The Price You Pay by Aidan Truhen

First published in Great Britain in 2018; published by Knopf on July 10, 2018

Jack Price is badass. He’s about as badass as a character can be and still be a character a reader will enjoy encountering — in fiction, because I wouldn’t want to know him in person. A Japanese police detective refers to Jack Price as a “spectacularly awful person” before wishing him luck (and promising to have him run over with a delivery truck if he ever visits Japan). That’s pretty much my reaction to Price. He’s a deplorable sociopath, but it’s impossible not to cheer for him, if only because his survival means that he’ll keep narrating the story.

Price narrates The Price You Pay in a distinctive voice. It’s hard-boiled and slangy and profane, uninfluenced by conventional rules of punctuation and sentence construction. I loved the voice. The voice gives Price instant personality while making it clear that he’s intelligent and funny and someone no sane person would want to have as a neighbor.

Price is an upscale cocaine dealer, although he outsources the actual deliveries. An elderly woman named Didi is murdered in his building. Price hated Didi but he asks questions about the murder because he doesn’t think people should be getting murdered where he lives. The killing and Price’s inquiries set in motion a wild chain of events. A contract is put out on his life which is accepted by the celebrity assassins known as the Seven Demons, marking the best day of Price’s life because all restraints are off and he’s free to do as he pleases. Seven world-class assassins versus Jack Price. It’s a pretty even match.

The story’s tongue-in-cheek nature allows it some over-the-top moments. Aidan Truhen doesn’t overdose the reader with those. Humor pervades the story, and while it is sometimes violent humor, the story’s goofiness makes it easy to like Price without worrying that he’s a sociopath. It’s hard to be squeamish about decapitation when you’re laughing out loud. It’s also easier to like a guy who is totally honest about being an asshole than it is to like an asshole who styles himself as an heroic patriot whose moral purity and sense of duty outshines everyone else (i.e., today’s typical stalwart thriller hero).

While Price behaves like a sociopath, there are signs that he might actually have a heart. There are also plenty of signs suggesting just the opposite. One of the characters even tells him that he isn’t a sociopath because “you experience the world like a normal person but there is no limit on your behavior.” In other words, he is capable of liking people and dogs but doesn’t let casual friendship stand in the way of creating mayhem to achieve his goals. And when the people he likes end up dead, he doesn’t shed many tears; he’s too busy planning the next round of mayhem. As another character tells him, Price just wants “to do appalling things and sass people and get laid.” That doesn’t sound like it should be endearing, but it is. Kudos to Truhen for making me like Jack Price.

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The Girl in the Ice by Robert Bryndza

First published in Great Britain in 2016; published in paperback by Grand Central Publishing on April 24, 2018

The Girl in the Ice gives the reader a standard crime novel plot: intrepid investigator continues to pursue leads after being suspended for an insubordinate disagreement with the investigative choices made by her bureaucratic bosses, who avoid upsetting powerful people by focusing suspicion on an easy but innocent target. The plot also includes a human trafficking element, which is the current trendy crime novel crime. Standard plots and trendy crimes are fine if they are made fresh, and The Girl in the Ice manages to stand slightly above the pack of standard but trendy crime novels with interesting characters and a solid story.

When a fellow finds a dead woman in the ice, DCI Erika Foster is assigned to the case. Foster has recently transferred from Manchester to London, carrying with her some heavy emotional baggage. The dead woman is the daughter of a prominent politician (and a baron, no less). The politician happens to be the wealthy owner of a private defense contractor, so PR is important, as is a quick and favorable resolution of the crime. Foster’s Slovak background is considered good for PR given the similar heritage of the victim’s mother, until Slovak discovers that the victim’s mother considers herself superior to Foster based on the respective cities in which they were born.

The investigation leads to a pub where the dead woman met a man — a pub that people are afraid to discuss. One of the fearful witnesses ends up dead, but Foster’s superiors view that as a coincidence, not as evidence that a serial killer is on the loose.

Naturally, Foster disagrees with her superiors and concludes that a serial killer is, in fact, killing attractive young prostitutes. And naturally, the politician doesn’t want his dead daughter lumped together with prostitutes, which accounts for the reluctance of Foster’s superiors to pursue her theory. But even if the politician’s daughter wasn’t a prostitute, she might have had something in common with the other murder victims, so Foster ignores her superiors and her suspension and investigates the crime in her own way.

Despite my weariness with human trafficking plots, The Girl in the Ice held my interest. The focus is not so much on trafficking but on a murder investigation that branches in several directions, and the killer’s identity is nicely concealed until the big reveal. Robert Bryndza takes time to build his characters and establish atmosphere, but the pace picks up considerably as the novel enters thriller territory in its stretch run. Erica is a bit of a stereotype, but she’s likable, or at least sympathetic. The novel has obviously benefited from effective marketing by its original publisher, but I enjoyed it, even if some of the accolades it has earned are a bit suspect. The Girl in the Ice is the first in a series, and while I might not go out of my way to read the next one, I certainly won’t avoid it.

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Peach by Emma Glass

First published in Great Britain in 2018; published by Bloomsbury Publishing PLC on January 11, 2018

Peach is a surrealistic novel about the aftermath of a sexual assault. The story has elements of a disturbing fantasy. Sexual assault is disturbing but it isn’t a fantasy, and I must admit that I’m not sure I understood Emma Glass’ purpose in telling a story about such a serious event from a perspective that is so obviously removed from reality. The reader is clearly not expected to view most of the novel’s events as plausible, but if that’s so, should we view the sexual assault as real? And if nothing in this story is meant to be accepted as real, what is its purpose? Perhaps the point is that the protagonist has unraveled as a result of the assault, but I can’t quite fit that in with the surrounding environment, including bizarre parenting and cannibalism. I have to confess that Glass’ meaning entirely eluded me. But I enjoyed the story, and perhaps more astute readers will unpack its mysteries.

Peach comes home bleeding but her parents don’t notice. If anything, they are pleased that she is “putting out” before she’s married. Peach wants to tell Green, her boyfriend, what happened to her but she can’t find the words. The details are not explicitly shared with the reader, but it is clear that she was sexually assaulted. She later receives a letter, words cut from newspapers, signed with the name Lincoln, that smells like greasy sausage, as did the man who assaulted her, and so puts the name Lincoln to her assailant.

Later Lincoln (or so she assumes) attacks Green, a vicious beating that is witnessed by Green’s friend Spud. Peach knows when Lincoln has been watching her because he leaves behind a slimy residue that carries an odor of grease and meat. Describing Peach’s ultimate confrontation with Lincoln would spoil the story, so I will say only that it is the stuff of fantasy or horror fiction. Not to put too fine a point on it, but my primary thought as I was reading that scene was WTF?

Mysteries for the reader to ponder include Peach’s sudden weight gain (which may or may not result from the obvious explanation), the meaning of Lincoln’s cryptic notes, the sex-obsessed behavior of Peach’s parents, the symbolic nature of Lincoln’s meat smell, the reason that Peach’s parents are so obsessed with eating meat (Peach is a vegetarian), and the parents’ reaction to the aftermath of Peach’s confrontation with Lincoln. My hat is tipped to readers who can answer those questions.

Peach tells a dark story in an incongruously light style. Some aspects of the story are bizarre, and I am not quite sure what message Emma Glass meant to send. Is the book intended to say something about female empowerment? Is it a meditation on the pain of rape? Is it a fantasy or the product of a disturbed mind? The reader will need to decide; I haven’t been able to settle on an interpretation, or even to begin shaping one that I regard as credible.

Emma Glass uses a number of literary techniques associated with poetry, including alliteration, assonance, repetition, imagery, and even the occasional rhyme, to give her prose a lyrical feel. She also indulges in a bit of wordplay. “Thick slick. Blood bleeds into the water, colour changes copper. … I tread, I tread. I reach between my legs until I find the final thread. I tread. The fine fibre I fumble to find with thick fingers, feel through viscuous liquid leaking out, leaking in. Treading still, I dread, I tug the thread.” A little of that can go a long way, but the novel is short, which makes it read like an epic poem.

And it’s good that the novel is short because the imagery is often quite disturbing, which might explain why Glass lightens the story, albeit with dark humor. Peach is a challenging novel but the prose alone is rewarding, and the story’s strangeness offers ample nourishment for thought. For that reason, and because I enjoyed the prose, I am recommending Peach despite my inability to make much sense of it.

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Elmet by Fiona Mozley

First published in Great Britain in 2017; published by Algonquin Books on December 5, 2017

Elmet is a gut-wrenching story of a proud family living at the edge of society, fighting for their right to be left alone. The story is narrated by Daniel, a 15-year-old boy who knows little of his absent mother because Daniel’s father is silent about Daniel’s mother and most other things. Daniel’s bond with his father is strong but their communication has little to do with language.

Daniel’s father, John, is a bare-knuckle fighter, a man of almost mythical stature, the toughest man in England and Ireland. Daniel lives with his father and his older sister, Cathy, who learns to protect herself (and Daniel) with her fists, although her school did not approve of girls who fight back. John consequently took the kids out of school and moved away from their home town. Daniel’s father trusts Vivien, a neighbor, to teach the kids things that he can’t.

John lives an isolated life with his children, eschewing the company of neighbors. He talks little about his past, but he makes clear to his children that they are his world. He works hard to toughen them, to make them strong so they can withstand the hardship they will inevitably face.

Despite his isolation, John helps people in the surrounding villages and farms. His philosophy is, “You take care of people and it always comes good in the end.” To that end, John helps people in their protest against Price, the wealthy landowner who acts as the landlord for most of the people who live nearby. He also helps them stand up to the landowners who refuse to pay fair wages for the work done by those who farm their land.

Price owns the land on which John has built his family’s home. John will no longer do the dirty work requested by Price, so the family faces an uncertain future. Helping the powerless stand up to Price only makes the family’s future more precarious. The plot builds slowly to a conflict that can’t be resolved with fists alone.

Elmet’s theme involves the resentment that members of the working class (or the barely-working class) feel when land that was once community owned is deeded to rich landowners, who rent it to the same people who have always occupied it, while refusing to make improvements or repairs. Other themes spotlight the virtues of honesty and directness, and of standing up for principles even when the battle cannot be won.

Fiona Mozley’s graceful prose contrasts with the broken dialect of the novel’s main characters. Her observant descriptions of land and scenery create a rich atmosphere that connects the present to the past: “The soil was alive with ruptured stories that cascaded and rotted then found form once more and pushed up through the undergrowth and back into our lives.” The novel’s powerful ending is as unexpected as it is inevitable.

Elmet made the longlist for the 2017 Man Booker Prize. The winner, Lincoln in the Bardo, is another fine novel. Elmet is a more traditional example of storytelling. Both books tell a moving story, but I think I would give the edge to Elmet. In any event, they are both rewarding novels

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Autumn by Ali Smith

First published in Great Britain in 2016; published by Penguin Random House/Anchor on October 17, 2017

Autumn is set in England, where “Thatcher taught us to be selfish and not just to think but to believe that there’s no such thing as society.” Issues like immigration and Brexit divide people, and it “has become a time of people saying stuff to each other and none of it actually becoming dialog.” Anger is worn like a shield and race hatred is prevalent. The news “makes things spectacular that aren’t, and deals so simplistically with what’s truly appalling.”

Against that backdrop, Daniel Gluck, having reached the age of 101, lies in a hospital bed, sometimes believing he’s on a beach littered with corpses, sometimes believing he’s inside the trunk of a Scotch Pine. Daniel once wrote songs that are no longer remembered. He seems unaware that Elisabeth Demand visits him daily, reading to him during the “increased sleep periods” that his nurses consider a prelude to death.

Elisabeth’s friendship with Daniel began when she was his 8-year-old neighbor. In flashbacks, we see Daniel as an aging man with an obvious interest in linguistics and art who imparts bits of wisdom dressed up in the kind of silliness that might appeal to a young girl whose mother is less than an ideal parent. Daniel taught Elisabeth how to make up stories that would help her understand the ways in which life can be shaped and the world can be changed. That makes him a pretty wonderful character, the opposite of selfish people who do not believe in society and prefer to shout their own opinions instead of listening to the opinions of others.

Daniel represents an earlier time, while Elisabeth, now a lecturer in art history, is just coming to comprehend the role that time plays in life. Daniel’s descriptions of paintings when Elisabeth was a child eventually lead Elisabeth to understand Daniel’s great secret, which helps her understand something about life. Through Daniel, Elisabeth becomes interested in the pop art of Pauline Boty, which leads her to contemplate Christine Keeler, who was central to the Profumo Affair. The sexual liberation that began in the 1960s came to be manifested in many ways, one of which is expressed by this thought: “A great many men don’t understand a woman full of joy, even more don’t understand paintings full of joy by a woman.”

Both Daniel and Elisabeth are perfectly drawn characters. Daniel is one of those gentle souls from a kinder era who dispense wise words in unexpected moments, drawing on their vast life experiences to apply the lessons they’ve learned to a new generation’s circumstances. Those characters exist in literature more than reality, but they are always a joy to encounter, in person or in the pages of a well-written story. We never learn much of Daniel’s life, but we learn enough to know his essence.

Daniel’s life is ending and, in a sense, Elisabeth’s is still beginning. By dealing with the mundane (repeated trips to bureaucrats who reject her passport photos because they do not match their precise requirements) and thinking about Boty, she learns to question the value of rules and norms of behavior, including rules that once defined the subservience of women, that are ultimately meaningless. She discovers that the past (Daniel’s song lyrics, for example) can be relevant to the present, even as people and events fade in and out of collective memory, to be lost and rediscovered, again and again.

Time flies, Daniel says, demonstrating by throwing his watch off a bridge. The past is replaced by the present which will be replaced by the unstoppable future. The immigrants who are reviled today will become the bedrock citizens of tomorrow. When so many people see change as something to be resisted, Autumn suggests that the march of time is to embraced, that the present and future can be shaped “with people’s histories and with the artefacts of less cruel and more philanthropic times.” But whether we can shape it or not, Autumn reminds us, time remains in motion. We can join it or we can be stuck. And if we join it, we can choose to bring the best parts of the past into the present, and to create the present in a way that will build a better future. Those lessons, taught in joyful and lyrical prose, make Autumn a valuable addition to the literature of time.

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