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Hawthorn & Child

Overview

A mind-blowing adventure into a literary fourth dimension: part noir, part London snapshot, all unsettlingly amazing
Hawthorn and Child are mid-ranking detectives tasked with finding significance in the scattered facts. They appear and disappear in the fragments of this book along with a ghost car, a crime boss, a pick-pocket, a dead racing driver and a pack of wolves. The mysteries are everywhere, but the ...
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Hawthorn & Child

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Overview

A mind-blowing adventure into a literary fourth dimension: part noir, part London snapshot, all unsettlingly amazing
Hawthorn and Child are mid-ranking detectives tasked with finding significance in the scattered facts. They appear and disappear in the fragments of this book along with a ghost car, a crime boss, a pick-pocket, a dead racing driver and a pack of wolves. The mysteries are everywhere, but the biggest of all is our mysterious compulsion to solve them.
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Editorial Reviews

Publishers Weekly
10/14/2013
The London we encounter in Ridgway's (Animals) unsettling new novel is a city of mystery, a cloud of fog which allows few glimpses of clarity—despite the many attempts at crime-solving made by the two police detective protagonists. The book reads like a collection of short stories, unified only by the continuing presence of the police partners, a crime lord named Mishazzo, and an atmosphere in which answers are always just out of reach. Characters, with varying levels of criminality, appear and disappear: a man shot by someone in a vintage car no one else witnesses; a potentially psychopathic editor who obsesses over a strange fantasy manuscript; a pickpocket; a daughter in the throes of her first sexual relationship. In spite of the book's general obscurity, two protagonists are fully realized, intriguing characters: exact opposites, one black, straight, good-looking, and secure; the other white, gay, and neurotic. Their appearance is always a welcome moment within each chapter. Ridgway's writing is beautiful, sardonic, and well-contained. A detective novel with many crimes and few solutions concerned more with human connection (or lack thereof) than cases and clues, Ridgway's book is successfully thought-provoking and haunting. (Sept.)
Zadie Smith
“An idiosyncratic and fascinating novel... refreshingly contemporary in language and style.”
Ian Rankin - The Guardian
“The novel that has impressed, mesmerized and bamboozled me most this past year is Hawthorn and Child by Keith Ridgway. It begins as a police procedural, then spins outwards, never quite coming back to explain the mystery. Breathtakingly unpredictable and unapologetically strange. And the writing is perfectly assured and elegant”
Largehearted Boy
“This is a mystery novel unlike any you've ever read. It's also a great one to start with if you're usually not a mystery reader. Its strangeness is reminiscent of Beckett's work, and Ridgway is a masterful storyteller.”
Andrew Fox - The Daily Beast
“There is a dreamlike quality to Hawthorn & Child's sense of causality and connection. The detectives do not solve anything, and the book’s mystery is not the crime with which it begins but the lives that hold it together. It is not the closing of any case that preoccupies the book but the perpetual openness and irresolution of all cases, all identities. That is its punch, its poetry.”
The Guardian
“Breathtakingly unpredictable and unapologetically strange. And the writing is perfectly assured and elegant.”
Irish Times
“Brilliantly well done. Everything about this vibrant, wonderfully written novel is alive, funny and deeply troubled. Read Hawthorn & Child. Better still read it twice: it is that real, that good, that true.”
The Barnes & Noble Review
Keith Ridgway's Hawthorn & Child is a detective novel that reminds us of the special affinity between the literary mystery and the work of philosophy. After all, the attempt to discover the true nature of Y or pin down why Z happened are questions that undergird the craft of both the phenomenologist and the private eye.

Moreover, as the most provocative works of philosophy often remind us, there are no guarantees that a diligent investigator will always find the answers he's looking for. The French philosopher Jean-Paul Sartre located the source of the problem in the gulf that separates one from the world and from other individuals. A gulf in whose figurative place words and comprehension falter -- leaving one with a tangible gap, an explorable absence.

Indeed, if novels carried public service announcements, Hawthorn & Child would come packaged with a warning to mind the gaps! "[There] was just a simple gap where there had previously been something complicated," thinks a young pickpocket after a clumsy altercation with Hawthorn, one of the book's titular detectives. "He lives, he tells us, in the gaps, with his fellows. His fellow wolves," says an editor, endeavoring to summarize a manuscript he hides from the detectives. "There was a gap," declares the book's narrative voice, after a tragedy entangles Child, a newborn baby, and a deranged man. Enigmas, not solutions, are on tap here; and Ridgway is keen to signpost it.

At the beginning of the novel, Hawthorn awakens from a dream whose sadness cannot be accounted for. Disoriented, he wonders where he and his partner are driving to in such a rush. From Child, who is behind the wheel, he learns that they are en route to question what appears to be the blameless victim of a drive-by shooting. In the recovery room, Daniel Field tells them that he remembers "a black car. Low down. With those running boards. And those old silver door handles. Like in a black-and-white film." Daniel's recollection of a vintage car clashes with footage pulled from the traffic cameras that places a blue Hyundai coupe -- driven by two men who are known associates of an automobile chop shop in Tottenham -- near the crime scene. Coincidentally, Hawthorn and Child have been on the trail of an underworld power broker named Mishazzo, who has ties to that shop.

Out of this relatively localized mystery, the novel unfolds to explore the lives of Londoners who are all varyingly connected to the detectives or Mishazzo. There is the pickpocket turned informant who drives for Mishazzo; a book editor -- who may or may not be a psychopath -- who has been entrusted with a manuscript, purportedly written by one of the employees at the Tottenham mechanics' shop; the daughter of the detectives' boss, who loves abstract art; the mentally unstable man who breaks into a residential home; and a soccer referee -- also Hawthorn's lover -- who claims and then denies that he sees ghosts.

The coil looping these and other characters together is the abrasive contrast between each character's internal conceptions of the world and what he or she encounters. Thus, for example, Child, who is straight, has a difficult time relating to Hawthorn, who is gay. Late in the novel, perhaps seeking to bridge this gap, Hawthorn endeavors to do something kind for Child and his wife. But his deed comes across as intrusive. As readers we are made to feel that Hawthorn's action has violated the couple's sense of propriety. It only after the initial flush of awkwardness has abated that they are able to somewhat appreciate Hawthorn's gesture in its intended light.

Hawthorn's own experience at a gay bathhouse points up the grotesque distance between fantasy and reality, as his physical aversion to an overweight man robs the latter of any individuality. "The fat man is still there.... Hawthorn sees only his shape -- a bulge of cold grey with a whiter band around his middle, like something ready for the oven." In Nausea, Sartre's fictional narrator is overwhelmed by the press of sensory experience. In Hawthorn & Child, it is the reader who is made to feel the press of objects, of bodies like objects, of bodies that get in the way.

Ridgway pushes the story in different directions that leave the reader guessing as to what the next chapter will bring. To be sure, the book doesn't play out on as grand a scale as other shape-shifting novels like Cloud Atlas, which treat readers to a vaster range of prose styles. Though Ridgway's elegant, understated language accomplishes what it sets out to do with aplomb, which is to remind us how unknowable we are to one another. There is a moral dimension to this project. For as the editor who hides the manuscript about the wolves from the detectives observes, "Knowing things completes them. Kills them. They fade away, decided and over and forgotten. Not knowing sustains us."

Christopher Byrd is a writer who lives in New York. His reviews have appeared in publications such as The New York Times Book Review, The American Prospect, The Believer, The Guardian, The Washington Post, The San Francisco Chronicle, and The Wilson Quarterly.
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Product Details

  • ISBN-13: 9780811221665
  • Publisher: New Directions Publishing Corporation
  • Publication date: 9/23/2013
  • Edition description: Reprint
  • Pages: 288
  • Sales rank: 459,919
  • Product dimensions: 5.10 (w) x 7.90 (h) x 0.80 (d)

Meet the Author

Keith Ridgway is a Dubliner and the author of the award-winning novels The Long Falling, The Parts, and Animals, as well as the collection of stories Standard Time and novella Horses. He lived in North London for eleven years. He now lives somewhere else.
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