***A Noise Downstairs

typewriter, writing

Steven Depolo, creative commons license

By Linwood Barclay – A professor at a small Connecticut college, living with his second wife on the shore of Long Island Sound, Paul Davis has had a rather unremarkable life until late one October night when he recognizes the broken taillight of his colleague Kenneth’s car and follows it.

Kenneth is driving erratically, and Paul worries the older man might be tipsy. When Kenneth stops his car on a lonely road and pops the trunk, Paul stops too and is shocked to see the bodies of two women inside. Wielding a shovel, Kenneth bangs him on the head and would have murdered him, except for the timely appearance of the police, investigating that car with a broken taillight they noticed a few moments before.

Eight months later, Kenneth has pleaded guilty to the murders and is in prison, but Paul hasn’t fully recovered. The blow to the head has mostly resolved, but he suffers from post-traumatic stress, panic attacks. His wife Charlotte and his psychologist Anna encourage him, but he has headaches, he forgets things, he’s haunted by the murders. Paul knew the dead women slightly and it seems Kenneth was carrying on with both at once. Only his wife was unaware of his reputation for womanizing.

Much of the story takes place within the four walls of Paul’s house, making it another one of those claustrophobic, unreliable narrator domestic thrillers which there are a lot of lately. Unfortunately, for me at least, that took the freshness out of Barclay’s story, though he has a nice red herring woven in.

Paul is determined to regain a grip on his life and decides the best way to try to answer his many lingering questions about the murders would be to review everything about the case and the reasons people commit murder. Charlotte and Anna are initially dubious, but persuaded by his determination.

Charlotte even buys him an old-fashioned Underwood typewriter. It’s a talisman of the case, because in one of its more ghoulish aspects, Kenneth made his victims type a note on such a typewriter, apologizing for their “immoral, licentious, whore-like behavior.” When Paul repeatedly hears the typewriter in the middle of the night, he slips downstairs to see who is using it, but the house is empty. He half-believes the dead women are trying to communicate with him.

On a visit to Anna, he loses his keys and Charlotte has to pick him up. Now here, the author lost me, because if he drove to the office and after their session he doesn’t have his keys, why wasn’t a thorough search made before calling for a ride? Then when Paul believes there’s been an intruder at his home, why does it take many pages for the characters to recall the missing keys? Ultimately, they are “found” in one of the two chairs in Anna’s office, but that unlikely discovery is taken at face value, and no one wonders whether they were there all along.

Odd events continue, and to put the ghostly typewriter issue to rest, his friend Bill suggests that he put a piece of paper in it and see what the women want to say. It’s an absurd idea, except that messages begin to appear. Even if you are skeptical of the paranormal, it’s not easy to see how these tricks are being accomplished, and Paul, not fully of sound mind, is increasingly anxious.

Author Barclay keeps the tension and the possibilities going at a brisk clip, and though you may figure out the direction of the plot early on, he has surprises in store.

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Listen Up! Take 2

earphones

photo: John O’Nolan, creative commons license

Three notable audiobooks for your consideration: the fantastic debut novel She Rides Shotgun, award-nominee The Breakdown, and Hangman, follow-up to last year’s mega-hit, Ragdoll. Starting with the best of the three.

*****She Rides Shotgun
By Jordan Harper, narrated by David Marantz – Winner of the 2018 Edgar Award for best debut novel, this is the audio equivalent of a real page-turner (though I’m never tempted to listen at 2x speed!). When Nate McClusky leaves prison after refusing to work for the dangerous gang Aryan Steel, a death warrant is issued for him and his family. He finds out how determined the killers are when he discovers his ex-wife and her new husband murdered, and realizes his eleven-year-old daughter Polly will be next. He picks her up at school before the killers find her, and the chase is on. They’re practically strangers to each other, as he’s been incarcerated for most of her childhood. She’s a quirky kid, shy and smart as a whip, teddy bear in tow.

Nate hasn’t had much parenting experience, but he warms to the role, and two have terrifying—and sometimes heartwarming—adventures roaming Southern California, as they gradually become partners in evading their would-be killers as well as the police. Betrayal is a constant anxiety. Based on the premise—the criminal dad, the kid—I didn’t think I’d like this book as much as I did, no small part of which relates to Marantz’s excellent narration.

Another recent and remarkable book about a criminal father raising a daughter was Hannah Tinti’s The Twelve Lives of Samuel Hawley, also an award nominee.

***The Breakdown
By B.A. Paris, narrated by Georgia Maguire – Another domestic thriller of the “is she going crazy, or is someone doing this to her?” variety. Unfortunately, the big reveal seemed obvious early on, which tarnished the entertainment value. I selected it because the book was on the “Best Novel” short-list for a 2018 Thriller Award. Compared to the other two nominees I read, it falls short of the nail-biting excitement of Gin Phillips’s Fierce Kingdom or the fascination of Dan Chaon’s Ill Will.

Rain on Windshield

Iwan Gabovitch, creative commons license

The story takes place in and around a mid-sized English market town. One night, as Cass is driving through the woods to her isolated (natch) home in a terrible rainstorm, she sees a woman in her car, stopped by the side of the road. Since the woman doesn’t appear to be in distress, rather than get drenched, she doesn’t offer aid. The next morning, she learns the woman has been murdered. And that she knows her.

Guilt over not helping, strange occurrences that make her think the killer may now be stalking her, and fear that, like her mother, she may be suffering from early-onset Alzheimer’s make for a pretty mopey outlook. The narration reflects that, though I admire Maguire’s portrayal of the long-suffering husband. You can hear—and empathize with—his growing doubts about his wife’s mental state. If you like the “gaslight” sub-genre, you may enjoy this.

**Hangman
By Daniel Cole, narrated by Alex Wyndham – This book follows on the successful 2017 thriller Ragdoll, and involves some of the same characters, charged with solving a series of baffling murders that hits London and New York. Are they Ragdoll-related or grisly copycats? DCI Emily Baxter, who was key to solving the Ragdoll case, is flown to New York to liaise [!]. I like how prickly she is—don’t try to sweet-talk her for god’s sake! The CIA operative is an engaging character too.

I’m not squeamish, but my lack of enthusiasm for Hangman derives from its excess of sadistic violence, which appeared ramped up for shock value. A male narrator was chosen for the audiobook, though usually the narrator’s gender matches that of the protagonist. Possibly the publishers thought the extreme violence would be better portrayed in a male voice, and Wyndham does a fine job presenting UK and US characters of varying ethnicities.

Read an earlier Listen Up! compilation here.

****Resume Speed and Other Stories

Automat

photo: Philip Bump, creative commons license

By Lawrence Block – This entertaining collection of short crime fiction combines old and new short stories, plus one novella by multiple-award-winning and amazingly prolific American author Lawrence Block. Never-before appearing in collections, the seven stories cover 56 years of publishing, from 1960 to 2016.

According to Block’s revelatory notes accompanying each story, “Hard Sell” was originally published in 1960 under another author’s name—not unusual in that era, apparently. Of course that still goes on today. Just ask James Patterson. The story itself is an entertaining bit of deduction with a twist at the end, in which the detective not only solves a series of murders but refuses to accuse the culprit. The distinctive character names are fun too and practically Dickensian—Cowperthwaite, Kirschmeyer—especially the running gag that the detective can’t quite remember Kirschmeyer’s name. By the end, he’s calling him Kicklebutton.

Many of the story characters have idiosyncratic names, which is helpful for readers confronted with a lot of different people. These are noir stories, generally, using Dennis Lehane’s definition of noir: In tragedy, a character falls from a great height; in noir, he falls from the curb. And most of Block’s characters perch only precariously on the curb. They’re denizens of bars and cheap motels, rooming houses, and the smoky cop shops of the detectives on their trail.

Block has a straightforward, unassuming, unsentimental style that carries you right through to his pull-up-short endings. Often they seem to be set in some ambiguous former era, before smartphones and DNA analysis changed the rules for cat-and-mouse games.

One of my favorites in this collection is “Autumn at the Automat,” a 2017 Edgar Award winner. Block’s surprise ending made me laugh out loud. Says Block, the story came to him upon seeing Edward Hopper’s painting “Automat.” His paintings are stories-in-waiting, and Block edited an entire anthology of Hopper-inspired fiction, In Sunlight or in Shadow, published in 2016.

Finally, the collection’s title story perfectly fits the “noir” definition above. Bill Thompson is convinced he’s committed some unremembered violence and believes he has to get out of town. He lands in a small town with a job he’s good at and a girlfriend who fills all his requirements. The trick will be to get out of his own way and let himself succeed. This isn’t a story with a plot twist like the others. Much as you want Bill to make a go of it, you carry a load of unease that he will not. Block says this story is based on a true story he heard one night almost forty years before he actually wrote it. It haunted him, and he tells it well.

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Titus Andronicus

Titus Andronicus

Robberson, Cuccioli, & Cromer; photo: Jerry Dahlia

“A society drowning in violence and seemingly bereft of civil thought or action” is how the Shakespeare Theatre of New Jersey describes the setting for Shakespeare’s bloodiest play, now in a riveting new production, directed by Brian B. Crowe, through August 5. First performed January 24, 1594, it was one of the revenge dramas so popular among Elizabethan audiences and fans of the Death Wish franchise. Here, the desire for revenge trumps every other human feeling, with no possibility of compromise or negotiation.

It’s well worth seeing, not just because the opportunity comes about so rarely and not just because of Shakespeare’s thought-provoking content, but also because of the high quality of this production. The acting and production values are top-notch.

The title character (played by Bruce Cromer) returns to Rome a hero after his conquest of the Goths. His chained prisoners comprise their sultry queen Tamora (Vanessa Morosco), her three sons, and her advisor, a moor (Chris White). When Titus arrives, Roman brothers Saturninus (Benjamin Eakeley) and Bassianus (Oliver Archibald) are vying to replace their late father, the emperor. Given the opportunity to choose between them, Titus chooses Saturninus, who proceeds to claim his brother’s betrothed, Titus’s daughter Lavinia (Fiona Robberson). Skirmishes break out, but Lavinia and Bassianus flee.

Two of Titus’s sons were killed in the war, and the remaining sons demand the sacrifice of the Goth queen Tamora’s eldest son, despite her desperate pleas. Though she speaks honeyed words to Saturninus, her desire for revenge against Titus and all his children is clear.

The moor connives with Tamora’s remaining sons (Torsten Johnson and Quentin McCuiston) to kill Lavinia’s new husband, ravish her, and, so that she can’t reveal their identity, cut off her hands and cut out her tongue. Titus has lost five sons in the play so far, and his last son Lucius (Clark Scott Carmichael) is banished. He is devastated to see the wreck of his daughter. Only the counsel and forbearance of his brother Marcus (Robert Cuccioli) saves him from total madness.

Near the end of the play is a speech by Marcus that for me was the most relevant to politics in our own time: “O! let me teach you how to knit again this scatter’d corn into one united sheaf, these broken limbs again into one body; lest Rome herself be bane unto herself, and she whom mighty kingdoms curtsy to, like a forlorn and desperate castaway, do shameful execution on herself.”

Fine performances of Cromer as Titus, Cuccioni as Marcus, Morosco as Tamora, and her two reptilian sons (Johnson and McCuiston) were excellent. For me, though, the most moving performance came from Robberson, the handless, tongueless, young widow. And White delivers the moor with relish.

It’s fun seeing such a luxuriously large principal cast—16 actors—ably augmented by 11 members of the theater’s 2018 Summer Professional Training Program in multiple roles.

Dick Block created a memorable set, featuring giant swords and an enormous warrior’s helmet, Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

***Animal Instinct: Human Zoo

Elephant - Sam Felder

photo: Sam Felder, creative commons license

By Simon Booker (this is an Audible Original, narrated by Imogen Church with a strong cast portraying the characters). PTSD has left former police detective Joe Cassidy (played by Brendan Coyle—Bates on Downton Abbey) with debilitating panic attacks. To get away from the world, he’s set himself up in a remote cottage on Dungeness Beach in Kent, but the world comes to him when he’s contacted by an old friend. Adam Pennyfeather (Joseph Marcell) inherited a wild animal park, and once saved Cassidy’s life when he was almost trampled by an elephant. Adam’s daughter Bella has gone missing, and he wants Cassidy to help find her. As a friend. As someone who owes him.

Cassidy is also on hiatus from his marriage to Katie (Lia Williams), herself a police detective, who’s handling the investigation of Bella’s disappearance. When Bella’s body is found in the elephant house, strung up like a side of meat, Katie is handed her first murder investigation. This creates inevitable tension between the couple, acting in their official and unofficial capacities.

The fault lines in the Pennyfeather family gradually reveal themselves. Adam’s wife is Isabel (Victoria Hamilton), and his younger daughter is Saffron (Rebekah Hinds). She and her husband, pizza entrepreneur Liam O’Mara (Harry Lloyd), tell Cassidy about Isabel’s lifelong loathing of her younger brother Felix, now Adam’s lawyer, and how Isabel preferred her daughters to her son Gabriel. His birth led to serious post-partum psychosis for which she was hospitalized. Fearing for the boy’s safety, Adam put him up for adoption many years before, and has since learned that Gabriel died in a motorcycle accident.

Trying to worm her way into Cassidy’s orbit is a relentless local journalist, an Australian woman named Chrissy McBride. Brigid Lohrey makes this character so annoying that, along with Cassidy, you’ll probably think, “Oh, no, not her again!”

Cassidy believes his wife is seeing someone, was seeing someone while they were married, at least early on, and that their son Luke is the other man’s child. Three DNA samples sent to a Cambridge lab will tell the tale, but is that information he really wants? Booker builds a nice bit of tension around the receipt of these laboratory results, and with Coyle’s solid portrayal, you can appreciate how torn Cassidy is.

The production includes sound effects of the type a foley artist would deploy in a radio play to indicate a closing door, footsteps, and the like. Possibly this is a matter of personal taste, but the sound effects feel redundant and jar me out of the story.

Animal Instinct is a nicely played, complex story and billed as the first book in a series featuring Joe Cassidy. TV writer Booker will find his listeners looking forward to more.

*****Paper Ghosts

photographer

photo: Chris Dorward, creative commons license

Written by Julia Heaberlin – I just spent a week in Texas, including a family reunion in Waco, where Paper Ghosts begins, and am happy to report that trip was nothing like this story, a creepy and deliciously entertaining battle of wits.

Grace is twenty-four and obsessed with finding out what happened to her only sister Rachel, who disappeared when Grace was twelve. What ignited her search was finding a photograph of two ethereal girls taped to the bottom of their home’s attic stairs.

The photographer, Carl Feldman, was later tried and acquitted in another local woman’s disappearance, although suspicions about him never went away.

Heaberlin masterfully weaves this backstory through the narrative— enlightening, coloring, providing motivation. Diagnosed with dementia, the elderly Carl now lives in a halfway house run by Mrs. T. Grace poses as Carl’s daughter to persuade Mrs. T to let her take him on a “vacation.” In reality, she plans to revisit places where three young women disappeared, hoping to break through the tattered veil of confusion that Carl pulls over himself. He’s just lucid and insightful enough to know what Grace is up to, to go along with the deception, and to toy with her mercilessly.

Grace’s personal safety trainer has readied her to handle the tricks Carl might try. Most important, she’s worked on conquering fear. You see pages from her childhood “survival notebook,” which contained her strategies for conquering various fears, like spiders or ghosts. Charming, but more important, these entries show an organized determination that foreshadows the adult Grace will become.

Mrs. T gives her ten days, at which time she absolutely must return Carl to the halfway house. Ten days in a car with a possible serial killer, in motel rooms at night, in situations where he may say who knows what? Carl is infinitely unpredictable. And sneaky.

Around day four or five, you may wonder whether Heaberlin’s inventiveness will run out, whether the diaristic recitation of their doings will wear thin. It never does. Her writing style is rich with metaphors tied to Carl’s strong identity as a photographer. In his photos, his paper ghosts, much is revealed, and much is hidden.

This risky road trip through a nightmare Texas doesn’t deflect Grace from the fundamental question, what happened to Rachel? And does Carl even know? And if he doesn’t, or if he’s overtaken by dementia, will she ever find out? You keep turning pages to find out.

This is the third missing-sister book I’ve read recently, all strong. The others were Jenny Quintana’s The Missing Girl and Chris Whitaker’s All the Wicked Girls.

****High White Sun

Marfa Texas

photo: Nathan Russell, creative commons license

By J. Todd Scott – High White Sun is a solid follow-up to Scott’s 2016 debut hit, The Far Empty. A prologue set in 1999 recounts the murder of Texas Ranger Bob Ford, the long echo of which reverberates through events of the current day like the howling of the wind off the distant Mexican mountains. In the small town of Murfee, Texas, Sheriff Chris Cherry does not wear his badge easily. He worries.

When a popular river guide is murdered and suspicion lights on new arrivals to the area, pegged by everyone as bad actors, he worries a lot. They’ve set up some distance from Murfee at a wide spot in the road ominously named Killing. Head of this clan is an obvious hard case, John Wesley Earl, accompanied by his brother, two sons, a couple of girlfriends, and several cousins and hangers-on. Author Scott dives deep into Earl’s history, and while he never becomes sympathetic, you certainly understand him and how little regard he has for anyone else, including his family.

The sheriff’s wants to rid his county of the Earl clan, but his priorities aren’t shared by the FBI. Its agent wants Cherry to leave the Earls alone. John Wesley Earl is their confidential informant, recruited when he was in prison and a leader in the ultra-violent Aryan Brotherhood of Texas. More than a white supremacist group, Earl’s ABT is a major criminal enterprise, responsible for bringing drugs into every one of the state’s prisons and beyond and connected to all the dirty deals and killing that goes along with that. Out of prison, he’ll be getting his cut of the “business.” It will make him wealthy.

Earl is holed up in Killing because his son Jesse is there, awaiting the appearance of Thurman Flowers, a self-styled preacher with grandiose plans for establishing a community of white supremacists, his Church of Purity. They need only two things: guns and money. An ex-soldier who’s part of the clan promises to get them the guns, and Jesse is plotting to get hold of his father’s money.

Unfortunately, the sheriff’s deputies are keeping a few secrets from him, certainly the men of the Earl crew have secrets, and the law enforcement agencies aren’t sharing everything with each other, either. When all these secrets come out into the open, the resulting storm seems destined to destroy them all.

***In Strangers’ Houses

Cleaner

photo: ePi.Longo, creative commons license

By Elizabeth Mundy – Highly visible as an “issue” and yet highly invisible as individuals, East European immigrants and best friends Lena Szarka and her friend Timea Dubay clean London’s houses in the daytime and its offices at night. Although the work offers them more upward mobility than would be possible back in Hungary, working in a foreign country isn’t easy. The language is difficult, the systems and culture are unfamiliar, and nasty anti-immigrant sentiment lies just below the surface.

Most of Elizabeth Mundy’s debut murder mystery is told from Lena’s point of view, enabling a close-up perspective on the complexities and hazards of immigrant life on the lower rungs of the economic ladder. As house cleaners, she and Timea work in others’ private spaces, see their most intimate secrets, and observe their habits. It is an act of faith that they can do so safely and will be paid for their efforts. Mundy has created engaging characters facing believable challenges. It’s no surprise this is intended as the first of a series featuring the warm-hearted Lena.

Lena is a few years older than Timea and coping fairly well. But Timea, a single mother, is struggling. She’s never told anyone who her son Laszlo’s father is—and though it was hard to leave the boy behind, she expects this sojourn abroad to jump-start a better life for them both. The women’s childhood friend Istvan, a handsome television actor, also lives in London. Istvan is married to a well-off woman who has helped his career, and he’s achieved a lifestyle starkly contrasting with that of the women, one that lets him concentrate on what is most important, himself.

Early in the story, Lena begins to worry about Timea. Her friend is increasingly unhappy and confesses that the problem is someone she must get away from. When Timea doesn’t come home one night, Lena’s worry blossoms into fear, and when she doesn’t return by the next day, Lena goes to the police. They are disinclined to take the disappearance seriously. Experience tells them Timea is most likely with a boyfriend and will turn up.

When Timea’s body does turn up, floating in Regent’s Canal, the police take a brief interest, but conclude the death was suicide. They hold this opinion even more strongly once the autopsy reveals Timea was three months pregnant. Mundy rounds out her characters in a series of flashbacks to Lena, Timea, and Istvan as children, a history that convinces Lena that Timea would never kill herself. In true amateur detective form, Mundy gives Lena no choice but to embark on the investigation herself.

Mundy shows a somewhat different facet of London than we usually see and makes Lena’s situation fresh and interesting. The writing is solid, though the police detective sometimes sounds as if he’s memorized a criminology textbook. By contrast, Lena’s slight awkwardness in expression is part of the book’s charm. After all, English is a bit of a struggle for her, but she sticks with it bravely, just as she does the pursuit of Timea’s killer. A quick read without a lot of graphic violence or sex. I’ll be interested to see more from Mundy.

***A Darker State

car headlights

photo: Lothar Massmann, creative commons license

By David YoungLife in East Germany in the mid-1970s is the true subject of David Young’s intriguing series of police procedurals-cum-political-thrillers, and dark it is.

Oberleutnant Karin Müller in East Berlin’s Kriminalpolizei—considered by some overpromoted to that post—has been inexplicably promoted again while on maternity leave. Now a major, she’s being put in charge of a team that will oversee investigations of high-profile murders anywhere in the country, murders that might “prove embarrassing to the Republic.” In other words, investigations that inevitably will put her on a collision course with the Ministry for State Security, the dreaded East German Secret Police. The Stasi.

Müller isn’t eager to cut short her maternity leave. But, as inducement, her boss reveals that a spacious apartment will be hers if she accepts the new job assignment—a giant step up from the tiny quarters where she’s living with her infant twins, their father, and her grandmother. And there’s the not inconsiderable inducement that she’d be working again with Werner Tilsner who also has been promoted. Müller accepts. Thank goodness. Now we can move on with the story and leave behind awkward references to the series’ earlier books.

Their first case arises when Tilsner is summoned to where a young man’s body has been found. The body has the marks of restraints and, it turns out, an abnormally high amount of testosterone in his blood. He’s only the first. The roadblocks that Müller and Tilsner encounter as their investigation proceeds have the machinations of the Stasi written all over them.

Meanwhile, Jonas Schmidt, the pedantic Kriminaltechniker who aids Müller and Tilsner with the forensic aspects of their investigations is in an increasingly sour mood. Trouble at home. Schmidt’s teenage son Markus has taken up with friends his parents deem unsuitable. Markus’s new friends are homosexual, and you suspect he’s being set up for something dangerous, even if he doesn’t see it. While East Germany legalized homosexuality in 1968, changing the law has not changed prejudices.

As in his first book, Stasi Child, Young tells part of the story from a victim’s first-person point of view, in this case Markus’s, starting a few months before Müller and Tilsner begin their new assignment. It’s a clever way to introduce backstory, since all crimes have some sort of history.

While the time shifts were mostly easy to follow, what would add to my understanding of the narrative would be a map showing the places the story takes place. Frequently, Müller is torn by late-night calls to go off somewhere, leaving the twins with her grandmother once again. I had no sense of whether these places are a few miles or a few hundred miles distant.

In an afterword, Young writes that he became interested in East Germany when he arranged a tour for a band he was in. “German venues loved booking UK bands.” Luckily for us (and for Young and his fellow musicians), they did not meet the same fate as the British band Pearl Harbor in the Belgian thriller Back Up, reviewed here recently, in which all the band members are murdered in the first eighty pages!

A longer version of this review appeared on crimefictionlover.com.

*****Back Up

photo: Darren Price, creative commons license

By Paul Colize, translated by Louise Rogers Lalaurie This crime thriller by Belgian writer Paul Colize about a British rock band was short-listed for a number of prizes when first released. Only now available in English, the book should find a natural home and receptive audience among rock fans everywhere.

It’s 1967. The rock band Pearl Harbor is taking a break after a hastily organized, late night Berlin recording session, and its four members have scattered. Within days, each of them is dead and unaccountably flush with cash.

One is found at the bottom of a swimming pool in a luxury hotel in Palma de Mallorca, one with a bullet in his head in a hotel room in Hamburg, one crushed under a train in a Berlin U-Bahn station, and one who was apparently hiding out in a London hotel and jumped from his fifth floor room.

Who could believe all these deaths were coincidental? The authorities, with their scattered jurisdictions and the differing modes of death believe it, especially when the bodies—and the victims’ histories—reveal alarmingly high levels of drug and alcohol abuse. The band members become no more than rock n roll detritus, washed up by the tide of 1960s counterculture. It’s a bang-up start to this well-constructed mystery.

Fast forward to 2010. In Brussels, a homeless man is hit by a car near the Gare du Midi train station. He’s badly injured, cannot speak, cannot be identified, and comes to be known as X Midi. You are privileged to read his thoughts, however, as he recuperates. He reconstructs his past and his fleeting but deadly association with Pearl Harbor in chapters that alternate with those narrated by his caretakers. They are trying with infinite patience to help him recover from locked-in syndrome, which leaves him almost totally incapable of communicating.

Drug and alcohol use is part of the immersive environment Colize creates and manages not to become tedious. Rumors of U.S. military involvement in the testing psychoactive drugs simmer. There’s lots of music-making too, which is filled with energy and considerable joy. Berlin’s rock scene takes place in bars and nightclubs, and the bartenders and denizens are portrayed convincingly.

Nevertheless, you may be grateful when X Midi’s narrative emerges from his substance-abusing days to confront the deeper and more sinister evil dogging him. Only gradually does he come to understand the true significance of Pear Harbor’s fateful and final recording session, in which he served as the substitute drummer. The back up.

And murder has a long tail.