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An Open Wound by Patrick Pécherot – About the Paris Commune of 1871

December 30, 2018 25 comments

An Open Wound by Patrick Pécherot (2015) Original French title: Une plaie ouverte.

*Sigh* A missed opportunity, that’s what An Open Wound is. Patrick Pécherot supposedly wrote historical crime fiction here. The setting is Paris, back and forth between the Paris Commune of 1871 and 1905. Here’s what Wikipedia sums up about the Paris Commune:

The Paris Commune was a radical socialist and revolutionary government that ruled Paris from 18 March to 28 May 1871. The Franco-Prussian War had led to the capture of Emperor Napoleon III in September 1870, the collapse of the Second French Empire, and the beginning of the Third Republic. Because Paris was under siege for four months, the Third Republic moved its capital to Tours. A hotbed of working-class radicalism, Paris was primarily defended during this time by the often politicised and radical troops of the National Guard rather than regular Army troops. Paris surrendered to the Prussians on 28 January 1871, and in February Adolphe Thiers, the new chief executive of the French national government, signed an armistice with Prussia that disarmed the Army but not the National Guard.

On 18 March, soldiers of the Commune’s National Guard killed two French army generals, and the Commune refused to accept the authority of the French government. The Commune governed Paris for two months, until it was suppressed by the regular French Army during “La semaine sanglante” (“The Bloody Week”) beginning on 21 May 1871.

Debates over the policies and outcome of the Commune had significant influence on the ideas of Karl Marx, who described it as an example of the “dictatorship of the proletariat”.

The pretext of the plot is that Dana, a participant in the Commune of Paris has been sentenced to death in absentia for a murder on the Haxo street during the Paris Commune. In 1905, Dana is still missing and no one knows where he is or if he’s still alive. Rumors say he might be in America.

Dana was part of a group of activists during the Paris Commune, a group of historical figures (Courbet, Verlaine, Louise Michel, Vallès) and fictional characters like Marceau, the man who wonders what has become of Dana.

So far, so good. Good blurb, excellent idea for a book. Its execution was a death sentence for this reader. There are so many things that went wrong for me that I abandoned it, despite a genuine interest in reading about the Paris Commune.

The layout of the book:

Different typos to help the reader know where they are: normal for relating the Paris Commune in 1871, italic for the quest in 1905 and normal with another font to write about the murder. Tedious. I wonder how it turns out in audio book. I hate this device: the writing should be good enough to make the reader understand they’re back in time or moving forward or changing of point of view. It’s a lazy way to overcome the difficulty of changing of time, place and narrator.

Losing the plot line

The investigation to discover what has become of Dana should be our main thread except that we have a hard time figuring out it’s supposed to be the plot line. Thank God for the blurb. It’s not a real and methodical investigation so, right after I finally got it was the purpose of the book, I lost sight of it.

Missing key elements on the historical events. 

The Paris Commune events are told in short paragraphs with their date, to give the reader a chronology of the movement and its fall. Fine. But, as a reader who knows next to nothing about the Paris Commune (and I’m sure I’m not the only one) I didn’t understand how it happened, who were Communards, the ones fighting against the Thiers government. Thank God for Wikipedia.

Mixing historical characters with fictional ones. 

Except for the obvious ones, I couldn’t figure out who were real participants and who were literary characters. I don’t know how much Verlaine was involved in the Paris Commune or if it’s true that his wife was one of Louise Michel’s pupil. I suppose it’s true.

The style

The last straw that broke my reader’s back was the style. At times some sort of lyrical prose overflowing with words and at other times, half sentences, almost bullet points. Add to the mix, embedded verses by Verlaine when a paragraph features the poet, like here:

Il faudrait questionner Courbet, savoir ce qu’il peint d’un modèle. Ou Verlaine. Son rêve étrange et pénétrant n’est jamais tout à fait le même ni tout à fait un autre.

Patrick Pécherot, Une plaie ouverte, p141

Je fais souvent ce rêve étrange et pénétrant

D’une femme inconnue, et que j’aime, et qui m’aime,

Et qui n’est, chaque fois, ni tout à fait la même

Ni tout à fait une autre, et m’aime et me comprend.

Paul Verlaine, Mon rêve familier.

And the language is uneven, moving from one register to the other, often using argot from I don’t know what time. 1871?

I tried to soldier on but I was at the end of my rope page 166, out of 318. I say I gave it a good shot. Like the one Dana gave to Amédée Floquin, the man he murdered? I guess I’ll never know whether he actually killed him or if he’s still alive in 1905. The style is really what made be abandon the book, it grated too much. I was still learning things about the Paris Commune (with Wikipedia on the side) but the style was too unbearable for me to finish the book.

That’s a pity. Maybe I wasn’t in the right mood, maybe I’m too demanding, I don’t know. An Open Wound won a literary prize for crime fiction, Le Prix Transfuge of the best Polar. I fail to see how this book is a polar at all but I’m not proficient in putting books in literary boxes.

The good thing about aborted read is that I got to browse through the list of books that are based upon the Paris Commune. I need to read La Débâcle by Zola, at least I know the style will be outstanding. There are poems by Victor Hugo, L’Année terrible. There’s L’Insurgé by Jules Vallès and Le Cri du peuple by Jean Vautrin, that was also made into a BD by Jacques Tardi. And Tardi is a reference in the BD world.

Betrayal at Lisson Grove by Anne Perry

February 19, 2011 10 comments

Betrayal at Lisson Grove by Anne Perry. (438 pages)

I have read a lot of Anne Perry’s crime fiction novels when my children were babies and I was too tired to read anything more challenging than basic crime fiction and page-turner novels. So I’m familiar with her characters and finding them again is like taking some news about distant relatives.

 Betrayal at Lisson Grove is a novel from the Thomas Pitt series. At the beginning of the series, Thomas Pitt is a policeman in the Bow Street police station in London, around 1885. He’s usually in charge with solving murders among the high society. His wife Charlotte and her sister Emily take part in his investigations, entering into the receptions and gathering clues for Thomas. After he was dismissed from the police, Pitt is hired by the Special Branch.

Charlotte and Thomas Pitt are an unusual couple. They met in the first book The Cater Street Hangman, when Thomas investigates the murder of Charlotte’s older sister Sarah. Thomas is the son of a steward and has been raised with the son of the estate his father was running. He’s educated and has good manners. He’s intelligent, honest, sober. His status in undefined, somewhere between the domestic and the gentleman. Charlotte is from a higher social class than Thomas and was no marriage material in her social circle as she expressed her opinions too freely. Marrying Thomas means turning her back to her social life. She does it anyway, losing material comfort to win freedom of speech and of action. Meeting Thomas makes her go out of comfortable boudoirs and face the real world.

So what’s happening in this one? While Thomas Pitt is led to investigate in St Malo (France) with his colleague Gower, his chief Victor Narraway is unjustly accused of embezzlement. The money he had secretly sent to an Irish activist who gave him information about the movement in favour of Home Rule, mysteriously came back on one of his own and rarely used bank accounts. He decides to go to Ireland to discover who sent the money back. As Pitt is his protégé, it is highly probable that he loses his job as well when he comes back from France. To protect her family’s revenues, Charlotte decides to accompany Victor Narraway to Ireland and help him discover the truth.

The plot is rather simple, it is easy to follow. The descriptions of the English and Irish societies are pleasant. Poor Englishmen lost in Saint-Malo, they miss their marmalade and their eggs and bacon for breakfast! These incredible French people never do things as English people would, so they only get apricot jam and omelette.

Anne Perry was right to have her main character change of job since she had already written about many possible ways and reasons to murder someone for personal motives. The shift in Thomas Pitt’s career gives her the possibility to explore political fights and discuss the uprisings for social rights that take place in many European countries at that time. She also writes about the situation in Ireland.

I read it on a train, it was perfect, I had an agreeable journey. I got what I was looking for, easy but satisfying crime fiction. I think my tastes are shifting regarding crime fiction: I’m more attracted by polars, as we call them in French. (I don’t think I’ll ever manage to understand the subtleties between English crime fiction categories, so I’m using the French term.) Good for me there are plenty of good polars that I haven’t read.

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