Death in the Truffle Wood.

Pierre Magnan’s Commissaire Laviolette novels have long enjoyed success in France but have just recently become available in English, starting with the series opener, Death in the Truffle Wood.

A number of hippies have gone missing recently in a small, nondescript town in Provence, and as the novel opens the reader witnesses another murder, unrelated except for the fact that it occurs as the serial killer is dumping one of his bodies, tying the two crimes together, albeit clumsily. Long, lazy passages introduce us to the various residents of the town (that is, the pool of potential suspects), most of whom are involved in some way with the truffle business. (The mushrooms, that is, not the chocolates.) Magnan gives us a few passages devoted to the fungus and local customs and dishes built around it, but not quite enough for my tastes. Eventually, the book’s nominal star, Laviolette, arrives in the town on an ambiguous, almost unofficial assignment to solve the string of murders, and he begins by trying to break down the barriers thrown up by the local citizens, most of whom date their heritage in that town for generations, toward any outsider.

Two aspects of Death in the Truffle Wood bothered me. One was the language, which could be a translation issue as much as a prose issue, but throughout the book Magnan showed a sparse style that seemed less an homage to the classic hard-boiled novels I enjoy than just laziness, like Magnan couldn’t be bothered with details, as in this absymal section on a kitchen scene that’s tangential to the main action:

The owner, in a state of panic at his overloaded stoves, inundated his underlings with contradictory orders. Little by little, however, everything fell into place and order reigned once more.

Oh, everything fell into place? That’s nice to hear. If you’re not going to fill in the picture, don’t sketch out the outline. As it was, Magnan had several asides along those lines that desultory nods toward the standard expectations of scene-setting, which stood in stark contrast to his over-long descriptions of the potential suspects, presented in awkward internal monologues before the plot can really get rolling.

The second problem was the fact that the alleged star of the book, Commissaire Laviolette, fades so easily into the background and has little to do with solving the case. In fact, he missed one of the most obvious clues I have ever seen in any detective novel, the pig’s reaction to a specific patron in the town’s bar. But he also lacked character or personality, and the novel reads like a mystery that solves itself.

I’m willing to concede that some of the trouble could be the result of a poor translation and would give the series another chance, but I’m going to try to get the next book, The Messengers of Death, in the original French and see if that makes a difference (even though it will take me substantially longer to get through it). But right now, I have a feeling this is another case of reviewers fawning over a novel that was a hit in another language and country first even though, had it been written by an American and published first in English, they would have seen it for the thin, somewhat drab novel that it is.

Next review: Back to a master of the genre, Raymond Chandler, with Farewell, My Lovely.