Meike Ziervogel: “As long as you can keep disorder at bay you have control. You can see clearly, you know what step to take next. Albert can’t stand chaos. He used to be able to tolerate it. In fact, when he was young he never made a distinction between order and disorder. Never thought about it. That wasn’t how he perceived the world, neatly divided into two camps, with judgements attached: good or bad. But now he’s convinced, has become convinced over the last years, that chaos is the enemy of the people. Every now and again, for a brief moment, he looks longingly back to a time when he wasn’t so clear-sighted. He knows that this lack of a clear view helped him to take good photographs. He was open to surprise, to being surprised.”
Being in a war changes a person for ever. The Photographer is a tale of betrayal, loyalty, sacrifice and survival. The evacuation of East Prussia is pivotal for the family at the centre of the story. By winter 1945, nearly 11 million Germans — mostly women and children — had fled the Eastern provinces of the Reich, heading west. Killings and rapes committed by the Red Army triggered fear and panic amongst the population.
“Here at the window of the turret room, Lavren, at the sill of the Demerara window, Marie Elena behind him on her deathbed telling the last tales before the end of the world as bachac ants attack the rose bushes in Immaculata’s sunken garden, and woodlice eat their way through the pitchpine floorboards, and Josephine sits by the kitchen door shelling pigeon-peas: from this vantage point, Lavren can listen and write and tell the history of the New World.” So begins a hallucinatory Caribbean tale involving the imperialist land-grab, sexual anarchy, abandoned women, religious mania, “the destruction of the Amerindians, the enslavement of Africans and the indentureship of the Indians,” and culminating in self-rule and independence. “People were dreaming in the twilight barrack-rooms, in the kerosene-lit villages for the setting of the imperial sun.”
Caribbean-style magical realism
Lawrence Scott weaves a magical, lush tapestry of words and images, bringing alive local legends and family narratives; and redressing written histories. The impact of the events recounted still resonate in Caribbean society today. A quasi-historical novel, Witchbroom recounts the story of a colonial white enclave on an offshore island through muddled memories. The central narrator repeats what he remembers “from the distracted mind of his muse Marie Elena, and her art of telling stories while they eat Crix biscuits, rat cheese and guava jelly together in the turret room overlooking the Gulf of Sadness.” The stories are bewitching and highly disturbing. The reader surfs a tidal wave of addictive fascination like a Dickensian tricoteuse sitting beside the guillotine in Paris watching heads roll during the public executions of 1793-4.
The Yorkshire moors: wild and untameable. Land of the Brontës, Bram Stoker, Ted Hughes and David Hockney, that much I knew, until I read Ben Myers’ pungent and addictive novel, The Gallows Pole, about a forgotten chapter of history. King David Hartley of Bell House was the leader of the Cragg Vale Coiners, “whose brutality had put the fear in many and whose wicked practices had damaged the trade of the common man, but whose efforts had rewarded the brave too, and whose rumoured generosity had put clothes on the backs and food on the tables of the starved communities of the upper moorlands when everyone else had failed them.”
In the 1760s, Hartley ran “the yellow trade,” creating counterfeit coins, from his “gloomy sky palace” perched on the lawless upper moorlands — Sowerby Bridge and Halifax to the east; Hebden Bridge and Heptonstall to the west. A place apart, it is well away from a changing England where the “wheels of industry turn ever onwards and the trees are falling still. Last week I did chance to meet a man right down there in Cragg Vale who told me that soon this valley is to be invaded. He spoke of chimneys and buildings and waterways and told of work for those that wanted it, but work that pays a pittance and keeps you enslaved to those that make the money. This man — he told me this land around us was soon no longer to be our land but that of those who want to reap and rape and bind those of us whose blood is in the sod. They’re pulling it out from beneath our feet like a widow shaking out her clippy mat. He said he had it in writing. Said it was legally binding.”
BookBlast™ reviews Greek crime novel in translation, Blood & Gold.
Blood & Gold, and an earlier thriller by Leo Kanaris, Codename Xenophon, are perfect examples of how well-crafted detective fiction from another culture opens windows on to a brave new world, and shows that there are more similarities than differences between us all as we get on with the business of living in failing Western societies.
As the post-war liberal bandwagon begins to roll backwards, overtaken by the populist demagogue’s juggernaut of lies, we need more cracking good crime stories like this one, to entertain, illuminate, and inform.
“We aged a hundred years, and this
Happened in a single hour:
The short summer had already died
The body of the ploughed plains smoked.”
Letter-writing may be a lost art today, since we tend to email rather than sit down and write longhand to a loved one or a friend, however epistolary novels have been with us for centuries — from Montesquiou’s Persian Letters, Choderlos de Laclos Dangerous Liaisons and Bram Stoker’s Dracula; to Stephen King’s Carrie and Alice Walker’s The Colour Purple — and are still popular. To read personal, private correspondence smacks of voyeurism, (etiquette dictates that to do so is unacceptable), hence the frisson of pleasure it affords. Suspense is created by what is revealed and concealed. The letters are like pieces of a jigsaw puzzle, and dramatic irony keeps the reader hooked until the very end: Will ‘it’ or won’t ‘it’ happen? The Last Summer, superbly translated by Jamie Bulloch, is a welcome discovery thanks to Peirene Press.