Book review: Down the Darkest Road, By Tami Hoag
Published in the The sunday Business Post on February 26th, 2012. By Alex Meehan
If someone kidnapped one of your children, and you knew that they’d done it but couldn’t prove anything, what would you do? That’s the central question posed in Tami Hoag’s latest crime thriller, Down the Darkest Road, the third in the author’s Oak Knoll series of mysteries.
Set in the late 1980s when modern police mainstays such as forensics, mobile phone technology and DNA testing had yet to be become available, Down the Darkest Road tells the story of Lauren Lawton’s attempts to rebuild her life four years after the unsolved disappearance of her 16 year old daughter.
Missing and presumed dead, Leslie Lawton was abducted while on her way home from a softball game in 1986. The prime suspect for the crime was Lawton family neighbour Roland Ballencoa. Known to be a convicted sex offender, the crime fit his pattern of behaviour but despite believing him to be responsible, the police were unable to find any credible evidence to charge him.
While dealing with the trauma of the disappearance, further tragedy struck the Lawton family when Lauren’s husband drove his car off a cliff. It’s reported as suicide, but Lawton suspects her family is actually being stalked by Ballencoa.
Despite feeling sure her daughter Leslie is still alive somewhere, Lauren decides the best thing for her family is to relocate from Santa Barbara to sleepy Oak Knoll in search of a fresh start. However a few months later she’s shocked to spot Ballencoa in town and it’s not long before fresh reports start to surface of 16 year old girls going missing.
Lawton’s youngest daughter Leah will soon turn 16 and so she launches a fresh campaign to convince the local police of Ballencoa’s guilt. She wins allies in the form of FBI agent Vince Leone and Oak Knoll sheriff’s detective Tony Mendez, but as the law enforcement team begins to close in on the suspected killer a plot twist changes the way the police are obliged to interpret events to date.
Down the Darkest Road is a good example of Hoag’s work – a smart and stylish whodunit with a 1980s feel to it. For crime fans steeped in the CSI style modern approach to sleuthing, it’s interesting to spend time in a decade when old fashioned detective work ruled the day, and it wasn’t possible to send scene-of-the-crime clues to the forensic labs for positive identification. Instead, Vince Leone and Tony Mendez spend part of the story learning about the brand new concept of criminal profiling.
Down the Darkest Road is a classic suspense thriller, with a serious touch of melancholy thrown in. The central question of when and how a parent should move on following the death or disappearance of a child remains at the heart of the story, giving this novel a genuinely sad undercurrent. Hoag has attempted to create a nuanced story, one in which the bad guys aren’t all they seem to be, but neither are the good guys, and in that she has written something that has a bit more resonance and depth than the average pulp fiction crime thriller.
It’s not perfect – there are some unresolved plot points and the plot twist when it arrives is jarring – but the characters are well drawn and it’s well paced. Down the Darkest Road will keep crime fans happy but also stands alone as a solid story that non-genre fans should get something out of.
Some pictures taken during a weekend break in Rome in July. Scorching weather, but great fun. Can’t wait to go back.
There is an absolutely gorgeous 360 degree scrollable panorama shot of the surface of Mars online.
You can see it full screen here.
Anyone who isn’t excited about this has no soul. This is another planet. Not the moon, not outer space, but an alien world. Stunning. Just stunning.
Down these green streets
Published in The Sunday Business Post on June 26th, 2011, reviewed by Alex Meehan
Edited by well-known author, journalist and blogger Declan Burke, this anthology is made up of essays, interviews and short stories charting the development of the Irish crime novel from its earliest incarnations to the present day, asking where it’s been, where it is, how it got there and where it’s going.
Crime fiction has been one of the literary success stories of Irish writing over the last ten years, but some interesting questions remain – why did it take so long for Irish authors to take to the genre, and what does it say about a society that it suddenly decides it wants to read about crime at home, rather than in far off places?
In his afterword, Fintan O’Toole describes Irish crime writing as “arguably the nearest thing we have to a realist literature adequate to capturing the nature of contemporary society” and Down these Green Streets certainly goes some way to analysing the role crime fiction plays in 21st century Ireland.
Divided into three sections — Out of the Past, Thieves Like US, and Kiss Tomorrow Goodbye — the first section of the book starts by attempting to explain why the kind of hard boiled private investigator so beloved of Dashiell Hammet and Raymond Chandler just couldn’t have appeared in Ireland at the same period — creations such as Philip Marlow and Sam Spade would have stuck out rather than blended into Irish society.
Instead of streetwise private investigators suavely solving crimes and getting the girl at the same time, period readers in Ireland got a different kind of crime fiction, typified by John B Keane’s The Playboy of the Western World and Synge’s The Field.
In fact, Cormac Miller, in his essay entitled The Dead Generations, details how when one of the earliest crime authors to publish in Ireland, Reardan Conner, attempted to write stories that depicted the underbelly of Irish society, he ran afoul of the Irish censorship board.
In his autobiography A Plain Tale for the Bogs, written in 1937, he complained that “a section of the Irish and Irish-American reviewers demand that Irish novelists depict Irishmen as models of virtue and Irish women as models of chastity. God help the Irish writer who, in the genuineness of his heart thinks fit to depict an Irish villain. God doubly help him if he dares to suggest that such a creature as a prostitute exists in Ireland.”
Later on, if hard boiled crime had been published in the 1950s, 60s and 70s, it’s quite likely that there wouldn’t have been much of an audience for it anyway. John Connolly asks in his essay, No Blacks, No Dogs, No Crime Writers: Ireland and the Mystery Genre, when the troubles were filling the headlines with horror after horror, who would have the appetite for a crime novel?
Connolly points out that from the author’s perspective, it’s difficult to write a novel about common-or-garden murder, the stuff of mainstream mysteries, when, a couple of hours up the road from Dublin, soldiers, policemen and civilians are being killed on a daily basis.
“Writers who may have been tempted to create works of Irish crime fiction may instead have shied away from it for fear of becoming entangled in the larger political, social and religious questions surrounding the violence in Northern Ireland, or of being accused of trivialising it by using it as material for popular fiction,” he says.
In addition Connolly suggests that Irish society was basically not a violent place until recent times, “the elephant in the room that was/is terrorist violence excepted.” Murder, that staple of crime fiction, was not something that occupied the Irish people on a daily basis and the most notorious cases were also usually solved quickly.
With so many fiction writers contributing to this book, it’s a little surprising it doesn’t contain more fiction. Of the 30 plus contributions, there are only five pieces of fiction – short stories by Kevin McCarthy, Jane Casey, Alex Barclay, Stuart Neville and Ken Bruen.
Jane Casey’s Inheritance is nicely written and breaks up the rest of the section well. It’s the story of a burglar hoping for a big score who knocks on the door of a run-down Georgian country house on a rainy night, posing as a motorists stranded and in need of shelter. He plans to make off with what few valuables remain to the aging spinster who lives in the house on her own. Needless to say, the caper doesn’t quite turn out as he hoped.
Also of interest is Kevin McCarthy’s Twenty-five and Out, which is set in Cork in 1922 and relates how a group of Royal Irish Constabulary men spend the their last few days in uniform as they wait to be demobilised and sent home to the UK. When a clerical error means there is no transportation available to bring them to the port, they decide to take the tram through Cork, knowing that public feeling against them is at an all-time high. A near riot breaks out and the men are left to make the rest of the way themselves.
Down these Green Streets is an interesting read, and an obligatory title to add to the bookshelves of any serious fan of Irish crime fiction. The list of contributors functions as a who’s who of writing in this area – included are Cora Harrison, John Connolly, Colin Bateman, Michael Connelly, Gene Kerrigan, Brian McGilloway, and Tara Brady.
Any anthology is always going to be a mixed bag, particularly one written by 31 different authors, but an interesting and accessible history of crime fiction in Ireland emerges from the pages of Down these Green Streets, and this is a book that hard core fans will really enjoy and in which there is enough to hold the interest of the casual reader.
I was in Japan for two weeks at the end of June/start of July for a combination of work and recreation – as always took lots of pictures so here is a selection. I haven’t updated this blog in a while so to be honest, I think I may have missed a trip here – I was there last November as well. If people are interested, I’ll see if I can dig out some pictures from that trip too. Enjoy.
So it’s been a while since this dusty and unloved blog has seen much updating, but I’m thinking it might be time to attach the electrodes and give it a bit of a kick start.
Lots going on and lots of ‘content’ sitting on several hard disks that could do with an airing.
But probably better to just start posting then to talk about it.