Midnight in Peking: How the
Murder of a Young Englishwoman Haunted the Last Days of Old China. By Paul
French. Penguin. $26.
Helen Keller in Love. By
Rosie Sultan. Viking. $26.95.
A superb book of
investigational scholarship that reads like a gritty fictional murder mystery, Midnight in Peking not only tries to
solve a 75-year-old criminal case but also brings back to life a
long-forgotten, long-buried time and place: China just before the outbreak of
World War II, in the days when the Communists under Mao Tse-Tung (as his name
was then spelled) were being consistently underestimated, while the ruling
Kuomintang was crumbling from its own internal corruption and rottenness. Business advisor Paul French, who lives in
Shanghai, vividly re-creates “Old China” in both its grandeur and its
deep-seated decay. His story is about
the murder of 20-year-old British schoolgirl Pamela Werner, whose horrendously mutilated
body was found on a Peking street on January 8, 1937. British Detective Chief Inspector Richard
Harry Dennis and Chinese Colonel Han Shih-ching both investigate the case, from
very different and often conflicting angles – this is a genuine clash of
cultures and priorities, not a manufactured one. Somehow their work goes nowhere, and the
official investigation is eventually dropped – at which point Pamela’s father, former
consular judge E.T.C. Werner, described at one point as “a cantankerous
irritant,” launches a private investigation of his own. Slowly, slowly, the details of what happened
to Pamela begin to emerge, as French takes readers into a tremendously seamy
underworld of “secret and sordid connections” in which expatriates of all
sorts, from British to White Russians, plus Westernized Chinese, participated
in social interactions that included opium, prostitution, entrapment of unwary
young women, and viciousness so brutal that reading about it is genuinely
painful. In carefully structured prose,
following the findings of E.T.C Werner and elaborating upon them, painting
scenes with the accuracy of a camera and the eye of an artist, French meticulously
builds a case against certain specific individuals and against a society that
had its own reasons for not delving too deeply into Pamela’s murder: “By the
time Werner began his investigation, Colonel Han had been ordered by Peking
police headquarters at Ch’ienmen not to talk about the case. The incident room
at Morrison Street had long been dismantled, the crime-scene photos taken down
and filed away.” The dogged
determination of the victim’s father is matched by French’s own insistence on
learning about details of life at the time of the murder – the use of old
spellings of Chinese names is just one way in which French creates a feeling of
an age long past. French inevitably
indulges in speculation in dialogue and narrative: when people talked to Werner
about his daughter’s killing, “it might not just have been about the cold, hard
cash; perhaps it was guilt, the burden of knowing too much and not speaking
out.” But many elements of Midnight in Peking that would seem to be
barely believable coincidences in a work of fiction really happened. For example, when the Japanese occupiers
rounded up Allied nationals in Peking in March 1943, two of the men were Werner
and a dentist named Wentworth Prentice, who Werner was sure was Pamela’s killer
and likely one of the men who gutted her body, dismembered it and drained it of
blood – and the two were locked up together by the Japanese. Old history Midnight in Peking may be – E.T.C. Werner died in 1954, old China
15 years earlier – but French brings the time, the place and the people
intensely and at times frighteningly back to life, offering closure, if
scarcely calm, to whatever may remain of Pamela and those who knew her.
Helen Keller in Love features a far more famous woman, but it too
delves into a very-little-known incident – in the form of a novel, however,
rather than a nonfictional work. Historical
fiction with a romance-novel overlay, Rosie Sultan’s book focuses on Keller’s
relationship with a young reporter named Peter Fagan, who came into Keller’s
life at a time when her famed tutor and companion, Annie Sullivan, was thought
to have tuberculosis (in what proved to
be a misdiagnosis) and was for a time unable to maintain the intense and even
suffocating contact and control that were hallmarks of the Sullivan-Keller
relationship. Sultan has Keller herself
narrate the book, which is not an especially happy decision, since the writing
– this is Sultan’s first novel – is not always at Keller’s level or, indeed, at
a particularly high one: “They say love is blind. But fame can blind a person, too.” “…[N]ow I craved freedom.” “…the impenetrable fortress of my
family.” “I was no longer frozen in my
grief. I had a voice, and I intended to
use it.” “I wasn’t always a sure
thing.” “On stage I am the center of the
universe.” “The stars were dead, the
universe stalled. I had no burning thing
at my center.” Stylistic inelegance
aside, Helen Keller in Love is an
often-fascinating book, because it shows a very human side of one of recent
history’s idols, making it clear that Keller was as much a captive of the
societal norms of a century ago as she was of her own physical limitations –
more so, in fact. Some of the public
Helen Keller is here – her opposition to United States entry into World War I,
for example – but the book is intended mostly as a private memoir. A lake swim, a marriage-license application,
train trips, all the normal elements of life in the early 20th
century, become far from routine, because Helen Keller is at the center of all
the mundane events. Fagan is a weaker
character, pulled along in Keller’s orbit, his motivations never entirely
clear, his eventual abandonment of Keller therefore not completely understandable
either. The imagined dialogue between
the lovers is more the stuff of romance writing than anything else, which does
not mean it is always bad but that it is usually trivial. Perhaps much of the talk between lovers is
indeed superficial, and perhaps Sultan’s intention is to show that even a
remarkable woman such as Keller was just like everyone else of her time when
she was in love and hoping for marriage and family life. Certainly Sultan does not mean to trivialize
Keller – the book is in large part a tribute to a woman whom Sultan has long
admired. “There are so many ways to show
love,” Sultan has Keller write at one point, and certainly Helen Keller in Love is a way for an author to display her feelings
for a character out of history. The book
gets a (+++) rating for its sincerity and its attempt to get beneath the public
surface of a famous individual to the human being underneath; but it is not, finally,
a much more engaging read than a romantic novel involving make-believe people.
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