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Tag Archives: vigilante justice

Wheels Within Wheels: Gallows Court

18 Monday Oct 2021

Posted by Novelhistorian in Reviews and Columns

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1930, Alfred Hitchcock, beautiful mastermind, book review, emotional transitions, fear and uncertainty, historical fiction, inner life, intricate plot, London, Martin Edwards, mystery, sensationalist journalism, vigilante justice

Review: Gallows Court, by Martin Edwards
Sourcebooks/Poisoned Pen, 2018. 349 pp. $16

Jacob Flint, a young man on the make in 1930 London, has a way of winding up at murder scenes before the police do. For an ambitious journalist, such luck can be a gold mine, the source of scoops that rock the city and make his name. However, that particular happenstance also rouses suspicions from the police, who, though unimaginative — aren’t they always? — assume it’s no coincidence at all. Further, the perpetrators of these crimes, whoever they are, seem methodical, persistent, and absolutely ruthless, so that witnesses have a way of disappearing. Consequently, Jacob’s good fortune could be hazardous to his health.

Further, as he tries to piece together the killings, which seem to multiply before his eyes in the most unlikely circumstances, he keeps crossing paths with the mysterious Rachel Savernake — or almost does. The wealthy, reclusive Miss Savernake shows her lovely face only when she wishes, for as long as she wishes, and to select few. Jacob tries frequently to get in touch with her, but he succeeds only when she grants permission, and only on her terms.

Fleet Street, London’s traditional home of the print and newspaper industries, as it appeared in 1953, decorated for Queen Elizabeth II’s coronation (courtesy Anthony Harrison, geograph.org.uk, via Wikimedia Commons)

Jacob believes she’s the thread that connects the murders; she even presented the solution to one of them to the police. Her ability, intelligence, and boldness make her an object of fear, admiration, and bafflement. Rumor says that as a teenager, she had her half-sister’s parents disposed of, on a whim. So what game is she playing? And why does she take an interest in Jacob, leading him — he thinks — to the scene of the next crime?

This is the elaborate premise for one of the most ingenious, Byzantine mysteries I’ve ever read. Normally I dislike mystery narratives in which bodies fall like overripe apples from a tree, especially if I sense that the story needs another corpse to keep the tension thrumming. Not so, here. Everything fits, and Jacob’s emotional reactions matter, not just how he plans his next move. Edwards doesn’t rush through those emotional transitions, and the novel benefits greatly.

I wouldn’t call Gallows Court character-driven or deeply thoughtful, yet Jacob has an inner life, with ambition warring against a sense of morality and fair play. He has an appealing urge to connect with other humans, even if he doesn’t always know how, and his shock when people in whom he’s placed his trust wind up betraying him feels genuine. When people he knows wind up dead, some of whom he called friend, he takes stock — not for long, necessarily, but so that you see his impulses. He also struggles to put forth his better nature when self-preservation or convenience pulls in another direction, as in this passage, when he visits a dying friend and colleague:

The stench of disinfectant and the coarse noise from the bed made Jacob’s flesh crawl. Not for the first time, he felt pangs of self-disgust. A man who had, in his no-nonsense way, been generous to him was close to death. Yet here he was, averting his eyes, holding his nose, struggling in vain to overcome revulsion. He uttered a silent, selfish prayer that Betts would not die while he sat by his bedside. How could he console the widow if the worst happened? It would seem like his fault.

Rachel’s much harder to figure, and though that follows logically from the author’s need to keep certain secrets, I could better understand Jacob’s fascination with her if her character came across more clearly. As it is, Rachel risks being a trope, the beautiful mastermind whom no one can get around, let alone fathom. She has a mission, it seems — which the reader divines before Jacob does — and which explains the profusion of deaths. That the mission attempts to strike a blow for justice helps some.

More importantly, Rachel provides the overriding sense of the novel, the confusion, uncertainty, and danger infusing the very air of the story. Just when Jacob believes that he sees how the wheels turn, he realizes that there are wheels within wheels. At best, he’s a minor cog, one that may intersect with a larger, more significant mechanism, but only as long as he’s useful. When pursuing a lead based on information given him, he never knows whether his informant has hidden motives or means him ill. This atmosphere of fear and uncertainty feels pervasive, as in Hitchcock, and the ever-present “no — and furthermore” applies the framework. But the workings are entirely psychological.

The last two turns of the wheel feel a little contrived, the only ones that do. Nevertheless, Gallows Court delivers a tense, wild ride, and if the ending seems a bit contrived, it’s also satisfying.

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

Cowboy Ethics: As Good As Gone

19 Monday Dec 2016

Posted by Novelhistorian in Reviews and Columns

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1960s, book review, cowboys, historical fiction, Kirk Douglas, Larry Watson, literary fiction, machismo, melodrama, Montana, narration, Old West, subplots, vigilante justice

Review: As Good As Gone, by Larry Watson
Algonquin, 2016. 341 pp. $27

To an outsider, it might seem as if little of the 1960s have touched Gladstone, Montana. But to Calvin Sidey, an aging, tough-minded cowboy who withdrew from the town years ago to live alone on its outskirts, the world of 1963 has taken over. Even on a brief drive through, he recognizes few landmarks, and mentioning the names of people he once knew raises puzzled looks or brings the news that this one has died, while the other lives in a nursing home.

Bozeman, Montana, city hall, fire station, and opera house, built 1890, demolished, 1966 (Courtesy Historic American Buildings Survey, National Park Service, via Wikimedia Commons)

Bozeman, Montana, city hall, fire station, and opera house, built 1890, demolished, 1966 (Courtesy Historic American Buildings Survey, National Park Service, via Wikimedia Commons)

Calvin wouldn’t have ventured into Gladstone at all, if his estranged son, Bill, hadn’t asked him to watch over the grandkids while Bill and his wife, Marjorie, go to Missoula so that she can have an operation. Nobody likes this arrangement. Bill resents Calvin for abandoning him and his sister after their mother died; Marjorie doesn’t trust Calvin to fulfill his responsibilities; and Calvin would rather bite the head off a rattlesnake than stay in Gladstone or, worse, have to talk to his son. Then again, Calvin hates talking to anybody.

Naturally, plenty will happen during Bill and Marjorie’s absence, putting Calvin and everyone around him under pressure. As Good As Gone would have been better had much less happened, but I like Watson’s premise, which gives his protagonist plenty of scope. I also believe the look and feel of Gladstone, from the dive bars to the stores, the weather, the cooking, the small-town atmosphere, and the social attitudes, the latter rendered with a light touch. The characters sense that they should be more tolerant, but they can’t bring themselves to act that way, and whatever’s happening in the world–civil rights marches, protests–is all Out There someplace, lurking on the edge of consciousness.

While Bill and Marjorie are away, Calvin charges at conflicts rather than step aside, because that’s who he is. When a neighbor’s dog gets into the garbage cans and strews litter all over–a chronic problem, he hears–Calvin tells the neighbor that if it happens again, he’ll shoot the dog. Such is his reputation that the neighbors pick up the trash and keep the dog leashed. Calvin also rushes into action when an irate tenant (Bill’s a real estate agent who owns rental property) barges into the Sidey home to scream about an eviction notice. I don’t have to tell you that the young man stalking Calvin’s beautiful, seventeen-year-old granddaughter, had better watch his step; that confrontation is set up almost from the get-go.

There’s more–the widow next door who takes a fancy to Calvin; his sensitive grandson, Will, bullied by his so-called friends; Marjorie’s operation (a hysterectomy), which goes wrong, or appears to; and Bill’s ache for the father who’s remained out of reach. Six narrators tell this story, of uneven range and strength; except for the widow, the women’s voices seem insubstantial. Moreover, the presence of six narrators implies many subplots to keep spinning, two of which have little or nothing to do with the main narrative.

The myriad threads obscure the fabric of what matters most: Calvin’s grief over his dead wife, which led him to abandon his kids, and how Bill feels about that. Part of the problem is that Watson can’t seem to decide which to focus on, Calvin’s character or Bill’s loss of him. But either way, though the narrative mentions what these men feel and describes them having the feelings, they abruptly leave off grappling with them, and each other. Rather, events represent emotions, and only in that way do the characters take them in.

For instance, Bill fears for Marjorie’s life, and that his mother’s death will be repeated. His fear is irrational, and he knows it, but that’s how deeply he’s been scarred. Life feels fragile to him, and everything he has can be swept away. Unfortunately, Watson fiddles with this very human paradox, as if he can’t bear to let a rational man have an irrational fear; my God, what will the reader think of him? So melodrama takes over: Marjorie slips into a brief coma, and it appears, for awhile, that she might actually die.

In fact, melodrama undoes much fine work in As Good As Gone, for many chapters end just before impending violence, a cliff-hanger technique that resembles the Westerns whose myths Watson wishes to debunk. Calvin’s courage and willingness to act are admirable, but his stubborn refusal to listen to anyone else, his code of vigilante justice, and the way he equates softer, human feelings with weakness leads to trouble. These are compelling themes, and as I read, I couldn’t help thinking of Lonely Are the Brave, a terrific 1962 film starring Kirk Douglas. I only wish that Watson had used his gift for economy to better effect, much as the movie did.

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

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