strange and random happenstance

The Cuckoo's Calling (Cormoran Strike Book 1) by Robert Galbraith aka J.K. Rowling
Published by: Mulholland Books
Publication Date: April 30th, 2013
Format: Hardcover, 464 Pages
Rating: ★★
To Buy

Cormoran Strike's day starts in free fall. Charlotte and him have been on and off for years. After he returned wounded from Afghanistan she walked right into the hospital and back into his life. But this breakup is different. For the first time it was Cormoran's decision. This signals the end. And at his little office, now his home, if things don't pick up this will also signal the end of his career as a PI. He has one client and one stalker and had hoped to have no assistant, having given the previous temp the heave-ho. But in walks Robin, his new temp, which he can't afford. But then in walks a lifeline. A new client. A new client who has money and is willing to pay double. Cormoran knew John Bristow's brother Charlie when they were little. Charlie died in a tragic accident over the Easter holidays and Cormoran viewed it as yet another loss in a life full of them. John has come to Cormoran because his other sibling has died and John won't accept the police verdict of suicide. He needs Cormoran's help.

Lula Landry was a world famous supermodel when she plunged to her death on a cold night in January. Even Cormoran had heard about the tragedy. Another shooting star that burned too bright and died too young. It's almost baffling that the myopic man in front of him was related to the angelic Lula. But Lula, like John and Charlie, was adopted. Cormoran feels a kinship with John over his unconventional family, Cormoran being the bastard of a famous rock musician with famous siblings strewn all over the world. John's belief in Lula convinces Cormoran to take the case. He is soon shoved into the shadowy world of celebrities and their hangers-on. Where paparazzi blind you with their flashes at every chance. This is a world Cormoran's siblings know well, one he has always studiously avoided. But the deeper he digs he starts to have the same conviction as John. Lula didn't jump, she was pushed. Which means there's a killer out there who might strike again...

For someone who doesn't just love, but adores the Harry Potter books as much as I, it's kind of shocking to admit that I've never read any of Rowling's other books. Oh, don't get me wrong, I have them all ready to read, The Casual Vacancy, the next two Cormoran Strike books after this one, I've just never gotten around to them. I think there's a bit of the fear of the next. When you love an author who has written a series the first time they step outside that comfort zone, be it your comfort zone or theirs, it's a seismic shift. It's something entirely new. That new could be good or it could be bad, but one thing is certain, it will be different. Which I think is one of the reasons that Rowling tried to step back and release The Cuckoo's Calling under a pen name. She was harshly judged for The Casual Vacancy and she just wanted to write a book to write a book and avoid the PR machine that would swing into action. In fact I actually had this book on my "to be read" list long before it was revealed who the true author is. But reading this book I was struck by one thing, I think you NEED to know that Rowling is the author to get the full impact.

What I mean by this is that the celebrity of Lula has an extra punch because Rowling wrote her story. Rowling is, let's face it, the most famous author in the world. Just the hype building up to a play set in the world of Harry Potter is causing mass hysteria. If an unknown author had actually written The Cuckoo's Calling the viciousness of the paparazzi couldn't have been as viscerally real and accurate. You the reader get that Rowling is exorcising some of her demons, giving the press a little bit back of what they've done to her over the years. This isn't some imagined horror of what the press could do, but what they have actually done, and done to her. The sad fact is this practice continues. We still have paparazzi hounding people because their readers just have to know every detail of famous people's lives. To me, this world that Cormoran is shoved into in his investigation, a world where paparazzi can hound celebrities to death, is what grounds this book. This is what I connected to. Would I have connected to it as strongly had I read this without knowing Rowling had written it? I don't think I would, because I think I would have doubted the veracity. I know that this world exists, but it's something more to read about it from someone who has experienced it firsthand.

Yet beyond this grounding I was expecting something more. The Cuckoo's Calling was billed as a Neo-Noir. Hence I thought the book would be dark and mysterious. The book isn't. And that's letting you down easy. Yes, it has the building blocks of Noir. We have the down and out protagonist with a bad history with women, or in this case, a woman. We have the starlet who died too young. We have the world of celebrities and it's seamy underbelly. Heck, I almost sound like I'm writing a loose outline for my favorite movie, L.A. Confidential. But it just falls short. The sheer number of cigarettes smoked can't ever bridge the gap between what it is and what it wants to be. Noir needs that something more. We connect to Cormoran, but we don't really get true insight into his mind and thought processes. This I think is where it fails on the Noir front. We understand who he is and what he is like, but not really what he's thinking, what he's figuring out. There's just a void where we need to connect to him on a visceral level, to key into his feelings, his ups and downs, and instead we like him, but we just don't quite get him. Noir is never about liking, it's about understanding.

This in fact is the fatal flaw of the entire book. While the way the characters are written give us people we like and make them real in our eyes there's just too much character development. Now this makes sense for a long series, because the groundwork is being laid and it's best to have a solid foundation, BUT for the initial outing it's so overlong that the mystery suffers at the expense of making these characters fully rounded human beings. There needed to be a balance between character and forward momentum. I am honest when I say I fully love Robin and her lifelong desire to basically be Nancy Drew and Cormoran and the complete mess he is because of his childhood and his injuries, both physical and mental, but this needed to be either trimmed down or balanced by the case of Lula. I picked up this book expecting a twisty-turny murder mystery, instead I got a really well written character study. In fact a lot of my friends think it's sacrilegious the rating I gave this book, but it's how I felt. If I adjust my expectations for the rest of the series, perhaps I'll come to love these books, but my love of the characters can't forgive the narrative all it's flaws.

And boy does this narrative have it's flaws. More than any other genre mystery books have to have a constant forward momentum. That desire to keep turning the page long into the night until you're shocked that there are birds chirping and the sun is actually cresting the horizon. Now I'm not going to be all superior and say that I had figured out the mystery in five minutes and the solution was a foregone conclusion, because I actually didn't. I had one key aspect early on, but by the time that Rowling actually planted the final two pieces of evidence that were essential to solving the death of Lula I no longer cared. I was bored by the mystery. The plot just limped along while the characters were luxuriated with detail. As time went on it got harder and harder for me to pick up this book because I just didn't care anymore. Obviously Cormoran and Robin lived to fight another day, seeing as there's another book, and they were all that mattered to me, so why should I care about the murderer? Why should I pick up to book again? The final thirty pages took me almost two days to get through because it didn't seem pressing. For me to willingly put aside a book... right there is the answer as to why I thought it was just meh.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Backlog Bonanza, Character, Cormoran Strike, Harry Potter, J.K. Rowling, L.A. Confidential, Mystery, Noir, Paparazzi, Robert Galbraith, The Casual Vacancy, The Cuckoo's Calling

Red Harvest by Dashiell Hammett
Published by: Library of America
Publication Date: 1929
Format: Hardcover, 967 Pages
Rating: ★★★
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The Continental Op has arrived in Personville, being sent by the Continental Detective Agency's San Francisco office for their new client Donald Willsson. After setting up their meeting, but before the arranged time, Donald Willsson is killed. The Continental Op approaches Elihu Willsson, Donald's father, to try to get to the bottom of his client's premature demise by lead being pumped into him. Elihu admits that Personville's nickname of Poisonville is pretty accurate. While still the town founder and czar, to all intents and purposes, the town is run by several competing gangs. The town is as corrupt and villainous as you can imagine. Donald was trying to use the newspaper to expose this corruption, and it seems that this is why he died. The Continental Op gets Elihu to hire the agency to clean up Personville. He cunningly has him sign a document so that even if Elihu tries to go back on the deal the Continental Op has the reigns and no one to answer to, except the boss back in San Francisco, but hopefully he won't notice the lack of a daily report for a little while.

Soon the Continental Op is deep within the rivaling gangs. Rumors and hearsay, as well as rigging a boxing match, are all it takes to set them off. Lead whizzing through the streets and gunfire soon become an even more common occurrence in this little corrupt town. The bodies start to pile up all while Elihu tries to get his erstwhile employee back to the city by the bay. But Poisonville has gotten under the Op's skin and he feels he has a score to settle. When it looks like they won't get the Op in a body bag, the corrupt police try to frame him for murder. Poisonville is going to burn, if it's the last thing the Continental Op does.

Up until now I have been concentrating my reading on the other side of the pond. The cozy mysteries of the British Isles set in a manor house with, in all likelihood, a locked room and a corpse. Yet the Golden Age of Mystery wasn't just relegated to our forefathers across the waters. America had a very strong literary tradition during the Golden Age, with authors like Dashiell Hammett and Raymond Chandler. Yet there was a distinct shift in the type of writing. Here in America it was grittier, more gang related, more hardboiled, with a distinct authorial voice that would later come under the Noir heading. While this style is more associated with the 30s, 40s, and 50s, which modern writers like James Ellroy have emulated in their neo-noir books like L.A. Confidential, Dashiell Hammett coined this style with his Continental Op, which would be the forerunner to that most archetypal of Noir characters, Sam Spade.

Reading Red Harvest, I was easily swept up into the Noir style, I could almost hear the first person narration as a gritty voice over as the Continental Op walked through Poisonville planning his next move. I could almost see Hammett, obviously in black and white, sitting in a dingy office, smoke rising above his head, as he typed out the story. While yes, to say all this is now a bit cliched as to my imagery, I was still amazed with the distinct style, which for all it's tropes running around in my head, felt just as fresh and vibrant as if it had just been written. Though the book did have it's rough spots. Red Harvest was Dashiell Hammett's first book. Prior to this he wrote short stories, many of which featured the "hero" of this book, the Continental Op. This fact did not help him, nor did the fact that this book was serialized in four parts in the pulp magazine, Black Mask. Instead of a cohesive whole, the book is basically four interconnected short stories, which makes the narrative choppy, and almost makes you not want to continue reading because everything was brought to a close and then a new aspect of the story was brought into play in the next section. While Poisonville gives an overall framework, everything else would fall under the heading, "and meanwhile in another part of town...."

Then there's the, how should I put this, cavalier attitude the Continental Op has towards death. I mean, I'm used to death in things I read and watch, heck Midsomer Murders is one of my most favorite television shows and the bodies pile up in that County like nowhere else in fiction... till now. I mean, holy geez people, I don't even know what the end death toll was. I lost count somewhere around twenty. Yes, twenty people are dead and the Op doesn't bat an eyelash. Gangs gunned down left and right and at the center is the Op stirring the pot, getting one group to go after another. If his plan to clean up the town was to eliminate every person in the town, then, well... he's succeeded marvelously by the end. He went all blood simple as Hammett coined and the Coen's later used for their first movie. Yet, I have to ask, was this moral ambivalence meant to be a reflection on the Pinkertons? I mean Hammett worked for them and the Continental Detective Agency was unambiguously them... so was he trying to make a statement? The Pinkertons don't have the most sterling of reputations and where to be feared in that at one time their combined forces outnumbered the US army. So was Hammett writing to the new style he was creating, exposing corruption, or perhaps biting the hand that fed him?

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Black Mask, Continental Op, Dashiell Hammett, Golden Summer, James Ellroy, L.A. Confidential, Midsomer Murders, Noir, Pinkertons, Poisonville, Pulp, Raymond Chandler, Red Harvest, Sam Spade, San Francisco