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Revenge Tragedy: After the War

06 Monday Jan 2020

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Review: After the War, by Hervé Le Corre
Translated from the French by Sam Taylor
Europa, 2019. 533 pp. $19

A man sits, tied up, being tortured to divulge who killed a certain figure from the Bordeaux crime world. This figure, like most of his brethren during the late 1950s — like the police beating him up — collaborated with the Germans during the recent world war and profited from it. In fact, few profited as handsomely as Albert Darlac, the commissaire de police, and the man leading the interrogation. Jewels, art, and furniture taken from dispossessed Jews made him rich, and without a trace of compunction or remorse, he can say that his department would cease to exist if such activities disqualified a man from serving the law.

Maurice Poupon, member of the Legion of Honor and illustrious politician in the Gaullist government, 1967. As a Bordeaux police official during World War II, he had arranged for the deportation of more than 1600 Jews; during the Algerian War for independence, he allegedly tortured rebel prisoners (courtesy Archives municipales de Toulouse via Wikimedia Commons; public domain)

Meanwhile, Daniel, a twenty-year-old garage mechanic who lost his parents at Auschwitz, has terrible trouble understanding the ache inside him. His adoptive parents, former Resistance members who rescued him from a rooftop the day his biological parents were arrested, have protected him and given him a warm home. Their daughter, Irène, also adopted, is the only person to whom Daniel can show any vulnerability. But Daniel fears that this happy life — happy, considering his circumstances — will soon end. He’s due to receive his draft notice and fight in Algeria, in a colonial war his friends and family staunchly oppose.

Darlac and Daniel, victim and perpetrator, don’t meet for quite a while. The contrasts between them provide the context and the moral theme of this extraordinary, exceedingly violent narrative. Darlac scorns everything remotely resembling compassion or kindness as weakness that deserves to be crushed. As one old-time acquaintance says, “Other people die and you’re the one that smells like a rotting carcass.” Daniel, however, wishes he could make himself more accessible emotionally — not that he entirely realizes this, a superb stroke of characterization — and often hides inside movie images, which he’s constantly imagining in his daily life. But you know that once he reaches Algeria, his struggles to become fully human will only get more desperate.

Connecting the two, a figure from their pasts has come to Bordeaux to settle old scores. How Darlac reacts in particular provides much of the story, and a searing one it is. Any author can follow Raymond Chandler’s advice and have a man with a gun enter the scene to prevent tension from flagging. Le Corre has plenty of men with guns, but he doesn’t have to worry about the tension. It’s not just that stuff happens, because if it were only that, a hyperactive plot would do as well. No; he grounds every scene so thoroughly in the physical that you can’t help feeling that his narrative is happening all around you, and that you’re involved by turning the pages. Whether it’s the Bordeaux docks or the Algerian desert, Le Corre knows every inch of his territory, and how it feels to be there, so you do too.

But even that wouldn’t work if he didn’t also put you firmly in his narrators’ heads, as with this introduction to Daniel, which also happens to portray the port of Bordeaux:

He stops suddenly in front of the gates of the port, his bicycle between his legs, and remains there, stunned. With his balaclava and his sheepskin coat with the collar turned up and the mittens on his hands gripping the handle bars, only his eyes are visible. He observes the blaring traffic of cars and trucks, intoxicated by the din they make, grinding his teeth as axles groan and bodies shake over the large cobblestones… He feels the dull rumble in his legs as a train trundles slowly past endless rows of warehouses, accompanied on foot by a man swinging a lantern in his hand. The city buzzes and trembles in his flesh.

Many people will find After the War a bloody business — and so it is, because the title’s ironic. Wars merge, so that there’s no apparent space between one and the next, no aftermath, because even if the calendar says that a few years have passed, in men’s minds, they haven’t. Darlac is also a complete monster, so he’s hard to take. But it was that kind of monster who made the French portion of the Holocaust possible, a fact conveniently ignored in France. Rather, I’m more troubled by the way female characters seem to exist largely in a man’s perception, not necessarily as sex objects, though in Darlac’s case, that’s all they are, but without readily definable aspirations of their own. They’re invariably the kindest characters, but they’re not fully rendered, not like the men.

Nevertheless, if you like noir, After the War is as noir as it gets, a first-rate thriller by an author who understands how to put it all together.

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

Five Years, and I Still Haven’t Read Everything

28 Monday Oct 2019

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Novelhistorian celebrates its fifth birthday this week with the usual retrospective of the books that have made the deepest impression on me during the past year. I’d also like to thank you, my readers, for making this blog worthwhile. I’m glad you’ve stuck with me, and I hope it’s rewarding.

There are thirteen books this year, more than normal, because I couldn’t bear to leave any out. In no particular order, they are:

The Silence of the Girls, by Pat Barker, retells the Trojan War from the point of view of Briseis, Achilles’ captive concubine, whom Agamemnon seizes and thereby causes rifts within the Greek camp. Tradition holds Briseis to blame, but, as the protagonist of this superb novel points out, the tellers of that tradition are male. Barker’s storytelling is so acute that you can imagine she has known these mythical figures all her life.

The Winter Soldier, by Daniel Mason, offers an unusual romance and coming-of-age story set against harrowing, scrupulously observed scenes at a First World War field hospital in Poland. Mason not only renders his characters in full psychological depth, he explores what medicine means for the healer as well as the patient, a fresh, compelling theme.

Sugar Money, by Jane Harris, shows you late eighteenth-century slavery in the Caribbean, and what a heart-breaking, riveting picture that is. The novel succeeds as adventure, a tale of another time, sibling rivalry, and an exposé of colonialism; the prose, vivid as a poem, relies heavily on Kréyol phrases and at times reads like music.

Courting Mr. Lincoln, by Louis Bayard, recounts the courtship between an up-and-coming Illinois backwoods lawyer and a Kentucky belle, revealing the lighter side of each as well as their lonely, tortured souls. Often hilarious, this novel reminds me of Austen for its wit and social observation, but you also see the president in the making.

Once Upon a River, by Diane Setterfield, tells the mystery of how a child in late nineteenth-century Oxfordshire emerges from a river apparently dead, only to revive — and no one knows who she is. The solution involves violence, loss, conspiracy, and romance; storytelling doesn’t get more seductive than this, and though the premise sounds woo-woo, it isn’t.

Wolf on a String, by Benjamin Black (pseudonym of John Banville), tells an age-old story about a young man on the make. But the year is 1599, and the court of mad Rudolph II, Holy Roman Emperor, is a snake pit, especially if you have to solve a murder to survive. The tension never flags, and the story has the ring of historical truth, even though the author made most of it up.

The Mermaid and Mrs. Hancock, by Imogen Hermes Gowar, narrates the unlikely romance between a straight-laced eighteenth-century English merchant and a courtesan. The story reminds me of a modern-day tale by Henry Fielding, complete with intricate plot, ribaldry, and social commentary, much of the latter concerning how men use women as possessions.

Old Baggage, by Lissa Evans, features a once-famous English suffragist in the 1930s who, decades after her heyday, mourns the lack of passion and radical feeling among the young—and her own irrelevance. The solution to both problems propels a funny, engaging story and involves a maddening yet sympathetic heroine.

In The Dream Peddler, by Martine Fournier Watson, sometime in the early 1900s, a well-dressed salesman with courtly manners arrives in a Midwestern rural town and offers his customers the dreams they desire, with a money-back guarantee. At first, the townspeople suppose he’s a charlatan, but he’s not; and in a way, that causes more trouble.

The Darwin Affair, by Tim Mason, spins the 1859 publication of The Origin of Species into a brilliant psychological thriller involving an assassination attempt on Queen Victoria and multiple murders. I hate suspense novels whose surprise solution involves a psychopath, but here, the villain is in plain sight. So are Prince Albert, Karl Marx, Thomas Huxley, and many other figures, including three famous Charleses — Darwin, Dickens, and Field, our hero detective, a real historical figure.

The Organs of Sense, by Adam Ehrlich Sachs, tells the utterly madcap story of the seventeenth-century polymath Gottfried Leibniz visiting a recluse astronomer who, alone in Europe, has predicted a total eclipse for a certain hour. Start this novel, a howlingly funny sendup of philosophy and its practitioners, and you too will want to know whether the eclipse will happen.

The Bookshop of the Broken Hearted, by Robert Hillman, invokes the trope du jour. This particular bookshop, vintage 1969, belongs to an effervescent Hungarian Holocaust survivor (huh?), who falls for a taciturn Australian sheep farmer who doesn’t read books and hasn’t heard of Auschwitz. Treacle? Not in the least, because nothing in this novel happens without reversals, second thoughts, mixed feelings, or a sense of dread; the author has taken his characters’ measure and renders them as mature adults.

The Name of the Rose, by Umberto Eco, narrates a series of murders in 1327 at an abbey where a conclave debates such issues as whether Christ laughed. Such a premise might seem pointless or abstract. But this discursive yet mesmerizing novel explores profound philosophical and political issues; offers a page-turning mystery; and illuminates the past by its own lights, therefore revealing the present. The latter, to me, is the highest purpose of historical fiction.

If there’s a common thread here–besides the obvious upmarket/literary slant–it’s each author’s ability to show via concrete detail what another (and, in my view, lesser) writer would choose to tell. Getting closer to physical vividness has been my mantra as writer, especially in the past year, and many of these books have inspired me that way.

Thanks again for reading.

Blood, Royal and Otherwise: The Darwin Affair

26 Monday Aug 2019

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Review: The Darwin Affair, by Tim Mason
Algonquin, 2019. 373 pp. $28

The year 1859 witnesses an event that shakes England — and the Western world — to the core: the publication of Charles Darwin’s Origin of Species. Mason’s ingenious, exquisitely plotted, and atmospherically rich thriller supposes that the uproar over Darwin’s theory and an attempt to assassinate Queen Victoria has a nefarious connection. Further, Mason takes Charles Field, a real-life historical figure, as the detective who uncovers the connection, what it means, and who’s behind it, men in high places. Naturally, practically no one believes Field’s conspiracy theory, though one person willing to entertain the notion — however fanciful — is Prince Albert, Victoria’s consort, and, by the by, a Darwin supporter.

Charles Field, as he appeared in Illustrated News of the World, London, 1855

Charles Field was Charles Dickens’s model for Mr. Bucket of the Detective, a character in Bleak House, among the first such fictional figures. It’s a brilliant conceit to build a novel around Field, but Mason goes one better. Field hates his fame as Bucket’s alter ego, and the surest way to inflame this bad-tempered detective is to call him Bucket or taunt him by suggesting that his fictional shadow would have solved the case before now. The Darwin Affair therefore begins with both feet in the shifting sands of mythic allusion versus deadly reality, and whether a person is who he is or what others take him for. From there, things get even more complex.

Field’s nemesis styles himself the Chorister, and an evil piece of work he is. I usually avoid suspense narratives with sociopaths, because the story’s thoroughly gruesome, and I can’t stand it when an outwardly decent citizen is suddenly unmasked as a raving lunatic responsible for multiple murders. But here, you know the Chorister’s a bad one from the get-go, and the plot revolves around stopping him when so many people fail to realize the danger he poses, a classic device in thrillerdom. Once again, however, Mason goes one better. The Chorister has handlers who think themselves righteous, which shows their utter hypocrisy; and they believe they can control him, about which they’re dreadfully wrong. Rest assured, plenty of tension results. In a final stroke, the psychological source of the Chorister’s bloodlust is revealed, and plausibly, which raises him yet another notch above a mere device.

I admire how Mason imbues his narrative with history as inhabited background. I don’t mean the presence of historical figures like the royals, Darwin, Dickens, Thomas Huxley, or Karl Marx, though Mason handles them all beautifully. (Field’s confrontation with Marx is a real hoot.) Rather, I mean going beyond the People magazine fascination with name recognition to grapple with the era’s ethics, passions, and preoccupations, and to render the everyday, even at the palace. Albert’s perpetually cold because the queen hates central heating, and candles and oil lamps are the order of the day because she finds gaslight too modern. The author can’t resist a witticism, and I’m glad of that, because otherwise, we’d have done without this gem from Albert about his better half: “And, to be frank, Victoria would not approve of any assassination attempt in which she was not the target.”

Fittingly, Darwin’s theory takes center stage in this rendering of midcentury Victoriana. As everyone knows, the church objects, but the conflict feels broader than that. Evolution has subversive implications for the social hierarchy, which also seems obvious in retrospect, but has somehow faded from sight. If we share a common ancestry, and random chance happeneth to us all, who’s to say that the peer deserves his peerage, and the laundress her bleached, burning fingers? That question will never go out of style.

Interestingly, Field himself reads The Origin of Species, a struggle because he hasn’t had much education, yet he derives a great deal from it.

If I understand what Mr. Darwin is saying, a creature will do anything at all in order to survive. And every creature that does make it does so because some other creature don’t. Everything and everyone at war all the time, just to keep the show going, and it’s been a very long-running show indeed. Look at it that way, nothing matters, really.… Look at it another way, of course, it makes every second we got desperate precious.

Make no mistake, The Darwin Affair is a gory book. But it’s also the most gripping thriller I’ve read in years, so if you don’t mind the blood and mutilation, you’ll be well rewarded.

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

Rusalka: The Huntress

15 Monday Jul 2019

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Review: The Huntress, by Kate Quinn
Morrow, 2019. 531 pp. $27

In spring 1946, memories of the war are just beginning to fade — for some. Seventeen-year-old Jordan McBride, who lives with her widowed father in Boston, meets his new fiancée, an Austrian widow. Jordan welcomes her future stepmother and half-sister Ruth and takes them into her heart, luxuriating in the warmth and support she receives in return. Even better, Jordan’s stepmother encourages her to dream of higher education, something Dad doesn’t think a girl needs.

Four years later, in 1950, former British war correspondent Ian Graham; his assistant and translator, Tony Rodomovsky, an American; and Nina Markova, a former pilot with the Red Air Force, join forces in Vienna to track down Nazi war criminals. The Nuremberg Trials have focused on the big fish, but thousands of minnows have swum to safety, whether in various corners of Europe or the New World. They may be former assassins, concentration-camp guards, or petty functionaries who oiled the machinery of murder and appropriation, and Ian and Tony want them all, though they know that’s impossible.

Rare color photo of defendants at Nuremberg, taken by Raymond D’Addario, November 1945 (courtesy U.S. Holocaust Memorial Museum, Washington, via Wikimedia Commons; public domain)

Nina, however, wants one in particular, a woman nicknamed die Jägerin (The Huntress), with whom she has a score to settle. So does Ian; and in one of the strange but clever twists in this thriller, Nina and Ian are married, though they’ve met only once, five years before for a couple days, and haven’t seen each other since.

Confused? Read The Huntress, and you won’t be. Quinn’s a fine storyteller, and she does an excellent job of stitching together many disparate pieces to make a coherent, exciting whole. The pages turn quickly, nothing happens too easily (except for a happy coincidence or two toward the end), and the stakes are plenty high enough. The reader knows long before the main characters who die Jägerin is, and where, but Quinn strings the inevitable confrontation out beautifully.

Of all the essential elements, I like the plot of The Huntress best. I do salute Quinn for calling attention to the problems of tracking down war criminals after Nuremberg, a forgotten cause. And I also like her attempt to explore the means one is permitted to use to see justice done. Ian rejects violence; Tony wouldn’t mind slapping around a witness or three; and Nina always carries a knife.

She’s the most interesting, fullest character by far. She’s done her best to amputate her heart, yet she comes across in part because she’s the only one with a developed past. Born by the shores of Lake Baikal in Siberia, she styles herself a rusalka, a water witch, the type who drags down the unsuspecting victim. That lake figures heavily in her psyche:

The lake was frozen in a sheet of dark green glass, so clear you could see the bottom far below. When the surface ice warmed during the day, crevasses would open, crackling and booming as if the lake’s rusalki were fighting a war in the depths. Close to shore, hummocks of turquoise-colored ice heaved up over each other in blocks taller than Nina, shoved onto the bank by the winter wind.… Nina stood in her shabby winter coat, hands thrust into her pockets, wondering if she would still be here to see the lake freeze next year. She was sixteen years old; all her sisters had left home before they reached that age, mostly with swelling bellies.

Nina’s half-savage, knows it, and likes scaring her friends. But scaring her enemies feels even better, for in a life lived without sweetness, revenge is the only substitute.

The other characters don’t grab me particularly. Jordan, though she represents feminism in wanting a photojournalism career, lacks angles or corners and seems too all-American. Tony’s too good to be true, a composition of charm, chutzpah, and linguistic wizardry. (The narrative rather dubiously depends on the relative ease with which certain characters pick up, say, fluent German or Russian in a matter of months.) Ian feels like a compendium of elements rather than a complete person, and though his heart’s in the right place, I don’t entirely believe him.

But the story’s the thing, here, and aside from the occasional detail that makes me raise an eyebrow (having mostly to do with photography or firearms), Quinn has researched her ground thoroughly. I note a few present-day idioms that someone should have flagged, and too many bizarre verbs replace said, often followed by unnecessary explanations of what the character means by what she says. But The Huntress is a top-notch thriller with an unusual premise, and I think it’s worth your time.

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

Big Pharma, 1899: Deadly Cure

24 Monday Jun 2019

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Review: Deadly Cure, by Lawrence Goldstone
Pegasus, 2017. 295 pp. $26

As the nineteenth century lurches to a gaudy, jingoistic close, Brooklyn physician Noah Whitestone has much to hope for. He has a busy, satisfying medical practice in partnership with his father, a fiancée as intelligent and independent-minded as she is devoted to him, and a cause to inspire him: preaching against patent medicines, which kill as often as cure, usually through appallingly large doses of opiates.

Still, Noah carries the scars from the death of his stillborn son and first wife, and worries that though he admires his fiancée, he feels no passion for her, beautiful and vivacious though she is. He’s also piqued that his father and he have to run themselves ragged to earn a living, while Noah’s hoity-toity neighbors consult Dr. Arnold Frias, an unctuous glad-hander far more gifted at politics than medicine.

That envy causes Noah no end of trouble, for when Dr. Frias is busy hobnobbing with Admiral Dewey and other military heroes recently returned from the Spanish-American War, one of said hoity-toity neighbors sends for Noah. Her five-year-old son, just getting over a cough, has taken a sharp turn for the worse. Dr. Whitestone suspects opiate poisoning, but he must stabilize the child’s respiratory difficulties first, and does so with two drops of laudanum, a dose too low to hurt the boy. When Noah returns a few hours later, however, the child is dying, beyond help.

Noah’s convinced that Frias must have prescribed too much dope to cure the boy’s cough; or someone else was concurrently dosing the lad with patent medicines; or both. But such is Frias’s social position that Noah’s left holding the bag. He’ll be lucky not to face prosecution for murder, while revocation of his medical license seems likely.

Papaver somniferum, the opium poppy, as it appeared in Dr. Otto Wilhelm Thomé, Flora von Deutschland, Österreich und der Schweiz [Flora of Germany, Austria, and Switzerland] 1885, Gera, Germany (courtesy Wikimedia Commons)

Moreover, a reporter for a radical newspaper buttonholes him and claims that the boy’s death is one of many such, victim of experimentation by unscrupulous doctors testing the effects of heroin, a new morphine derivative. Noah finds that hard to believe, and the reporter’s general political outlook, highly critical of American military atrocities in the Philippines, leaves him skeptical as to motive. But as the trail to discover what killed the boy leads to German drug companies and the deaths of whistleblowers, the good doctor doesn’t know whom to trust.

Having recently read Lucy Inglis’s Milk of Paradise, a rambling, informative history of opium, I learned that the German chemist credited with deriving heroin from morphine was looking for a cough suppressant powerful enough to help even consumptives, yet would not be addictive. Medical science believed that he had succeeded, a persistent, misguided theory that matters here. So does the chemist’s other claim to fame, the synthesis of acetylsalicylic acid, soon to be known as aspirin (a discovery he made the same week as that of heroin, by the way).

The political and medical contexts of these two drugs therefore shape the narrative, with patents and royalties as a possible motive for mayhem. But Noah, who falls easy prey to moral certainties, learns that with lives and money at stake, right and wrong become more difficult to distinguish, so that he winds up doubting himself, his father, and cherished beliefs. The potential involvement of Big Pharma in nefarious activities could be today’s headlines, as could the debate over American behavior in a colonial war.

Goldstone excels at period detail, especially that of medical science, and his authorial voice carries authority. When he writes that Frias’s Benz automobile, specially brought over from Germany, costs a thousand dollars, I’m sure it does, and that it looks exactly as described. Some authors might suggest rather than state, saving themselves the trouble of knowing absolutely everything, but Goldstone sweats these details. When two doctors discuss a diagnosis, for instance, they’re utterly believable as medical colleagues — to this layman, at least. The only slip I noticed was talk about allergies, a word that hadn’t yet entered the language. But overall, he creates a pretty impressive effect.

At times, that zeal for minutiae leads to information dumps, but mostly, the atmosphere keeps you turning the pages — that, and the “no — and furthermore.” Whether it’s new evidence that challenges Noah’s perceptions of truth, or unexpected obstacles that make him stumble, the path to the resolution remains properly bumpy until the very end. Along the way, Goldstone offers priceless dialogue, especially for Maribeth, Noah’s fiancée, and her brother, a medical colleague of his whose iconoclasm made me laugh.

Where Deadly Cure falls short is the absolutely improbable derring-do of the last few chapters, the cartoon villains, and the melodrama that results. Sometimes, when a writer is so convincing about the troubles the protagonist faces, there’s no believable solution. But if you can suspend your doubts, Deadly Cure is an entertaining thriller and a reminder that controversies involving industrial medicine go back a long way.

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

What a Tangled Web We Weave: The Poison Bed

10 Monday Jun 2019

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Review: The Poison Bed, by Elizabeth Fremantle
Pegasus, 2019. 403 pp. $26

In 1615, England’s golden couple, Robert and Frances Carr, face trial for murder, and the only question is whether both will swing or only one. At first glance, their predicament sounds highly improbable, given how far they have fallen and how quickly. Why, it seems only yesterday that Frances was a star at the court of King James I, celebrated for her charismatic beauty, wit, and sharp intelligence. Further, as a member of the powerful Howard family, she’s a force one does well not to dismiss. Her husband, who rose from obscurity as the orphan of a minor nobleman to become the king’s lover, trusted advisor, and a rich man, cuts an equally brilliant figure. (To read what Winston Churchill had to say about that as a historian, click here.) Not only that, he rescued Frances from an abusive marriage — not without help, of course, and therein hangs a tale.

As Robert observes, “If people know what you love most, it is a fault line they can exploit to break you.” And success breeds enemies who’d like nothing better than to bring down the blessed and seize their substance. So as the novel begins, and guards sweep the Carrs away to prison, the narrative gradually leads you to wonder who’s behind the arrests, and why. But nothing’s as it seems. Robert and Frances both love wealth and power, and her family — well, they’re venal and vicious as they come — and maybe the golden couple cut corners (or throats) on their way to the top. So who’s guilty, and what did he — or she, or they — do, exactly? You won’t find out until the very end.

Frances Howard, Countess of Somerset, as William Larkin painted her in 1615 (courtesy Wikimedia Commons)

What a brilliant thriller this is, with enough thrust, counterthrust, and deception to make a Jacobean revenge tragedy. (John Webster’s Duchess of Malfi even makes a cameo appearance as a theatrical offering.) Fremantle tells her story in two directions, like halves of a sliding door that roll from opposite sides until they meet. This is exceptionally hard to bring off, and many such narratives feel forced or shoehorned simply to fulfill a literary conceit. Not here. Told in alternating chapters, titled Her and Him, with rare exceptions — all early on — the storytelling feels coherent, almost seamless, despite shifting verb tenses, from present to past, and back.

The Poison Bed succeeds, in large part, because of the prose, which puts the two main characters so vividly on the page, they’re practically sitting next to you. Take, for example, this passage from before their marriage, when Robert sees Frances for the first time in years:

In the intervening years, she’d become a woman. I watched her with [Prince] Henry, laughing about something, their heads flung back, mouths open, but she stopped suddenly, turning away from him, her gaze locking on me, as if she were a hawk and I a hare. I like to imagine it was the force of my desire that drew her attention. I had never seen such eyes, dark glossy ovals. Just a square of white in each, a reflection of the window behind me, and my own tiny form etched there. She said nothing, just smiled, displaying teeth as neat as a string of pearls.

Rest assured that Frances’s view of Robert in the same scene is equally feral. But Fremantle’s approach goes deeper. She extends such metaphors throughout the book, always taking pains to imbue emotional transitions with physical parallels, often concerning animals. During one conversation with the king, while hunting with falcons, Robert’s keenly aware that James’s bird, much larger than his kestrel, could destroy her if it wished, and there’d be nothing Robert could do. That’s the same position he’s in with his monarch. Similarly, when Frances wonders what to do regarding her husband’s anxieties, she watches a groom calming a skittish horse and gets her answer. I like that approach much more than rhetorical questions, such as, What do I do now?

But if The Poison Bed has a flaw, it’s an unfair shift in which it comes out that not all the narration may be trusted. Having called out Samantha Harvey for that in The Western Wind, I’m bound to mention it here, while trying not to reveal too much. When the change first happens, if you’re like me, you’ll resent it and feel manipulated. But if there’s a saving grace, it’s that the revelation can’t be a complete surprise, given the court atmosphere, the power games the characters have played, and the lies they tell themselves in justification — assuming they even bother. In all that falseness, some readers may be put off; after all, for whom is the reader meant to feel empathy?

Still, maybe that’s what Jacobean court life was like — and even if it wasn’t, The Poison Bed has created that world in fine, plausible detail. Despite the rude surprise, it’s one of the most gripping novels I’ve read in a long time.

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

Breaking Free: November Road

07 Monday Jan 2019

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Review: November Road, by Lou Berney
HarperCollins, 2018. 299 pp. $27

Toward the end of this ingenious, heart-stopping thriller, one character says, “With every decision we create a new future,” and destroy all others. It’s the perfect motto for November Road, whose protagonist finds the future narrowing hour by hour, like the short end of a funnel, no matter what decisions he makes.

It’s November 1963. Frank Guidry is a midlevel New Orleans mafioso, fortunate to have the ear of big boss Carlos Marcello and the charm and horse sense to do the right favors for the right people. But when Frank hears that President John F. Kennedy has been assassinated in Dallas, he wastes no time getting out of New Orleans, hoping to outrun Marcello’s long arm.

How Frank intuits this is a simple, elegant proof, worthy of Euclid — and Berney, like his protagonist, wastes no words explaining. Frank has just ferried a car to Dallas and back; on the return trip, the trunk contained a duffel bag in which he found a high-powered rifle, broken into parts, and shell casings. From the news reports, Frank supposes that nobody but a professional could have hit a moving target so accurately at that range. Conclusion: Marcello masterminded the assassination, and as an accessory, Frank Guidry must be next on the hit list, because of what he knows.

Walt Cisco’s photograph for the Dallas Morning News, November 22, 1963 (public domain in the U.S.; courtesy Wikimedia Commons)

But Marcello didn’t get where he is by sitting still, so he sends Paul Barone, a cold, tireless killer, to track Frank down. Frank doesn’t know who’s after him, only that whoever it is seems unshakable. And as the net draws closer, the fox devises a way to throw the hounds off the scent: In New Mexico, he eases himself into the path of Charlotte, a woman who’s just left her drunken husband and has two young daughters in tow. Now Frank looks like a family man, much less remarkable to gas station attendants, lunch-counter waitresses, or motel clerks, the people whom anyone following him will interrogate.

But the reader knows what Frank doesn’t — that he’ll fall for Charlotte and the girls, which will add a complication, for he’s never thought of anyone except himself before. Further, to keep up appearances, he’ll have to humor their whims, when speed is of the essence, and though the little girls are extraordinarily well behaved, Charlotte must keep them entertained on the long drive. She thinks she’s going to Los Angeles, where her aunt lives, but Frank is bound for Las Vegas, where he hopes one of Marcello’s rivals will help him. How Frank balances all this makes for a spellbinding story; his secrets, though hidden temporarily, won’t stay that way forever, and Paul Barone is a more than worthy opponent. Sooner or later, all elements must meet.

Berney’s prose, vivid without calling attention to itself, colors in the gangland world and all it touches:

The west bank of the Mississippi, just across the river from New Orleans, was a dirty strip of scrapyards, body shops, and lopsided tenement buildings, the wood rotting off them. The Wank, people called it. Barone understood why. The smell was something else. A couple of refineries fired night and day, a burning funk that stuck to your clothes and skin. Ships dumped their garbage on the New Orleans side, and it washed up here. Dead fish, too, the ones even the gulls wouldn’t touch.

The only place where Berney loses me is Charlotte’s decision to leave her husband for who knows where; the Los Angeles aunt is an afterthought, and a weak one, given that the two haven’t spoken in years. Charlotte has spent her life making circumstances work for other people, and though she’s tired of doing so for her deadbeat husband — and equally tired of being spoken to as a second-class citizen because she’s female — running out is too great a leap for her. No one in her Oklahoma town, where everyone knows everyone else, gets divorced, and nobody just ups and leaves anything or anyone. To hit the road with two vulnerable children and an epileptic dog (a nice touch) makes no sense to me.

I’m also not sure that Frank, despite his apparently exceptional powers of seduction, would find her such an easy conquest. To his credit, Berney gives her intelligence and humor, and those qualities are what draw Frank, not her prettiness. But I could have more easily seen her succumb once, only to pull back, which would have added more sexual tension while complicating the choreography of the later chapters.

Even so, November Road is still a superb thriller. Charlotte has the journey of her life; many readers will enjoy going along for the ride.

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

The Bad Penny: Friends and Traitors

17 Monday Sep 2018

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Review: Friends and Traitors, by John Lawton
Atlantic, 2017. 341 pp. $26

If I were to describe a thriller whose central incident doesn’t happen until around page 200, and whose back-story-laden narrative revolves around an essentially harmless, flamboyantly foolish turncoat spy, you would likely decide that the book was a plodding, pointless tale, not worth your time.

In this case, though, you’d be wrong. The back story reveals England of the Thirties, Forties, and Fifties with remarkable vividness, brio, and wit, focusing on, among other issues, laws and prejudice against homosexual behavior, and the equally prejudiced mindset about national security and how to act in its name. You see these come alive through a compelling protagonist, Frederick Troy, not your ordinary copper. Born to Russian émigrés under the name Troitsky, Troy, as even his girlfriends call him, walked away from a scholarship to Oxford to join the London police force and serve in the East End, a tough patch. Recruited to Scotland Yard above more experienced candidates in the late 1930s, he has been solving murders ever since, up until 1958, when the forward action of Friends and Traitors begins. Like many fictional detectives, he sails very close to the wind, and unscrupulous, vicious characters have a way of disappearing when he’s around, whether they belong to the police force or the criminals. So far, he has covered his tracks, but not without attracting suspicion.

Henry_Labouchère, the British parliamentarian whose amendment to an 1885 law intended to combat prostitution made “gross indecency” between males a criminal act. During the 1940s and 1950s especially, the police went out of their way to enforce it.

What threatens to undo Troy at this juncture is his friendship with Guy Burgess, later known as a member of the infamous Cambridge Five spy ring; but, as this portrayal would have it, Burgess is very much a junior partner in that game. Still, when he defects with Donald Maclean in 1951, their flight embarrasses and surprises the British intelligence community and causes a rift with its American counterparts. Troy, who has known Burgess for decades, first through family connections, and later because the man keeps crossing his path like a bad penny, has always been suspect for this association. But Troy thinks that what MI5 and Special Branch really object to, aside from shame at their own lapse, is Burgess’s unapologetic, open homosexuality, which to Troy shouldn’t be considered a crime.

Moreover, Burgess’s inability to keep a secret, and the relatively short time he was working for the Foreign Office, suggest he’s not much of a threat. Self-absorbed, boorish, insulting, and vain, yes; but since when are those qualities treasonous? Nevertheless, when Burgess lets it be known in 1958 that he wishes to return to England, several people whom both he and Troy know wind up dead, and others are running scared, including at least one former lover of Troy’s.

From there, the pieces that Lawton has laid in place with seeming casualness turn out to matter in ingenious, unexpected ways, so cleverly that not even Troy understands the depth of his troubles before they arrive. The sentence, “Someone was following Troy,” recurs constantly. For a man of his experience, that’s almost an insult. And since he never takes his medicine quietly, he leads his watchdogs in Special Branch up hill and down dale, at one point leaving a Lewis Carroll poem in a tree for them to puzzle over. Very snarky. But what else would you expect from the youngest child with two twin sisters named Sasha and Masha, each of whom has a particular brand of acting badly, and an oh-so-righteous older brother, Battle of Britain hero, member of Parliament, and all that, who may be prime minister one day? It’s always been Troy’s job to be different in a family of individualists, and he does so with a sharp sense of humor.

Then there’s the prose, which evokes myriad times and places, as with this description of the London Blitz:

It seemed to Troy that the night sky was short on sky’s own colour — blue. Reds it had aplenty, from the bright, post-office-van scarlet of the flames that leapt heavenward from burning buildings to the colouring-book-and-wax-crayon carmine of tracers and the paintbox burnt orange of ack-ack shells popping uselessly among the beaten-metal pewter hue of the barrage balloons. Incendiaries burnt white to silver, and the searchlights sliced up the night with long fingers of pure, clear light. Rarely had he seen a plane hit, either ours or theirs, but when it happened every colour in the rainbow might burst forth.

My only quibble is Burgess himself, who’s so unappealing that if I were Troy, I’d run in the other direction. At times Troy does, yet he also seems fascinated, and I’m not sure why. Burgess’s willingness to say what no one else will? Troy’s stubborn refusal to shun a man whom his conventional older brother has warned him about? Hard to know, but I still recommend Friends and Traitors.

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

Spy Family: Paris Spring

16 Monday Apr 2018

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Review: Paris Spring, by James Naughtie
Overlook, 2016. 320 pp. $27

Will Flemyng, who works undercover for the British Embassy in Paris, is accosted on the métro by an East German agent named Kristof. At first, Will wonders whether Kristof is willing to trade information or change sides, and since it’s April 1968, and talk of democracy in Prague has the Soviet bloc on edge, Kristof’s sudden appearance offers possibilities.

Or does it? A subsequent rendezvous turns testy when Kristof threatens to expose Will’s brother, Abel, who spies for the United States, as a traitor. Will refuses to believe him or be bullied. But he also keeps his own counsel, because this is family, and the Flemyngs are close, matter of state or no. So Will doesn’t tell his boss, Freddy Craven, all he should, and there too lie emotional ties. Freddy’s like a father to Will, an older man in ill health who’s shown him the ropes of tradecraft, and for whom Will would risk anything.

Meanwhile, the student population has fomented rebellion, and the streets are boiling. The embassy is expected to watch these events carefully, and in return, with so much focus on Paris, any diplomatic mistake will quickly become public knowledge. Freddy, like any sensitive soul, realizes something’s up with Will, but he doesn’t know what. A love affair that ended a few months before? The tensions of the job? But before that question can be resolved, Grace Quincy, a world-famous journalist who could pry secrets from a clam without having to open it, blows into Paris. Will, knowing that Grace is trouble and that her flirtatious attentions mean she’s digging for information, nevertheless invites her over. But before that happens, she’s murdered at Père-Lachaise cemetery, of all places, and the police quickly learn that Will’s name is on her dance card. It’s obvious that one side or other had her killed, for reasons of espionage, but who, and why?

Pierre_Mendès_France, the Socialist politician who had helped extricate France from Vietnam, was willing to form a coalition government in May 1968 and listen to the student demands. But the Gaullists increased their power in the next election (courtesy Dutch National Archives via Wikimedia Commons)

Naughtie excels at portraying Paris under siege and the student protests:

. . .the canteen in the student building was filled with a rolling crowd and had the air of a cavernous bar in the early hours, a dance hall with the lights down. There was a group in one corner listening to a guitar, some of them flat out on the floor, and across the room an argument was threatening to turn into a struggle. Somebody ran shouting from the room. At least five people were handing out newspapers and campaign sheets at the door, one of them wearing a Mao cap, the others in black.…Someone was cooking oil. A few on the floor looked as if they’d slept there for days and the place looked like a school gymnasium on a wet afternoon. They’d rigged up an urn to boil water for coffee, and people were pulling stale bread rolls from a cardboard box. Someone had brought in a cat, which sat on top of the jukebox with its tail rigid in the air and its eyes wide.

But good as that is, it’s just the vivid background. The real story involves two families. First, it’s the Flemyngs, and how the brothers balance their feelings and ties against the secrecy demanded by their work, which affects a third, older brother, Mungo. Until reading Paris Spring, I didn’t know I wanted an older brother named Mungo, but it helps that this one is supportive, caring, and paternal, without being pushy or controlling, the family mediator. Mungo comes to know Freddy as well, so there’s plenty of warmth to go around in this coldest of cold-blooded professions.

The other family consists of Will’s allies, foremost among them Freddy, of course, but also others encountered during his travails over Kristof. Rivalries exist, to be sure, but even as temporary friends, they stick together. They know better than anyone else what the power of secrets can do, especially those that may or may not exist, except in rumor. As Freddy tells Mungo, who’s a historian, “You warn your students of the fog of war. Well, I know it to be real. I breathe the fumes.”

Naughtie’s grasp of spydom as a brethren echoes John le Carré, and the same could be said of his focus on characterization. Paris Spring fails to emulate the master in that it resolves with a couple turns that may be too neat; another neatness is how indulgent Freddy is with Will, which strains credulity at times. Nevertheless, Paris Spring is an excellent thriller, elegant in the way le Carré’s are — as few moving narrative parts as possible, a focus on motive instead, and characters who believe in what they’re doing. Bravo.

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

This Blog Is Three Years Old: Or, Why I Read

23 Monday Oct 2017

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“I couldn’t connect with the characters.” As readers, we’ve all said that, at one time or other, and if you’ve written for publication, I guarantee you’ve heard it from agents or editors who turned down your work. But what does it imply? Is that connection entirely subjective, a matter of taste, and therefore meaningless except for that audience of one? After all, what kind of connection can you expect when there are so many books written about so many different characters?

I thought about these questions as I compiled my annual list of favorite books I’ve reviewed in the past year. They include three mysteries, a thriller, two picaresques, a Holocaust novel, a snapshot of youth, another of old age, and a tale of an infamous miscarriage of justice. I call just about all of them literary. But the one common thread? The characters compelled me. I wanted to know more about how they felt, because I could feel along with them. I expected to learn something about human nature from them, and I did.

Contrast that with two much-heralded novels I put aside recently, one about a woman who explores the Arctic, and the other, about a lynching. Compelling premises? Sure. Beautiful sentences? You got ’em. But these novels didn’t grab me. I didn’t know how the characters felt, even though the authors tried to tell me–and the problem wasn’t just that the narratives told rather than showed. The authors must have thought they created an emotional connection, but I felt none. I thought I was reading about events or actions or attitudes, and however unusual or significant they were, attention-grabbing by their content, they remained abstract.

Not that it’s easy to write that emotional connection. Last month, I attended a workshop given by the literary agent Donald Maas about his book, The Emotional Craft of Fiction, which I’ve mentioned before. I’d gone to the workshop with a half-completed novel–half a house completed, if you will–and hoped to find out what could help me pull it together and finish it. By the third day, I realized that all I had was a big hole in the ground and a lot of building materials scattered around it.

So I’m very impressed with the following books and authors, who, no matter what their story or premise, have created that elusive emotional connection. In no particular order:

The Ballroom, by Anna Hope, tells of a man and woman trapped in a paupers’ institution in Yorkshire in 1911, and how he courts her through smuggled letters, unaware that she can’t read. Another desperate institutional romance, The Golden Age, by Joan London, takes place in an Australian sanitarium for juvenile polio victims in 1946. The kids, though stricken with a life-changing and potentially fatal disease, are much healthier than their parents and have bigger hearts.

By contrast, Sabina Murray’s Valiant Gentlemen takes place on a very large stage, starting with the Congo in the 1880s. Murray dazzles you without being self-conscious and sifts through the most serious subjects without taking herself too seriously–only two of the many pleasures of this novel re-creating actual historical figures. Steven Price’s By Gaslight, equally evocative, takes you into London’s underworld of 1885. It’s a long book, 731 pages, and Price builds his enthralling tale atom by atom.

Darktown, Thomas Mullen’s terrific mystery about two African-American cops in late 1940s Atlanta, is so tense, you think the novel might combust at any moment. Its deeply explored theme, racial politics within law enforcement, couldn’t be more timely. Gods of Gold, Chris Nickson’s mystery set in late Victorian Leeds, depicts the bare-knuckles life of a dreary industrial English city as well as the uphill struggle to uphold the law. Nickson conveys a depth of feeling and atmosphere in remarkably few words.

When the judges are the criminals, as they are in Crane Pond, Richard Francis’s retelling of the Salem witch trials, there’s no end to deviltry. But if you think you know the story, think again, for this judge was the only one to repent his actions, and the man’s internal struggles are compelling indeed. Crane Pond may be the most memorable book I read this year. And speaking of struggle, Mary Doria Russell’s, Doc, as in John Henry Holliday, wants to live life to the fullest in frontier Dodge City. A brilliant dentist, virtuoso pianist, and card shark, he inspires almost universal respect–but he’s dying of tuberculosis at age twenty-two.

Paulette Giles offers a very different view of the West in News of the World, about an itinerant town crier who reads newspapers to audiences starved for stories of other places. His outlook, demeanor, and personal code make him an irresistible character; I wish I knew someone like him. Better yet, I wish he were running the country. Amor Towles tells an inverse story to that in A Gentleman in Moscow, about an enemy of the Soviet state who’s sentenced to lifetime imprisonment in the Metropol Hotel in Moscow. From this circumscribed life springs a tense, richly emotional and intellectual journey on a Tolstoyan scale.

Coincidentally, the last three on the list are the last three I reviewed–or maybe it’s no coincidence, since I finish few books these days unless they truly draw me in. Golden Hill, Francis Spufford’s version of an eighteenth-century picaresque about a man arriving New-York in 1746 bearing a draft worth a thousand pounds, is a marvelous, page-turning moral tale. Is Richard Smith a bounder, a swindler, or an honest man worthy of immediate inclusion in high society? Everyone who’s anyone in New-York takes sides. A Single Spy, William Christie’s heart-stopping World War II thriller about an NKVD agent who doubles for the Abwehr, portrays a man who’s feral and disturbed, yet sympathetic. Impossible, you say? Read it and decide.

Finally, A Boy in Winter, by Rachel Seiffert, is simply one of the best Holocaust novels I’ve ever read. Set in Ukraine in 1941, her narrative has no heroes, speeches, nor forced redemptive moments, offering her characters only the chance of mercy.

As always, thanks for reading.