From the glaring mistake on the jacket copy to the
unsatisfying and unclear ending, New Zealand writer Chad Taylor’s short, gritty
novel left me confused.
The story centers around and is narrated by a petty thief
named Mark Chamberlain, who’s afflicted by anomie that the author evidently
wants us to understand stems from the unexplained disappearance years earlier
of a high school friend and squeeze, Caroline May. (Note to whoever wrote the
jacket copy for Europa Editions: the thief is MARK, not GREG—Greg is the
ARTIST, who’s not much more than a walk-on. Jacket copy matters: because of what
I now know was an error on the inside front flap, I spent the first half of the
story wondering why the other characters were calling the thief “Mark” and
anticipating that at some point the story would reveal that he was using an
alias, which, of course, never happened. As I wrote a while ago, I was
similarly confused by a misleading plot characterization on the jacket copy for
“The Girl on the Via Flaminia.” Surely neither author nor publisher wants
readers to start out confused?)
I’m all for excising unnecessary verbiage and showing over
telling, and Taylor is good at both in the short, terse sentences of his story.
But I could have used either a bit more showing or some good, old-fashioned
storyTELLING to fill in the story’s gaps.
Much of the momentum from the book’s powerful beginning, in
which Mark plays pool with Rory Jones, a slimy real estate developer and speculator
whose apartment he then robs, goes to waste, since Jones never reappears and
Taylor never connects Jones with the rest of the plot. (Note to Publishers Weekly: Jones is NOT Caroline’s father—he just happens to live in the same
building as Caroline’s now-deceased parents.)
Taylor neither shows nor tells us why Mark and Caroline’s
other surviving friend, Varina, remain so affected by Caroline’s disappearance.
We get hardly any idea of Caroline’s personality, and, from the narrative, Mark
never did, either. Taylor never reveals what, other than proximity, formed the
basis for the friendship between her, Mark and Varina. Maybe she was
more than an inconsequential adolescent booty call for Mark, but I didn’t get
the feeling that she rose to the level of a lost love, either.
At one point, about halfway through, Taylor seemed to be
leading the reader to conclude that Mark and Varina knew why Caroline had
vanished. I eagerly read on, only to find that that wasn’t the case. Taylor
clearly wants us to understand that as adults, notwithstanding that their lives
have wildly diverged and they haven’t been in contact in many years, Varina and
Mark retain some deep connection. I guess that’s supposed to be because of
Caroline, but Taylor never shows or tells us enough about their teenaged
interactions to justify that conclusion.
Late in the narrative, Mark says “I had stepped into other
people’s lives and walked through their homes, but I hadn’t been looking for
their secrets: I had been checking on mine. I had been looking for Caroline
since she left us all.” Mark’s insight into what’s going on within himself
comes on the heels of Varina’s remark to him, “After all this time we’re
exactly where Caroline left us. And that’s the problem: we’re all still in love.”
Those are nicely turned sentences, and they sound as if they’re supposed to be
profound. Unfortunately, Taylor never gives us enough background to understand
why.
Though this short novel didn’t work so well for me, it also
provides material for praise, and I’m not sorry I read it. This noir story—a
genre I haven’t sought out for reading—held my interest throughout. Because
Taylor so effectively got into Mark’s head as he explained the work and mental processes of a thief,
I became really uncomfortable as I read it, wanting to take this fictional
character by the shoulders and shout at him, “Stop! What are you DOING with
your life?!”
Indeed, Taylor is a skillful writer, and I’d expect that
he’ll only improve with practice. Furthermore, the book is a fine opportunity
for those of us on the other side of the planet to read a novel set in
Auckland, a rarity in US libraries or bookstores, and get a sense of that
faraway city; once again I find myself renewing my gratitude to Europa Editions
for bringing more international writers to US readers. And Taylor’s novel has
put me on track to the Europa Haver level! I’ve now read “Heliopolis,” “Cooking
With Fernet Branca” (still to be reviewed), “French Leave,” “The Girl on the
Via Flaminia,” and “Departure Lounge,” for a total of five Europa
Editions books since accepting the Challenge, surpassing my original,
deliberately modest, Ami goal.
Fellow Challenge participants and others who have read “Departure Lounge,” did you like it better than I did? Did I miss something? Can you help me appreciate it more?
Fellow Challenge participants and others who have read “Departure Lounge,” did you like it better than I did? Did I miss something? Can you help me appreciate it more?