The Trouble With Charlie by Merry Jones
The whole point of a narrator is to supply the point of view through which the story is told. This person will pass on all the relevant facts, give opinions, and offer insights. In other words, this well-informed character moves the story on through the plotted situations until we arrive at the end. Except some authors choose to make the narrator unreliable. He or she now fails to pass on all the relevant facts, gives opinions and insights based on misunderstandings, or just flat out lies when it suits him or her. This makes a good game for the author to play against the reader. It all comes down to deciding just how untrustworthy the narrator is. You will notice this distinguishes the literary device from the unfiltered omniscient author who tells us all we need to know. Through the unreliable narrator, the author can deliberately hide information from the reader, or if the narrator gives factually correct reports but misinterprets them, it’s left to the reader to see the narrator’s errors.
So here comes The Trouble With Charlie by Merry Jones (Oceanview Publishing, 2013) and a first-person narrator who breaks new ground in unreliability. During the course of the book, she’s diagnosed with a dissociative disorder. This confirmed medical condition gives rise to periods of detachment from surrounding events, i.e. she may be physically present but not paying attention. This means she may not be aware of the fine detail of what people tell her. She’s also likely to suffer amnesia following an emotionally stressing event. In both cases, she’s likely to invent information to hide her inability to accurately remember what happened. This can be very confusing to those who don’t know her. Finally, she’s likely to talk to people who aren’t there.
How does this relate to the plot? Well, the Charlie in question is both the husband who has separated from her and lives elsewhere, and the unfortunately dead body in her home. He has a kitchen knife rather prominently displayed in his back and she has a cut on her hand that was almost certainly caused by that knife. She finds the dead body when she returns from from her first time at a bar after her breakup. Although there are plenty of witnesses to show her at the bar, the ME gives a window of opportunity for her to have killed him before leaving home. Worse, she also inherits a tidy sum on life insurance policies (so long as she did not kill him, of course). That gives her motive and opportunity, and makes her the prime suspect. Normally people can explain events, but she has no memory of what she did before going to the bar. Naturally, the police think she’s faking the amnesia and is therefore guilty. She therefore chats to Charlie on a regular basis which would be useful if he knew who killed him. You’ll remember the blow was struck from behind. So he can’t help her fill in the gaps in her memory. Perhaps hypnotism would help.
Then she finds herself in danger and attacked by rather a strong man. She’s able to fight him off and kills him in the process but, of course she can’t clearly remember killing him. She has concussion and obvious wounds. It looks like a clear case of self-defence, but she can’t remember killing him. That could be a major problem if, in fact, someone else killed him while she was unconscious. Why would anyone do that anyway? So now the police are looking at one woman and two dead bodies. They begin to see the beginning of a pattern. Like the narrator, we’re just watching events unfold with not a clue what’s really going on. Fortunately, she has some very loyal friends to give her support and, while she was at that bar, she met an attractive man. Perhaps if she went out on a date with him, they could really hit it off and be happy together (so long as she manages to avoid going to jail for murder, of course).
The first part of this book is actually quite spooky. For a while, I was unsure whether this was a straight mystery or there was a supernatural element. In its own way, this makes for a very successful introduction to our narrator because it immediately highlights the problems she has in interpreting what she sees. Once we get past that, the book settles down into a pleasing rhythm as new evidence comes to light which shakes her confidence in her husband. She had always seen him as somewhat dishonest but basically nice. This information might suggest he was involved with a very unsavory crowd. When she asks him, he’s not completely convincing in his denials. Some men! You just can’t rely on them to tell you things, even when they’re dead. From this you will understand there’s quite a lot of pleasing hokum going on. I found the whole book great fun even though there’s quite a high body count and obvious danger to our amnesiac heroine.
With the one caveat that I think the end is slightly over the top — I understand why it ends this way but. . . — The Trouble With Charlie is very entertaining and the structured revelations as odd pieces of memory return are elegantly handled. Overall, I conclude the book is well worth picking up as a mystery shading into a thriller when the mood takes it that way.
For a review of the next in the series, see Elective Procedures.
A copy of this book was sent to me for review.