The opening to Girl in the Ashes by Douglas Weissman is gripping and gruesome, like a scene from Criminal Minds: a seasoned sadistic serial killer inflicting the last vindictive pain prior to dismembering the restrained victim to feed into a kiln. Followed by his clothes and personal belongings to erase all evidence of existence.
Only this isn't the United States, it's Paris in June, 1940, just as German forces assume occupation of the undefended city. And the killer is an embittered young woman, Odette Lefebvre. Her rage was born ten years earlier with the trauma of seeing her mother die; her joy in the kill likely inspired by having killed her mother's molester at that same time; her craft enabled by Odette's neighbour and mother's friend, Agnes, who came to help the pre-teen by showing Odette how to operate the kiln in the building's cellar.
Over time Odette's taste grew for hunting men (and only men) she deemed deserving of such punishment. Lechers, abusers, and the like. Essentially a murdering vigilante. In the novel, men are consistently presented as weak, cowards, dissolute, or all of the above while the women (Odette, Agnes, Ilse) exude strength, giving the novel a feministic slant.
The righteous dark side of Odette is somewhat mitigated by her profession (nurse), her poetic sensitivities, and a willingness to protect and fight for the underdog since childhood. She once aided her polio affected friend, Aloysius (Agnes's son), with some local boys, earning his lifelong adoration. Agnes knows what Odette is up to, even supports it to a degree, but her son is unaware of the beast stirring inside her.
The German presence doesn't stop Odette's activities but does complicate them, especially after a cruel German doctor, Ilse Kohler, takes a special interest in the nurse. Their symbiotic compulsion to murder naturally draws them together to forge a tense cat-and-mouse relationship that propels the main plotline to the novel's conclusion.
But before that plotline solidifies, the story tends to meander and sprawl, with points-of-view and arcs from other characters, minor and major. It's all interesting but gives the sense of a lack of structure in the middle, with chapters and scenes following a rather disjointed chronology. Often there's a jump to the past with one character, to back story, without warning, only to then suddenly return again to the present with another character. It isn't difficult to figure out after a sentence or two, but the transitions could be smoother.
For those who extol the virtues of sensual description, this novel presents a vivid smorgasbord, particularly for the olfactory. For me the plethora of vile and pleasing odours, although well written, was overdone. I'll emphasize that that's for me. I suspect there are many readers who will appreciate it.
As they will, along with myself, how the general atmosphere of occupied Paris is described, with its privations under the oppressive aura of Nazi occupation. The French decision to leave Paris to the Germans meant those who didn't evacuate could functionally go about their lives, just without luxuries and few essentials. The threat of punishment or confinement only existed for the Jews or for those who created trouble.
Only it's not in Odette's nature to not cause trouble, to not fight for those she feels deserve it, not to mention aggressively protect her secrets. This becomes more difficult as her connection with Dr. Kohler grows more uneasily entangled, and as Aloysius starts poking around. Odette's decisions, along with those of other characters, come together to help the novel finish as strong as it started.
I received an advance review copy for free, and I am leaving this review voluntarily.