Published by Hanover Square Press on October 6, 2020
Most of Snow takes place in 1957, although an epilog recounts a meeting between two characters ten years later. Snow is the first of a two-book deal featuring St. John Strafford, a Protestant detective in Catholic Ireland. The same character appeared in The Secret Guests, a novel set during World War II that John Banville published under his penname Benjamin Black. Apparently, Banville has decided that he no longer needs to publish crime novels under a penname, or perhaps his publisher told him that his books will sell better if he publishes them under his real name.
Strafford is assigned to investigate the death of a priest named Father Tom in a prosperous Protestant home where Father Tom was a frequent guest. The killer cut off Father Tom’s junk, perhaps making the motive for the crime obvious, priests being notorious for misusing their junk.
Since the house was locked on the night of the priest’s death, suspects are limited to family members and the stable boy. The semi-doddering patriarch has a new wife, the first one having died in a fall on the same staircase where Father Tom was murdered. Most of the story’s modest intrigue comes from the interaction of the family members. Banville also tries to generate interest with the church’s desire to avoid publicizing the circumstances of the priest’s death and the discomfort that Strafford is made to feel as a member of a religious minority in Ireland.
Banville gained fame as a prose stylist. Reading the well-crafted language of a Banville novel is always pleasant, but he clearly doesn’t make the same effort in genre novels that he once devoted to literary fiction. His genre prose isn’t as dense or as lyrical as his literary prose. Nor does Banville’s genre work have the depth of his earlier books. While crime is a theme in some of Banville’s literary novels, including his most celebrated work, The Book of Evidence, his genre crime novels lack the heft of his best work.
The difference is evident in Snow. The novel follows the formula of a mystery novel by asking the reader to decide which of several suspects might be the murderer. While the clues seem to point in the direction of one or two characters, Banville employs the misdirection that characterizes the genre, only revealing the full truth of the crime in the epilog. The revelation doesn’t come as much of a surprise, giving the sense that Banville just isn’t trying very hard. The plot is certainly no better than average for a genre crime novel.
A writer can’t be faulted for writing books that sell, and crime fiction typically outsells literary fiction, but the best writers in the crime genre fuse the strongest qualities of literary fiction and genre fiction. Banville hasn’t done that.
I’m giving Snow a cautious recommendation because Banville holds the reader’s interest with a mildly entertaining if undemanding story. Readers who are looking for something more from a writer who was once regarded as a rising literary giant will likely be disappointed.
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