Death in Venice

     The Lying Tongue is the first novel by Patricia Highsmith's biographer Andrew Wilson. I've never read Highsmith (whose influence is apparently evident here), and dark psychological thrillers are not my usual fare, but it came highly praised by reviewers whose opinion I trust so I was keen to try it.

     Art history graduate Adam Woods leaves London and a broken relationship to go to Venice to teach English. When his job falls through he becomes factotum to the reclusive writer Gordon Crace, living in Crace's decaying palazzo and subject to his eccentric and demanding will. Intrigued by his mysterious employer, Adam sets out to discover why, when Crace's novel "The Debating Society" was a major bestseller and made his name, the old man has produced nothing else in forty years.

     The book's opening sentence reflects its nature: "Wherever I went I saw a question mark at the heart of the city....the Grand Canal snaking its way through the saturated land, a constant interrogator", and one quickly hears the first of many 'false' notes and knows to question every fact and every impression given. Saying any more about the plot without giving it away is difficult, but "The Lying Tongue" is a descriptive title as one or another main character is shown to be manipulative, devious, amoral and totally unscrupulous.

    This is page-turning stuff, well-executed, clever, keeping the reader guessing right to the end. I was gripped but not, I must say, emotionally engaged - curious to know the outcome but not caring one way or another. For that reason I'd give it four out of five, but then maybe this sort of book doesn't admit of or require any deeper involvement than that? Perhaps those who read more in this area can tell me.

Comments

[Francesca]

I loved all the Tom Ripley's books and have been very disappointed in the movie renditions so far. I wish I was half as articulate as you and could tell you why I enjoyed Patricia Highsmith's books so much, but words fail me. Perhaps the richness of gray tones and the apparent lack of judgment, the clever ways in which she makes you root for the hero while showing you that he's no different from the villain. Lots of moral ambiguity and fine lines being crossed all the time.

[Harriet]

Interesting point about the lack of emotional engagement -- I also felt this when I read the book. And I think it probably is as you say a feature of this genre. But others may have different ideas!

[Elaine]

I agree with the lack of emotional engagement much though I enjoyed this very much. Oddly enough, I have always been unable to get on with Highsmith for the very same reason. I find certain of Ruth Rendell's books, particularly those written as Barbara Vine, have the same effect on me, brilliant though they are.

[Fay Sheco]

The Highsmith biography has been on my TBR list for some time. She was evidently not a very nice person. If you think about her view of humanity, as evidenced in the Ripley books, then it's not altogether surprising that she herself was no sweetie. I do get involved in her books, though. Her timing is perfection.

[John Self]

Oh yes, Highsmith is a must. The 'Ripliad' is her best known stuff but I would recommend titles like Deep Water, This Sweet Sickness, Edith's Diary and The Cry of the Owl as among her very best work. These are all readily available in the UK, as Bloomsbury are currently in the middle of reissuing all her novels in delightful stylish covers. Three more coming out later this month - bliss!