Archive

Posts Tagged ‘Teresa Solana’

The Sound of One Hand Killing by Teresa Solana

The Sound of One Hand Killing

The Sound of One Hand Killing by Teresa Solana (translated by Peter Bush) (Bitter Lemon Press, 2013), is the third in the Barcelona series featuring twin brothers, Eduard Martínez and Borja “Pep” Masdéu, who unofficially act as private detectives. They keep their relationship a secret and just say they’re partners. On this auspicious day, they set off to meet their metafictional client, Teresa Solana. When they arrive at their offices (for which they don’t actually have a lease), they discover the chaos of a break-in. This is not a problem because Borja has the keys of a flat upstairs in the same block occupied by an American. There’s just one problem. When they enter the flat, they find his dead body.

This presents them with a dilemma. Do they meet with the client and then report the murder? In the end, the thought of a cash advance leads to them postponing the call to the police. There’s just one problem. They are hopelessly compromising the murder scene. Fortunately the client does pay them in advance. So everything’s all right. Well. . . if they tell the police, the client will hear they saw her in a flat with a dead body. And then there’s the small antique that Borja had hidden in the flat. That’s not strictly legal, you understand. So what choice do they have but to clean off all the evidence of their presence and leave the doors open so that the smell will attract interest and someone else will call the police. There, you see, an end to another successful day. Except the school pass on the news Eduard’s five year old son is well on the way to becoming a foul-mouthed football hooligan. This is an unwelcome distraction made worse when the police send a car for them. Apparently someone in the building opposite saw the brothers opening the windows in the American’s flat. No that must be a mistake, surely, their offices are immediately underneath.

Teresa Solana

Teresa Solana

The moral of this story is that, when you’re already in a hole, there comes a point when you must stop digging. It’s just that our two heroes never seem to have received this message during their basic training for doing whatever it is they do. That means it never rains but it pours and then the wind gets up and blows away their umbrella, and lightning stalks the land. It’s at times like this they should go to Zen Moments for a little meditation and relaxation.

From this introduction, you will understand the book is delightful fun. The whole point of farce is that the objective observer can see the build up to the approaching disaster but the protagonists remain oblivious. What gives added edge to the anticipation is the general air of improbability about the set-up. Surely no-one would get into this sequence of events and allow them to proceed. It would be absurd. . . but then we all think back to those times when we were caught up in events beyond our ability to control. We too were swept along and ended up the proverbial creek without a paddle.

This is not to say The Sound of One Hand Killing is a comedy. That rather misses the point of farce. Although there are times when we, the audience, do laugh, the reality of the situations is often more cruel. Because of all the mistakes, misjudgments and misunderstandings, the characters frequently find themselves on the receiving end of humiliation and defeat. In more extreme cases, the threatened consequences of disclosure and discovery can be far more severe. If we do find this comic, it’s only because of schadenfreude, the sense of relief that we are not caught out in this way and some degree of pleasure the characters deserve their misfortune. Well, perhaps not all the misfortune of our heroes being involved in another murder and then kidnapped. It would be so helpful, in times such as this, to be able to speak more than just Catalan and Spanish. But you just can’t prepare in advance, particularly if you think you might be in China. Well that might just be another misunderstanding. And then they have to account to the metafictional author and, of course, there’s still the problem of who had what and wanted it, but might have got something else instead, or not as the case may be. On the way, at least one of the crimes committed is solved which is always reassuring because this is supposed to be a detective murder mystery novel. Or perhaps that’s not the point at all. You really should read it yourself and make up your own mind. I was fascinated.

And as a final thought, don’t forget the healing properties of purée of asparagus.

For a short collection by Teresa Solana, see Crazy Tales of Blood and Guts.

A copy of this book was sent to me for review.

Crazy Tales of Blood and Guts by Teresa Solana

Crazy Tales of Blood and Guts

Crazy Tales of Blood and Guts by Teresa Solana (translated by Peter Bush) (Bitter Lemon Press, 2013) a short ebook collection @ $3.99, starts with “Still Life No 41”, shortlisted for Best Short Story in the 2013 Edgar Awards, in which the young twenty-six year old Director of the Museum of Ultra-Avant-Garde Art is pushed out of her job on the orders of the Minister of Culture. She’s naturally outraged. While it’s true she only got the job because the previous director had been her uncle and her father used his political pull with the Minister, it wasn’t her fault that the first exhibition she curated should turn out like that. The Museum had been negotiating for two years to persuade the artist to allow his work to be displayed. Our first-person narrator simply came in at the end with the deal in place. All she had to do was display what arrived. Which is what she did even though there was one more piece than the Museum was expecting. The launch was a triumph. Even the canapés were deemed sensational. After the excitement of the opening, every art critic who attended during the first days of the exhibition was ecstatic, confirming the forty-first work to be one of the finest example of modern art he or she had seen for years. It’s all so unfair she should be the political scapegoat.

Teresa Solana

Teresa Solana

The reason why “A Stitch in Time” is so successful is the tone. I mean if I was going to do something like this, I would have to be organised and stay calm. This is not the kind of thing to do when you’re all-a-flutter. Perhaps one of the more powerful anti-anxiety pills would be a good idea, just to settle the nerves but, once started, I would need to keep myself in one piece emotionally without external aid. And then it’s all as I rehearsed when the police come. Oh yes, the police are almost certain to come. But I’ll have everything ready by then. . . It’s the same with “The Thought That Counts”, a strangely dispassionate history of the life of a vampire. Did you know what having your very own vampire in residence does for the tourist trade? Everyone wants to come for the dark and forbidding castle and to sample the atmosphere where the beast sucked the life out of so many virgins. Anyway, having lived a lonely unlife through the centuries, you can imagine how our hero feels when someone tells him another bloodsucker has moved into his territory, and without so much as a by-your-leave or a friendly “Hello”.

“The First (Pre) Historic Serial Killer” shows a troglodyte of above-average intelligence tasked with the job of investigating three murders. Someone is bashing out the brains of his fellow cave dwellers with conveniently-to-hand rocks which is disturbing the amenity of the cave and putting some of the other men on edge — at least those bright enough to see a correlation between dead men and blood-stained rocks left a few feet away from the body. Our hero is able to discount Geoffrey as a suspect because a bear ate his arms which makes rock-wielding a challenge. But be reassured, our Sherlock of the Stone Age is going to crack the case as soon as he realizes the game’s afoot, or something. And finally, “The Offering” has a pathologist readying himself for an autopsy without realizing it’s the body of one of the secretaries working at his clinic who’s apparently committed suicide. When the truth sinks in, he grows obsessed with the question why she should have taken her life. He visits her apartment and learns something of her by observing what she left behind. But it’s when he confronts the body that he realizes her motive. This story, like the others in this short collection, has a brooding sense of tragedy overlain with a satirical sensibility.

Thematically, we’re concerned with individuals who find their lives turned upside down by events. The Museum director accepts the additional exhibit, the mother can only find love for her child, the vampire is first curious then angered another is attacking the people who live around him, the detective who can penetrate the mysteries of life, and the pathologist who finds unexpected beauty. Set out in simple phrases, this fails to capture the wit and humour underlying the sometimes gory subject matter. Crazy Tales of Blood and Guts is not quite black humour, but it’s certainly dark grey and a delightful surprise in a world that’s largely forgotten the function satire is supposed to perform, i.e. as a form of social commentary or criticism designed to encourage the world to improve. This review should encourage us to try Teresa Solana’s latest mystery novel The Sound of One Hand Killing which comes out in May.

For a review of one of her novels, see The Sound of One Hand Killing.

“Still Life No 41” was nominated as in the Best Short Story category of the 2013 Edgar Awards.

A copy of this book was sent to me for review.

%d bloggers like this: