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“A skin-blistering crime novel, as edgy and black as dried blood on a moonlit night.”

—Robert Crais

Elizabeth Hand’s writing honors include the Shirley Jackson Award, the James Tiptree Award, the Nebula Award, the World Fantasy Award, the International Horror Guild Award, and many others. Now, this uniquely gifted storyteller brings us a searing and iconoclastic crime novel, in which photographer Cass Neary, introduced in the underground ...

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Overview

“A skin-blistering crime novel, as edgy and black as dried blood on a moonlit night.”

—Robert Crais

Elizabeth Hand’s writing honors include the Shirley Jackson Award, the James Tiptree Award, the Nebula Award, the World Fantasy Award, the International Horror Guild Award, and many others. Now, this uniquely gifted storyteller brings us a searing and iconoclastic crime novel, in which photographer Cass Neary, introduced in the underground classic Generation Loss, finds herself drawn into the shadowy world of crime in Scandinavia’s coldest corners.

As this riveting tour-de-force opens, the police already want to talk to Cass about a mysterious death she was involved with previously, but before they can bring her in, Cass accepts a job offer from overseas and hops on a plane.

In Helsinki, she authenticates a series of disturbing but stunning images taken by a famous fashion photographer who has cut himself off from the violent Nordic music scene where he first made his reputation.  Paid off by her shady employer, she buys a one-way ticket to Reykjavik, in search of a lover from her own dark past.

But when the fashion photographer’s mutilated corpse is discovered back in Finland, Cass finds herself sucked into a vortex of ancient myth and betrayal, vengeance and serial murder, set against a bone-splintering soundtrack of black metal and the terrifying beauty of the sunless Icelandic wilderness.  In this eagerly awaited sequel to the award-winning Generation Loss, Cass Neary finds her own worst fears confirmed: it’s always darkest before it turns completely black.

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Editorial Reviews

Publishers Weekly
Hand has described Cass Neary, the protagonist of 2007’s Generation Loss, as “your prototypical amoral speedfreak crankhead kleptomaniac murderous rage-filled alcoholic bisexual heavily tattooed American female photographer.” It’s to the author’s credit that Neary, who almost makes Lisbeth Salander seem like a model of mental stability, engages rather than repels in this stunning sequel. Neary, whose crowning professional achievement is a book of photos aptly entitled Dead Girls, is still suffering from the events depicted in Generation Loss that made her a suspect in a Maine homicide. Norwegian collector Anton Bredahl, an admirer of Dead Girls, offers Neary a tidy sum to fly to Helsinki to give her opinion on some photos he’s thinking of purchasing. She finds herself blown away by the photographer’s technique, notwithstanding the grim subject matter—corpses. The bloody aftermath of the assignment places Neary in grave danger as she confronts a significant figure from her past. The scenes of violence advance the plot while helping the reader to understand Hand’s uncompromisingly compromised main character. Agent: Martha Millard. (Feb.)
From the Publisher
Praise for Available Dark

 

"A hair-raising novel of psychological suspense. This is a series I hope will continue."

The Globe and Mail

 

"The millions who devoured Stieg Larsson’s “Millennium” trilogy will not flinch at Hand’s dark subject matter... Expect this novel to break out onto best seller lists."

Library Journal

 

"Cass Neary... makes Lisbeth Salander seem like a model of mental stability... Stunning."

Publishers Weekly (starred)

“Very, very good…In Hand's thriller, we see what Lisbeth Salander would look like in 30 years, if she were tall, blonde and plausible…Hand is a bonafide literary artist.”

—Lev Grossman, Time

"In the spirit of Stieg Larsson’s The Girl with the Dragon Tattoo... As the dark Nordic forest thickens, so does the plot. Larsson fanatics may be unable to resist."

The New York Post

“Pulsing with tension throughout… charged with its own chilling luminosity."

The Washington Post

"A strong writer. Her studies of artists and musicians are something fierce, and there’s a deadly beauty to her bleak rendering of the Nordic landscape."

—Marilyn Stasio, The New York Times

"Cass Neary could make Lisbeth Salander look like a suburban housewife... A stunning look at a woman forever teetering on the edge."

—Oline H. Cogdill, South Florida Sun-Sentinel

"Brilliant...stunning." 

Booklist (starred) 

"Award-winner Hand... brings her great skill to a mystery series that’s equally dark and enthralling... Beautiful writing and elegant, intelligent style make this a pleasure."

RT Book Reviews (4 1/2 stars) 

"A gasoline burn of a book; but it's also a tightly-plotted noir thriller...Unputdownable."

—The Rejectionist

  

“A brilliant sequel to Hand’s acclaimed literary thriller Generation Loss… Stunning.”

Booklist (starred review)

“Fiercely frightening yet hauntingly beautiful, with a startling heroine you’ll never forget… Shimmers with gorgeous writing even as it scares the dickens out of you.”

—Tess Gerritsen

“Cass Neary is one of literature’s great noir anti-heroes… Ferocious, aching with compassion and cruelly brilliant, Available Dark is a sinful pleasure.”

—Katherine Dunn

Praise for Generation Loss

“Rightly compared with the sort of crime fiction turned out by the late, great Patricia Highsmith ... Hand expertly ratchets up the suspense until it's at the level of a high-pitched scream."

Milwaukee Journal Sentinel  

"Cass Neary, the battle-scarred shutterbug of Elizabeth Hand's incendiary literary thriller is a marvel."

Los Angeles Times

 

"Brilliantly written and completely original, Hand’s novel is an achievement with a capital A.”

Booklist (starred review)

 

Praise for Elizabeth Hand’s Other Work

“A superior stylist.”

The New York Times Book Review on Waking the Moon

 

“Hypnotic… Moves Hand’s work into the territory of John Fowles and A.S. Byatt.”

Locus on Mortal Love

 

“Elizabeth Hand has the written the best book of her generation.”

—Peter Straub on Mortal Love

 

“As noteworthy in its way as Margaret Atwood’s A Handmaid’s Tale.

People on Winterlong

Library Journal
Hand's latest novel picks up right where Generation Loss leaves off: hungover and with a fresh scar beside her eye, washed-up punk photographer Cassandra Neary runs from a possible manslaughter charge to Finland, where a sleazy collector of disturbing photographs wants her to authenticate a pending purchase. After Cass confirms that the stunningly beautiful but macabre photos are legit, the photographer is murdered, and Cass takes off again. Fueled by crystal meth and Focalin, she looks for Quinn, her first love, in Reykjavík, where he survives by selling classic vinyl LPs and disposing of bodies for Russian mobsters. Quinn is also mixed up with a group of Odinists who are heavily into black metal music and Norse mythology, and Cass is soon caught up in a dark, twisted tale. VERDICT The millions who devoured Stieg Larsson's "Millennium" trilogy will not flinch at Hand's dark subject matter. Like Lisbeth Salander, Cass Neary evokes sympathy and admiration despite her tough exterior. Given the public's current fascination with gritty Nordic crime fiction, expect this novel to break out onto best sellers lists. [See Prepub Alert, 8/21/11.]—Christine Perkins, Bellingham P.L., WA
Kirkus Reviews
A moody loner heads to Helsinki and beyond, while murder and general creepiness follow. Photographer Cass Neary likes to live under the radar. Despite some early fame, she'd rather keep to her New York grunge corner, with periodic forays out to meet up with her longtime dealer (of drugs, not art). When Anton Bredahl, a collector of obscure art, contacts Cass to have her verify the authenticity of some prints, the job takes her all the way to Helsinki, where she meets with middleman and photographer Ilkka Kaltunnen to confirm that his product is the real deal. Ilkka doesn't just have a set of prints to check, but a whole room full of mysterious and beautiful photos. These aren't your standard point-and-shoots; they're morbid and macabre scenes of death, almost like stills from a snuff film. Cass can appreciate them, but she starts to grow suspicious of why Anton might want to spend so much on these pictures. Instead of getting involved in what is clearly someone else's problem, Cass hightails it to Reykjavik to locate her old love Quinn. Somehow, finding him enfolds her further in the creepy world she thought she left behind in Helsinki. Yet another author tries to capitalize on Stieg Larsson's Scandinavian success. But this entry from Hand (Illyria, 2010, etc.) reads more like a grotesque fairy tale gone wrong.
Marilyn Stasio
[Hand's] studies of artists and musicians are something fierce, and there's a deadly beauty to her bleak rendering of the Nordic landscape.
—The New York Times Book Review
The Barnes & Noble Review

It's a shame, in a way, that Graham Greene brilliantly and decisively utilized the title A Burnt-Out Case for his 1960 novel about a hapless, wounded antihero whom passion and art have abandoned. The title would have been so perfect for an installment of Elizabeth Hand's ongoing saga of Cassandra "Cass" Neary, burnt-out, middle-aged ex-punk photographer, who, in this second installment, after her debut in Generation Loss, finds herself again far from her comfortably sleazy New York digs and involved in shady doings in Helsinki and Reykjavik. After her previous scary outing in cold, provincial, and brutal Maine, you'd think she'd know enough to steer clear of northern climes. But that's Cass: all guts and no instinct for self-preservation at all.

Of course, Hand's crisp, emblematic, evocative titles are hardly shabby on their own merits. "Generation loss" refers to the degradation of information involved in multiple copies of any photo, and that's what the reader symbolically gets with the first glimpse of Cass Neary's life, which has deteriorated from its bright promise with each tedious passing year.

Having raced through her real but limited store of artistic talent in a candle-burning-at-both-ends existence during the late 1970s, Neary has coasted zombielike for nearly thirty years, reaching the age of forty-eight with no ambitions loftier than scoring her next handful of uppers and earning a small paycheck from the Strand Bookstore. But a botched journalistic assignment in Maine reawakens her to life. Tasked with interviewing the once-famous, now-reclusive woman on whom she modeled her own career, Neary instead stumbles into the arms of a serial killer and manages to save the life of his newest target, an adolescent girl much resembling a teenage Neary. Rescuing her own hopeful avatar from death, she herself receives a mild rejuvenation of spirit.

Hand's pitch-perfect first-person voice for Neary brilliantly evokes a damaged soul who is her own worst enemy, working her mazed way through some kind of living purgatory. In her subtle yet thrilling first adventure, which equates pastoral with urban darkness, Neary comes off as an arrogant, snarling, mean-spirited, low-morality alley cat whom you nonetheless instinctively want to adopt, against your own better judgment.

Available Dark — the title plays on a photographer's "available light," the Scandinavian black metal genre, and the darkness in the human soul — picks up hard on the heels of its predecessor. Neary is freshly if uneasily back in her cocoon of indifference and self- loathing when she receives another job offer that brings her, all expenses paid, to Finland's capital. There she must vet some photos for a rich man named Anton Bredahl. She fulfills her assignment and sets off for Iceland, where she has reason to suspect her only true love — a high school boyfriend named Quinn, whom she has not seen in thirty years — is resident. She finds Quinn and effects an uneasy reunion — but then people begin to turn up dead, and Quinn seems to be at the epicenter of the trouble.

Hand layers in the aforementioned death rock scene, Odin- based occultism, and gruesome elements of Scandinavian mythology to create a palpable sense of omnipresent menace in her keenly rendered locales, even when no overt threats are onstage. Moreover, Hand subtly dabs on the faintest trace of the supernatural, when it comes to describing Neary's uncanny ability to sense the subliminal background reverberations from a photo. The ex-artist's stubborn, questing consciousness, vividly limned, is the kind of perverse mentality that insists on peeling off scabs and tweaking rotten teeth with the tongue. But that's almost by definition also the private eye's modus operandi, and Neary gets the job done, despite her willful self-abuse.

Explaining the typical regional failings of her tribe, one of Quinn's local companions tells Neary, "People fell in love with it — with hatred and death, darkness. Because there is beauty there, too, in the darkness?. Some people, they see that emptiness and need to fill it up with even greater darkness."

Implacable beauty amid carnage and decay, waste and loss: that's the potent allure of the Cass Neary novels and their aching, persistent heroine.

Author of several acclaimed novels and story collections, including Fractal Paisleys, Little Doors, and Neutrino Drag, Paul Di Filippo was nominated for a Sturgeon Award, a Hugo Award, and a World Fantasy Award — all in a single year. William Gibson has called his work "spooky, haunting, and hilarious." His reviews have appeared in The Washington Post, Science Fiction Weekly, Asimov's Magazine, andThe San Francisco Chronicle.

Reviewer: Paul Di Filippo

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Product Details

  • ISBN-13: 9780312585945
  • Publisher: St. Martin's Press
  • Publication date: 2/14/2012
  • Pages: 256
  • Product dimensions: 5.60 (w) x 8.30 (h) x 1.20 (d)

Meet the Author

ELIZABETH HAND, a New York Times notable author, has written eight novels and

several short-story collections. She has won the Shirley Jackson Award, the James Tiptree

Award, the Nebula Award (twice), the World Fantasy Award (three times), and many others.

Her novella, “The Maiden Flight of McCauley’s Bellerophon,” was recently nominated for

a Hugo Award. Hand is a longtime contributor to numerous publications, including the Washington

Post Book World and the Village Voice Literary Supplement. She divides her time between the coast of Maine and North London.

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Read an Excerpt

Available Dark

A Crime Novel
By Elizabeth Hand

Minotaur Books

Copyright © 2012 Elizabeth Hand
All right reserved.

ISBN: 9780312585945

1
 

There had been more trouble, as usual. In November I’d headed north to an island off the coast of Maine, hoping to score an interview that might jump-start the cold wreckage of my career as a photographer, dead for more than thirty years. Instead, I got sucked into some seriously bad shit. The upshot was that I was now back in the city, almost dead broke, with winter coming down and even fewer prospects than when I’d left weeks earlier. I dealt with this the way I usually did: I bought a bottle of Jack Daniel’s, cranked my stereo, and got hammered.
When I finally came to, it was dark. Sleet rattled against a greasy window. In a corner of the apartment, a red light flashed beside a stack of old LPs: I’d turned off my phone but forgotten the answering machine. I lurched toward the blinking light, unsure if it was early morning or night, yesterday or tomorrow.
“Cass. What the hell did you do?”
I rubbed my eyes, head throbbing.
“… don’t know how you got that photo of my mother, but you better call me fast. Sheriff Stone wants to talk to you, also that guy Wheedler from—”
I hit erase and skipped to the next caller.
“This is a message for Cassandra Neary from Investigator Jonathan Wheedler of the Maine State—”
I erased that one, too, and all the rest without listening to them, just for good measure. Then I took a shower, waiting for ten minutes before the water pressure amped up to a scalding trickle. That’s what thirty-odd years in a rent-stabilized apartment on the Lower East Side will buy you. I dressed—moth-eaten black sweater, ancient black jeans, steel-toed Tony Lamas, the battered leather jacket I’d bought at Goodwill decades ago—and went outside to forage for coffee.
It was night. Streetlamps gave off a smeared yellow glow. The financial meltdown hit my neighborhood hard—not that I had any sympathy for the unemployed hedge-fund assholes and fashion models who spent their afternoons whining into their iPhones in front of the Dries Van Noten store. Before the crash, this part of the city looked like a cross between a Downtown USA soundstage and the Short Hills Mall; instead of stepping over junkies, I maneuvered around rat-size dogs in Juicy Couture sweaters and designer diapers. Now I wondered how bad things would have to get before Jack Russell terriers showed up on the menu at Terrine.
But I couldn’t afford to move. I’d been in the same place since the 1970s. The landlord had been trying to get rid of me for years; eviction notices had piled up in the weeks since I’d been gone, so I made a quick phone call to my father up in Kamensic Village.
“Talk to Ken Wilburn,” he said. “He’ll take care of it for you. Are you back from Maine, Cass? Any more trouble with that? Come home, and let’s have dinner one night.”
I said I’d think about it and hung up.
Tonight I kept my head down against the sleet and wished I owned a warmer coat. I passed a line of anorexics waiting to get into a restaurant specializing in downtown comfort food: mashed heirloom potatoes, truffle macaroni and artisanal cheese. As I walked by, one of the skinny girls laughed. I stopped, pivoting so that my boot’s steel tip grazed her Bally Renovas.
“Did you say something?” Skeletor met my eyes and blanched. “Didn’t think so,” I said, and kept going.
Back in the day, my nickname had been Scary Neary. Most of the people who called me that are dead now. No direct causal relationship, just bad drugs and worse luck. I’m nearly six feet tall, all speed-fused nerves and ragged dirty-blond hair, with a fresh scar beside my right eye, souvenir of my trip to Vacationland: a walking ad for Just Say No.
I skipped Starbucks in favor of the all-night Greek diner around the corner, found a booth in the back, ordered black coffee and a rib eye, rare. I was well into my steak when someone slid into the seat across from me.
“Hey, hey, hey. Cassandra Android.”
I winced. Phil Cohen, onetime rock journalist manqué, now the mastermind behind a celebrity blog called Early Death. Phil was a local bottom-feeder, one or two steps above or below me on the social ladder, not that anyone was counting. He was also my most reliable source for speed.
I hadn’t seen him since I’d been back. From the way he looked, alarmingly bright-eyed and bushy-tailed, the downturn in the economy hadn’t hit his corner of Hoboken. Phil wasn’t a bridge-and-tunnel guy; more just a tunnel guy, especially when you factored in his ratlike ability to scrounge a living in the dark.
“Phil. How’s it hanging?”
“Not bad, not bad. Hey, I saw your photo got picked up by The Smoking Gun. Nice work. How the hell’d you do that?”
I pushed away my plate. “Fuck off, Phil.”
Phil looked wounded. “I told that German editor to get in touch with you—the lady from Stern? They pay good money; I figured you could use a taste.”
“You put her in touch with me?”
Phil nodded. He was fidgeting so much he looked like a life-size bobblehead. “Yeah, sure, how’d you think? Good thing your old man’s a lawyer.”
I glared at him and finished my coffee. Phil was the one who’d sent me to Maine; he’d lied about the interview he’d supposedly lined up, and lied about just about everything else, too. His connection turned out to be a photographer named Denny Ahearn, whose favorite subjects were decomposing bodies in trees. Long story short: Denny went overboard off the Maine coast and was now presumed dead. The story got some press but quickly ran out of steam since the killer was gone and the remains of only two victims had been recovered.
My own involvement in everything was a little shaky. I kept a low profile until I was safely back in New York, where an editor from the German tabloid weekly Stern had rung me a few days after my return.
“I so admire your work, Cassandra.” Her voice had risen slightly. “Your photo book Dead Girls—that was brilliant. I was a big Bowie fan then, you know? We’d give you an exclusive.…”
She had been disappointed when I told her I didn’t have any photos of the serial killer or his victims. I’d been disappointed, too, when she named the figure they’d pay. Then I remembered the roll of film I’d shot on the island but hadn’t yet developed.
It had been a weak moment for me. Most of my moments are like that. Finally I said, “You familiar with a photographer named Aphrodite Kamestos?”
“Aphrodite Kamestos? Of course. She’s very well known here. Helmut Newton admired her work.” The editor hesitated. “She just died, too, didn’t she?”
I hadn’t told her I’d watched Aphrodite die, or that I’d lied to the cops about it so I could avoid a conviction for voluntary manslaughter. I did a quick mental rundown of where I could cadge a few hours in a borrowed darkroom so I could process the film without anyone else seeing the images. “Yeah. I might have an image of her, kind of a memento mori. Like a death mask.”
“A death mask?”
“Sure, you know. Something taken right after she died.”
The editor had moaned. “Oh, that would be so great.”
Now I stared across the table at Phil. “Yeah, good thing my old man’s a lawyer. So, you got anything in that little black bag for me?”
Phil’s eyes rolled back in his head like he was communing with the spirit world. “Focalin.”
I stuck my hand under the table so he could drop a Baggie into it.
“You’ll like this, Cass. Nice and easy, timed-release, no edge. And probably I shouldn’t say this, ’cause I’d hate to lose your business, but you could see your doctor, he’d give you a scrip. Then you could get your health insurance to pay for it. Some Zoloft wouldn’t kill you, either.”
“Phil. Do I look like I have fucking health insurance?”
“Good point. Here, you want this?” He set a tiny glassine envelope on the table, then flicked it at me. It landed on my lap. “Touchdown.”
“What is it?”
“Crystal meth. Very pure, Cass; we’re talking Pellegrino, Fiuggi, all that shit. No one else wants it these days, but this is the stuff. Guy who used to be in the refrigerant industry, he still cooks with Freon. He’s got a nice little stash of CHCs, but there ain’t no more where this came from. I’ll give you a deal on it, Cassie. As a Christmas present.”
“Christmas is over, Phil. But yeah, I’ll take it.” I peeled off a few bills to cover my meal, handed him a couple more, then stood. “Later.”
He pulled my plate over and began to eat the rest of my steak. “Yeah. Write if you get work.”
I walked back to my apartment, taking care that my cowboy boots didn’t send me flying as I navigated the slush-choked sidewalk. I’d taken the Stern payment and had the boots resoled, but they still weren’t shit in bad weather. The rest of the money had gone to cover unpaid bills, plus a small retainer set aside for Ken Wilburn so I could hang on to my place for another year or two.
And that was it. I’d already gotten fired from my longtime job at the Strand Bookstore, no great loss save for the five-finger discount I’d exercised over the years, building up a small library of expensive photography books. Even that was a victim to changing times, as store security had amped up to TSA levels, with metal detectors and bag checks before you set a foot on the floor.
But being broke wasn’t really the worst thing. I’d spent most of my adult life as a burned-out underachiever, working in the Strand’s stockroom, drifting from one bed to another. For a few years in my twenties I’d been able to trade on the flash success I’d had with Dead Girls, my first and only book of photographs. Everything since then had pretty much been aftermath.
Still, through it all I’d always had the Lower East Side and the shadowy image behind my retinas of what it had once been: that 3:00 A.M. wasteland I’d fallen in love with when I was eighteen, shattered syringes and blood on the lip of a broken bottle, guitars and drunken laughter echoing through an alley where kids nodded out while I shot their pictures. The way something was always moving at the corner of my eye; the way the city was always moving, morphing into something new and terrible and beautiful.
The terror I knew on a first-name basis. On my twenty-third birthday I was raped outside CBGB. The scars are so old, as the song goes, now part of a faded tattoo I got on my lower abdomen to hide the bloody scrawl left by a zip knife. But even so, I could still sometimes find the silver-nitrate city inside the real one, if the light was right and I’d had enough to drink, scored enough amphetamine to make my heart keep pace with the strobe of my camera’s flash.
Now all that beauty was gone. I was too old and too broke to go looking for it elsewhere. I’d spent too much time alone, skating on alcohol and speed, not noticing the ice beneath me was rotten and the water killing cold.
The last person who said she loved me died on 9/11. I’d forgotten what she looked like. I was a burned-out, aging punk with a dead gaze, a faded tattoo, and a raw red scar beside one eye. In Maine I’d spent more time with other people than I had in years, maybe decades. There’d been a few moments when I’d held my battered camera and felt the way I did long ago, when I first stood in a darkroom and watched another world bloom on the emulsion paper in my hands.
But that feeling was gone; that world. Since my return to New York, I’d begun to have night terrors, paroxysms of pure horror, where I would see a black figure above my bed, smiling as he reached for my throat, and woke to my own muffled screams, heart pounding like a fist inside my chest. I felt strung out, wasted in every sense of the word, terrified of sleep and almost as afraid to leave my squalid apartment. The edge where I’d lived for all these years was starting to look like a precipice. I figured it was a good time for a short visit with my father. I crashed for a few hours back in my apartment, woke, and swallowed a couple of Phil’s white tablets; then headed to Grand Central to catch the first train to Kamensic.

 
Copyright © 2012 by Elizabeth Hand


Continues...

Excerpted from Available Dark by Elizabeth Hand Copyright © 2012 by Elizabeth Hand. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Sort by: Showing all of 6 Customer Reviews
  • Posted July 25, 2014

    Hand always provides a compelling and unique point of view. Cass

    Hand always provides a compelling and unique point of view. Cass Neary is a rare narrator indeed-- dark, barely sympathetic and yet fascinating and believable.. I couldn't put it down.

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  • Posted July 5, 2012

    more from this reviewer

    Available Dark

    This novel isn’t one that defies description, exactly, but it does make it difficult. Its tone is bleak throughout, perhaps in keeping with the geographical landscape, made palpable by the author’s gorgeous writing. The plot is not complex, but that is not the crux of the book, which is the haunting quality of its beautiful prose.

    Cass Neary is a photographer with a moribund career, a woman prone to night terrors, who still indulges in her long-time near-addiction to alcohol and drugs of various kinds, from “speed” to crystal meth [about which I learned more than I ever wanted to know as to its effects on the human body, and mind] and everything in between. Nearly six feet tall, she is self-described as “a burned-out, aging punk with a dead gaze, a faded tattoo, and a raw red scar beside one eye.” The story takes her to the streets and highland areas of, respectively, Helsinki, where she is told “the entire country’s unemployed and on the verge of a psychotic breakdown,” and Reykjavik [also in dire straits, where there can be snow in August and where, she is told, “everything is an illusion”], trying to track down a long-lost friend/lover from her high school days of thirty years ago, and in an attempt to evade both the police and a murderer.

    Cass leaves the Lower East Side of Manhattan after receiving a lucrative job offer: to confirm the existence of, and authenticate, a group of photos depicting ritual killings, still photos which could have started life in a snuff film, something called “murderabilia.” There is much discussion about the photographer’s technique of using only available light, the converse of which gives rise to the title. Nordic, Viking and Icelandic religions and myths play a large part in the story line. We are told of “ghosts that didn’t know they were dead,” and there is a quote from the sagas of the region: “Death will claim no man until his time has come, and nothing will save a man who is fated to die. Therefore be bold: to die in fear is the worst death of all.”

    There were many cultural references that I must admit escaped me, which were, I’m guessing, linked to “punk” music [“death metal” and “black metal”] and “punk” photography [a genre I didn’t even know existed]. The writing is macabre and disturbing on several levels. This is a novel not easily forgotten.

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  • Anonymous

    Posted June 3, 2012

    Other than interesting descriptions of Helsinki and Iceland, thi

    Other than interesting descriptions of Helsinki and Iceland, this book has a confusing and unrealistic plot.

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  • Anonymous

    Posted March 25, 2012

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  • Anonymous

    Posted July 9, 2013

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  • Anonymous

    Posted March 14, 2012

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