The Senior Year Hiking Club of the exclusive Altdorf residential high school in Switzerland is on a mountain trek when a blizzard blows up. The teacher in charge makes the calculated decision –the right one, as it turns out – to return to the hotel at the cable car station rather than proceeding to their planned base camp. When they get back to the hotel, all the other tourists on the mountain have departed, and the weather makes it impossible to send another car down. But the night caretaker, a young American named Matty Burkhalter, opens the hotel for them so they can wait the storm out.
But that night, one of the students, a young woman, is stabbed to death. It’s The First Death of Winter. Matty Burkhalter finds himself responsible for preserving the evidence and (on the telephoned instructions of the police) interviewing the surviving students, now all suspects. Everybody has secrets, but Matty has a secret of his own – he’s wanted for murder in the US, and the less attention he gets from the police, the happier he’ll be.
Kevin Wignall is a reliable writer. Thrillers are his usual genre, but this one is more of a mystery, with echoes of Agatha Christie. He’s not the fanciest prose stylist out there, but his work is professional. The First Death of Winter was a low-key, satisfying mystery story. There’s a Christian character featured, who’s a little weird but sympathetic overall.
The other day I reviewed a book by William MacIlvanney, considered a founder of the Scottish “Tartan Noir” school of detective fiction. I disagreed with some of the attitudes he expressed, but was highly impressed with his writing. Now I’ve read a book by one of MacIlvanney’s successors, J. M. Dalgliesh – A Long Time Dead. The writing was good in general (though a misplaced modifier sneaked past the editors), but the world view here was even less to my taste.
Duncan McAdam grew up on the Isle of Skye, but fled family tensions as soon as he could. Now he’s a police detective in Glasgow, but he’s unpopular both with his colleagues and his bosses. When they get a call that a young woman’s body has been found on Skye, buried and preserved in peat, they send Duncan off to investigate. He has no wish to go – his mother has dementia and is confined to a home there, and he doesn’t get along well with his sister. But go he must.
The dead girl has been easily identified – she is Isla Matheson, who vanished about twenty years ago and was assumed to have been a runaway. Her body shows no sign of violence. And she seems to have been a popular girl – no motive for her murder is apparent. Duncan’s investigation will delve deeply into the dark side of island life, uncovering secrets that, like the body, have been long concealed.
J. M. Dalgliesh is a good writer. He paints his characters well and crafts effective dialogue. I quite enjoyed reading A Long Time Dead – right up until the solution appeared.
Discussing that solution involves dropping a spoiler into this review – I’ll try to conceal it, but it won’t be hard to guess. The murderer’s identity and the motive hinge, as in so many modern stories, on the guilt of the one subculture in our society that it’s still OK to stigmatize. Crazy nonconformists who haven’t evolved with the times, who don’t even merit sympathy. Know what I mean?
Anyway, A Long Time Dead was a pretty good mystery, but I’m done with J. M. Dalgliesh.
While we waited for Jan, Brian asked me about Ena and the children. I had seen them the day before; Sunday: the day of the child, the new agnostic sabbath when all over the western world diffident fathers turned up to catch a glimpse of the only things they still believed in from their marriage. They brought gifts of ill-fitting clothes and books that would never be read and membership-cards for leisure centres.
Usually, when a writer is expressly liberal in his opinions, I’ll drop him quietly, because we’re just not compatible. But I enjoyed William McIlvanney’s Strange Loyalties too much to do that. I may even spring for the previous two books in this series. This novel was written back in the 1970s, and the liberalism expressed is similar to the naïve kind I myself espoused back in those days. McIlvanney is remembered as a founding father of the “Tartan Noir” school of detective writing, but I doubt very much that any of his successors ever surpassed him. This is a bona fide work of literature, genre or not.
Jack Laidlaw is a Glasgow detective. In the honorable tradition of hard-boiled policemen’s lives, his is going to pieces. He’s divorced, and his relationship with his new girlfriend is on the rocks. When his brother Scott is hit by a car and killed in their home town, Jack is gripped by an existential compulsion – he needs to know why. The death isn’t legally suspicious – the driver was with his family, and Scott was unquestionably drunk. But why had Scott’s life gone awry in the first place? Once he was a talented artist with a bright future, but somehow he’d lost his reason for living.
The investigation will lead to Scott’s ex-wife and her social circle, and to his old friends. Jack will uncover corruption, which will tie in with a case his partners are working on back in Glasgow. And he will learn, in the end, his brother’s dark secret.
First of all, I have to say that the prose in Strange Loyalties was as good as I’ve ever read. Anywhere. McIlvanney was a brilliant stylist. Great lines abound: “A kitchen in the morning: it can be a garden of the senses. The sunlight is shafting in through the window, as if William Blake had been given the commission today and is announcing the sacredness of everyday.” “There are few sounds more forlorn than the phone of someone you love ringing out with no one to answer.”
Also (and maybe this is a function of the cultural period), even though there’s plenty of darkness and cynicism in this book, it wasn’t nihilistic. There were hopeful moments. There was even an obscure biblical reference, a mention of the “Rechabites.” (But that was also the name of a temperance society, so maybe it was they the author had in mind.)
I relished Strange Loyalties. It was as smooth as top-shelf, single malt whisky (not that I’ve ever tasted that). Highly recommended.
“Trust a guy like you to drive this far. What’s wrong with Minnesota?”
“Too many Scandinavians.”
Craig Terlson’s entertaining Luke Fischer mysteries began with Surf City Acid Drop, which I’ve finally gotten around to. I had assumed, on the basis of the title, that we’d find about our hero’s background as a surfer, but in fact it’s just a metaphor. The “acid drop” is a phenomenon where a wave drops out from under a surfer; Luke (who has never surfed) gets the water pulled out from under his feet, so to speak, more than once in this story.
Luke Fischer is a Canadian expatriate slacker living near Puerto Vallarta, Mexico. He insists (often) that he’s not a private detective, but occasionally people ask him to look for things. His new client is a slightly shady woman who tells him she wants him to find her brother, who has disappeared and gone on the road.
Thus Luke sets out on a road trip that will take him through the American West and Midwest. Along the way he’ll encounter an eccentric hit man he calls Mostly Harold, who will become his problematic ally – if Harold doesn’t decide to kill him instead. All in a quest for a much-coveted bag full of rocks (not diamonds).
As always, Craig Terlson’s quirky characters and socko prose are what made the book. I found this one a little more cohesive than the one I read previously, but still I think Luke’s great weakness as a main character is his lack of fire in the belly. He doesn’t seem to care much about anything, and even his fear of death seems muted. Which doesn’t mean he isn’t still fun to spend time with. But it did make some stretches of the book a little slow. The humor, though often dark, helps pass the time.
All in all, I quite enjoyed Surf City Acid Drop, and recommend it. Cautions for language and violence.
…being aloft in that storm made me appreciate all I was learning. We were on only day four of our passage, had traveled only one-tenth of the distance to our destination, and I had already seen more than I could have imagined or planned for. There was no off switch, no time-out, no opportunity to stop and take a break. That moment forever changed my understanding of how to handle adversity. The only way out was through.
Like many other people of taste, I have a great fondness for the 2003 move, Master and Commander, starring Russell Crowe. I find sailing fascinating (though I have almost no experience with it), and have enjoyed reading both the Horatio Hornblower and the Aubrey/Matchurin classic novel series. The movie was a box-office disappointment, but has acquired a well-deserved popularity in the ensuing years.
But one thing it never occurred to me to wonder about was where they got the ship that served as the HMS Surprise in the movie. Turns out it was originally called the Rose (after the historical HMS Rose of the British Navy), and had had a lackluster career as a museum ship and tourist attraction on the US East Coast. When the movie studio decided to buy it, it was docked at Newport, Rhode Island. That was where Will Sofrin, a somewhat rudderless young boat bum, joined the crew. He and a motley, coed group of sailors took the ship (which turned out to be poorly built, badly maintained, and leaky) through the Panama Canal to San Diego, surviving a hurricane, a dismasting, and various interpersonal conflicts along the way. The final result is the book, All Hands On Deck: A Modern-Day High Seas Adventure to the Far Side of the World.
I always enjoy a good sea story, and Sofrin does an excellent job telling the tale of this voyage. He works in a lot of background about how the British Navy operated in the Age of Sail, as well as more detail than most of us will probably ever need about sailing techniques and technical terms. This information will be of great benefit to fans of Patrick O’Brian’s novels.
The human drama that went on among the crew, particularly when it comes to sexual relations between members of a mixed-sex crew, sometimes offered more information than I wanted. But the story as a whole was human and relatable, and the lessons the author learned were exemplary. He also writes pretty well.
I enjoyed reading All Hands On Deck, and recommend it, especially for O’Brian fans.
I caught the 2022 film, “Marlowe” on Amazon Prime. Anything related to Philip Marlowe always intrigues me, so I watched it in spite of the poor reviews it’s gotten. I liked it in many ways, but somehow it fell apart at the end.
There seem to be two varieties of Philip Marlowe in the cinematic world. Usually he’s portrayed as a strong, tall man, young or no older than middle age. But 1975 brought us “Farewell, My Lovely,” featuring an aging Robert Mitchum, who was so perfect for the role that he made it work (there was even a sequel, “The Big Sleep,” where the whole scenario got bizarrely transplanted to London. But once again, Mitchum pulled it off).
“Old Marlowe” is back, after a fashion, in Marlowe, based not on a Chandler novel, but on a 2014 pastiche called The Black-Eyed Blonde, which I understand to have been based on an outline (or a note or something) from Chandler himself. Liam Neeson dons the trench coat and fedora, playing the role with a world-weary slump. Traces of his Irish accent edge through, and we’re told that he fought in an Irish regiment during World War I. (Which is, I think, new information.) The film is set in 1930, and the costumes and sets are pretty good.
Marlowe, as one expects, gets a visit in his office from a beautiful, wealthy blonde, Clare Cavendish (Diane Kruger). She is married, but her concern is with her lover, Nico Peterson (Francois Arnault), who has disappeared. Marlowe learns with little trouble that Nico is officially dead, run over by a car outside the swanky Corbata Club. But Clare insists that she recently saw Nico alive in Tijuana. Complications arise in the form of Clare’s mother, the aging actress Dorothy Quincannon (Jessica Lange. Her character is blatantly based on Gloria Swanson). Drug smuggling and Hollywood studio politics also show up, and civic corruption is revealed.
Liam Neeson is always fun to watch, even when he looks tired. The script was erudite – too erudite, it seemed to me. Raymond Chandler could rock a classical allusion with the best of them, but he knew better than to put quotations in everybody’s mouths.
But my main problem with the film was that the plot kind of went to pieces at the end. A new Maguffin appears out of the blue, and then we get swept up in a lot of references to Nazism that haven’t been set up in the story.
Nevertheless, I can’t deny I enjoyed watching “Marlowe,” most of the way through. Cautions for language, adult themes, and (of course) violence.
“It seems to me that the dragon is awfully small,” said Kristin, looking at the image of the saint who was her namesake. “It doesn’t look as if it could swallow up the maiden.”
“And it couldn’t, either,” said Brother Edvin. “It was no bigger than that. Dragons and all other creatures that serve the Devil only seem big as long as we harbor fear within ourselves. But if a person seeks God with such earnestness and desire that he enters into His power, then the power of the Devil at once suffers such a great defeat that his instruments become small and unimportant. Dragons and evil spirits shrink until they are no bigger than goblins and cats and crows. As you can see, the whole mountain that Saint Sunniva was trapped inside is so small that it will fit on the skirt of her cloak.”
Saint Sunniva won’t be familiar to non-Norwegian readers, and not even to most Norwegians if they’re the American kind. She is a legendary saint supposed to have been martyred by Jarl Haakon (whom you’ll remember from The Year of the Warrior and Death’s Doors). She fled into a cave with her companions to avoid falling into Haakon’s hands, and they all died there. Later King Olaf Trygvesson found their uncorrupted bodies and declared their sainthood. I never used the legend in my own books.
I shared with you a special deal on Sigrid Undset’s Kristin Lavransdatter trilogy in the Tina Nunnally translation last month, and now I’ve taken up (re-)reading it myself. I’ve read the trilogy before – twice in the previous English translation and once in the original Norwegian. I should probably read that again, but my second-hand copy’s in very poor condition. And I wanted to try Nunnally – I’ve heard good things about her work.
I admit I approached the book with some degree of reluctance. It’s a fine example of the great Scandinavian tradition of depressing literature (though with the ameliorating influence of Christian faith, which most of the other modern stuff lacks). Kristin is a vivid and fascinating character, mostly respectable by most people’s standards, and always honorable in her own eyes. Yet Undset’s penetrating artistic eye looks deeply into her essential selfishness, which is gradually revealed to Kristin herself through a lifetime of living with consequences.
I’ve often said that Kristin Lavransdatter is an inverted romance novel. The beautiful, willful young girl defies her parents to run off with the dashing knight. But where the romance heroine lives happily ever after, Kristin has to live with her choices. All her chickens come home to roost, one after the other. And yet, the promise of God’s grace never leaves her.
What do I think of Tina Nunnally’s translation? It’s good. I can never read a Norwegian translation (my own included) anymore without quibbling, of course. I sometimes think this one a little too literal, just a little clunky. But I probably need to remove the beam from my own eye before I say that.
The first English translation, done in the 1920s by Charles Archer and J. S. Scott, has been criticized as artificially mannered, featuring deliberate English archaisms that don’t correspond to Undset’s idiomatic Norwegian. I understand the concern, though I can’t help sympathizing a little with Archer and Scott. One of the pleasures, for me, of working with Norwegian is the fact that its diction does have a kind of medieval quality from an English-speaker’s point of view. If I ask, “What means this word?” in English, that’s Renaissance Faire talk, but it’s perfectly grammatical in Norwegian. Getting used to such sentence construction has heavily influenced the way I write my Viking novels. When I think out a sentence in Norwegian, I sound medieval.
But the old translation had other sins, too, I am informed. Certain passages were bowdlerized, and are now restored in this version. (No doubt another, politically correct, bowdlerization is on its way soon, courtesy of Our Betters. So read this one while we enjoy a season of free speech.)
It’s pointless to criticize Kristin Lavransdatter as a work of art. It’s above my pay grade, and I’ve written much about it before. But I recommend it without reservation.
I shook my head. Lydia studied my face, looking for the lie.
“We’re just looking for answers,” I said.
That part was true—otherwise, I would’ve left this soggy grayscape days ago. Even now, the sun pulled a Houdini and went back to its usual place, shining somewhere over a cornfield in Kansas.
Luke Fischer, hero of Manistique, a Canadian transplant in Mexico, is emphatically not a private eye. But he ends up looking for people anyway. When his friend Franco, who is a private eye, asks him to sit in on a private poker game, he ends up witnessing a shooting. A young woman dies, and there’s talk of missing money. Soon Luke is headed to the Upper Peninsula of Michigan (of all places) trying to find the young woman’s father, who is rumored to have stolen a lot of money from some dangerous people.
In Michigan, Luke finds himself teaming up with “Sam,” an attractive female county sheriff. The body count rises steadily as they pursue Luke’s quarry, and when that man is killed, they pursue the killers. The trail will finally lead them all the way to New Mexico.
I very much enjoyed, and positively reviewed, Three-Minute Hero, the book that follows Manistique in the Luke Fischer series (I seem to be reading them in the wrong order). And the virtues of that book were displayed here – colorful hard-boiled prose and strong dialogue.
But the weaknesses were here too – a little more apparently. Chief of these is a certain aimlessness in the plotting. Although there’s plenty of violence in this story – and it’s pretty explosive – one can’t help wondering in the intervals what these people are here for. Luke’s mission is somewhat vague from the start, and even when he’s finished the job he was paid to do, he feels obligated to keep following the money – though he doesn’t seem interested in it for its own sake. It’s something about justice, for people he barely knows. One senses an echo of Carlos Castaneda, too, as he has a mystical conversation on a motel porch with an old man who may or may not exist. Perhaps this is all an existentialist exercise.
I must also confess my slight annoyance at a surrender to current intellectual fashion, evidenced by the inclusion of not one, but two Girl Boss characters – women indistinguishable from men except in their physical appearance, one of whom easily tosses much larger men around a room.
And I have a couple Gun Culture quibbles – a .40 caliber pistol is described as remarkably powerful, and a “silencer” reduces pistol shots to a near-whisper (that’s technology firearms companies would pay good money for, because it doesn’t exist yet).
Author Craig Terlson is now a friend of mine on X, and an entertaining one. I like his writing very much, and all in all I enjoyed Manistique – especially as the story approached its big, climactic showdown. The next book in the series will show considerable improvement, so he’s learning the craft. I recommend this book, in spite of some weaknesses.
I get a lot of free e-books through online offers, as I’ve mentioned before. I guess it shouldn’t be surprising, in these days of self-publishing, that a fair number of those books are unreadable. For one reason or another. Unless an author writes so egregiously that I can’t restrain my pen, I’ve taken to generally dropping these books and forgetting them. Nobody set me up as a judge of aspiring novelists.
I had dumped two books in a row in the aforementioned manner, before I picked up Steven Womack’s Fade Up From Black: The Return of Harry James Denton. I was delighted to encounter readable prose, and settled back to enjoy it.
Harry James Denton is, apparently, the hero of a private eye series which the author dropped for a while, and is now picking up again. Harry lives in Nashville, Tennessee. He and his partner built their investigative business up into a digital security company, and now they’re both multimillionaires. But Harry’s old girlfriend, with whom he had a passionate but volatile relationship, recently died of cancer, leaving behind their 15-year-old daughter. The girl has been living with her mother in Reno, but will now be moving to Nashville to live with Harry.
However, the day before he leaves for the funeral, Harry gets a visitor in his office. The man is Leo Walsh, who was briefly a celebrated novelist some years back. A series of bad decisions led him downhill, and now he’s teaching screenplay writing at a seedy local cinema school. Leo tells Harry he wants him to investigate a murder – his own murder.
Harry explains that he doesn’t really do private investigation anymore, though he keeps his license current. He has a lot on his plate and can’t take the case. Leo Walsh walks away disappointed. When Harry returns with his daughter a few days later, he’s shocked to learn that Leo’s body has been found beaten to death and left behind a dumpster.
Harry feels guilty about turning the man away. Learning that the police have made no headway, and aren’t even trying very hard, he decides to stretch his investigative muscles again.
As I mentioned, the prose in Fade Up From Black was pretty good. That’s always a plus. But it takes more than good prose to make a successful mystery story. I’d been reading a while when I realized that the narrative was moving at a snail’s pace. Many pages passed between actual plot developments. The author has a fascination with describing Nashville traffic, for instance.
When things finally do start happening, Harry seems to have lost more than a step as a PI. He gets an anonymous threat over his cell phone – a threat not only against him but against his friends and daughter. Yet he – although he is a multimillionaire and owns A FREAKING SECURITY COMPANY, just ignores it, not taking a minute to employ the resources with which he’s so richly supplied. And again, in the buildup to the final confrontation, he puts off calling on his highly capable friends.
There are a couple veiled political comments in the book, and I think it’s fair to conclude that the author is a lefty. However, he actually did a pretty good job of trying to be evenhanded.
But overall, Fade Up From Black was a disappointment, flaccid in plot and deficient in dramatic tension.
“Pete wants to know if there’s something there. He wants you to have the case because he believes you are honest and meticulous but still our guy, and we’re all on the same side…. I, on the other hand, didn’t want you on the case because I know you. I know you won’t let go of something if you don’t understand it.”
“Would you?”
“Yes. I’ve learned the hard way that sometimes you need to let things go. You can’t make the world right.”
Kane liked Detective Vincent Bayonne. Bayonne looked like a mountain man and a long-haul trucker had a coyote for a baby, but he had intuition.
A few days back I reviewed Indy Perro’s Welcome to the Party, a prequel to his noir mystery series featuring Detective Vince Bayonne and his gangster informant, Kane Kulpa. I noted that the writing and characterization were excellent. But that novella did not really prepare me for Central City, the first book in the series.
The year is 1992. The fictional Central City is run in the time-honored way – organized crime and the cops work in an uneasy partnership. Neither side wants blood in the streets. It’s bad for business. Even honest cops like Vince Bayonne “have a taste” from time to time; it’s the only way his criminal contacts will trust him. He has a new partner, a fat young man with brains but a lot to learn.
Kane Kulpa is right-hand man to two partners who run gambling and drugs and prostitution in a section of the city. He seems void of ambition. People think he’s lost the nerve that made him notorious during his time in prison. Few know about the mute, brain-damaged woman he shelters in his apartment.
When a naked man is found dead in a massage parlor, strangled with a belt and posed as if in prayer, Kane’s bosses want Bayonne on the case, for reasons explained in the snippet at the top of this review. But Bayonne is stymied. Usually, when he looks at a murder scene, it speaks to him, tells him a story. But this scene tells him nothing. When other men are found murdered the same way, he flounders. Meanwhile, a gang war starts, and Kane will have to decide where his loyalty lies.
I was very impressed with Central City. This is about as noir as a novel gets. The violence was shocking, the final resolution (mostly) a surprise. And Indy Perro is simply a knockout wordslinger. His descriptions fascinate, and his characters are compelling.
Still, I wasn’t entirely happy. The final resolution seemed a little too grand opera, too over the top. The story offers one of those familiar crime scenarios where really bad people – pimps and drug dealers – are rendered sympathetic simply by the fact that they’re contrasted with opponents who are monsters. And the picture of how a city works was simply depressing (worse because you can’t be sure it’s exaggerated).
Also, the author used “begging the question” wrong once. With his gifts, he should know better.
A notable eccentricity in the story is the information, casually related, that one of the city’s criminal bosses is a Lutheran pastor.
I hope Central City is excessive in its picture of the world. On the other hand, certain characters do exhibit genuine nobility from time to time.
I’m not sure what my final judgment on Central City is. Except that it was extremely well written and atmospheric. It left an impression. Definitely worth reading, if you like to take your Noir straight.
