Rust & Stardust by T. Greenwood

Published by St. Martin's Press on August 7, 2018

The first thing a potential reader should know about Rust & Stardust is that it addresses the sexual abuse of a preteen girl. Scenes in which the abuse occurs are far from graphic, but sensitive readers who would be severely distressed by the subject matter itself might want to avoid the novel.

The story is based on a young girl’s kidnapping that Nabokov read about while he was writing Lolita and to which he referred in the text. In fact, the title Rust and Stardust echoes a line from Lolita. That is where the comparison ends. Nabokov portrayed Lolita as a seductress who is far from innocent, while Rust & Stardust portrays the sexual assault of a clear victim.

Rust & Stardust begins in 1948. At age 11, Sally Horner is plump and friendless. A cruel trick by her classmates — a “single act of careless unkindness” — changes Sally’s life by placing her in the hands of a man who is posing as an FBI agent. Believing she’s about to be taken to FBI headquarters, Sally tells her mother she’s been invited to go with her friend on a vacation to Atlantic City, a story the man confirms in a telephone call. The man who calls himself Frank (his last names vary) holds Sally in Atlantic City for a month before Sally’s mother learns that Sally isn’t staying with her friend.

Frank eventually takes Sally to a string of cities, adopting new identities, sometimes enrolling her in school, and eventually tiring of her as she enters puberty. The police are slow to follow, despite prodding from Sally’s sister and her sister’s husband Al, who plays amateur detective. Sally’s mother frets and feels guilty but is otherwise useless. Sally makes friends along the way, but people who suspect she is in some sort of trouble do nothing to confirm their suspicions until Sally is gone.

Various characters, including Sally’s mother, feel guilt while the predator feels none at all. To a large extent, their guilt is the force that drives the narrative. The classmates who trick Sally eventually come to understand that their prank set the stage for the predator to kidnap her. They must live with that guilt as they get older. Sally blames herself, as children often do, for being a bad daughter who has earned the abuse she suffers. The predator’s friends facilitate his crime, only to feel remorse when it is too late to undo the harm. Sally’s mother has more than enough reason to blame herself for failing to prevent the kidnapping and for waiting so long before contacting the police.

While Rust & Stardust revolves around Frank’s abuse of Sally, T. Greenwood makes clear that Sally is also the victim of poor parenting, tabloid journalists, and a criminal justice system that (in the novel’s time frame) treated child victims as if they deserved to be incarcerated. The story covers all of those issues in convincing detail.

The story is disturbing because life is disturbing, including the life of Sally Horner as Greenwood imagines it to have been. But Rust & Stardust disturbs for the sake of offering insights into how victims and families handle trauma, not for the sake of sensationalizing a horrific crime. Most “every parent’s nightmare” stories overplay the melodrama that is inherent in stories about victimized children. Those that don’t too often read like a documentary, presenting just the facts in order to avoid obvious manipulation of the reader’s emotions. Neither a weepfest nor a clinical report constitutes good fiction. Greenwood manages to get the balance right, creating sympathy when characters deserve it without exploiting trauma for the sake of creating a spectacle.

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All the Lives We Never Lived by Anuradha Roy

First published in Great Britain in 2018; published by Atria Books on November 20, 2018

Abhay Chan, known to most as Myshkin Rozario, finds trees and dogs to be better companions than humans. He is an old man who faces ridicule, yet the reader comes to understand him as eccentric in the best way, shaped by good intentions and disappointment with the human condition. Like everyone, has been shaped by his past. Unlike most, the details of his past have been concealed from him. Only later in life does he appreciate his need to fill in the missing pages.

Myshkin tells the story of his youth, but it is really the story of his mother, Gayatri, who (unlike most Indian women of her time) was raised not to catch a husband but to nurture her gifts for art and music. Gayatri’s father traveled abroad with her until, after his death, her brothers began the task of finding her a husband who was willing to tolerate a sharp-tongued woman who had wasted her youth by crossing oceans. Finding Gayatri a husband meant exhibiting her as livestock while suitors and their families drank tea in the drawing room and inspected her hair. The family’s choice boiled down to the only man who would have her, a Northern Indian twice her age whose scandalous contempt for caste and religion did not overcome the family’s desire to rid themselves of Gayatri.

It is in chapters like those narrating Gayatri’s arranged marriage that Anuradha Roy captures the India so familiar to readers of UK fiction and that so often wins (or is shortlisted for) Booker prizes. It is an India that awards only such freedom to women as self-congratulatory men choose to give them, that refuses to abandon a caste system even as it rebels from British colonizers with grand speeches about the importance of equality and self-determination.

Myshkin recalls a German writer/artist/musician named Walter Spies who appeared in search of Gayatri, having met her years earlier in Bali. Spies is accompanied by Beryl de Zoete, a scholar of dance who once rescued Jewish dancers from Germany and now sees Gayatri as worthy of rescue. Gayatri has felt stifled since Myshkin’s birth, as if the beginning of his life put a stop to the rest of the world, and it is knowledge of that fact that shapes Myshkin’s memories of his childhood.

Indian history is central to the novel in other respects, as well. While mostly hiding in the shadows, Myshkin’s father claims to follow the spiritual leader Mukti Devi in her nonviolent resistance to British rule. Myshkin’s father views Mukti Devi as an exemplar of women’s liberation. Gayatri can only wonder why his enlightened view of women’s role in society does not extend to his own home. Later, Myshkin can only wonder about the fated moment when his mother leaves home without him. From her perspective, Gayatri had no choice: obedience and propriety were the top entries on her personal list of deadly sins.

The novel’s first half sets up Myshkin’s life as a child abandoned by his mother. The story then moves through his father’s efforts to cope with his loss of Gayatri, the impact of World War II on India and on Myshkin’s father, the evil nature of governments that define protest as sedition or homosexuality as a crime, the different attitudes toward women in Indian and Balinese society, and Myshkin’s evolving understanding of his mother. The novel invites a sympathetic response both to Myshkin (who yearns for a lost mother) and Gayatri (who abandons a child to avoid going mad but must live with the maddening consequences of that decision).

A couple of lengthy sections comprised of Gayatri’s letters home create a lull that is the novel’s only misstep. The letters illustrate Gayatri’s growth and they add new insight into Gayatri’s decision to leave her husband, but Gayatri’s anxiety-filled travelogue lacks the immediacy of the narrative that precedes and follows the letters.

One letter accuses someone in Gayatri’s past of “feckless self-indulgence,” a criticism that might seem hypocritical given the choices that Gayatri made. The novel’s value is that it invites the reader to weigh Gayatri’s choice and to consider whether, on balance, it was the right choice to make. I appreciate Roy’s decision to allow the reader to judge Gayatri, or not, rather than insisting that only one judgment is possible.

In any event, judgment is not the point of All The Lives We Never Lived. As the title suggests, all lives involve choices. Each choice sends us on a path that forecloses other paths. With graceful prose and compelling characters, Roy reminds us how the same choices can be both liberating and confining as they lead to unknowable futures and cause unforeseeable consequences.

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Blackout by Ragnar Jónasson

Published in Iceland in 2011; published in translation by Minotaur Books on August 28, 2018

A tourist discovers a dead body in one of Iceland’s unpronounceable northern villages. The murder victim, Elías Freysson, was beaten to death with a board. It’s the kind of story that Ísrún would like to cover, but the Reykjavik newsroom only assigns her fluff. Her editor, in fact, fears that Ísrún might be promoted over his head. When Ísrún fights to cover the story, it is clear that she is pursuing a personal interest, but the reason for Ísrún’s intense desire to investigate the murder will not be revealed until the novel nears its end.

Why Freysson was murdered is revealed in flashbacks that develop his unhappy past. We also learn, rather quickly, that Freysson was connected to a young woman who has been brought to Iceland under false pretenses and who is now locked away. Yes, this is another human trafficking story, but the trafficking is a background element that doesn’t try to milk the hysteria that so many human trafficking thrillers depend upon.

Freysson had been working on a construction site in another unproduceable northern village, where Ari Thór Arason is trying to make a career with the police. Hlynur Ísaksson has more seniority than Arason, but the boss believes that Hlynur has lost his edge and assigns Ari Thór to find out what he can about Freysson. Hylnur has been receiving disturbing emails about his bullying past, a distraction from work that becomes an important subplot.

Learning who killed Freysson requires Ari Thór to figure out why he was killed. The reader soon suspects that Freysson was engaged in unlawful behavior and that others within his orbit may also be at risk. Ari Thór wonders if the murder was linked to a retired doctor whose alcoholism was responsible for three patient deaths. He also explores Freysson’s link to a man who was raised on the same abusive farm when Freysson was a child.

All of that gives the reader a good bit of substance to ponder as the story picks up steam. The various subplots give Ragnar Jónasson the opportunity to develop interesting (and usually tormented) secondary characters with nearly as much depth as he brings to the primary characters.

Ari Thór has a caustic personality that certainly doesn’t breed respect for the police. His personal problems stem from his broken relationship with the woman he left behind in Reykjavik, opening the door to another subplot that contributes to the action in the novel’s last chapters.

After developing characters and story threads, Ragnar Jónasson opens the throttle in the novel’s concluding chapters. This is Iceland, so there aren’t any mindless shootouts or the kind of fights that let dimwitted heroes with Special Forces training demonstrate their martial arts prowess. Rather, Jónasson demonstrates his ability to escalate tension without undue violence. The focus is on people and their emotions, not action, but that focus does not diminish the pace. Blackout is easy to recommend as a fine addition to the reader's shelf of Icelandic crime fiction.

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Happy Thanksgiving!

Tzer Island will return on Friday with a new review.

Newcomer by Keigo Higashino

First published in Japan in 2001; published in translation by Minotaur Books on November 20, 2018

A woman named Mineko is murdered, leaving behind an ex-husband and an estranged son. The victim was eating rice cakes before she died. Perhaps the person who brought her the box of rice cakes was her killer. The police, however, aren’t sure who brought them, so Detective Kaga begins to ask questions. Kaga is a newcomer, having only recently transferred to the precinct, but his intense curiosity will soon help him discover everything there is to know about the neighborhood.

Naho lives with her father and grandmother, who all work together in the family rice cake shop. The day after an insurance man named Takura picks up a hospitalization certificate from Naho’s grandmother, Kaga comes to the shop to inquire about the time of Takura’s visit. Could Takura have been the killer?

A young restaurant employee named Shuhei bought rice cakes from the shop at the direction of his boss, a man named Taiji. Could Taiji have been the killer? And what about the restaurant manager, Yoriko, who seems to have meddled with one of the cakes? Or Mineko’s friend, who promised to help Mineko get established after her divorce, but suddenly decided to get married and move to England? Are the friend and her fiancé suspects? And why did Mineko move to the neighborhood where she was killed without making contact with her nearby son?

Kaga is Tokyo’s Columbo, trying to add up all the loose ends, make sense of inconsistencies, and annoy witnesses by repeatedly turning up to pose new questions. As he prowls around the neighborhood where the crime was committed, his investigation takes him to a home goods store where Mineko ordered chopsticks, a cutlery shop where she bought expensive scissors, a clock shop where an owner claims to have seen Mineko while walking the family dog, a pastry shop where Mineko was a regular customer, and a handicrafts store where someone bought a top.

Kaga uncovers secrets and lies everywhere he goes, generally involving domestic drama, although the secrets aren’t necessarily relevant to the murder. In his own way, he helps people overcome the burdens of the secrets they conceal. Kaga thinks that finding ways to comfort people in their daily struggles is part of a detective’s job (an attitude that may be unique to Japanese police detectives, or perhaps to fictional Japanese police detectives).

I loved Newcomer’s episodic structure and its atmospheric depiction of a “premodern” Tokyo neighborhood. The story portrays women who are torn between traditional roles and a desire to lead interesting lives in a male-dominated workplace. In a number of the linked episodes, Keigo Higashino also illustrates the family tensions that arise as younger generations depart from Japanese traditions to pursue their own lifestyles.

But this isn’t a social justice novel or a detailed exploration of changing norms in Japanese society. Newcomer is an entertaining version of a Detective Columbo story that weaves Japanese culture in a Tokyo neighborhood into a murder mystery. Kaga is an entertaining character and his self-effacing interaction with a jealous colleague makes him all the more likeable. The plot is equally entertaining. Newcomer is the kind of police procedural that lets the reader follow a chain of evidence while wondering where it will all lead.

I became a fan of Higashino when I read The Devotion of Suspect X. Newcomer cements my fandom. The novel should appeal to fans of crime fiction generally, as well as being a treat for fans of Japanese crime novels.

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