About Victoria

Born in Detroit. Lived in Ohio, Pennsylvania, D.C., and Princeton, New Jersey. Degrees in Journalism (U. of Michigan) and Public Health (U. of Pittsburgh). Alumna of U. of Michigan and U. of Pittsburgh. Favorite authors: Neal Stephenson, Frederick Forsyth, Alan Furst, Charles Dickens--they all know how to tell a good story! Best book read so far in 2012: Hilary Mantel's Bring up the Bodies. Favorite TV: The Wire; Treme.

****A Fool’s Journey

By Judy Penz Sheluk – A Fool’s Journey is the third cozy mystery in Canadian author Judy Penz Sheluk’s entertaining Marketville Mystery series. Protagonist Callie Barnstable has assembled an interesting team that works for Past and Present Investigations, to find missing persons.

Genealogical research is the domain of her friend Chantelle Marchand. Former librarian Shirley Harrington conducts online and archival research—if something was ever published, Shirley will track it down. Antique shop owner Arabella Carpenter is occasionally called upon to evaluate a client’s physical evidence, such as old letters, jewelry, and, in this story, tattoo art. Oddest member of the team is Misty Rivers, a tarot reader, who posts surprisingly popular insights drawn from tarot cards on the Past & Present website.

The team’s current case comes to Callie via what a gentle bribe. In her will, Callie’s great-grandmother has asked her to investigate the disappearance of Brandon Colbeck, grandson of great-grandma’s best friend in the nursing home. In 2000, 20-year-old Colbeck left home “to find himself,” taking very little with him and, significantly, leaving behind his identification. If Callie gives her search a good effort, regardless of whether she actually finds Colbeck, she’ll receive her great-grandmother’s legacy.

Over the years, Colbeck’s family has made numerous fruitless attempts to locate him. Nevertheless, they have agreed to cooperate with Callie as she gives it one last try. Their willingness arises in part from a recent telephone call Colbeck’s grandmother received from someone claiming to be the long-lost grandson. Was it Colbeck? Or a scam?

Brandon had a tattoo, which tarot expert Misty recognizes as a portion of the tarot card “The Fool.” Sheluk artfully weaves interesting information about tattooing, tattoo art, and tarot into her story, telling you what you need to know without hindering the action.

In her initial interviews, Callie is convinced each family member is holding out on her. With the help of her team, she determinedly goes about discovering these secrets with determination and considerable savvy and skill. In Callie, author Sheluk has created a competent, conscientious protagonist—the kind of super-responsible person her clients can entrust their secrets to. You learn her likes and dislikes, her strengths and weaknesses, how she spends her day. Sheluk’s clear writing style helps the plot and the discoveries move along briskly, and it’s fun to see how every team member makes her unique and valuable contribution to the investigation.

What Do Book Club Audiences Want?

Author Kathryn Kraft in Writer Unboxed says book clubs have “the potential to serve as a word-of-mouth marketing machine for novelists.” We’re all familiar with the marketing boost books have received thanks to the endorsement of Oprah’s book club and now Reese Witherspoon’s (with more than 800,000 followers), among many others.

Millions of Americans belong to book clubs—the formal kind that have regular meetings in libraries and living rooms—and the loosely organized kind that operate through social media, including GoodReads, with its 90 million members. A 2015 BookBrowse survey of people who read at least one book per month found that over half belong to at least one book club, with the percentage of readers who are book club members rising with age.

Another BookBrowse survey of more than 5000 book club members, conducted last year, found that “overwhelmingly, book club members want to read books that will promote good discussion.” In other words, they’re looking for books whose features intrigue them.

Recognizing a learning opportunity here, Kraft analyzed a number of book club reading guides to discover major topics presumed to promote book club discussions. They relate to issues writers ponder all the time, and it’s encouraging to know they get readers talking too. Here they are:

1. A protagonist with a unique perspective – Think Maggie Gee’s new book Blood, with its unforgettable narrator Monica Ludd or Rice Moore in the Appalachian noir prize-winner Bearskin by James A. McLaughlin. Characters with strong voices like these give book club members “a chance to look at life in a new way,” Kraft says.

2. A character or characters readers can relate to – I have nothing in common with manipulative New Orleans gangster Frank Guidry in Lou Berney’s November Road, but I certainly related to him. A character doesn’t have to be exactly like me (please, no!) for that to happen; the character just needs to be richly portrayed.

3. A story that reflects some larger issue – In this way, the character’s deeply personal experience can become “universal and political,” Kraft says. Gin Phillips’s thriller Fierce Kingdom begins with a mother wanting to take her toddler home, and the rest of the book is about that thwarted journey. Home is always more than an address.

4. A structure that helps set expectations and convey meaning – Denise Mina’s Conviction, with its story-within-a-story format not only engages the reader in two plots, the relevance of the second story gives the protagonist a chance to reflect on her past and motivates her current actions. Think Dov Alfon’s A Long Night in Paris or Chris Pavone’s new The Paris Diversion that puts the time of day at the head of each chapter in this fast-paced thriller that takes place over a jam-packed 11 hours. The ticking clock is one of the thriller genre’s most popular structural devices. It sure sets expectations.

5. Endings that are tidy or open-ended? I’m sure there’s lots of discussion on this point. Kraft comes down on leaving endings looser, which gives readers a chance to think about all the novel’s foregoing elements and, in an act of co-creation, what’s most likely to happen next. “Imaginations are not constrained to what occurred between the covers of the book,” Kraft says. It’s like movies that end with a “where are they now?” feature as the credits roll, which evoke that same feeling of limiting the possibilities I might prefer. I believe Delia Owens’s Where the Crawdads Sing would have been stronger without Tate’s final discoveries. Let readers puzzle it out.

Photo: Free-Photos from Pixabay   

The Farewell

This lovely new film written and directed by Lulu Wang starts with that staple of family dramas, assembling the clan (trailer). In this case, a woman’s sons and their wives and children are returning to Changchun, China, from Japan and America on the pretext of a family wedding, but in reality because the family matriarch, Nai Nai, is dying. Though widely dispersed, they are united in a conspiracy to keep that truth from her as long as possible.

All except Billi (Awkwafina). She immigrated to America with her parents at age four and has adopted this country’s attitudes toward personal autonomy. This secret is too big, too consequential, too awful to keep. So, when her young poleaxed-looking cousin moves up his wedding to a Japanese woman as a ploy to get the family together, Billi is discouraged from attending. She doesn’t have the poker face necessary to maintain the deception. She goes anyway.

And what do families do when they get together? They eat! Over a series of meals, including the eerily familiar wedding reception, the food serves as a distraction when discussions become too intense and personal. Grandma Nai Nai (Zhao Shuzhen) is lively and charming, and the mutual love between her and a devastated Billi is beautifully portrayed. They tell her she isn’t sick, and that’s the attitude she adopts. And, really, she manages the family and the wedding minutiae with energy. The family keeps trying to take on various tasks, but she’ll have none of it.

I especially liked the portrayal of Billi’s parents, her stunned father (Tzi Ma) and chilly, no-nonsense mother (Diana Lin), as well as the poor Japanese bride (Aoi Mizuhara), gamely participating in everything without understanding a word.

The movie delves deeply into cultural differences and, by exploring them in such vivid detail, establishes bona fide universals. Given the subject matter, you would not expect this film to have a nice dose of comedy, but it does. Families closely examined almost always do, in the midst of whatever chaos surrounds them—painful wedding toasts eliciting surefire groans.

Christy Lemire for RogerEbert.com, nails it when she says Wang has “made a film about death that’s light on its feet and never mawkish. She’s told a story about cultural clashes without ever leaning on wacky stereotypes or lazy clichés.” See it!, then go out for Chinese food. You will be in the mood.Rotten Tomatoes critics’ rating 99%; audiences 88%.

Award-winning Listens

earphones

Once the nominees and winners for the many, many awards in the crime/mystery/thriller genre are out, I listen to some of the ones I haven’t read. A talented narrator can really put a story into your head! Here are five I’ve heard lately, all (except one) with excellent narration. Three are nominees for Anthony Awards, which will be announced later this year.

*****Bearskin

Written by James A McLaughlin, narrated by MacLeod Andres – Oddly, Bearskin had some of the same appeal as the very different Where the Crawdads Sing, because part of the narrator’s challenge is dealing with a heavy dose of the natural world. Rice Moore is hiding out in an Appalachian Virginia nature preserve, living pretty much off the grid and hoping an assassin from the Mexican drug cartel whose younger brother he killed doesn’t find him. Meanwhile, he must deal with bear poachers, motorcycle outlaws, and an interesting parade of Old Dominion miscreants. Winner: 2019 Edgar Award for Best First Novel; Nominee: 2019 Anthony Award for Best Novel

*****November Road

In November Road, written by Lou Berney, narrated by Johnathan McClain – President Kennedy has been shot and New Orleans player Frank Guidry realizes the errand a local crime boss sent him on is connected to that crime. It sounded simple: drive this sky-blue Cadillac Eldorado to Dallas and park it in a particular place. It was the assassin’s getaway car. Now Guidry is supposed to dispose of the vehicle and rightly worries he’ll be disposed of next. Meanwhile, an Oklahoma housewife leaves her alcoholic husband and hits the road with her two daughters, never expecting to meet a man like Guidry. Winner: 2019 Left Coast Crime Award for Best Mystery Novel and a “Best Book of the Year” by at least 13 publications; Nominee: 2019 Anthony Award for Best Novel

****House Witness

Written by Mike Lawson, narrated by Joe Barrett – A powerful member of Congress has a secret: years ago his mistress bore him a son. When that son is shot dead in a Manhattan bar, he sends his fixer, Joe DeMarco, to make sure the culprit—son of a wealthy businessman—goes to jail. The case in House Witness should be a slam-dunk. There were five witnesses, after all. But as the witnesses start disappearing, the prosecutor suspects a campaign to get rid of them. She enlists DeMarco in a desperate cat-and-mouse game with a beautiful sociopath. Nominee: Mystery Writers of America Edgar Award for Best Novel

****The Chalk Man

Written by C J Tudor, narrated by Euan Morton. Years ago, in a small English town, a tight-knit gang of four twelve-year-olds communicated with each other via coded messages chalked on the sidewalk. One day a strange chalk message leads them to the body of a missing girl and a teacher–The Chalk Man–is blamed. Thirty years on, Eddie drinks too much, fuzzing his thinking about the new appearance of chalk men and the mysterious letter he and each of his friends have received. Is he creating these messages in a drunken blackout? When one of the four dies, Eddie must find out what happened so long ago in order to save them all. Winner: 2019 International Thriller Writers’ Award for Best First Novel; Strand Magazine Award for Best Debut Novel

***Jar of Hearts

Written by Jennifer Hillier, narrated by January LaVoy – In Jar of Hearts, sixteen-year-old Georgina Shaw’s boyfriend, Calvin James, kills her best friend, and buries the dismembered corpse in the woods behind Geo’s house. Twenty years later, Angela’s body is found, and Calvin is convicted of her murder, but he soon escapes from prison. Geo is incarcerated for five years, derailing her lucrative career and high-profile engagement. As she is about to be released, new bodies are found in the same woods. Calvin is the chief suspect, and Geo may be the next victim. This thriller loses a star mainly because the narration didn’t work for me. The print book might be a better choice. Winner:2019 International Thriller Writers’ Award for Best Hardcover Novel; Nominee: 2019 Anthony Award for Best Novel

Photo: John O’Nolan, creative commons license

Topdog/Underdog

The final production of the 2019 season at Princeton Summer Theater is Suzan-Lori Parks’s 2002 Pulitzer Prize winning Top Dog/Underdog, directed by Lori Elizabeth Parquet. The show premiered August 8 and runs through August 18 at Princeton University’s Hamilton Murray Theater.

Sibling rivalry that boils over into violence is as old as Cain and Abel, with the line between love and hate ever-shifting. African American brothers Booth (Travis Raeburn) and Lincoln (Nathaniel J. Ryan), five years older, have an uneasy relationship made more acute by their dwindling life prospects. Despite Booth’s determination to change his name to Three-Card, the brothers seem constrained by the names their father chose for them as a cruel joke.

Booth has a one-room apartment and a girlfriend whom we never see (and who may be apocryphal); Lincoln has come to live with him after his wife threw him out, and Booth would like to get rid of him too, but Lincoln has a job and income, even if paltry. In a tangle of symbolism, he works in a carnival, in whiteface and dressed up as Abraham Lincoln. People pay to come into his booth and shoot him with a gun filled with blanks. They carnival hired him because they can pay him less, but even that meager income is threatened, because management plans to replace him with a wax dummy.

In the old days, Lincoln made a good living fleecing tourists with the Three-card Monte con, but initially refuses to take up the cards again. Booth would like to develop a Three-card Monte racket of his own. In the opening scene, he’s practicing his card-handling skills and patter at the front of the stage, when his brother enters, in full Lincoln regalia. Startled by Lincoln’s entrance, Booth pulls his gun, then lies about what he was doing. Playing solitaire, he says.

Throughout the course of the play, much comes out about the brothers’ reaction to being abandoned by their parents when they were 16 and 11 and their uneasy relationship in the ensuing twenty years or so. Which of them is the top dog and which the underdog shifts back and forth many times.

Raeburn gives an energetic performance as Booth, ever the kid brother, teasing and bouncing to keep Lincoln’s attention. Much of the comedy in the production comes from his portrayal. Ryan starts out as the ghostly Lincoln, morose and beaten down not just by his bizarre job but the even more awful prospect that he may lose it. He resists Booth’s importuning to go back to his Three-card Monte days, and finally, alone in the apartment, really comes to life when he takes up the cards again.

Rakesh Potluri produced the set (the vividly floral wallcoverings were inspired by the work of artist Kehinde Wiley, who created the portrait of Barack Obama at the National Portrait Gallery). Music from the hip-hop duo Outkast’s 1998 album Aquemini, which like the play is thematically influenced by differences between the two principals.

Princeton Summer Theater productions are staged in Hamilton Murray Theater on the university campus, easily reached from New York by car or train. Take New Jersey Transit to the Princeton Junction station, then the shuttle train into Princeton. The shuttle ends a short walk from the theater, which is also walking distance from numerous restaurants.

For tickets, call the box office at 732-997-0205 or visit the ticket office online.

****Gretchen

By Shannon Kirk – The crime—the first one that is—is kidnapping. Shannon Kirk’s gripping new psychological thriller Gretchen begins with a mother determined to prevent her daughter’s father from kidnapping her. Susan explains to Lucy that he’s from a country where women have no rights and live practically like slaves, and he will do anything—send anyone—to get her back. They’ve been on the run since Lucy was a toddler, never really settling down, and now they are fleeing Indiana, their tenth state.

What will a mother do to protect her child? Live on the fringes of society and be prepared to pack up and leave at any moment. Never engage with anyone or reveal anything about themselves. Never even make eye contact. Susan and Lucy have fake identities, she pays cash for everything, and accesses a hidden stash when they run short.

Now that she’s fifteen, Lucy is tired of the secrets, tired of the hiding, tired of not having friends, exhausted by Susan’s paranoia. Homeschooled until recently, she barely has acquaintances, since she can’t really share personal information with anyone she meets in school. As the book opens, a chance encounter in a park with a man who acts as if he recognizes her forces them to pick up sticks and flee once again.

Susan finds them a rental home in the small New Hampshire town of Milberg. Although the landlord gives off a creepy vibe, Lucy wants to stay, to settle. He lives up the hill in a big brick house and has a daughter her age, Gretchen. Though the girl seems a bit odd, too, maybe she can be a friend. Kirk’s depiction of Lucy, in the chapters she narrates, is a persuasive picture of adolescent psychology. She’s hoping for a friend despite the negative signals, severe and over-confident in her judgments of Susan, silently second-guessing all her own actions.

Kirk expertly handles the ramp-up of tension between Lucy and Gretchen, and it’s a relief when Lucy gets a summer job at the local gourmet grocery store—a rare bit of mom-authorized independence. She won’t go inside Gretchen’s house again, but out-of-doors. Lucy paints while Gretchen works puzzles.

At work one day, Lucy encounters the man who recognized her back in Indiana. Apparently, in an awkward coincidence, he and his son live in Milberg. He recognizes her again. And contrary to every paranoid impulse Susan has drilled into her, Lucy doesn’t tell, even though it could turn out to be the riskiest decision possible. Of  course she’s not the only one with secrets. Susan has a big one, and the landlord, well . . .

Kirk’s flair for description brings his and his daughter’s bizarre lives (and dwelling) vividly to life. They are a stark contrast to the middle-class normality of the Milberg residents Lucy observes from behind her cash register, a normality she’s struggling to become part of. Quite a compelling read!

Puzzle photo: Sephelonor for Pixabay

The Rainmaker

The Shakespeare Theatre of New Jersey’s new production of the N. Richard Nash hit The Rainmaker is an apt thematic fit for a summer this hot, where land and spirits are parched. STNJ’s artistic director Bonnie J. Monte directs the show, preserving all its comedy and charm, which opened August 3 and runs through August 18.

In the early 1950s, somewhere Out West, the Curry family ranch is in trouble. A severe drought imperils the cattle herd, and tempers are frayed. Father H.C. Curry (Mark Elliot Wilson), older son Noah (Benjamin Eakeley), and younger son Jim (Isaac Hickox-Young) are preoccupied not only with the lack of rain but with their clumsy attempts to interest someone—anyone?—in marrying their sister Lizzie (Monette Magrath). A visit to the office of Sheriff Thomas (Nick Plakias) to inveigle his deputy, File (Corey Sorenson), to come to dinner—a fix-up ploy File sees through immediately—fails miserably. Noah counsels Lizzie to act more like the mincing, flattering kind of woman who, though vapid and undignified in Lizzie’s view, gets her man nonetheless. His and her imitation of how she should behave provides a number of hearty audience laughs.

Just when the family’s situation seems bleakest, with their prospects as empty as the sky is empty of clouds, flamboyant Billy Starbuck (Anthony Marble) appears at their door, claiming to be a rainmaker. All he needs is $100. As ranch manager, Noah wants to run him off the property; Lizzie calls him a con man and a liar. Only Jim, naïve enough to see the world through the lens of hope and H.C., desperate enough to try anything and astute enough to see something in Starbuck that might broaden Lizzie’s horizons, want him to stay. What can be the outcome of such a reckless and costly venture?

All the Currys are well portrayed, with Magrath especially poignant and frustrated as Lizzie, facing what Noah claims is certain spinsterhood. Hickox-Young is delightful as the credulous, mercurial Jim, quick to take offense and as quick to forgive. Eakeley plays the over-practical Noah with a hard edge, while secretly yearning for relief from the burdens of the ranch and the family. And Wilson as H.C. manages to be simultaneously indulgent and strong.

In a sense it is Marble’s show when he is on stage, because his showman character is so unpredictably over-the-top, yet the actor conveys heart-warming tenderness when dealing with Lizzie, and Magrath is equally engaging in their scenes together.

The script holds up some 65 years after being written and retains its comedic as well as romantic luster. It’s easy to see why this strong and moving story has been revived on stage, made into a movie, and repackaged as a musical (110 in the Shade).

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 the Box Office online. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

Deadly Ink: “Everybody Wins”

draft

The annual Deadly Ink conference held in northern New Jersey last weekend was loads of fun. Guest of Honor Wendy Corsi Staub was a lively presence and toastmaster Dick Belsky charmed. I saw a number of old friends, met authors I admire, and was delighted to be included on several panels. Yesterday’s post reviewed some of the discussion about “character.”

The Dark Side
The panel on noir stories and hard-boiled characters  risked bogging down in semantics but clearly demonstrated the many shades of black actually out there. Apologies if you’ve read this here before, but I offered Dennis Lehane’s definition of noir: In a tragedy, a man falls from a great height (Macbeth, the Greeks, Chinatown); in noir, he falls from the curb. Panelist Rich Zahradnik provided another good one: “In noir, nobody wins.”

Hard-boiled stories usually involve a detective who is not emotionally involved or is struggling not to be. Humphrey Bogart’s portrayals of Sam Spade (written by Dashiell Hammett) and Philip Marlowe (Raymond Chandler) epitomize the genre. Cynical and street-smart, not reliant on the intellectual powers of Sherlock Holmes or the “little grey cells” of Hercule Poirot.

The hard-boiled character nevertheless gets the job done. Occasionally crossing my path are books that are too dark. They feature down-and-out characters living in filthy apartments who smoke and drink too much; some of them can’t think beyond their next fix. I don’t find them interesting. With four strikes against them already, whaddaya know, they make (more) bad decisions. Give me a character who at least has the opportunity to make choices.

With me on this panel were Charles Salzberg (whose Swann character operates on the fringes of society, but has plenty of agency), Al Tucher (whose work features a smart and tough prostitute), and moderator Dick Belsky.

Location, Location, Location
In the session on story setting, historical mystery author Annamaria Alfieri said she chooses her location first (British East Africa, for example), then the time period in which that place offered the most interesting fictional possibilities.  

Panelists’ strategies for establishing a strong sense of place included attention to the small details and local idiosyncrasies (lots of research here, including site visits for contemporary works), plus making sure to describe the character’s emotional reaction to the location. If you could pick a San Francisco story up and move it four hundred miles south to Los Angeles, you should end up with a different story. New Orleans isn’t New York, and South Carolina isn’t South Dakota.

Of course, panelists and audience alike thought Al Tucher is onto something with his new book set in Hawai`i. “It’s a research trip.” Yeah, right.

This and yesterday’s post about “character” are a small sample of the conference’s varied and interesting program. Whether you’re a writer or a fan, be there in person in 2020!

Photo: Sebastien Wiertz, creative commons license

Deadly Ink: Characters

Handwriting, boredom

Very possibly I made an impression on my daughter’s new in-laws last month when I said how, with most women, you can talk to them about their careers or their kids or what they’re reading, but in my case you could talk about blood spatter.

You might think this would have been a conversation-stopper, but my daughter’s new sister-in-law immediately launched into how her son had bled so profusely after knocking his head on the kitchen counter. “Oh yes,” I said knowingly, “scalp wounds. Lots of blood.” It pays to know your stuff.

I added to my trove of crime and thriller lore this past weekend at the annual Deadly Ink conference, an intimate group of crime and thriller writers and readers, mostly from New Jersey and its Manhattan suburbs. It’s a great place to expound upon crime-writing topics and to hobnob with other like-minded folk. Guest of Honor this year was energetic and down-to-earth author Wendy Corsi Staub, who participated beginning to end, and our Toastmaster was Dick Belsky.

I ended up on three panels, Character (you need them!), the Dark Side (who, me?), and Building Suspense. The only suspense was whether I could think of something useful to contribute. Regardless, the panels were all lively and fun and, since almost no one ran out screaming and demanding their money back, they may have actually been useful or, possibly, entertaining.

I had made some modest preparations for the Character panel and focused my remarks on what I’d brushed up on, character description. Sometimes writers describe characters readers only see once or twice. Not necessary.. Sometimes they give a complete height-weight-eye color (so often green, have you noticed?)-hair color-complexion rundown. Also not necessary, I said, except when these details are relevant to the story, like six-foot, full-figured Monica Ludd, who uses her size to intimidate (or seduce) in Maggie Gee’s new novel Blood, reviewed yesterday.

I cited Stephen King in On Writing, who says a character’s description begins in the writer’s imagination and ends in the reader’s imagination. No need for details. Let your readers fill in. When they do, they own the character and that’s exactly what you want! For King’s character Carrie White, all he said was that she was a high school outcast with bad skin and a fashion-victim wardrobe. What more is needed? We’ve all known and maybe sometimes been that person.

That led to a discussion of how the movie version of a character can become our indelible picture of a character—Tom Selleck as Jesse Stone, Robert Taylor as Walt Longmire—and what happens when that picture conflicts with our internal picture—Tom Cruise as Jack Reacher. Total fail.

Donald Maass (Writing 21st Century Fiction) further points out the paradox that the more unique you make your characters the more universal they are. Readers can latch onto some aspect of a character and relate to it, almost no matter what. What you don’t want are bland, generalized, two-dimensional characters with no unredeeming attributes. Give them flaws! Too-perfect characters are boring and not believable.

This excellent panel was moderated by Lynn Marron and included the estimable Jane Kelly, D.W Maroney, and Dick Belsky.

(Tomorrow: More from Deadly Ink)

*****Blood

scissors, blood, editing

By Maggie Gee — Far from the ordinary crime story, literary author Maggie Gee’s Blood is a comic excursion into the rough-and-tumble mind of narrator Monica Ludd. She’s 38, over six feet tall, outspoken and awkward, far from tiny with, as she is fond of pointing out, an enormous bosom. When Monica squeezes you into the rollercoaster seat beside her on page one, you’re in for a wild ride.

Monica claims to be a respectable citizen of East Kent. Doubtful. Much of the story plays out near the seacoast there and on the peninsula of Thanet. The little community, the seashore, the shops—come to life nicely. Even such a remote area has its dose of violence, terrorism, and, well, blood.

Monica has a job. She’s the deputy head in a school, loathes her new boss, and takes no pains to hide it. She thinks he’d like to be rid of her, and who could blame him?, but he rarely stands up to her.

Monica has a family. She calls them “artistes of awfulness.” She landed in the middle of a congeries of three boys and three girls, all grown up now. Ma’s in a care home, forgetting everything or choosing not to remember, it’s hard to say which. It’s Dad who drives the family disaster train. He’s a dentist who has sex with his patients in the chair. He’s a serial philanderer whose current girlfriend is two decades younger than Monica. When his children were young, he beat them. He mocks them yet. His bullying drove his youngest son Fred into the Army, and the siblings blame him for Fred’s death.

The final insult—and the inciting incident of the novel—occurs when the siblings organize an elaborate party in Fred’s memory, and Dad doesn’t show up. Monica is so angry, she says she’s going to kill him. Alas, a lot of people hear this threat, and the next morning when Monica finds Dad’s brutally beaten, blood-soaked body, even her siblings think she’s a murderer. That attack launches her impulsive and lengthy campaign of lies and misdirection. There’s truth in the old saying, blood is thicker than water, and you see it here. Her siblings’ loyalty to her through this whole saga says volumes about the sides of Monica that she tries to hide with her bluster.

In Monica, Gee has created an unforgettable character. Not only large, but larger than life. Profane and resourceful. She speaks her mind, loudly (rarely a good thing). And she is a genius at self-justification. All of which I found highly entertaining, even on the not-infrequent occasions that I was embarrassed for her.

From a crime fiction point of view, Blood is refreshingly unconventional and a reminder that violence and retribution, jealousy and fear, have been important literary themes forever. Literary novelist Maggie Gee, OBE, is a fellow of the Royal Society of Literature and was its first female chair.

Photo: Guzmán Lozano, creative commons license