I’m still busy writing, editing and researching, but am allowing myself the odd foray into international crime fiction as the summer sun works its magic. Here are some gems:
Happiness is Easy (published 17 July 2014 by Doubleday) is the second novel by Brazilian author Edney Silvestre. Its story is deceptively simple – the kidnapping of the wrong child from a rich man’s chauffeur-driven car – but is told with elegant brilliance, moving from past to present in such a way that we gain in-depth portraits of the characters involved while following the fall-out from the crime. Silvestre, who’s also a journalist, uses the genre to critique the corruption of Brazilian politics, the gulf between rich and poor, and the booming kidnap ‘industry’. It’s a bleak read in places, although not without hope. Nick Caistor does a great job translating from Brazilian Portuguese, and I’m now keen to read more from the country hosting the Football World Cup.
Jørn Lier Horst’s The Hunting Dogs (trans. by Anne Bruce, Sandstone Press, 2014) comes to us already garlanded with prizes – it won the 2012 Riverton/Golden Revolver Prize and the 2013 Scandinavian Glass Key. I’m not remotely surprised, as this eighth novel in the William Wisting series (the third to be published in English) is one of the best Scandinavian crime novels I’ve read. Much has been made of Horst’s extensive policing experience, but for me, it’s the fantastic writing, plotting and characterisation that stand out in this novel, which sees Wisting suspended due to irregularities in a past case. Forced to re-investigate the murder of Cecilia Linde from the outside, he is helped by journalist daughter Line to uncover the truth. A top-notch summer read.
American author Alice Sebold’s The Lovely Bones was published in 2002, but it’s one that I go back to every now and then, because it’s such an original crime novel. Set in the summer of 1973, it’s narrated by Susie Salmon, who’s murdered by a neighbour at the age of fourteen and witnesses the aftermath of the crime from her ‘heaven’. You’d be forgiven for thinking this all sounds horribly mawkish, but the concept is brilliantly pulled off for the most part, and offers a sensitive portrayal of the effects of a murder on the family and friends of the victim. Be warned: when I first read the novel one summer holiday I found it *highly* addictive. It was subsequently made into a film by Peter Jackson (2009), which received mixed reviews.
Meanwhile, on the research front…
I’m about to start a 1968 crime novel by French-Jewish writer Romain Gary, entitled The Dance of Genghis Cohn. I came across it by chance when reading a piece on German film* and was immediately intrigued. It tells the story of a post-war murder investigation led by a Bavarian police chief (so far, so conventional), who is haunted by a Jewish comedian he murdered while an SS officer under National Socialism. Quite a starting point, isn’t it? Blackly humorous, it’s also an uncompromising critique of post-war West Germany’s reluctance to engage with the Nazi past. Intriguingly, it was adapted for television by the BBC in 1994 (starring Anthony Sher and Robert Lindsay) – something to follow up after reading the book.
*Frank Stern, ‘Film in the 1950s: Passing Images of Guilt and Responsibility’, in Hanna Schissler (ed.), The Miracle Years: A Cultural History of West Germany 1949-1968, (Princeton University Press, 2001), pp. 266-80.