A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

J. Robert Janes, Jerome Charyn & A Messerschmitt Knife
Monday, March 24, 2014



A Northside Knife
Boys, who are the devil
Will look for it with stealth
And try with a fingertip
To see if its edge is nicked.

How many times it entered
The flesh of a Christian
And now it's put away alone,
Waiting for a hand.


 Jorge Luís Borges
Translated by Christopher Mulrooney




Un cuchillo en el norte - Jorge Luís Borges

Los chicos, que son el diablo,

Lo buscarán con sigilo

Y probarán en la yema

Si no se ha mellado el filo.



Cuántas veces hará entrado

En la carne de un cristiano

Y ahora está arrumbado y solo,

A la espera de una mano,


From my early childhood I observed my parents read. My mother, in particular was snob when it came to reading she would have never read my father's Leslie Charteris. She taught me about the good writers she liked. From her I learned to read Daphne du Maurier, Eric Ambler, Lawrence Durrell, Dickens, Graham Greene and in the early 60s, Ian Fleming's James Bond.

It went the other way a couple of times that I can remember. I recommended an author which in the end she liked very much. She read as many of the Riverworld series by Philip José Farmer as I could get for her. In the mid-50s I had given her (at the time I was a member of the Doubleday Book Club) Nine Coaches Waiting by Mary Stewart which introduced her to gothic romance novels. I read it too, and I kind of liked it.

From my mother then I learned to be careful in my choice of reading matter. And so, I stuck to the well-known but sometimes the slightly offbeat. Offbeat in the sense that by the late 80s few of my peers knew who Raymond Chandler or Dashiell Hammett was. It was while looking for new Chandler and P.D. James books that I found two authors I would never have ever discovered otherwise.

At Duthies I was looking for Chandler and found Jerome Charyn. Under James I found the odd-named (it seemed at the time!) J.Robert Janes.


My life has not been straightforward and predictable or boring since, thanks to these two novelistic loose cannon.

I can safely say that I have a friendship with both. In the early 90s went to New York City to interview and photograph Charyn who taught me the wonders of vanilla ice cream with fresh raspberries and aged balsamic vinegar. I was too polite to challenge him to a game of ping-pong.

Of  Janes, who lives in Niagara-on-the-Lake, Ontario our friendship has been via email and Skype.

"bumper" Sidney Holden Illustration Bascove
As far as I know both authors do not know each other or have they read each other’s novels even though Charyn’s Isaac Sidel (a NY Police Commissioner with political ambition) and his Sidney Holden (a bumper by trade) novels and Janes’s St-Cyr and Kohler mysteries are both available with Mysterious Press.

I have just read Janes’s 14th St-Cyr & Kohler novel Tapestry. These are set in German-occupied Paris. In a time of all kinds of unspeakable war crimes, Chief Inspector Jean Louis St-Cyr of the Sureté and Detektiv Aufsichsbeamter Herman Kohler formerly a detective in Munich but now with the Gestapo solve normal crime as partners. Since St-Cyr is part of the defeated and Kohler is one of the Occupiers, Jane likes to use this word lots, the latter drives the Citroën traction avant and only gives his partner his ancient Lebel revolver when it is absolutely necessary.

In his introduction to all his books Janes puts it this way:

Tapestry is a work of fiction. Though I have used actual places and times, I have treated these as I see fit, changing some as appropriate. Occasionally the name of a real person is used for historical authenticity, but all are deceased and I have made of them what the story demands. I do not condone what happened during these times. Indeed, I abhor it. But during the Occupation of France everyday crimes of murder and arson continued to be committed, and I merely ask, by whom and how were they solved?

Of these 14 novels I must advise that you attempt to read them in order:


    Mayhem (1992)
    Carousel (1992)
    Kaleidoscope (1993)
    Salamander (1994)
    Mannequin (1994)
    Dollmaker (1995)
    Stonekiller (1995)
    Sandman (1996)
    Gypsy (1997)
    Madrigal (1999)
    Beekeeper (2001)
    Flykiller (2002)
    Bellringer (2012)
    Tapestry (2013)
    Carnival (2014)

What is astounding about them (I have yet to read Carnival) is that the first, Mayhem begins in December, 1942, the Occupation (the only time Janes does not tell us the exact date and day of the week) and Tapestry begins Paris, Thursday 11 February 1943 at 11.47 p.m. 


I assume that Mayhem may have been sometime mid December of 1942. This means that 14 crimes are solved in a span of about 10 weeks. I checked with Janes (you never know) and he replied:

Well, I did what I thought I should at the time, and yes, all of those first 15 titles take place one after another in what is really quite a short period of time.


I do not know of any other novelist who has put his protagonists in such a hurried situation. Another Janes standard is that in the last few pages of each novel the detectives are assigned to a next case and somehow the title of the novel is revealed.

How can two detectives work so quickly? In the British TV series Wallander (I have seen two) Kenneth Branagh (I am convinced of this since it cannot all be makeup) looks eternally spent, with bloodshot eyes, and in one he is almost involved in a crash when he falls asleep while driving. I am sure they tell Branagh not to sleep for a few days for effect.

Janes’s Kohler is smarter than Wallander. He pops Benzedrine which in the 40s Germans called Messerschmitt Benzedrine. It seems Luftwaffe flyers in the Russian campaign had little relief and had to fly day and night.

Janes’s beautiful novels (they are and they are full of details on what it was like to live, day to day under the yoke of the brutal Germans) are not easy to read. The plots are complex and the writing reminds me of a blend of Faulkner and Saramago.

‘Time?’

‘At about five thirty in the afternoon.’

‘Ah, bon. At last we’re getting somewhere. Now tell me, did they come here often?’



That ‘Ah bon. At last we’re getting somewhere is not uttered but thought. Often a suspect when questioned will think, ‘Will he believe me if I only tell him part of the truth? He was tall and fat.’




Often I have to re-read to make sure I understand whose saying what. It was Mario Vargas Llosa years ago who told me during in interview when I visited him in Lima, “I write like that because I want my reader to be part of the creative process.”

Once you have read one St-Cyr/Kohler you will warm up to their warm friendship and to their particularities. Kohler faints at the sight of blood while St-Cyr has a habit of talking and questioning the dead bodies, “How did you come to be here like this?”I do know that Janes himself often talks to St-Cyr and Kohler in his backyard garden shed.

For me the common thread in Charyn and Janes’s novels is the lasting friendship of their protagonists. This theme has cured me from ever wanting to read another American serial killer novel.

Robert Louis Stevenson who read Dumas’s the Vicomte de Bragallone at least five times, of his second reading, wrote:

“I would sit down with the Vicomte for a long, silent, solitary lamp-light evening by the fire. And yet I know not why I call it silent, when it was enlivened with such clatter of horse-shoes, and such a rattle of musketry, and such a stir of talk; or why I call these evenings silent in which I gained so many friends. I would rise from my book and pull the blind aside, and see the snow and the glittering hollies checker a Scotch garden, and the winter moonlight brighten the white hills. Thence I would turn again to the crowded and sunny field of life in which is was so easy to forget myself, my cares and my surroundings: a place as busy as a city, bright as a theatre, thronged with memorable faces, and sounding with delightful speech. I carried the thread of that epic into my slumbers, I woke with it unbroken, I rejoiced to lunge into the book again at breakfast, it was with a pang that I must lay it down and turn to my own labours; for no part of the world has ever seemed to me so charming as these pages, and not even my friends are quite as real, perhaps quite so dear, as d’Artagnan.”

Janes does insert humour in his novels but in strange ways. Consider Kohler, in Tapestry, forcing a Parisian socialite to witness in a morgue the body of a woman, whose death she may have been responsible. It seems that the woman has previously been dining at that most famous establishment (during the Occupation only frequented by people with lots of money, German officers and collaborators) the Tour d’Argent. This is what happens:

She coughed, she cried, she threw up the pommes d’amour flambées à l’Amaretto, the salade féndives de Belgique canard à la presse, caviar russe malossol et bisque de homand à l’armagnac et huitres à la Florentine, the Romenée-Conti also, or Nuits-Saint Georges and the champagne, mustn’t forget that, thought Kohler.

This is especially funny for me. Both my father and I were famous for only throwing up what had made us sick. Janes has the woman throw up last to first which would be the usual!

Without wanting to reveal too much more, Tapestry is special for me because of this:

‘A knife – but what kind of knife, damn it? That was no cutthroat.’



The right breast had been cleanly and deeply sliced open by one slash that extended down through the nipple. The shoulder had been opened and then the forearm as she had managed to pull free and had tried to fend him off only to have that arm grabbed again by the other assailant, the one who had come up behind her. The knife had been pulled away after she’d been cut open. Blood shot from its blade, lots of blood that had only at last, dribbled from it.



Had the bastard known how to butcher? Had he been a butcher?



And later there is this:

The knife that would be used was still lying on the table before her and…‘An’ old friend,’[he] had said he had brought from Argentina. A gaucho’s knife with a long and shallow groove on either side and almost the whole length of the blade to hold and drain away the blood –her blood – once the throat had been slashed. He would simply pick it up, grab her by the hair, yank her head back and cut her throat as he’d done to others, she was certain of this. A knife whose blade was twenty centimeters long at least, two in width at the top and razor sharp, with a flattened, S-shaped guard, the handle beautifully embossed with what looked to be hammered, coppery-silver designs of crisscrossed triangles, curves, ridges and countless patterns…Whenever possible they [gauchos] would use no other weapon that the facón each carried at the waist in its sheath, behind the back.’



Perhaps the knife weighed two hundred grams. Certainly it must be light for such a length. ‘The gavilán,’ he had said of it in Argentinian Spanish. ‘The balance has to be absolutely perfect. This one’s short by a good ten centimeters because I wanted it that way.’

Some years ago J. Robert Janes asked me to scan my facón, to measure it, to weigh it and to balance it at my finger, the balance point is right below the guard on the handle.

The facón was given to me as a gift by my Argentine sailor companions when we finished our service in 1966. How was I to know then that the gift would be a vicious murder weapon some day? 

This week I went to pick up some frozen pizza dough at Calabria Meat Market on Victoria Drive. Calabria Bakery moved to Port Moody so they deal with the Irish owners of the meat market. I spoke to the owner, Mr. Moynihan who is burly ex-rugby player and trained butcher. He explained that the purpose of the indentations of my knife (which really is a small bayonet) is to make it easy to remove it after plunging it or cutting meat. He told me that he had two old German butcher knives. He said they are called Messerschmitt knives.



     

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The Snapshot - La Instantánea



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12/29/13 - 1/5/14

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12/21/14 - 12/28/14

12/28/14 - 1/4/15

1/4/15 - 1/11/15

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1/25/15 - 2/1/15

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12/20/15 - 12/27/15

12/27/15 - 1/3/16

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1/31/16 - 2/7/16

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11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

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2/26/17 - 3/5/17

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4/30/17 - 5/7/17

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5/21/17 - 5/28/17

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10/29/17 - 11/5/17

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12/31/17 - 1/7/18

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1/21/18 - 1/28/18

1/28/18 - 2/4/18

2/4/18 - 2/11/18

2/11/18 - 2/18/18

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3/4/18 - 3/11/18

3/11/18 - 3/18/18

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3/25/18 - 4/1/18

4/1/18 - 4/8/18

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12/23/18 - 12/30/18

12/30/18 - 1/6/19

1/6/19 - 1/13/19

1/13/19 - 1/20/19

1/20/19 - 1/27/19

1/27/19 - 2/3/19

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3/3/19 - 3/10/19

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4/21/19 - 4/28/19

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11/24/19 - 12/1/19

12/1/19 - 12/8/19

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2/23/20 - 3/1/20

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1/3/21 - 1/10/21

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1/24/21 - 1/31/21

2/7/21 - 2/14/21

2/14/21 - 2/21/21

2/21/21 - 2/28/21

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3/21/21 - 3/28/21

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11/21/21 - 11/28/21

11/28/21 - 12/5/21

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12/26/21 - 1/2/22

1/2/22 - 1/9/22

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2/20/22 - 2/27/22

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