It was not uncommon in the late 1980s and 1990s for writers to use ideas derived from chaos theory in fiction and in sociological investigations – and that was an important and pleasing development away from some of the more mystical notions emerging from physics and mathematics that had been used before then. I haven’t read any of those works for quite some time (although from time to time find myself going back to Ian Stewart’s excellent book about the mathematics of chaos, Does God Play Dice. I don’t remember a novel, however, that has used the ideas derived from chaos theory as well as this does.
At one level it is a fairly straightforward detective novel (of the hard-boiled loner variety) where Igi Heitmann, a research psychologist (and lapsed psychotherapist), becomes concerned about the seeming coincidence of her father’s death in a hit-and-run and the death-by-shooting of a young woman client, on the same day. Igi begins to follow leads, some that go nowhere, some that seem red herrings, some that develop in unexpected ways and take her in unexpected directions.
Along the way she makes reference to the ideas from chaos theory that influence her research as a psychologist, most notably the role that non-linear equations play in the controlled randomness of the mathematics of chaos. In short, non-linear equations mean that the solution to one equation in a sequence is independent of those that precede or follow it, so what has happened before is not a predictor of what happens next. That is, non-linear equations are a really good metaphor for almost any kind of research I have ever been involved in.
In this case it means that it seems like there are loose ends, which for followers of the genre may be frustrating, but for me makes the book a little more realistic even as it digs into realms that include corporate greed, lackadaisical (which looks awfully like linear-equation influenced) policing, family collapse, mystical religion and sexual violence. In most cases, the things that happen may be unrelated (and many of them are not) but many of the key ones are – it is just that we are not sure which ones are key. This is the power of Rygg’s writing; she is able to leave us inside Igi’s perspective, and in doing so leave us as uncertain as she is (although at the central moment of the plot development and solution to the crime(s) she gives Igi more information than we have.
Really enjoyable, not one of the greats but well worth it and a pleasant way to spend a cold winter’s afternoon.