have liked, but the essentials are there. The manner in which Brassard — and Hansen — pull together the evidence makes for a thoroughly satisfying and remarkable tale of mystery.

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

Bang, You’re It: Scandal in Babylon

28 Monday Feb 2022

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Review: Scandal in Babylon, by Barbara Hambly
Severn, 2021. 233 pp. $27

Camille de la Rose, screen name of Kitty Flint, is the Hollywood “It” girl (a term just come into vogue) of 1924. She couldn’t act her way out of a wet paper bag, or so thinks her sister-in-law and personal assistant, Emma Blackstone. But that hardly matters. Wherever Kitty goes, whatever she does, her style’s inimitable, and she’s good box office, of course, both on and off the screen.

The 1927 Paramount film that made the phrase “It girl” popular, derived from an Elinor Glyn novel (courtesy Wikimedia Commons; public domain)

A single glance can render the sexiest men in Hollywood putty in her hands. Burning the candle at both ends, she arrives on set made up to kill, after four hours’ sleep and much alcohol — who cares about Prohibition, anyway? Trouble is, she doesn’t know when to stop, even after snagging the studio head as her lover and a half-dozen other fellows, more than one of whom might suffer from jealousy.

However, Kitty does get down to work, shooting Empress of Babylon, a cast-of-thousands extravaganza, an improbable drama, yet a fine vehicle for her skills. Unfortunately, a man who married her when she was fifteen is found shot dead in her dressing room, carrying a note from her in his pocket.

Emma — remember the sister-in-law? — believes Kitty, who swears she hasn’t seen her ex in years, though it’s just possible he’s technically not her ex, since the divorce may not have been filed. (That lapse might cause problems, considering that Kitty married someone else afterward, though he’s long gone by now.) Nevertheless, Kitty has no convincing explanation for her whereabouts at the time the murder took place, and though it’s ridiculous to accuse her on the face of it, just what she was up to provides yet another mystery.

The police, gossip columnists, and evangelicals looking to sanitize Hollywood seldom agree on anything, but they’d all love to see a star brought low, whether to nurse their resentment or advance their careers. Kitty looks trapped. Even so, a circumstance sticks out. Since the killing appears a clumsy job, almost amateurish — surely, the accusation against her couldn’t stand up in court —Emma suspects that the criminal wishes above all to embarrass Kitty, and that the amateurishness serves a purpose. But what goal could it have? And who would go to all that trouble, and why?

Scandal in Babylon makes a delightful, well-plotted mystery, with enough unexpected edges to keep you turning the pages. Chief among these is sleuth Emma, a widow because of the Great War and an intellectual among the studio Philistines. English to the teeth — several male characters call her “Duchess” — she read classics at Oxford, has a Latin quote for every occasion, and loved participating in digs with her late father, an archaeologist.

When she’s not tending Kitty’s three Pekinese or cleaning up after the star’s messes (physical or diplomatic), she’s charming thugs who might have information about the murder, rewriting scenes a day ahead of filming, and bemoaning the anachronisms the studio inflicts on history. No, she sighs to herself, imperial Roman statuary could not have appeared in ancient Babylon.

This is all great fun, as is the portrayal of the California version of Babylon, with its gangsters, private detectives, studio fixers determined to keep their employer’s reputation clean at any cost, extras, seducers and seductresses, and, at its pinnacle, the star. Here’s Kitty on the movie set, dealing with a brazen invasion by gossip columnist Thelma Turnbit:

As the journalist extended an arm to catch Dirk Silver [Kitty’s costar] by the elbow, Kitty rose with the fluid grace of a dancer and intercepted her, purring, ‘Thelma, darling!’ Her natural baby-coo transmuted seamlessly to the smoky purr of a man-eater who had, over the past four years, devoured the hearts of two dozen cinematic fools for breakfast. She slipped an arm through that of Mrs. Turnbit, and turned her radiant smile upon the approaching guard and the prop man’s assistant.… Her gesture of thanks towards the director was a miniature miracle of gratitude and stubbornness…

I’d have liked to know more about Madge, the leather-lunged director of this celluloid epic. It’s clear she’s got a story, as a woman in what was then a man’s job. I also find Zal, wizard cameraman and Emma’s love interest, too good to be true. Unlike just about every other male in Hollywood, he’s warm, open, kind, sensitive, and not even a blood corpuscle’s worth jealous or territorial. But the other characters work well enough, and the novel rests chiefly on the atmosphere, often hilarious, and the well-tuned story, in which Hambly keeps raising the stakes.

Scandal in Babylon is a hoot and a well-crafted mystery, and I enjoyed it.

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

Muck and Murder: Absence of Mercy

31 Monday Jan 2022

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Review: Absence of Mercy, by S. M. Goodwin
Crooked Lane, 2020. 305 pp. $27

In April 1857, Jasper Lightner, star detective of the London police force and keen student of scientific methods, faces a crisis that threatens his career. His obdurate father, a duke who’s found fault with his second son forever, believes that Jasper’s chosen profession stains the family escutcheon. But since His Lordship can’t deter his wayward progeny by cutting off his allowance — an aunt has conveniently left Jasper a sizable legacy — he applies political pressure instead. The duke gives Jasper an ultimatum: leave the police force or go to (ugh!) New York and teach the colonial upstarts how to sleuth properly, if he likes.

Jasper doesn’t particularly like — his imperious valet, Paisley, likes it even less — but our hero accepts the journey as an adventure. What he doesn’t know and couldn’t possibly anticipate, no sooner has he landed than he realizes he’s walked into a snake pit. Not only does every copper in the city resent him on sight, whether for his nationality (they’re Irish), reverse snobbery about his class, or because they believe that the interloper will expose the incredible corruption they take as their right.

The nonstop political turf war, with gangs, Tammany Hall, and rivalries within the force, may turn violent any second; woe betide the newcomer, who can’t know whose toes he’s just stepped on. And oh, by the way, someone’s cutting through the ranks of the city’s wealthiest men, killing them in copycat fashion, with garrotte and knife. The mayor wants these murders solved yesterday.

Absence of Mercy, the first of a promised series, wades into this donnybrook with gusto. If you like complicated mysteries in which bodies fall by the day, perceptions change by the hour, and the gritty atmosphere could be packed into a ball and used to scrape rust, you’ll find your pleasures here.

A woodcut from 1870 shows the Criminal Court in lower Manhattan. The complex included an infamous prison known as The Tombs, built in 1835. The author of this novel portrays what it was like inside (courtesy Corporation of the City of New York via Wikimedia Commons; public domain)

But clever as the plot is — at times, too clever for me to follow — the most winning aspect of this novel is its protagonist. I’ve never encountered a detective like Jasper Lightner, and maybe you haven’t, either. You might suppose that a thumbnail sketch of his past reminds you of a cross-genre James Bond. Handsome? Check. Suave? You got it. Throw in his impeccable manners, refusal to rise to the insults that his legion of enemies hurls at him, and magnetism for women, and you’ve just about spelled trope. Do I need to mention that he’s a veteran of the Crimea, a survivor of the charge of the Light Brigade, and trained to become a doctor, only to abandon his studies shortly before completing them?

But hold on. This paragon stutters, badly, except in the rare moments when he allows himself anger. Paisley, his valet, scares him. Jasper’s former fiancée married his brother. He suffers nightmares because of that infamous charge, and he hates that Tennyson wrote a poem about it. He still carries shrapnel from the battle, and to dull his pains, physical and emotional, he favors madak, tobacco laced with opium. Most importantly, despite his social gifts, sensitivity, and kindness, he can’t abide intimacy:

Surviving childhood with the duke had been very much like protecting a castle from invaders. Over the years Jasper had become an expert at repelling attacks, repairing breaches, and strengthening defenses while he waited his father’s next offensive. Now, in his thirties, his castle walls were impregnable. Thanks to the duke, nothing — and nobody — could ever get close enough to hurt him.

Consequently, Jasper pulls you in thoroughly, and you’ll need that connection as your compass, because Absence of Mercy visits the most degraded locales in a filthy metropolis. Goodwin lovingly portrays the muck, stench, and horror of New York life for the teeming underclass less than a mile from Fifth Avenue, but who might as well inhabit another planet. Life’s hard, and a man like Jasper, who believes in justice, has his work cut out for him.

Aside from occasionally losing the threads tying motive to crime and the timing of who said or did what, when, I find this novel absolutely engrossing. Every once in a while, the diction slips, as Jasper speaks like an American, whereas his American assistant, a detective improbably named Hieronymus (Hy) Law, talks like an Englishman. But despite that, Goodwin’s a careful writer with a gift for creating vivid scenes and a sense of history, for the narrative takes place during the years of the Fugitive Slave Act, which figures in the story and puzzles our English protagonist.

If you go along for the ride, don’t be alarmed if the odd detail puzzles you. Let yourself be swept along, and you’ll be rewarded.

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

The Adamant Sheriff: Nighthawk’s Wing

17 Monday Jan 2022

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Review: Nighthawk’s Wing, by Charles Fergus
Arcade, 2021. 273 pp. $26

Gideon Stoltz, sheriff of (the fictional) Colerain County, Pennsylvania, in 1836, faces long odds in solving his latest case. He suffers headaches and memory loss because he fell off his horse and hit his head. His deputy does his best to cover for him, but Gideon’s boss, an arrogant attorney, openly hopes the voters will turn the young sheriff out of office come autumn. At only twenty-three, Gideon fears for his future, but the present looks pretty dreadful too. His wife, True, locked in grief over their young son’s death from influenza, won’t speak to him or even stir from bed.

But that’s just for starters. A woman said to be a witch has been found dead in Sinking Valley, a farm district more than a day’s ride from Adamant, the town where Gideon lives, and he’s not sure he can manage an extended trip, given his physical ailments. He’s hoping that the rumors of suicide prove true, and that he can investigate briefly and return home.

However, he not only knew the dead woman, Rebecca Kreidler, he has the strongest impression that he visited her on or about the day she died. Could he have killed her? Could he have taken her to bed, even, for, like many men who knew Rebecca, he lusted after her? The notion fills him with shame.

What’s more, when Gideon begins questioning the good folk of Sinking Valley, he uncovers complexities that challenge a verdict of suicide. Rebecca’s beauty aroused desire and envy, and her knowledge of medicinal plants invited both gratitude for her cures and suspicion of witchcraft. Then again, her past preceded her, for a woman who kills her husband — no matter how violent or abusive — has marked herself as an outcast, and her three years in the penitentiary is not considered adequate expiation.

This ingenious framework, and the facets Fergus gives it, make Nighthawk’s Wing compelling reading. Gideon Stoltz is a man first and a detective second, and though the two naturally intertwine, the narrative offers much more than a whodunit — luckily, for reasons I’ll get to. Not only do Gideon’s cognitive difficulties and the various reactions to them provide a touching, unusual background in a mystery, the social atmosphere places the narrative firmly in the central Pennsylvania soil.

This document bound one Henry Mayer as indentured servant to Abraham Hestant of Bucks County, Pennsylvania, in 1738. Many German immigrants to Pennsylvania, erroneously called “Dutch,” bound themselves in this way (courtesy Immigrant Servants Database, via Wikimedia Commons; public domain)

Like many people in Sinking Valley, Gideon’s of German extraction, or, as commonly called, “Dutch,” apparently a corruption of the German word Deitsch, how they describe themselves. Much hated and maligned for being different, they occupy a social position that marks the story. With skillful economy, Fergus deploys the animosity to effect, tracing its roots and consequences, and since Rebecca was Deitsch, Gideon must take that into account.

Another pleasure of Nighthawk’s Wing involves the vivid, very much lived-in picture of early nineteenth-century rural American life. Fergus shows us crafts, like grinding and resetting a millstone, or a blacksmith shoeing a horse, and recounts herbal lore and depicts burial customs. Such authenticity extends to various mounted creatures, for riding a beast requires particular skills or physical heft, and either you have them, or you don’t:

The animal’s long upper lip stated that it grudged being ridden. No saddle. The boy sat on a girthed sheepskin with the fleece side down. He held a loop of rope tied to the bit rings on both sides of the mule’s broad, disgruntled mouth. The boy was small, and his leg stuck out sideways from the mule’s sweat-slick barrel — uncomfortable enough, Gideon thought, even for one so young.

The narrative from Rebecca’s point of view works less well, I think. I believe her portrayal as a psychotic — one of her delusions gives the book its title — but by going back in time to let the now-dead speak feels like a copout, telling us what Gideon couldn’t possibly know. That may not bother other readers; and I may also be alone in my dislike of the supernatural elements that play a strong role, especially toward the end.

But I wonder whether other readers will agree with me that Fergus has tipped his hand concerning the killer’s identity, which I latched onto because of how mystery novels are typically put together. I don’t want to say more, for fear of giving too much away, but despite this drawback, I do believe that Nighthawk’s Wing deserves its audience. I congratulate Fergus for the loving care with which he re-creates the time and place and crafts his characters. If you’re like me, that will justify reading the novel.

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

Damaged Men: Kith and Kin

29 Monday Nov 2021

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Review: Kith and Kin, by Jane A. Adams
Severn, 2018. 218 pp. $29

In December 1928, two bodies wash up in the Kentish marshes, under circumstances anything but clear. But one thing Detective Chief Inspector Henry Johnstone and Detective Sergeant Mickey Hitchens know. They recognize one of the dead as a lieutenant of Josiah Bailey, a London crime boss who inspires such terror that people think twice before uttering his name.

Cliffe Pools, in the North Kent marshes, now cut off from the sea, forms a fleet, a saline waterway (courtesy Clem Rutter, 2007, via Wikimedia Commons; public domain)

Johnstone and Hitchens also know that when Bailey gives an order, failure to comply may bring a death sentence, not only to the disobedient, but to their families. As such, the policemen must consider whether Bailey turned on his own loyalists, and why, or whether a rival gang has retaliated for an offense known only to the participants — in which case a turf war may erupt. What a terror that would be.

But to forestall that bloodbath, Hitchens and Johnstone must uncover the tangled roots of the murders, and since the key witnesses have connections to Bailey, no one will talk. Moreover, what the detectives gradually learn (but what the reader knows from the get-go) is that the case stems from a decade-old conflict that involves members of a Gypsy clan. They too are loath to speak up, because dealing with outsiders, especially officialdom, has always ended badly for them. As you might imagine, obstacles abound, the “no — and furthermore” that drives the story at a good clip.

However, this premise, though well executed, is surely not the first exploration of gang warfare in a mystery, nor is it what makes this novel worth reading. Rather, Adams focuses on her characters, starting with her two detectives, who care deeply about one another without ever saying so. They met during the Great War, so they have a bond that goes back, a tacit language. But it’s not just the shared background that makes them friends. Mickey Hitchens understands how the war still plagues Henry Johnstone, for reasons only alluded to (but which may have been explained in the first two installments of the series).

Touchingly, Mickey tries to make sure that Henry, a bachelor, bothers to eat enough and care for himself. But when his friend does something stupid in the line of duty, Hitchens doesn’t hesitate to say, “Lord, but you can be an awkward bastard when the mood takes you.” I can’t recall when I’ve run across such a pair of sleuths, or even a subordinate detective who never utters the word sir — in Britain, no less. The focus on characterization extends to the minor players, as with Henry’s sister, Cynthia; Mickey’s wife; and several witnesses, especially those who don’t belong to the mob. All receive a dash of inner life.

I also like how Adams creates a world of damaged people, about whom she refuses to moralize, and for whom luck and circumstance play a large role in whether they escape the darkness or succumb. Though Henry and his sister number among the escapees, that wasn’t a given, apparently, so he understands Bailey’s henchmen better than they realize, probably:

Childhood, Henry thought, ended all too swiftly for most children, especially the children of the poor. Henry and his sister, though his family had endured no such acute financial pressures, had also had their own childhood curtailed, in their case by a father who saw no value in creatures who could not contribute to his own wellbeing. Then the father had died and it had just been Henry and Cynthia and, all things considered, they had done well; in their case it was better to be parentless than so badly parented.

Adams’s prose reads like this throughout, clear, direct, and spare. Though I like that, sometimes her descriptions sound like laundry lists of detail, when I want evocations. The whodunit facet of the narrative consists largely of dialogue between the detectives, much of which veers into information dumps. To be fair, the two men must compare notes, yet how the author presents this exchange matters to me, and I prefer an indirect approach.

The back story, though essential and crisply told in itself, feels shoehorned in at times, including the prologue. In its defense, however, said prologue has one of the most compelling first sentences you’ll ever see, so I understand why Adams wanted to lead with it. Finally, though the ending satisfies in its realism, the solution fails to match the buildup, which leaves me wanting more.

Consequently, Kith and Kin is a novel greater than the sum of its parts. The characterizations are what command attention, and if I were to read another installment in the series, I’d do so to learn how the two detectives progress in their lives.

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