High summer, and a resident of an island tourist hotspot is found with the back of his head beaten in. The famous detective Asbjørn Krag is summoned, and as he attempts to solve the mystery of the murder we are taken into his confidence through the eyes of a nameless holiday-maker. Shenanigans, naturally, ensue. In many ways — some of which we’ll get to later — this is an archetypal GAD novel of crime and detection, but since we’re a good decade short of the form’s beginning we’re going to diverge from the expected tropes on more than a few occasions. Think of it as a piece of atmosphere with detective story interruptions for best results.
And, oh, that atmosphere!
We were all compelled to absolute inactivity, and had a lingering sense that little by little the heat was stifling all will and all energy. We might lie this way for years, for who could be bothered to so much as twitch a foot or lift a head or turn the pages of a novel? Even thought, which never rests, was dulled, for who could be bothered to think?
The language here is sublime, and a large chunk of the credit for this has to go to translator Lucy Moffatt; this has none of the uncomfortable elbows of the prose typically associated with this period — the conversations are stilted, of course, but that’s a hallmark of late 19th/early 20th century fiction — and instead flows beautifully. Such a great job has she done, when mention was first made of a carriage drawn by horses (as opposed to the motor car I has unconsciously been expecting) I was drawn up for a moment in confusion at the preceived anachronism.
Once you start thinking about the context of this, though, it becomes even more interesting. Early on, after the discovery of the body, the narrator mocks one of the other guests who is “searching [the ground] for tracks — as if that were the way crimes were solved these days!” — Sherlock Holmes, returned from his watery grave by now, would surely disagree, but it shows the genre in transition. And Krag has apparently already achieved some notoriety, since when it’s first mentioned that outside help should be called “we all knew who he meant” — welcome to the nascent days of the famous genius detective.
Krag himself is a delight. If our narrator spends a lot of time jumping at shadows and having a fit of the vapours at every development, it is Krag who really grounds events. Introduced in the most marvellous way, interrupting himself at times to indulge in his newfound passion for amateur photography, he could be a lazy collection of ticks and foibles masquerading as a character. Not so. In a manner anticipating M. Hercule Poirot he is keen to little observations — the victim’s hat, for instance — and obscure proclamations that prove both playfully fanciful (“My legal library contains an interesting example of a man over in England who managed to die fourteen times before he was eventually caught alive and well.”) and perfectly accurate (“I have used my eyes to make a person come to me,” for one). And we could be no more on the cusp of the Golden Age than at the moment he declares:
“You cannot imagine how impossible it can make an investigation when two cases that have no connection to one another get mixed up.”
I purchased it when you first posted about its release, and read it shortly after – thanks for the recommendation. 🙂 I enjoyed it even though I caught onto which GAD novel was similar to it; I guess my only demurral stems from the fact that the story goes on slightly too long. I suppose one could attribute this to the fact that I had the solution in mind. But re-reading the GAD novel, even after knowing its ending, didn’t feel quite as tedious.
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This is part of why I think it works so well as a mood piece with occasional detection — the fetish for intricate plots hadn’t taken off yet, but Riverton/Elvestad manages to bridge the GAD novel and the maundering Victorian Sensation Mood Piece very well; since the latter was still very much the predominant style of the time, it’s unsurprisingly that’s what dominates.
Some of the clues and the little touches are lovely, though, and it’s a good shuffle forward for the genre; perhaps not a full step, but significant enough to pay attention to.
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I’ve been intrigued by this book since I first read about it in an issue of CADs, so thanks for this review. It’s great to have these opportunities where we can read earlier detective fiction in countries which are not the UK or USA.
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Definitely, being able to experience other countries’ takes on this type of fiction is great for the perspective it offers. I’d be very interested to see what Brad makes of this once his Scandinavian Fling comes full circle…
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Sounds like it’s worth a look, and I always like writers who use landscape and/or climate to create the atmosphere they’re aiming for.
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Then I can safely say, Colin, that you are in for a treat!
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I’ve been eyeing this and the price just dropped to 1.99
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Karma. No, the other one. Kismet? Either way, how serendipitous…
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Hello, just thought I’d drop by to let you know that my translation of The Iron Chariot is being reissued in paperback from Eye and Lightning books in November.
Thanks again for reviewing this when it came out in e-book form. I really appreciated it.
Lucy M
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Good news, thanks for letting us know. It’s a great window on an early and important piece of detective fiction history, so I’m really pleased that it will have a chance to continue to find an audience.
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Me too! I’m planning to pitch another Riverton to Abandoned Bookshop in the nearish future – will keep you posted.
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