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Radical Murder: The Infidel Stain

25 Monday Dec 2017

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Review: The Infidel Stain, by M. J. Carter
Putnam, 2016. 420 pp. $27

When a young girl finds the mutilated body of a printer spreadeagled across his press, you’d think the police would take a keen interest, especially since a similar murder follows shortly. But this is London in 1841, and many forces conspire to discourage official inquiry into these horrid crimes. So Viscount Allington, an evangelical social reformer and member of Parliament, hires two private “inquirers,” men who distinguished themselves in India, Jeremiah Blake and Captain William Avery.

These two, the protagonists of Carter’s previous novel, Strangler Vine, will be lucky to survive their quest with limb and liberty intact, let alone solve the case. At first, it’s not clear whether someone in high places has forbidden any investigation, or whether the so-called new police (Sir Robert Peel’s brainchild of 1829) think they have better things to do, in particular to penetrate and destroy the Chartists, a so-called radical political movement. Consequently, the poor people inhabiting the back alleys of Drury Lane assume that the constabulary takes no heed of the murders in their midst. Justice exists only for the rich, the titled, the powerful.

William Edward Kilburn’s daguerreotype, View of the Great Chartist Meeting on Kennington Common, April 1848 (courtesy Royal Collection Trust via Wikimedia Commons)

But when Blake and Avery happen on links between the Chartists, the murders, and several people who desire the case to remain closed, complexities abound. That would seem to require a delicate approach, but our two inquirers charge ahead. Blake, the Holmes of this duo, is irascible, withholding, streetwise, gifted at disguise and deceit, and utterly disdainful of titles and social distinctions. Avery, a Tory by birth and inclination, lacks his partner’s knowledge and sympathies, but he knows how to talk to people jealous of their rank, and he’s a good man with his fists in a tight spot, if all too ready to use them. The unlikely friendship between these two, which Avery seems to want more than Blake — a nice touch — supplies an excellent counterpoint to their investigation and the political forces at work. Unlike Strangler Vine, in which I felt that Carter unfairly overplayed Blake’s stubborn reticence to keep the reader guessing, here, she lets him be a somewhat more responsive partner. And when he does withhold information from Avery, it’s to allow the straightforward, honest captain to play his part in deception with greater conviction, much as Holmes did with Watson on occasion.

Carter tells her story with great skill, letting nothing come easily to her protagonists; “no; and furthermore” makes its presence felt every few pages. She also re-creates London of the “Hungry Forties” with power and vividness, which allows her to derive tension from the politics. Avery is loyal to Blake and wishes to see justice done, but his instincts lead him to consider the Chartists dangerous to peace and security merely by demanding universal male suffrage and parliamentary reforms. Even so, as the good captain literally wades through the muck and the poverty of underclass London, his long-held views become harder to sustain.

Having studied and written about that time myself, I’m fascinated by the Chartists and note with surprise and pleasure how Carter brings in several real-life figures I admire. The issues she raises, most particularly income inequality and the undue influence of wealth and power, are very topical. She’s not afraid to make her protagonists’ flaws significant and visible. But it’s not just characters, plot, or politics that make The Infidel Stain worth reading. Another attraction is the prose, which depicts both a scene and a state of mind. Here’s Avery, recently returned from India, not yet used to England or its biggest city:

Five years before, I had left England a country traversed by horse and carriage; I had returned to find it in thrall to steam and iron.

I had stepped into the green-and-gold carriage, sat on the wooden pews of second class and watched the air filled with steam, as if we were traveling on a bed of cloud. I had felt the rush of speed and watched the curious effect of the countryside melting into a blur of green as it rushed past the window, or rather as we rushed past it. And, of course, there was the noise: the clank and wheeze of the wheels on the rail, the asthmatic puff of the engine, and those sudden unholy screeches — the wheels breaking, or the air forcing its way through the whistle. We had reached the extraordinary speed of thirty miles an hour. It was remarkable, exhilarating, unsettling — not unlike London itself.

When I tell you that this fine section appears on the first page of the first chapter, but that it doesn’t begin the book, you know what I’m going to say: Why did Carter need to write a prologue? But read The Infidel Stain anyway.

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

No Good Deed Goes Unpunished: Darktown

20 Monday Feb 2017

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Review: Darktown, by Thomas Mullen
Atria, 2016. 371 pp. $26

Atlanta, late 1940s, a dark night. Two police officers on foot patrol see a black woman in a car driven by a white man, who appears to have struck her. The woman manages to escape the car, but soon after, she turns up dead in an abandoned lot.

If this premise reminds you of a conventional mystery, Darktown is anything but. First of all, the two officers are black, part of a grudging concession by the postwar city government to a small but growing presence of African-American voters. And when I say grudging, I mean that the Atlanta Police Department would rather collectively bite the head off a rattler than accept the presence of these men, who number eight in all. If there’s a way to see them dismissed, convicted of spurious crimes, or left for dead in an alley, the unreconstructed Confederates will find it.

Atlanta Negro Voters League, 1949 (Courtesy New Georgia Encyclopedia; not in public domain)

Atlanta Negro Voters League, 1949 (courtesy New Georgia Encyclopedia; not in public domain)

Lucius Boggs and Tommy Smith, the two officers who witness the woman’s attempt to flee, have already been bound and gagged metaphorically. Like other police, they wear uniforms and badges and carry weapons. But the rules restrict them to black neighborhoods, where they patrol on foot; they have no squad car. They may not investigate crimes, only report them. They may not arrest white suspects—even to try to detain them would be futile–and to have anyone booked, they must call for backup, which may or may not arrive. They may not enter police headquarters, and their “station” is a YMCA basement, where rain leaks down the walls inside.

At the same time, leading voices within the black community demand that they combat the many brutalities white society inflicts, whereas the people the officers arrest accuse them of doing the white man’s job. Why can’t they just look the other way? It’s a no-win situation. Lucius and Tommy not only feel weighed down by competing expectations, they suffer the knowledge that every interaction between black and white may combust at any moment–and if it does, they’ll be blamed.

They were silent as they rode through downtown. They passed restaurants that would not have served them, some of whose waiters or chefs would attack Boggs if he dared walk in. . . . He passed office towers that only granted admittance to Negroes who shined shoes or cleaned bathrooms. He passed white women who would no doubt scream if he made eye contact with them. ‘Reckless eyeballing’ was the official charge police filed in such cases. . . .

Despite all this, however, Lucius and Tommy investigate the young woman’s death and run into heaps of trouble. They do have one ally, though, Dennis Rakestraw, a white rookie cop who may just be more progressive than his peers, and who does some of the inside work that Lucius and Tommy are forbidden to undertake. But their partnership, such as it is, remains uneasy–Mullen conveys that tension very well–and Rakestraw faces significant obstacles of his own. Moreover, every step of the investigation puts more people in jeopardy, several of whom become victims.

For Lucius especially, the son of a prominent preacher, the cost becomes so heavy that he can no longer see where true justice lies, or say for certain that it’s worth the price. And yet he’s aware that he’s a symbol, for his lineage and his uniform, and that if he were to give in, the loss would affect everyone. For his partner, though, the issue is less ambiguous. Tommy’s father, a veteran of the First World War, was lynched for wearing his uniform and marching in a veterans’ parade. To the son, a man who calls himself a man demands justice.

Among the many pleasures and nuances of Darktown is how Mullen compares these two characters’ views, social backgrounds, and dreams. When Tommy attends a party at Lucius’s house, he’s glad he’s dipped into his savings to buy new clothes:

He felt newly conscious of his dropped g’s and propensity for cursing as he spoke with this doctor and that owner of a barbershop empire. He noticed watches and cuff links. More than once a mildly disdainful look faded when he mentioned that he was one of the city’s new police officers, at which point his unpolished qualities suddenly became praiseworthy.

I don’t want to quibble with such an extraordinary novel, but I wish Mullen had found different, less miraculous ways to resolve the story. That’s a drawback, I suppose, of creating drop-dead desperation, but with everything else seeming so real, I had to wonder at how things work out. I also object to a couple of cheap tricks Mullen inserts at the end of two cliff-hanging chapters; he’s too good a writer to need theatrics.

Nevertheless, this is a terrific book.

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