You know when you hope you got a book series wrong? Other people are telling you it’s great but you just don’t get it? You end up offering excuses for the writer: maybe I wasn’t in the right frame of mind; maybe I was too tired; maybe I read it too quickly.
Sometimes, it is genuinely that other people are wrong.
J. K. Rowling does not write well for an adult audience.
Let’s be fair, this isn’t a car crash of a novel – note the pun; I worked hard on that one else! – it’s serviceable in a pedestrian way. It whiles away a rainy weekend. In the same way that Dan Brown does. And that’s okay.
Let’s turn to the plot. A writer goes missing and Cormoran Strike is hired to locate him; once located, he is discovered dead in a particularly gruesome way that echoes the ending of his unpublished book. The list of those who had access to the book becomes the list of suspects, and it is made up entirely of two-dimensional caricatures. The chain smoking agent, Elisabeth Tassel, who seemed to owe a huge debt to Meryl Streep in The Devil Wears Prada; the obnoxious literary rival, Michael Fancourt; the pretentious publisher, Daniel Chard; Jerry Waldegrave, the alcoholic limp editor who permitted practically anyone else to have unfettered access to the safe in which the manuscript was locked; the self-published mistress and her transgender friend, Kathryn and Pippa.
Each one is equally unlikeable and unlikely as a suspect; each had opportunity; each has motive; no motive is any less credible than any other.
And just like in Cuckoo’s Calling, about two thirds of the way through the novel, Cormoran Strike deduces the killer and spends the rest of his time smugly not telling anyone. And, to be frank, I didn’t care. Not a jot.
Strike was a loner in the first novel and this one widens his social circle a little: in addition to Robin Ellacott, we suddenly have a socialite half-brother, a shark-diving friend and a taxi driver joining Team Cormoran. And that’s all lovely… but all terribly convenient and again those characters are two-dimensional plot devices.
And Strike is – for wont of a better word – a bastard. Yes, I know that it’s not untraditional to try to create sympathy for characters with flaws, that flaws can in fact create sympathy. But Strike is a bastard. Not just is he irritatingl smug, he is a user of women. His relationship with his ex-fiancee is toxic; his treatment of Nina in the novel is atrocious. Which makes the clumsy and blunt attempt to create sexual tension between him and Robin deeply unattractive. In fact, Robin is caught essentially between two abusive men: her fiance Matthew Cunliffe is just as bad and controlling.
In fact, that may be the most interesting thing about the novel – albeit one which was done on The Archers recently: the toxicity of abuse within apparently “normal” middle-class relationships.
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