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4.0étoiles sur 5
Another Good Book from Boris Akunin!, Jui 23 2004
Boris Akunin's Murder on the Leviathan is the second English language publication of a series of novels involving Russian sleuth Erast Fandorin. Leviathan is different in tone and structure from Akunin's first Fandorin mystery, The Winter Queen, but makes for a worthy successor. The reader should note that this is actually the third book in the Erast Fandorin series but only the second published in English. Murder on the Leviathan does contain a couple of references to Fandorin's adventures in Turkey, that formed the basis of the second book, but those references do not have any impact on the reader's ability to enjoy this book standing on its own. It is no insult to advise the reader that Murder on the Leviathan is a highly structured, formulaic mystery that is written within the clear guidelines established for genre-mysteries in the Agatha Christie tradition. The enjoyment to be gained from reading books of this sort is derived from the writer's ability to work within that structure in an entertaining and exciting way. Akunin accomplishes this task with ease and, in the process, also manages to add a few new wrinkles to the genre. The story centers on a gruesome mass murder carried out in connection with the commission of a brazen robbery of a priceless Indian shawl in Paris in 1878. The investigation is led by a less than stellar Parisian detective, the aptly named Inspector Gauche. Like Christies' Murder on the Orient Express, the initial investigation leads Inspector Gauche to a restricted setting with a limited number of suspects. In this case the setting is the S.S. Leviathan, making its initial voyage from Southampton, England to Calcutta,India via the Suez Canal. Inspector Gauche boards the ship in Southampton after determining that the murderer will be on the vessel. Suspects are readily identified. Those suspects are a diverse bunch. They include an upper-class Englishman of dubious sanity, an apparently delicate young Swiss woman in the middle of her first pregnancy, a mysterious Japanese army officer whose knowledge of things military seems a bit sparse, and a professor who just happens to specialize in ancient Indian artifacts of the sort found missing in Paris.
Everyone has, or appears to have a motive. As the story unfolds the reader is provided with any number of clues and red herrings as is common of this sort of mystery. The story races to its inevitable and dramatic conclusion. It would be unfair to reveal more. As noted earlier, the success of a book of this type centers on the ability of the author to work well within the established formula for these sorts of parlor mysteries. Akunin handles the formula with aplomb and grace and even breathes some fresh life into this venerable category of mystery books. First, Leviathan does not consist of a straightforward narrative written in one voice. Rather, each chapter is written in the voice of one of the characters in the book, whether Inspector Gauche, one of the suspects or our own Erast Fandorin (more on his role in a bit). The story is advanced in each chapter but the change in voice adds a different perspective and insight. It also leads the reader to wonder whether he was reading the words of a guilty or innocent party. This structure added a layer of interest to the story and also served to paint the characters with a deeper, fuller brush. Second, Erast Fandorin, although arguably the 'hero' of these stories plays a somewhat minor yet very critical role in the development of the story and the ultimate solution of the crime(s). Fandorin does not join the ship until it has made at least one port of call. Fandorin does not take charge of the investigation. The bumbling, pompous Inspector Gauche remains firmly (or so he thinks) in charge of the investigation. Fandorin only interjects himself into the action when it becomes clear that Gauche is about to veer dramatically off course. When Fandorin does talk - people listen - and the reader pays attention. For example, it is Fandorin, alone amongst the passengers who has some understanding of the manner and way of thinking of the mysterious Japanese passenger. In fact, Akunin in real life speaks Japanese fluently and at one point in his life worked as a Russo-Japanese translator. Keeping Fandorin off center stage also allowed the other passenegrs room to develop as characters as the story progresses. It was not all about Fandorin and the greater development of the other passengers' characters made for a more compelling read. Fandorin's role also happens to be the books primary weakness in my opinion. I purchased Murder on the Leviathan in part because I was drawn to the character of Fandorin that Akunin had set out so masterfully in Winter Queen. The conclusion of Winter Queen left me wanting to see Fandorin grow and survive. I did not see that in Leviathan except for one section where Fandorin looks into the tortured soul of one of his fellow passengers with great empathy and understanding. This minor disappointment was outweighed though by the story itself and by the way Akunin told the story. I do look forward to seeing more of Fandorin in future volumes of the series. I did like this book. I think anyone who likes this type of mystery genre will like Leviathan. First, Akunin shows respect for the structure. Second, Akunin's respect for the form did not prevent him from writing a highly entertaining and fresh piece of work. I only add that reading Winter Queen is not a prerequisite to enjoying or understanding Murder on the Leviathan. It would, however, enhance the reading experience.
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de Boris Akunin
de Boris Akunin
de Boris Akunin
de Boris Akunin
