North of Boston. By Elisabeth
Elo. Pamela Dorman/Viking. $27.95.
The latest hard-boiled
reluctant woman detective to appear in a mystery thriller is one of the best.
Pirio Kasparov, protagonist of Elisabeth Elo’s debut novel, North of Boston, is a very familiar type
nowadays – the dedicated, violence-prone male detective of decades past, the
likes of Dashiell Hammett’s Sam Spade and Raymond Chandler’s Philip Marlowe,
having largely disappeared. Nowadays the descendants of Nancy Drew are as
strong, intense and determined as any hard-boiled male, and often have a great
deal more personality – as Pirio does.
Like so many other fictional
investigators, Pirio is a reluctant one, spurred on by personal circumstances –
several sets of them, in her case. The book opens after she has surprisingly
survived four hours in ice-cold water after the boat on which she and her
friend Ned had been setting lobster traps is rammed and sunk by a huge
freighter. Ned is gone and presumed drowned (frequent thriller readers will
wonder if he is really dead); he
leaves behind a son, Noah, and the boy’s mother, Pirio’s longtime friend,
Thomasina. In addition to guilt and uncertainty about the accident – if it was
an accident, which Pirio increasingly comes to doubt – Pirio is pulled into the
usual web of dark doings because of the perfume company founded by her father
and (now dead) mother, because perfumes used to use a whale byproduct called
ambergris as a fixative, and ambergris, Pirio comes to realize, has a lot to do
with what has been going on north of Boston.
The time frame for the book
is a bit unclear and is a weakness of what is otherwise a very strong
narrative. There is no doubt that the book is set in 2013: Pirio specifically states that certain key evidence has not been updated for three years, since 2010. But ambergris is no longer a factor in the perfume business – synthetics
are used nowadays, ambergris being difficult to find and uncertain of supply.
Also, it becomes clear early in the book that Pirio uses an answering machine, and this later becomes a plot point -- and
confusingly pushes the novel’s time frame back a few years. In other
respects, though, North of Boston stays
up to date: Pirio, who is 30, narrates the book and certainly
sounds contemporary. Indeed, her distinctive voice is the main quality that
separates this book from other thriller/mysteries with strong female central
characters. Pirio’s personality and concerns are modern but, within that
context, thoroughly ordinary: uncertainties about love and sex, rebelliousness
without any particular cause, difficulties with her strong-willed father and
her stepmother, cynicism and recklessness tightly bound together, and so forth.
Pirio really isn’t a Sam Spade, although her father, Milosa, pointedly says
that she ought to be exactly that. But she is tenacious, determined, observant
when she puts her mind to it (something she does not always do: she can be a
bit lazy), and true to herself – a necessity for someone who is the moral
center of an amoral universe, which is the usual role of the central character
in books like North of Boston.
Although entirely a genre
novel, Elo’s is not merely a genre
book, thanks to its compelling protagonist. Readers get quickly pulled into
Pirio’s life and concerns – the first-person narrative is quite well done – and
as a result have an emotional investment in the story that is often missing in
thrillers that appeal more to one’s intellect and craving for excitement than to
one’s heart. Pirio has the usual interactions with subsidiary characters: a
journalist who helps her seek the truth, ex-lovers, and so forth – and these
people are not nearly as well-formed as Pirio herself, although her father does
have depth beyond that of an autocratic Russian businessman. Actually, what
takes on the most life in North of
Boston, aside from Pirio herself, are the places where the story plays out,
especially the frigid northern environs that Elo presents with a sure hand for
atmospheric description. There are interesting similarities between Pirio in North of Boston and Edie Kiglatuk,
protagonist of White Heat and The Boy in the Snow by M.J. McGrath, and
other parallels with the Cassie Maddox books by Tana French: McGrath and French
also rely on detailed scene-setting and characterization as much as overt
action and traditional elements of mysteries, thrillers and detective stories.
Elo is a less polished writer than French, but not much less of one than
McGrath, and Elo’s followup to North of
Boston – which is already in the works – is likely to show the author
developing her style and her characterization abilities even further. North of Boston itself is an impressive
debut that never pushes beyond the boundaries of its genre but that makes the
genre itself seem sufficiently intriguing so that readers will want to read
more of Elo’s entries in it, especially insofar as they remain focused on the
harsh but well-modulated voice of Pirio Kasparov.
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