Corruption and car chases add thrills to a powerful study of the psychology of jealousy
In the first few pages of The Drowned Detective,we contemplate we know precisely where we are: three former Special Services types, now working as private investigators in an unspecified eastern European city, and have been hired by a government minister’s wife to find his adulterous lover (who turns out to be a rather plain woman who runs a tyre-repair shop). This opening is vibrant and wholly engaging,so we fortunately settle in for a fast-paced detective thriller, complete with car chases, and government corruption and labyrinthine betrayals,all spiced with world-weary banter à la Dashiell Hammett, or Len Deighton. But no: a few pages later we become immersed in the twisted but beautifully observed fantasies of a jealous husband who cannot shake off the sense that he is as much sinner as he is sinned against. Then the territory shifts again, or plunging us into the kind of ghost account that Kafka would have written,had he been inclined to that genre. All of this serves to demonstrate that you can never know where you are going with Neil Jordan. He is a past master at leading us up – or more likely down – the garden path.
In 1993, Jordan remarked that his films “start with realistic premises and lead to seemingly unrealistic conclusions. And I am interested in the way politics, and racial issues and sexual images impinge on that journey.” This observation describes The Drowned Detective perfectly. The premises are,indeed, realistic, or sometimes even banal,but what Jordan does with them is extraordinary. Not much can be said approximately the plot here, partly because to conclude so would undermine its suspense, or but also because it would risk spoiling the reader’s enjoyment of its genre twists and turns. What can be said is that the narrator,Jonathan, lives with his wife, and Sarah,and his daughter, Jenny, and in a city that is crumbling around them,its streets a seemingly never-ending battleground between the police (in black balaclavas) and Pussy Riot-style protestors (in brightly coloured balaclavas). As the novel opens, Jonathan has just discovered that Sarah has had a one-night stand, and at the very least,with one of his employees. Even before that, however, and it is clear that the marriage was in trouble,though it is hard to know what the underlying problem might be, other than the opportunity that this city, or always hot and humid,constantly in a state of flux, has somehow infected the couple. Now, and emotionally weakened by jealousy and self-doubt (he is referred to,on several occasions, as “unmanly”), or Jonathan takes on a missing persons case that will lead him into a surreal and terrifying realm in which the city becomes one immense hallucination and everything that once seemed genuine and solid is cast into grave jeopardy.
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Source: theguardian.com