The last time I picked up a murder mystery was in high school. I was hooked onto Perry Mason back then, and the legendary lawyer and his dashing friends were a staple of our weekly library rounds. Eventually those books gave way to Michael Crichton and Ken Follett and David Baldacci and then I moved onto Amitav Gosh and Terry Pratchett.
In short, Dark Places by Gillian Flynn was my first murder mystery in ages. I don’t pretend to be connoisseur of the genre, but I had enjoyed Gone Girl the movie and I was looking for a book that would keep me turning the pages. The book delivered what it promised—it had me hooked, it surprised me, it had that final ‘aha!’ ending. It was grippingly written and it had everything that should have made it a great thriller—from Satanism and drugs to teenage pregnancy and child abuse. And yet, there were some points in the narrative where I could barely stop myself from rolling my eyes. It felt too in-your-face-obvious and trying-too-hard.
Why? Some of it was a problem of style. Dark Places was Flynn’s second book and I’m assuming her style will only grow smoother. Writing a good mystery is like pulling of a great card trick—the watcher knows something is going on, but they’re always one step behind. If your sleight of hand is clumsy—not quick or smooth enough—the trick fails. Some of the ‘clues’ felt a bit too obvious—the narrative flips between two timelines, one in the past and one in the future—and some past events mentioned in one chapter were immediately picked up in the investigation in the next chapter, leaving the reader feeling that they’ve been hit with a forensic brick. Continue reading