In Mankell's engaging but overly polemical stand-alone crime novel, Louise Cantor, an archeologist working in Greece, returns home to Sweden to discover her grown son, Henrik, lying dead in his own bed. Cantor, who refuses to accept the police theory that Henrik killed himself, launches her own investigation. (The book's title refers to one of the mysteries surrounding the JFK assassination, which had become a bizarre metaphor for the secretive Henrik.) In her quest for answers, Cantor journeys to Australia in search of her estranged husband; to Barcelona, where Henrik had an apartment and a surprisingly large bank account; and to Maputo, Mozambique, where she learns of the devastation wrought by poverty, AIDS and greed. Mankell, author of the wonderful Kurt Wallender series (Faceless Killers, etc.), is a deft and imaginative plotter and an insightful observer of the human condition, but here his righteous anger over the AIDS crisis in Africa and the exploitative role of the pharmaceutical industry overshadows the mystery solving. (Sept.)Copyright 2007 Reed Business Information
Kennedy's Brainby Henning Mankell
Archaeologist Louise Cantor returns home to Sweden and makes a devastating discovery: her only child, twenty-eight-year-old Henrik, dead in his bed. The police rule his death a suicide but she knows he was murdered; her quest to
Henning Mankell, the acclaimed author of the Kurt Wallander mysteries, has put his unmistakable stamp on this gripping new thriller.
Archaeologist Louise Cantor returns home to Sweden and makes a devastating discovery: her only child, twenty-eight-year-old Henrik, dead in his bed. The police rule his death a suicide but she knows he was murdered; her quest to find out what really happened to Henrik takes her across the globe to Barcelona, where her son kept a secret apartment; Sydney, Australia, to find Aron, her estranged ex-husband and Henrik’s father; and to Maputo, Mozambique, where she learns the awful truth behind an AIDS hospice. Her investigation reveals how much her son concealed from her as she uncovers the links between his death, the African AIDS epidemic, and Western pharmaceutical interests, while those who dare help her are killed off.
In the tradition of John le Carré’s The Constant Gardener, Kennedy’s Brain was inspired by Mankell’s anger at ongoing inequities that permit a few people to have unprecedented power over the many poor Africans who have none. Already a bestseller in Europe, Kennedy’s Brain is both a thrilling page-turner and a damning indictment of inhuman greed in the face of the African AIDS crisis.
Departing from his acclaimed police procedurals featuring Inspector Kurt Wallender, Mankell fashions a grim thriller around the AIDS epidemic in Africa. Swedish archaeologist Louise Cantor, overwhelmed by grief at finding her adult son and only child Henrik dead when she returns from a dig in Greece, rejects the police finding of suicide and sets out to prove that he was murdered. What she finds, with help from her ex-husband, is a life that Henrik hid from her involving travel, unexplained wealth, and a fascination with JFK's brain, missing after his autopsy. But not until she reaches Mozambique, where horrific means don't begin to justify seemingly altruistic ends, does she uncover the full story. Mankell's anger about the epidemic in Africa fueled this novel, in which Kennedy's brain symbolizes something that must be kept secret, and the result is reminiscent of an oppressively bleak Robin Cook novel. Mankell's heartfelt concern about this crisis is clear, but some readers will long for him to return to the Wallender series. An optional purchase unless Mankell is in demand.
—Östgöta Correspondenten (Sweden)
“ . . . his most important crime novel so far.”
“An action-packed novel that keeps the reader fastened to his seat until the very last page.”
—Luxemburger Wort (Germany)
“A new masterpiece from the great novelist Mankell.”
—Kleine Zeitung (Germany)
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Read an Excerpt
The catastrophe happened in the autumn. She had no idea what was coming, no warning. No shadow was cast; it struck without a sound. It was like being waylaid in a dark alley. But the fact was that it forced her away from her ruins, into a reality that she had never really concerned herself with. She was hurled with immense force into a world where the excavation of Greek Bronze Age graves was irrelevant.
She had been living deep down in her dusty trenches, or hunched over shattered vases that she was trying to piece together. She had loved her ruins, and failed to notice that the world around her was starting to collapse. She was an archaeologist forced to leave the past and stand next to a grave she had never imagined possible.
There were no portents. The tragedy had been robbed of its voice. It was unable to shout out a warning to her.
The evening before Louise Cantor travelled to Sweden to take part in a conference on current archaeological excavations of Bronze Age graves, she stood on a ceramic fragment in the bathroom and suffered a deep wound in her left foot. It bled copiously over the floor, making her feel sick. The shard dated from the fifth century BC.
She was in Argolis on Peloponnisos, 137 kilometres outside Athens, it was September and the year’s excavations were coming to a close. She could already feel a chill in the wind that presaged the coming winter. The dry heat with its scent of rosemary and thyme was beginning to fade.
She stemmed the flow of blood and applied a plaster. A memory came storming into her mind.
A rusty nail that had gone right through her foot – not the one she had cut now, but the other one, her right foot. She must have been five or six years old. The brown nail had penetrated her heel, forced its way through skin and flesh and impaled her as if on a pole. She had howled with pain, and thought that she was undergoing the same kind of torture experienced by the man crucified on the cross at the front of the church where she sometimes played her lonely horror games.
We are pierced over and over again by these barbs, she thought as she wiped the blood off the cracked floor tiles. A woman spends all her life in the proximity of these sharp edges out to penetrate what she is trying to protect.
She limped to the part of the house that doubled as her workplace and bedroom. In one corner was a creaky rocking chair and a CD player. She had been given the CD player by old Leandros, the caretaker. Leandros had been around as a poverty-stricken but curious child when the Swedish excavations at Argolis began in the 1930s. Nowadays he spent his nights fast asleep while on caretaking duty at the Mastos hill. But everybody on the project supported him. Leandros was an essential cog in the wheel. Without him, all future grants to enable the continuation of the excavations would be under threat. Exercising the prerogative of old age, Leandros had become a toothless and often noticeably filthy guardian angel.
Louise Cantor sat down on the rocking chair and examined her wounded foot. She smiled at the thought of Leandros. Most Swedish archaeologists she knew were aggressively impious, and refused to accept various authorities as anything other than obstacles in the way of the continued dig. A few gods who had lost all significance a very long time ago could hardly affect the distant Swedish authorities when it came to approving or rejecting expenditure on archaeological ventures. Swedish bureaucracy was a sort of tunnel world with entrances and exits, but nothing in between; and the decisions that eventually found their way to the sweltering Greek burial vaults were often extremely difficult to understand.
An archaeologist always needs to be doubly blessed, she thought. We never know if we are going to find what we are looking for, or if we are looking for what we want to find. If we get it right, we are greatly blessed. But at the same time we never know if we are going to be given permission and sufficient money to dig deeper into the marvellous ruined worlds, or if the milch cow’s udders will suddenly dry up. This was Louise’s contribution to archaeological jargon: to describe the funding authorities as milch cows with capricious udders.
She looked at the clock. It was a quarter past eight, an hour earlier in Sweden. She reached for the telephone and dialled the number of her son in Stockholm.
She could hear the ringing, but nobody answered. When the answering machine cut in, she listened to his voice with her eyes closed.
It was a voice that calmed her down. ‘Det här är en telefonsvarare och du vet vad du ska göra. I’ll repeat that in English. This is an answering machine and you know what to do. Henrik.’
She left her message. ‘Don’t forget that I’m coming home. I shall be in Visby for two days, discussing the Bronze Age. Then I’ll go to Stockholm. I love you. See you soon. I might ring you later. If not, I’ll be in touch from Visby.’
She fetched the ceramic fragment that had injured her foot. One of her closest colleagues, a very keen female student from Lund, had found it. It was a shard like millions of others, a piece of Attic pottery that she guessed came from a pot or jar made just before the colour red started to dominate.
She enjoyed piecing together ceramic fragments, imagining the original object that she would probably be unable to reconstruct. She would give this one to Henrik as a present. She put it on top of her packed suitcase that was waiting for the lid to be closed.
As usual, she was feeling restless before leaving. She was finding it hard to curb her increasing impatience, and decided to change her plans for the evening. Until she had cut her foot, she had intended to spend a few hours on the paper she was writing about Attic pottery. Instead, she turned off her desk lamp, switched on the CD player and sank back in the rocking chair.
As usual when she was listening to music, the dogs started barking in the darkness outside. They belonged to her nearest neighbour,Mitsos, who was part-owner of an excavator. He was also the owner of the little house she rented. Most of her colleagues lived in Argolis, but she had preferred to stay close to the dig.
She had almost dozed off when she sat up with a start. It had struck her that she did not want to spend the night on her own. She turned down the volume and phoned Vassilis. He had promised to take her to the airport in Athens the next morning. As the Lufthansa flight to Frankfurt left very early, they would need to set off at five o’clock. She’d rather have company when she knew she would not be able to sleep soundly anyway.
She looked at the clock and realised that Vassilis was probably still at the office. One of their rare quarrels had concerned his job. She thought she had been a bit insensitive in saying that the accounting profession must be the most combustible in existence. She could still recall her exact words, which sounded much nastier than she had intended.
‘The most combustible profession there is. So dry and lifeless that it could burst into flames at any minute.’
He had been surprised, perhaps saddened, but most of all angry. At that moment it dawned on her there was more to their relationship than just sex. She enjoyed his company despite the fact – or because of it – that he had no interest whatsoever in archaeology. She had been afraid that he would be so offended that he would break off their affair on the spot. But she had managed to convince him that she was only joking.
‘The world is driven by cash books,’ she had said. ‘Cash books are the liturgy of our time, and accountants are our high priests.’
Louise dialled the number. Engaged. She rocked gently back and forth in the chair. She had met Vassilis by chance. But aren’t all important meetings in this life chance happenings?
Her first love, the ginger-haired man who hunted bears, built houses and could sink into long periods of depression, had once given her a lift when she’d been to visit a friend in Hede and missed the train back to Sveg. Emil had stopped his old lorry for her. She was seventeen at the time and still not worldly wise. He drove her home. That was in the late autumn of 1967. They were together for six months before she could summon up the strength to escape from his bear-like embrace. She then moved from Sveg to Östersund, started at college and one day decided to become an archaeologist. There were other men at university in Uppsala, and she simply happened to bump into them in various circumstances. Aron, the man she married and the father of Henrik, the reason why she changed her name from Lindblom to Cantor, was somebody she happened to sit next to on a flight between London and Edinburgh. She had received a scholarship from Uppsala University to attend a conference on classical archaeology, Aron was on his way to Scotland to go fishing, and up in the air, high above the clouds, they had fallen into conversation.
She forced herself not to think about Aron, not wanting to grow angry, and rang the number again. Still engaged.
She always used to compare the men she met after her divorce – it was not a conscious process, but she had a ranking scale deep down in her mind on which Aron was registered as the norm, and everybody else she went with was too short or too tall, too boring, too untalented. In other words, Aron always won. She still had not met anybody who could match his memory. That could make her both disconsolate and furious; it seemed that he still dictated the course of her life even though it was nothing to do with him any more. He had betrayed her, he had deceived her, and when the truth started to come out he simply disappeared – just as a spy about to be exposed flees to his controller. It had come as a terrible shock to her: she had no idea that he had been seeing other women. To make matters worse, one of them was a close friend of hers, a fellow archaeologist who had devoted her life to excavations on Thassos, in search of a Dionysos temple. Henrik was still very young at the time. She had taken a temporary post as a university lecturer while trying to survive what had happened and patching together her wrecked life.
Aron had shattered her like a sudden volcanic eruption can shatter a settlement, a person or a vase. When she sat with her ceramic fragments, trying to envisage the whole that she would never be able to reconstruct, she often thought of her own predicament. Aron had not only smashed her to pieces, he had also hidden some of the fragments in order to make it more difficult for her to recreate her identity, as a human being, a woman and an archaeologist.
Following Aron’s disappearance she had found a letter a mere three or four lines long, carelessly written, announcing that their marriage was at an end, he simply couldn’t go on any longer, he begged her pardon and he hoped that she wouldn’t turn their son against him.
Then she heard nothing more from him for seven months. In the end she received a letter posted in Venice. She could tell from his handwriting that he had been drunk at the time, one of the staggering Aron benders he not infrequently indulged in, a constant state of intoxication dotted with peaks and troughs that could last for over a week. At last he had written to her, his tone was maudlin and oozing with self-pity, and he wondered if she could consider having him back. It was only then, as she sat there with the wine-stained letter in her hand, that it dawned on her that her marriage was over. She both wanted and didn’t want to have him back, but she didn’t dare risk it because she knew that he could well destroy her life again. A human being can be wrecked and then resurrected and restored once in this life, she thought – but not twice. That would be too much. So she replied and informed Aron that their marriage was finished. Henrik existed and lived with his mother, it was up to him and his father to work out what sort of a relationship they wanted to have: she would not intervene.
Almost a year passed before he was in touch again. This time it was by means of a dodgy telephone connection from Newfoundland, where he and several like-minded computer experts had assembled to form a network that was reminiscent of a sect. He explained somewhat vaguely that they were investigating the future of archives, now that all human experience could be reduced to a combination of ones and zeros. Microfilm and underground libraries were no longer of significance for the recording of human experience. Now it was computers that would guarantee that mankind living at a specific time would not leave behind a vacuum. But was there any guarantee that in the magical demiworld in which he was living, computers would not be able to create their own experiences and record them as well? The line was poor and she couldn’t understand a lot of what he said: but at least he was not drunk and self-pitying.
He wanted her to send him a lithograph of a hawk pouncing on a dove, a picture they had bought shortly after they were married, when they happened to visit an art gallery. A week or so later, she sent him the picture. It was about then she realised that he had started to contact his son again, albeit secretly.
Aron continued to appear on the horizon. She sometimes wondered if she would ever be able to erase his features and discard the assessment table she used to measure other men with – and which sooner or later led to their being condemned, rejected.
Meet the Author
Henning Mankell is the prizewinning and internationally acclaimed author of the Inspector Wallander mysteries now dominating bestseller lists throughout Europe. He devotes much of his free time to working with AIDS charities in Africa where he is also director of the Teatro Avenida in Maputo, Mozambique.
- Mozambique, Africa
- Date of Birth:
- February 3, 1948
- Place of Birth:
- Stockholm, Sweden
- Folkskolan Elementary Shool, Sveg; Högre Allmäna Läroverket, Borås
Most Helpful Customer Reviews
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Most of us know Henning Mankell from his spectacularly successful series of murder mysteries featuring a grumpy and aging, but respected Swedish police inspector, Kurt Wallander. When I learned Henning Mankell spent half his time in Africa, and half at home in Sweden, I didn't know what to expect of his Africa novels. I knew his writing wasn't anything like that of Alexander McCall Smith, whose charming mysteries are more likely to plumb the depths of a philosophical question rather than a gruesome murder. In Kennedy's Brain we are treated to a literary polemic reminiscent of John LeCarre's The Constant Gardener, which raged against the excesses and greed of capitalist pharmaceutical companies operating in Africa. The story, of unregulated drug trials on healthy and sick Africans, ostensibly in search of a cure for AIDs, may suffer a bit in the telling but the rage of the author is fierce and very real. I sincerely wish the story hadn't a grain of truth, but I fear Mankell would not have sustained the telling of the story were it not so. Here is mystery indeed, and murder, though I prefer mine to be all fiction. Mankell deserves credit for looking long and hard at a very ugly story, and finding a way to tell us what we do not want to hear.
I like all Henning Mankell's books, but this is the best of the lot so far. A mother's reaction to a son's death may be a common theme, but in this case it's especially well done. The mother's tenacity in seeking the truth (suicide or murder) may be over the top, but it's all part of Mankell's broader concern about AIDS and Africa. A wonderful combination of personal, social, economic, and poltical issues - highly entertaining and instructive at the same time.
I love this author, with the Wallander series, and almost decided not to read this one after reading previous reviews. It was great! It does convince me that it's the author's voice/characters/plots that I love and not just Wallander. I'm not sure why others didn't like this one-it's thrilling and has an interesting couple as the main characters and also moves across several interesting countries. I knew the Swedish author lived in Africa part time and also wondered about that given Sweden at most of the locals for his other books. This one gave me some insight into his experiences in Africa and I enjoyed it. I will get more non "Wallander" books now.
This is another fantastic book. I was on the edge of my chair throughout!
Interestingi premise, weak ending.
If you like Mankell skip this one and preserve your good opinion
I have read many of Henning Mankell's books and this was such a disappointment. The dialog was so trite it reminded me of romance novels when the heroine, always sees shadows and can never make a decision.
The plot is both boring and complicated. The translation may be at fault. It has no suspense and does not engage the reader.
I am an avid Henning Mankell reader, have loved all of his books, but somehow he got lost in this one. Very depressing, not even interesting, I put it down the last 40 pages, not even caring how it ended.