Reading my way through the 87th precinct series in chronological order, this struck me as a good one. Extremely interesting in many ways, steadily pleasurable to read, well-written. The dialogue was crisp and effective too. Is he learning to use fewer adverbs? Or has he acquired a better editor? I don't know but long stretches zip past with no troubling attributives and the effect is good. He's also relaxed in this novel and effortlessly confident.
In the previous two volumes, The Empty Hours (three long-short stories) and Like Love, I felt amiably distanced from the victims. Here, McBain wrings the emotive charge more sharply by allowing you to identify with each of a series of victims just before they die. He's done this before (the last few minutes of a person's life) and he likes the drama of it and does it well. He's never done it through a whole series of victims (the killer is attempting to polish off a list of ten, as the title suggests) and he likes the challenge of all those varied characters and the mini-character-sketch opportunity.
There are other things I particularly enjoyed here, and they're products of the laid-back approach to the tale. Bits of humour, like the character Quentin (first name Stan) who is puzzled by the fact that the detectives find his name funny. The similarity to a well-known prison has never struck him, rather like the character in I think the very first novel, Cop Hater, whose name is Ernest Hemingway but -- since he never reads -- is entirely unaware of the resonance . Whenever Meyer Meyer features, McBain starts playing about with names, and somehow the absurdity is both amusing and true to life.
The ten potential victims here are each distinctive. McBain had an incredibly fertile imagination for character. Either that or an ongoing interest in people. Maybe he collected them. One here is a gag writer: he writes the brief situations that cartoonists later illustrate. So we see the precise format a gag writer creates to sell his copy. So not just police procedural detail here but gag procedure precisely described. Fascinating.
A journalist quite often pops up in the series. There's one in See Them Die, and McBain uses them to show a different angle on the story, simply because he loves the possibilities, the different ways of looking at any set of events, depending gender, role, reason for sharing etc. Here he briefly features a reporter for a 'blue headline tabloid', whose editor has decided "illiterate people" "would ... prefer reading each story as if it were a chapter of a long novel about life". I wonder who he's getting at here? I bet there was a specific target. Anyway, one of the victims is shot through the window of a restaurant. The reporter writes (I would put this into a fully justified column but the html won't let me) as follows:
The tall man was drinking Scotch.
He sat by the restaurant window
watching the rush of humanity out-
side, thinking private thoughts of
a crusader who has foolishly and
momentarily taken off all his arm-
or. He could have been a Columbus in
other times, he could have been an Es-
sex at the side of Elizabeth. He was,
instead, a tall and impressive man
drinking his Scotch. He was soon to
be a dead man.
Then McBain descends into barbed sarcasm. "But in addition to a city editor who had the notion that everyone was an illiterate except maybe himself, the paper also had a typesetter who thought that people enjoyed working out cryptograms while reading their newspapers. When you were dealing with illiterates, it wasn't necessary to give the facts in the first place, and in the second place it was always necessary to garble every line of type so that the story became even more mystifying and, in many cases, practically unintelligible." So the earlier reporter's paragraph, at the hands of the cryptographic typesetter, becomes:
Thet allman was drinking Scotch.
He sat by the restaurant window
watching the Russian humanity out-
side, thinking private thoughts of
sex at the side of Elizabeth. He was,
a crusader who has foolishly and
momentarily taken off all his arm.
Or he could have been a Columbus in
other times, he could have been an Es
DRINKING HIS SCOTCH. He was
soon to be a dead man.
This is really an 'in' joke for anyone working in a newspaper or despairing of newspaper copy. As a proof-reader and editor myself, I found it pure delight.
Lastly, there are some passages that are so politically incorrect to today's reader that they create their own fascination. Two detectives beat a potential suspect to a pulp because they're bored, for example. It's a brutal scene. They're not 87th Precinct staff. If they were, their better nature would have restrained them, or Lieutenant Byrne or Carella would have stepped in or stopped them locking the door of the interview room. But this pair are as nasty as it gets.
And there's a scarlet woman. McBain's female characters often remind me of Action Comics heroines: Wonderwomen, with wasp waists and breasts pointed towards the clouds, so their highly sexualised appearance also has the mock-innocence of a cartoon. I'll close with a quote that illustrates Helen Struthers inviting a fate worse than death simply by her appearance:
"She spoke in a normally deep voice that carried the unmistakable stamp of elocution lessons. She kept both hands on the slatted rail divider, clinging to it as if it were a lover. She waited patiently, as though embarrassed by her surroundings and embarrassed, too, by the mature ripeness of her own body. And yet, her own awareness seemed to heighten the awareness of the observer. She was a potential rape victim expecting the worst, and inviting it through dire expectation. It took several seconds for the detectives to extract the maiden name 'Struthers' from the names fore and aft, and then to separate it from the heavy miasma of sexuality that had suddenly smothered the room.
'Come in, Mrs Vale,' Carella said, and he held open the gate in the railing for her.
'Thank you,' she said. She lowered her eyes as she passed him, like a novice nun who has reluctantly taken a belated vow of chastity. Meyer pulled a chair out from one of the desks and held it for her while she sat. She crossed her legs, her skirt was short, it rode up over splendid knees, she tugged at it but it refused to yield, she sat in bursting provocative awareness."
So no -- you couldn't write that now. Have we moved on? Are we better than that? Or have we ditched the fun of the sex war in our determination to properly respect everybody? I don't know. But I confess I enjoyed Helen Struthers Vale far far more than I should have.