Brenner and God is the first book in the “Brenner” series to come out in English, and only the second Wolf Haas title overall. The Weather Fifteen Years Ago came out from Ariadne Press a few years back and blew away the BTBA fiction committee—one reason why I was really excited to pick up this novel.
Unlike Weather, which is a postmodern, playful novel that’s one long interview between a female book reviewer and Wolf Haas, Brenner and God is a fairly straightforward detective novel. It centers around Brenner, a former detective who is now a chauffeur for a two-year-old girl whose father is a “Lion of Construction” responsible for building the controversial MegaLand, and whose mother runs an abortion clinic that is constantly besieged by protestors. So when Helena disappears from the back of Brenner’s car, he has dozens of suspects to investigate . . .
I don’t read a lot of detective novels, so I’m not sure exactly how to categorize this. Tom Roberge and I talked about on our most recent podcast—the difference between crime books that focus on the horrors of the criminal mind, and the ones that function more like a puzzle. In which case, Brenner and God fits more into the second category. There is some violence and gross killing, but the motives of those involved aren’t necessarily psychotic, per se. It’s more about business and politics and sex.
In that way, and in terms of the overall tone of the book, it most reminded me of early Echenoz (Cherokee, Double Jeopardy, Big Blondes) and Rubem Fonseca (High Art). (Although to be accurate, Fonesca writes about some totally fucked up characters, especially in our collection The Taker & Other Stories.)
Evaluating this as a detective novel, I found it really satisfying. A lot of “clues” are laid out, and everything unspools and fits together in a way that’s nicely paced and keeps the reader guessing right along with Brenner. It also includes a lot of the necessary tropes: a retired detective called back into service, a slew of dead bodies, clipped conversations, decent sleuthing, tense situations, a car chase, a kidnapping, a hot redhead, and some banging. It’s a very entertaining book to read, and I’m convinced that these books will gain a larger and larger following as more of the titles from the series become available.
Now, onto my issues.
One of the most notable features of this book is the narrator. Rather than being told from a first-person p.o.v. or from an omniscient, distanced p.o.v., the narrator in Brenner and God is also a sort of character—one who is maybe similar to Brenner, but has a distinct personality and is relating this story in a self-aware way that’s only somewhat successful:
My grandmother always used to say to me, when you die, they’re gonna give that mouth of yours its own funeral. So you see, a personal can change. Because today I am the epitome of silence. And it’d take something out of the ordinary to get me started. The days when everything used to set me off are over. Listen, why should every bloodbath wind up in my pint of beer? Like I’ve been saying for some time now, it’s up to the boys to take care of. My motto, as it were.
Personally, I prefer to look on the positive side of life these days. Not just Murder He Wrote all the time, and who-got-who with a bullet, a knife, and extension cord, or what all else I don’t know.
As a sort of companion through Brenner’s complicated affair, this narratorial voice works pretty well. It helps to create a sort of fun, almost jokey tone that elevates this from being a horrifying book about a child kidnapping into something that’s more literary, almost a reflexive look at what makes detective novels detective novels. (Which brings to mind Butor’s Passing Time, a truly amazing book that should definitely be reprinted by Dalkey or New Directions or Alma Books or Open Letter or someone.)
This narratorial technique also allows for shifts in scenes and perspectives in a way that feels more conversational than contrived—a line that a lot of detective books have to walk. It also allows for Haas to call attention to particular bits, either as a way of generating tension and readerly interest via heavy-handed foreshadowing (the constant references to the “five deaths” and how the city will be torn apart at the end of the book), or of distracting the reader from some other potentially useful detail.
My problem with the narratorial voice is pretty specific. First off, the sort of intentional heavy-handedness comes off as a bit condescending to me. I swear, the phrase “pay attention” appears at least 400 times every chapter1 and becomes the most irritating of authorial tics.
Pay attention: Natalie was the clinic’s psychologist, because a pregnancy’s never terminated without psychological counseling. [. . .]
Pay attention. Brenner was thinking to himself, _Milan will definitely know someone who can unlock Knoll’s phone for me, the sort of thing someone at a gas station knows. [. . .]
And I’ve got to say, Brenner had seldom been so right. Within just a few hours he would become all too conscious of just what little clue he truly had at that moment.
But for now, pay attention.
More befuddling are these two references to the reader (I assume):
My dear swan, Brenner hadn’t been in a funk like this in a long time. [. . .]
My dear swan, Knoll, the congressman, and the two bully-boys . . .
“Swan”?!? I assume I’m just not getting something here and am more than willing to own up to my ignorance. But still. It’s weird and disruptive to me as a reader.
There’s also a certain habit of Haas’s/Janusch’s of ending sentences with a comma (or “because”) followed by a clipped sort of explanation. This will make more sense in the examples below. At first, I thought this style was kind of cool, and very fitting for a detective book—there’s something stark about it, almost puzzle-like in how the “explanation” phrase fits into place. But by the end it felt more like a crutch than a technique. As if this was the only way the narrator could talk to convey his personality.
But Brenner’s shadower was bald in such an old-fashioned way, with a wreath of hair around his head, i.e., the worst kind in the rain, because the raindrops hammer way at the unprotected bald part, and regardless, wet hair. [. . .]
But now, either on account of the pills or the nonalcoholic beer or quite simply from age, or a rusty brain, or withering horomones—in all events, no line. [. . .]
Because one thing’s clear: when you’ve come as far as [SPOILER] has, you don’t waste any time coddling your witnesses, no, you mop them up like fly droppings because—no sentimentality.
Anyway, that’s probably a personal quirk that exposes more about my reading likes and dislikes than the book itself. And overall, I think this is really fun and will be greatly enjoyed by scads of readers. As a detective book, I think it’s really solid. As a work of translated fiction, I’d give it a 6.5 out of 10.
1 Slight exaggeration.
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We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
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It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .