“I spend my days staring at the wall and fantasising about disembowelling my cat as an offering to whatever bitch goddess has been organising my life lately. I am so depressed that if I could motivate myself to it I’d commit suicide, but it’s too proactive for me.”
The subtitle of this novel is quite apt: ‘A Postmodern Mystery’. The Adventures of Isabel is to detective/mystery fiction what Picasso is to Turner. Candas Jane Dorsey has written an absorbing and extremely metafictional (the narrator frequently ‘breaks’ the fourth wall) mystery that feels very much of ‘the now’. The novel’s unmanned narrator, single, ambisexual, in her late thirties, a downsized social worker, is down on her luck. Her life takes an interesting turn when Maddy, the granddaughter of one her closest friends, is found murdered. Because of Maddy’s line of work, Hep (aka her grandmother) believes that the police won’t be solve her case.
“Hep then named an hourly rate which made even my overinflated self-indulgent subconscious blink, and between the emotional blackmail of being reminded how much I owed Denis, the memory of my empty cupboard, evocations of the pitiful dead kid, and greed, I was persuaded—provisionally, with confirmation to be given once I sobered up—to give up my career as a call girl and become a detective.”
Our protagonist begrudgingly takes on the role of ‘detective’, using her knowledge of the city’s underbelly she uses a police connection and her extensive social network to solve Maddy’s murderer. Her investigation is anything but straightforward, and often falls into the absurd a la Alice in Wonderland. The novel is less interested in the plot than it is with ‘style’. The spotlight remains on the protagonist’s meta narration. Dorsey’s tongue-in-cheek portrayal of a ‘contemporary’ society is delightfully humorous.
The cast of characters are as entertaining as our narrator, and often their conversations spiral into the nonsensical. I particularly liked the narrator’s relationship with her religious cousin and Jian (who is beyond cool). There are some running gags (Bunnywit’s ‘original’ name, the fish sticks) that make the narrator’s reality feel familiar.
As much as I loved the narrator’s metafictional asides, or her ramblings on other characters’ word-choices, it did seem that the ‘murder story’ was lost in all this postmodern cacophony. Amidst the characters’ digressing discussions and our mc’s various monologues, I often lost sight of the actual investigation. Still, I liked Dorsey’s original approach to this genre, and I really ‘clicked’ with her protagonist. Without loosing the lighthearted tone of her narrative, Dorsey manages to directly address issues such as gender, sexuality, and race.
The novel’s strength is in its energetic narrative and in the protagonist’s dark humour. I will quite happily read another novel about this main character as I would like to learn more of her backstory.
My rating: 3.25 of 5 stars
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