The Guest List by Lucy Foley – review

I’m not really a crime thriller person and on the occasions I’ve dipped into the genre I’ve often come away disappointed. I was super happy, then, to discover The Guest List, a thriller I genuinely enjoyed – it’s always a little bit rejuvenating to read something different to your normal fare and to come away feeling positive about it. It’s a variation of the classic locked room mystery: a murder takes place during a wedding party on a remote island, with a select guest list and a location cut off from the outside world. Among the group, grudges are ubiquitous and as you would suspect, the various characters’ seedy backstories provide a vast selection of possible motives for a killing. The fun of this kind of set up is that every reader has a genuine chance of guessing the solution to the puzzle and Lucy Foley turns out to be an extremely fair writer when it comes to providing decent clues; she creates a very clever story yet refrains from any impulse to pull the rug out from under your feet for the sake of an outlandish twist, a device that appears all to often in crime fiction and can simply leave you feeling cheated.

The book is written from the point of view of a number of different wedding guests, the narrative hopping between characters every chapter. I’ve read a couple of other books in which this way of writing hasn’t really worked for me, because I found a particular character uninteresting or their voice didn’t ring true, but in The Guest List I loved it. It kept the story moving at a rapid pace, and because the chapters are pretty short it constantly tempts you into thinking “just one more”; before you know it you’re over half way through and then, well, there’s no point in stopping! That’s not to say all the people you meet in the course of the novel are enjoyable company – far from it. The wedding is a ridiculously lavish affair, bride Jules and groom Will being a high-flying editor and a TV star, and the couple are as strident and egotistical a pair as you’d expect. The groom’s friends, who make up a large proportion of the titular guest list, are an obnoxious, posturing posse from his private school days, their innate sense of entitlement all too often tipping over into cruelty and harassment. Among the bride’s friends and family there are a few more sympathetic figures, in particular her sister Olivia, whose mental fragility is immediately obvious to the reader even as it exasperates the bride who can’t bear for the attention to be on anyone else but her. You’d think, given the descriptions above, that the book might be unbearable, so awful are some of the main players, but as the story goes on, the author gradually reveals flaws and vulnerabilities that make us feel, if not entirely sorry for them, at least more understanding of their behaviour.

The dialogue is a little bit cringe-worthy in places, primarily the banter between Will’s school friends – although I couldn’t decide whether this was down to the writing or simply the fact that any drunken persiflage will end up reading a bit lamely when it’s down on paper. This aside though, the style is brilliantly easy to read and keeps the story moving along at just the right pace. Another clever little device is the fact that, although the book opens with the moment the wedding guests hear the screams indicating something terrible has just happened, we don’t know for sure who the victim is until a bit later on. Quite honestly, by the time the novel reached its conclusion there were a number of characters I would have been quite happy to see with a knife in their back!

All I’ll say about the conclusion itself is that it’s punch-the-air perfect and not what I had guessed at all. I had such a fun time with The Guest List in fact that I’m absolutely going to be buying her first novel, The Hunting Party, which I gather is a similar kind of set-up, and if it’s anywhere near as enjoyable should be a cracking read. As ever, if you’ve read either of Lucy Foley’s books I’d love to hear what you thought!

“His Bloody Project” by Graeme Macrae Burnet – review

On a summer’s day in 1869, Lachlan Mackenzie is found brutally murdered at his home in the tiny Highland community of Culduie.  The perpetrator, 17 year old Roderick Macrae, confesses to the crime within minutes, but although there is never any question or who, there is still the all-important question of why.  This clever novel takes the form of a compilation of documents – medical reports, journalists’ articles and so on – that are brought together with the aim of finding an answer.  And the answer matters, because if he is found to be insane, Roderick will be spared the death penalty; if it can be proved that he was in full possession of his mental faculties he will hang.

Right from the start, the author gives us a very clear indication that this will not be a straightforward case with a selection of witness statements that variously describe Roddy as a wicked boy, an amenable and polite young man and a strange loner.  Then comes what we would imagine to be the most valuable testimony: that of the murderer himself.  Roddy’s story, as he tells it, is quite a sorrowful one.  Following the death of his mother his already morose father becomes even more emotionally inaccessible, alternating between brooding gloom and flashes of violent rage, ruling over his children in their tiny crofter’s cottage with an iron fist.  Life in the hamlet of Culduie is pretty insular and the prospect of pursuing a life elsewhere is practically non-existent, with the crofters’ lifestyle being passed down through the generations.  The local schoolmaster spots a sharp intellect in Roddy that is missing from his provincial classmates, but the boy is unable to imagine any future other than taking on his father’s trade.   Life goes on and the monotonous days blend into one another without major incident, until something happens that turns life in Culduie upside down for everyone: Lachlan Mackenzie becomes constable of the community.  The constable is responsible for enforcing order and maintaining standards on behalf of the laird on whose land the crofters live and work, and it’s a system that has always been regarded by the inhabitants as reasonable and fair.  Lachlan, however, is power-hungry; a combination of intimidating physical strength and a calculating mind, and the Macrae family – for various reasons that have accumulated during a lifetime of living side by side in Culduie – become the target of a vicious campaign of oppression.  When Roddy develops an attraction to Lachlan’s daughter it proves to be the final step on a steady climb towards the inevitable: the confrontation between the two men that results in the constable’s death.

There are brief but significant flashes of disquieting behaviour during Roddy’s narrative that set momentary alarm bells ringing in our minds – his eerie detachment during the mercy killing of an injured sheep, the unsettling coolness with which he listens to his sister’s suicidal thoughts – but by and large, the overwhelming feeling I was left with as this section of the book drew to a close was one of pity.  Lachlan’s bullying campaign was, I felt, an incredibly astute piece of writing in that it succeeded in stirring up genuine physical feelings of anger on my part towards the character such as I haven’t felt for a very long time.  The author pinned down with uncanny accuracy the way in which so many bullies go about their business; when Roddy and his father try to describe to a superior official the things that have been said and done to them, out of context they sound feeble and no cause for complaint at all.  Lachlan is smart enough to operate in a way that ensures his victims know precisely what is being done to them while those looking on would never see the malicious intent behind his actions.  To be brutally honest, I couldn’t wait for Roddy to kill his tormentor – until the murder itself, which I won’t spoil but which didn’t unfold in quite the way I’d imagined.  At the moment of the killing, an unanticipated shockwave of doubt explodes out of the book, and in the space of a couple of pages you’re suddenly left wondering whether your judgement has been skewed all along.

Fittingly, Roddy’s account ends as he is still standing over the body of his nemesis, and the (deliberately) jarring insertion of a glossary of Scottish dialect creates a much-needed pause as we come down from the fraught heights of intense emotion back to the detached practicality of deciphering the linguistic quirks of his testimony.  This marks the start of the second part of the novel, and a brisk change in tone as we move from a first person narrative to series of professional documents pertaining to the case.  We will hear from the doctors who examined the bodies of the murder victims, the surgeon who was called in to psychoanalyse Roddy following his arrest and finally the witnesses who took part in the trial, their words recorded in various newspapers at the time.  Not everyone I’ve spoken to has appreciated the changes in style throughout the book, with some finding the format off-putting, but I actually felt a sense of relief as I embarked on the latter half, which is more impersonal and less emotive, after the more visceral nature of Roddy’s story.

If I thought that these new points of view were going to lead to certainty and closure, however, I was wrong.  If there’s a message to be taken away from this book it’s that it is almost impossible to claim there is any such thing as absolute truth where the actions of human beings are concerned.  There are revelations in the second section that come as a shock, and cause you to start re-evaluating everything you thought you knew from Roddy’s confessional account – but is that the same as saying he was lying?  Could those making statements about him be lying too, or at least fabricating a version of events that fits in with their preconceived ideas about the people involved?  It’s quite a philosophical novel in many ways; once the author starts playing with our sense of right and wrong, truth and untruth, the questions spiral.  The conclusion I came to is that humans are not for the most part calculating liars: we genuinely believe that our interpretation of events is accurate.  We create our own life story in our head, and that’s the one to which we hold fast.  And that being the case, is it ever possible for anyone else to tell us unequivocally that we are wrong?  If a madman believes that his motives, even for the most vicious crimes, were pure, is that not true in the sense that it’s his truth?  Given all this, the idea of one man presiding as judge over another becomes ever more uncomfortable.

I think it’s fair to say I was disturbed, gripped and given an intellectual workout by this novel in equal measure.  Every now and then a book comes along that messes with your head a bit, and “His Bloody Project” is definitely one of those.  And just when you think you may have made up your mind about what has occurred, the last few lines will plant a seed of doubt in your head once more.  Hats off to the author – this novel is very special indeed, and a striking achievement.

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