Archive for West End

strange loyalties [book review]

Posted in Statistics with tags , , , , , , , , , , , on April 26, 2020 by xi'an

This book by William McIlvarnney is the third and last one in the Laidlaw investigation series and the most original of the three as far as I am concerned… For it is more an inner quest than a crime investigation, as the detective is seeking an explanation to the accidental death of his brother as well as the progressive deterioration of their relation, while trying to make sense of his own life and his relation to women. It is thus as far a crime novel as it is possible, although there are criminals involved. And Laidlaw cannot separate his “job” from his personal life, meaning he does investigate on his free time the death of his brother.  It is entirely written in a first-person perspective, which makes the reading harder and slower in my case. But an apt conclusion to the trilogy, rather than being pulled into finer and finer threads as other detective stories. Brilliant (like the light on Skye during the rain).

“Life was only in the living of it. How you act and what you are and what you do and how you be were the only substance. They didn’t last either. But while you were here, they made what light there was – the wick that threads the candle-grease of time. His light was out but here I felt I could almost smell the smoke still drifting from its snuffing.”

Laidlaw [book review]

Posted in Books, pictures, Travel with tags , , , , , , , , , on January 21, 2020 by xi'an

I read William McIlvanney’s Laidlaw [in planes last week] after I saw it recommended as a pre-Rankin novel. Which inspired the whole tartan noir literature. Including Rankin’s books, most obviously. The book is set in 1970’s Glasgow, which sounds rougher and grittier than when I was visiting the West End two decades later. The city is described as dominated by thugs, at least in the popular areas, with ultra-violent men running the criminal world, while still maintaining some Calvinist principles. Especially about the place of women and their abhorrence of homosexuality. Besides the very dark atmosphere of the novel, Laidlaw is one of the least conventional crime novels I have read, with more inner dialogues than conversations (an issue with some Rebus novels!) and a strong dose of metaphysics on the nature of crime and justice, guilt and punishment. The style is also much more elaborated, to the point I often had to re-read sentences (some of which eventually escaped my understanding) and not only for the phonetic rendering of the Glaswegian accents (which is much more readable than Irvine Welsh’s Trainspotting). The intellectual detective, Laidlaw, is sometimes drawn in heavy traits (like, why should he keep books by Kierkegaard or Camus and Unamuno in his drawer of his desk), prone to bouts of depression and migraine, and, like Rebus, facing a disintegrating marriage and an addiction to alcohol. Not to mention smoking as most characters are chain-smoking. (This aspect as well as the need to resort to phone booths sets the novel back in time.) His relations with the force are even worse than Rebus’, as his provocations of more traditional colleagues leave him mostly isolated and poorly appreciated by his superiors.

The central character may actually be Glasgow itself, so much do the characters move around it and add permanent descriptions of the feeling of the place(s). Far from pretty, it oozes fear and poverty, desperation and bigotry, but also some form of social link, strongly separated between sexes. The appalling status of women (at least of the women appearing in the novel) is subtly denounced by the novel, even though in an ambiguous way. All in all, an impressive book (and not “just” a crime novel).