After a more elaborate jaunts for Cetin Ikmen and Mehmet Suleyman that tended to focus a bit more on character development rather than hard core policing, Barbara Nadel takes a step back towards conventional murder mystery. Not a leap, but a step. The case is still sensationalised, but more of our focus is on the crime rather than the beloved characters that we’ve gotten to know more in recent times.
The end result, a rare miss for Ms. Nadel. The problem, the crime is just not that interesting, and one has to wonder if the growingly delicious soap opera that she has been feeding us has superseded the mystery element of her novels.
In the current political climate where gypsies are being forcibly relocated from their homes, a murder takes place in a hotel, then another in a ghetto a month later. By the time the third one comes around, a pattern emerges whereby all the victims are being killed on the 21st of each month. This leads to a Mayan calendar themed ritualistic theory that to be honest, is so clearly a red herring that reading about it is somewhat a waste of time. Nobody cares about that. Characters emerge but only one that is a credible candidate to pull off a complicated murder plot, which is surprise surprise… the murderer.
Until the big reveal, you’re not really clear as to what the motive for the crime can is but the whole new Ottomans theme bobs up like a smoking gun again and again. Then you have it. Professor Atay is killing Ottomans because the family slighted him in the past. It’s not exactly breathtaking.
As mentioned earlier, all of the intrigue is dedicated to the dramas experienced by the main characters. Suleyman and Ayse are in a physical relationship that is accompanied by self-loathing for all involved, Ikmen and Ardic wrestle with the prospect of retirement, the new Sargent Omer Mungan struggles with adjusting to life and policing in a big city like Istanbul… And the long forgotten Gonce the gypsy re-emerges to claim her true love.
All of that said, this novel has one key talking point. One thing the audience will remember. The death of Ayse Farsakoglu. For much of the novel she is being talked up as Ikmen’s logical successor and then all of a sudden she’s gone. It’s completely unexpected. It’s tragic. One is almost in denial when the shooting first happens. It’s a complete game changer. Is it for the better though?
The fallout: Mehmet and Gonce are free to cement their relationship, the former with a clean slate if not a heavy heart, Omer emerges as a character to watch, Ardic retires to be superseded by a female modern Turk commissioner hinting towards even more progressive thinking, and Ikmen gasp, foregoes retirement.
So the big revelation from all of this, is to undo the biggest revelation from the previous novel. I don’t like that. It’s an unnecessary psyche that moves the story forward (no one wants Ikmen to retire) in an extremely unoriginal way. The pitch that Ikmen’s job is not done, that he wants to transition in the new Commissioner and lead the way forward with hints of challenges with his friendship Suleyman. They’re okay touches. But that’s it. We end on okay.
Really what this story is about is promoting change, and Ayse’s death is the main vehicle that drives that change. Prior to Body Count it was unclear where Ayse’s story would end. Following the inevitable demise of her damned relationship with Izzet Melik, her failure to move on from Mehmet signified that a happy ending had passed her, and the deluge with Mehmet during the early stages of Body Count suggested this further. I guess there was nowhere left for her to go and it appears that Nadel felt that her absence would be necessary for the continued progression of Mehmet Suleyman. Does true love with Gonce hold? Probably not. Is there an angle with the new Commissioner?
Ayse’s parting gift to us is provided in her absence in a rather touching scene where his wife Fatima, affectionately assists a blood stained and shocked Cetin into bed to mourn. And she stands by as Cetin sends a large amount of money to strangers on Ayse’s behalf as a gesture to her fighting spirit.
Whilst the developments in the character’s personal lives raises the standard to passable, ultimately the story is too thin. And it’s not the progression of the characters or their story that’s the issue. As great as all that is, the challenge for Barbara Nadel moving forward is that you can’t have a crime thriller series without a crime thrilling mystery. It’s a non-negotiable, and it’s where this novel was significantly lacking. You can’t come up with a drama first and then think of a way to tie the mystery to suit the story you want to tell. It doesn’t have an organic feel.
Coming down from the highs that Nadel has been experiencing, 2 stars is still an acceptable though disappointing result… She needs to bounce back however as another novel of this quality would raise the question of whether or not she has taken this series a novel or two too far.