![]() ![]() The “dead girl” trope in crime fiction is the subject of much criticism and debate. US author Alice Bolin writes in her book of essays Dead Girls: “The victim’s body is a neutral arena on which to work out male problems.” In some ways this rings true in The Way it is Now: Charlie’s mum is somewhat downtrodden as a mother, ex-wife and landlady to key male characters, her position is relational to the men in the novel. Although Charlie’s mother is more complex than the standard female cadaver, her death is in many ways the catalyst for her son’s narrative. Disher leans further into this trope than most writers, turning the narrative towards the dynamics that allow toxic masculinity to fester as Charlie reflects on his relationship with masculinity and power, and his fear of becoming like his father. The sun-bleached, asbestos-lined beach shacks of Swanage are like a metaphor for the tired attitudes of the old cops who still roam the streets. The town feels out of time, ripe with nostalgia and sweltering summers. The threatening presence of detective Valente seems to seep into all corners of the investigation. ![]() There is a power struggle happening here, not just between Charlie and Valente, but between progressive and outdated attitudes.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |