A Son of the Rock

Bloomsbury, 2010. 403p.

This is the latest in Boyd’s apparent taking up of genre fiction. Okay, An Ice-cream War was a historical novel as were The New Confessions and Any Human Heart but he is not generally considered a writer of genre. Yet having most recently tackled the spy novel in Restless, he now ventures into thriller territory. (I doubt he’ll be trying SF though.)

Returning a briefcase left at a restaurant where he was eating to a man with whom he had struck up a conversation, Adam Kindred stumbles into a murder scene. The victim is still barely alive and asks Adam to remove the knife from his body. Disoriented, Adam does so and the victim promptly dies. Suspecting the murderer is in the next room, Adam flees with the briefcase and thus becomes the prime suspect. So far, so very The Thirty Nine Steps. What follows deviates from that template but is still pretty much a standard thriller where Adam sleeps rough, takes up begging, attends the Church of John Christ, changes his name, links up with a prostitute and her son, then later with the policewoman who was first on the murder scene! – all the while pursued by the murderer at the behest of a big pharmaceutical company with a secret to hide. The secret is of course in the briefcase.

Put like that this sounds ridiculous. Not very literary is it? Admittedly the novel doesn’t touch the heights of earlier Boyd offerings like Brazzaville Beach, Any Human Heart or even Restless but it is very readable, rollicking along at a fine pace – and the characterisation is good.

It is also a signal reminder of how easy it can be to stay lost in modern society. Use no banks, mobile phones nor credit cards and you are virtually invisible; certainly hard to trace. Whether the novel much enlightens the human condition is something different, though.

The story is told from the viewpoints of several of the characters and Boyd does that mainstream thing of giving their histories. I know it’s supposed to add to roundness and provide motivation but it struck me that really – especially if this knowledge is essential to the plot – it’s just another species of information dumping.

Inevitably with multiple viewpoints some of the narrators are less engaging than others. I was at first irritated by that of the chairman of the research company Calenture-Deutz but it is a sign of Boyd’s skill that he is able to elicit sympathy and even compassion towards him.

The writing appears effortless, very little jars (but see below) and the stupidity of Adam Kindred at the start apart – don’t touch the knife! – is psychologically convincing. If you like thrillers with a bit of character meat to them give it a try.

Small rant alert:-
Within, we have the old homonym “vocal chords.” These are cords; as in small pliable cylindrical pieces of living tissue. They vibrate as air passes over them and so produce sound. They are not a set of musical notes sounded simultaneously. Does no-one proof read any more?