What is Kerry Greenwood really doing in this book? As a lawyer she holds particular skills, as a fiction writer she wields other skills, and as a daughter with a parallel presence she enters this singular mystery as if she has some claim upon it that none of the rest of us have.
But what is she really doing?
Through each of these pathways Kerry Greenwood is triangulating, not toward the man found on Somerton Beach in South Australia in 1948, but to herself.
Let me explain.
Triangulation is a method of calculating placement from a distance. By relying upon two “known” points a third is more accurately measured to signify an ability to control space beyond one’s immediate grasp.
With each set of facts presented by Greenwood in this volume, she unpacks items into a list for ready display. She then places items from one display against similar items in another display. Interpretations are offered of each “image” against a shimmering backdrop that covers the false foundations, and hey presto! anything is possible – while of course no conclusion is every reached.
Thus the reader is totally in the hands of Greenwood, or at least her mind, and there is no effort at all involved in keeping up with the pace of distractions, contractions and absurdities that she leads us through. All very amusing if you like that sort of thing.
Meanwhile there is a body as evidence, if not a body of evidence.
Let me also explain that.
If someone wanted someone else to disappear, well they could make sure they never appear again by some means or other.
Yet here is someone seemingly unidentifiable, who is not only displayed through the media at the time of his death – first December 1948 – but who is dragged back into the spotlight at this time in world events to be used for the conveying of a particular, yet undisclosed, message.
The key here is that a coded message was attached to this unidentified man. As with all messages it is open to interpretation. As with all coded messages, the specifics of who will get the closest interpretation of the sent and received message is the audience for who the code as well as the message is intended.
The rest of us are “just bystanders”.
And the thing with bystanders is what they are willing to buy.
As Kerry Greenwood knows, a lot of bystanders will buy into any mystery like a bet: I bet this writer doesn’t know what they are talking about, is a pretty clear odds-on favourite.
The longer shot, and therefore more in the triangulation game, is the stab at a solution and reading everyone else’s version to see how close they get to your own view. Of course, if you never publish your own view odds of someone else guessing it if it falls outside the usual range are pretty high that you can maintain your own sense of “winning” against their “not knowing”.
But what sells more papers/books is the punter who gives a little tease of attention to keep the whole story “fresh”. Anyone prepared to ask another question, tackle it from a slightly different angle, ask “what was that again?” (whether item in pocket, evidence given by some other party, reference to some distraction that seems similar but wasn’t really anything to do with the case in point).
The more you talk “about” something rather than to it, the more such distractions become the alternative to getting bogged within the dissoluble. Movement is created without affecting the case in point. And so the immovable point retains its mystery, and the rest of the world can continue to turn around its edges, affected only to the degree that it attracts their attention from time to time. And this time it was over 60 years after the event, so that might be more effective than the tombstone on the unknown man’s grave (funded by public subscription).
What is Kerry Greenwood doing in this book? A lot more than you might have thought before reading this review.