Three Men in a Boat (To say nothing of the dog) by Jerome K. Jerome (1889)

George said: ‘Let’s go up the river.’ He said we should have fresh air, exercise and quiet; the constant change of scene would occupy our minds (including what there was of Harris’s); and the hard work would give us a good appetite, and make us sleep well.

Three Men in A Boat is routinely included in any list of the funniest books ever written in any language. It describes the lazy dawdling progress of three late-Victorian ‘chaps’ on a 2-week boating holiday up the River Thames from Kingston upon Thames to Oxford and back again. Despite being slapdash in ‘plot’ and very uneven in tone, it was wildly popular upon publication, has sold solidly ever since and been translated into loads of languages. Why?

Guidebook to a new type of activity

One answer is that the book caught the spirit of a moment when commercial activity on the Thames had all but died out, almost the entire barge traffic which dominated it having been decimated by the railway revolution of the 1840s and 1850s. As a result a new fashion had been developing since the 1870s for boating as a leisure activity. In fact at various points the narrator complains about the Thames becoming too busy with pleasure craft, with thousands of skiffs and rowboats and his particular bete noire, the steam pleasure cruiser.

The book was originally conceived as a mixture of history book and tourist guide to cash in on the newish pastime, and quite literally showed ‘how to do it’, with advice on how to hire a boat, what kind to get (our heroes hire ‘a Thames camping skiff’, ‘a double-sculling skiff’), an itinerary with top sights to spot, what to expect, how far to expect to travel each day, with historical notes about Romans and Saxons and kings and queens and the castles and monasteries of each Thames-side settlement.

‘We won’t take a tent,’ suggested George; ‘we will have a boat with a cover. It is ever so much simpler, and more comfortable.’

Admittedly the book as we have it now almost completely submerges this factual information in prolonged comic digressions and humorous sketches, but as a practical guide, it still has a vestigial interest: most of the route, the locks and so on are unchanged and most of the pubs and inns named are still open. Here’s an example of Jerome’s factual but dreamy guidebook style:

From Wallingford up to Dorchester the neighbourhood of the river grows more hilly, varied, and picturesque. Dorchester stands half a mile from the river. It can be reached by paddling up the Thame, if you have a small boat; but the best way is to leave the river at Day’s Lock, and take a walk across the fields. Dorchester is a delightfully peaceful old place, nestling in stillness and silence and drowsiness. Dorchester, like Wallingford, was a city in ancient British times; it was then called Caer Doren, ‘the city on the water.’ In more recent times the Romans formed a great camp here, the fortifications surrounding which now seem like low, even hills. In Saxon days it was the capital of Wessex. It is very old, and it was very strong and great once. Now it sits aside from the stirring world, and nods and dreams.

How to holiday

The second element is it shows you what tone to approach such a holiday in, namely one of humorous self-deprecation. It is not only a guide to the route and its sights, but the mood and manner of insouciant larking around to take on such a holiday.

The book is less of a guidebook than a toolkit of whimsy, humour, comedy, irony, pranks, mishaps and ironic reversals. Reading any passage at random makes you feel lighter and gayer. In fact it is a model, in its simplicity and sustained good humour and sheer fun, of what a modest staycation should be like and, as most of us know to our cost, rarely is.

Humour

This brings us to the third and most obvious element which is the humour, the comedy, and the most striking thing about the book which is how incredibly well the humour has lasted. Much of Three Men in a Boat is still very funny indeed. Jerome manages to turn almost every incident and passing thought into comedy with the power of his whimsy and frivolous invention.

I was hooked from the moment in paragraph three when the narrator describes what a hypochondriac he is, how the minute he reads any advert for a new medicine he becomes convinced he has all the symptoms of the relevant illness, and proceeds to develop this into a comic riff about how he once went to the British Museum to read up on a slight ailment he thought he had, and then found his eye diverted by another entry in the medical encyclopedia and, in the end, ended up reading the entire thing from cover to cover, convinced he had every symptom of every ailment listed in the book, from Ague to Zymosis.

I had walked into that reading-room a happy, healthy man. I crawled out a decrepit wreck.

He doesn’t stop there. His new-found health anxiety led him to pay a worried visit to a doctor friend who  sounded him out, discovered where he’d been and what he’d been reading and calmly gave him a prescription for… exercise, fresh air and to stop poking about in subjects he didn’t understand!

The narrative opens on this mood of restless and entirely fictional hypochondria, as the narrator (‘J’) and his two pals meet up for a drink and a pipe, and all agree they need some kind of break, some kind of rest cure… This leads into a comic consideration of all the alternative types of holiday available with the invariable disasters they entail, with a particular lingering taking a sea cruise and a vivid comic description of the prolonged sea sickness it so often leads to… until:

George said: ‘Let’s go up the river.’

They discuss the novel charms of a slow cruise up the River Thames… And off we go. (Actually, as the book progresses, we discover that they have been on quite a few boat trips up the Thames before, but somehow that doesn’t dampen the initial boyish enthusiasm.)

Play acting

And this is another aspect of it: the three chaps in the boat are in a sense playing at being late-Victorian larks. There is a strong element of play-acting, of theatricality, in many of the best scenes and this encourages the reader to take part in the acting.

When I was a student there were chaps who liked to wear boaters and blazers and hire punts on the river. They were acting the part of chaps punting along the willow-strewn river while their lady loves lay back among the pillows, trailing one hand in the river and holding a glass of chilled champagne in the other. It encourages a spirit of acting.

The models of the narrator’s two chums, Harris and George were, in real life, the founder of a London printing business (Harris) and a banker who would go on to become a senior manager in Barclays (George). But not on this trip. On this jolly jaunt they are acting the parts of incompetents and fools larking around.

Male friendship

Which brings us to the chappiness of the chaps, the fact that the book is not only a record of an idyllic trip through an idealised bit of English landscape, but is also an idealised account of male friendship. If only our real friends were as whimsical, funny, amusing and doggedly loyal as the chaps in the boat.

Having gone on various all-male holidays myself, I know that a key element of them is the sense of exaggerating each other’s shortcomings and characteristics. Things always go wrong and the sign of a good holiday, and of a good relationship, is to retain good spirits and a sense of humour whatever happens.

Without wanting to sound too pompous about it, a key element in this kind of practical, camping, outdoors-style venture is the element of forgiveness. If one of you sets the tent up all wrong so that it falls down in the middle of the night in the middle of a rainstorm, it takes a lot of character, and of love, not to get angry but to keep your sense of humour.

One way to manage this is to turn each other into cartoons. I had a couple of friends who went on an epic journey across South America. They had difficult times made worse by drunkenness and general incompetence. They discovered early on that the way to avoid anger and arguments was to treat each other as cartoon caricatures of themselves, so they weren’t criticising each other (which is hurtful) but were attacking each other’s cartoon avatars (which was funny and defused tensions).

In fact they developed a particularly powerful variation on this theme which was to mimic a couple of  fictional sports commentators, Brian and Peter, alternating commentary on their real-life activities in wheedling, whining, microphone voices of two fictional

‘In a long career of cocking up travel arrangements, surely this is Dave’s biggest screw-up of all, turning up at the airport a day after their flight had left. Brian.’

‘Thank you, Peter, yes in a lifetime of commentating on drunken Brits fouling up abroad, I think this definitely takes gold medal. It looks like young Dave now has no serious competition for the Most Incompetent Tourist of the Year award which he has, to be fair, put so much effort into winning’.

By turning each other into comic caricatures, male friends can be quite brutally critical about each other, but in a way which defuses tension and increases male bonding.

George and Harris

So the three chaps are not only characters but caricatures, types. Very early in the book we learn that Harris is caricatured as the Lazy One.

Harris said he didn’t think George ought to do anything that would have a tendency to make him sleepier than he always was, as it might be dangerous. He said he didn’t very well understand how George was going to sleep any more than he did now, seeing that there were only twenty-four hours in each day, summer and winter alike; but thought that if he did sleep any more, he might just as well be dead, and so save his board and lodging.

And the drinker.

I wonder now, supposing Harris, say, turned over a new leaf, and became a great and good man, and got to be Prime Minister, and died, if they would put up signs over the public-houses that he had patronised: ‘Harris had a glass of bitter in this house;’ ‘Harris had two of Scotch cold here in the summer of ’88;’ ‘Harris was chucked from here in December, 1886.’

No, there would be too many of them! It would be the houses that he had never entered that would become famous. ‘Only house in South London that Harris never had a drink in!’ The people would flock to it to see what could have been the matter with it.

And the glutton:

Harris said there was nothing like a swim before breakfast to give you an appetite.  He said it always gave him an appetite.  George said that if it was going to make Harris eat more than Harris ordinarily ate, then he should protest against Harris having a bath at all.

While George is caricatured as Dim, so that everyone can enjoy feigning surprise every time he makes a sensible suggestion (which he does, in fact, all the time; the whole idea of a trip up the river is his, after all). George always knows ‘a little place just round the corner’ which will serve a jolly fine whisky or brandy or whatever the occasion demands. ‘George said he felt thirsty (I never knew George when he didn’t)’.

And ‘J’, the narrator, thinks of himself as the imaginative, soulful one who does all the organising, a contention the other two vehemently deny.

Englishness

A central aspect of Englishness is a kind of dogged incompetence. I have Canadian cousins and I am quietly appalled at how good they are at everything. Their jobs, their cars, their airplane deals, the house on the lake, their camping, their barbecues, they’re just super capable at everything.

By comparison, whenever I try a barbecue the sausages are burned on one side, raw on the other or smell of paraffin; I not only can’t handle the massive armoured cars most people drive around in these days, but they terrify me. Whenever I went camping the inner tent always touched the outer tent so that the rain came through and, generally, dripped precisely on my face or that of my angry partner. I went canoeing once but, although I’m quite confident on water, ended up going round in circles and eventually gave it up in frustration.

In all these respects and more I think of myself as very English, in living a life of quiet frustration, putting up with endless humiliation by shop assistants, local government officials, crooked financial advisers, maladroit tradesmen, pestering insurance salesmen and countless other rip-off merchants, living in a small, over-crowded, angry country run by buffoons, painfully conscious all the time of my own failings and lack of ability.

For a whole year I’ve been meaning to fix the trellis currently leaning against the fence to the fence with battens and screws so I can plant some climbers for it. But in order to do that I need to figure out where to go to buy the wood to make the battens, how to saw them to length, which make of electric screwdriver to buy (battery or cord) and then which size of screws. It is a forest of impenetrable obstacles. I wonder if it’ll ever get done. Can’t help feeling my Canadian cousins would have done it in half an hour and then got on with organising another delicious barbecue.

(I’d written that paragraph, looking out the window at the trellis, before I came across the sequence in chapter 3 of Three Men In A Boat describing at comic length the legendary incompetence of the narrator’s Uncle Podger and the mayhem he causes his entire extended family, the servants and neighbouring shopkeepers in his cack-handed attempts to simply hang a picture on a wall. The inability to do even the simplest household chore reminds me of all Charles Pooter’s domestic accidents in Diary of a Nobody. Both books show that being useless at even the simplest household tasks has been a hallmark of English comedy for at least 130 years.)

Heroic failure is the English way. As no end of commentators have pointed out, the British most remember their military disasters, the Charge of the Light Brigade, the siege of Mafeking, the massacre at Isandlwana, the Somme, Dunkirk and the Blitz. We like it when we’re being hammered. Until very recently our tennis players and our footballers have been notable for their dogged third-rateness (Tim Henman, any England squad since 1970).

American humour tends to be smart and snappy, a festival of fast-talking, wisecracking one-line-merchants from Groucho Marx through Cary Grant in his screwball comedies to Woody Allen. English humour is about fumbling and falling over things: Dad’s Army, Some Mothers Do Ave Em. Ooh Betty. They don’t like it up ’em, Captain Mainwaring. This tone of perplexed failure is perfectly captured in the narrator’s description of bathing in the sea from the start of the book:

It is the same when you go to the sea-side. I always determine—when thinking over the matter in London—that I’ll get up early every morning, and go and have a dip before breakfast, and I religiously pack up a pair of drawers and a bath towel. I always get red bathing drawers. I rather fancy myself in red drawers. They suit my complexion so. But when I get to the sea I don’t feel somehow that I want that early morning bathe nearly so much as I did when I was in town.

On the contrary, I feel more that I want to stop in bed till the last moment, and then come down and have my breakfast. Once or twice virtue has triumphed, and I have got out at six and half-dressed myself, and have taken my drawers and towel, and stumbled dismally off. But I haven’t enjoyed it. They seem to keep a specially cutting east wind, waiting for me, when I go to bathe in the early morning; and they pick out all the three-cornered stones, and put them on the top, and they sharpen up the rocks and cover the points over with a bit of sand so that I can’t see them, and they take the sea and put it two miles out, so that I have to huddle myself up in my arms and hop, shivering, through six inches of water. And when I do get to the sea, it is rough and quite insulting.

English weather

Foreigners often accuse the English of being obsessed with the weather. This is because it is so perverse and unpredictable. Occasionally we do actually have hot summers but my lifetime has been marked by confident predictions of ‘barbecue summers’ which end up being dismal washouts. Not that the English weather’s particularly interesting, it’s rare that you have really hot blue-sky summer days and, where I live in London, we rarely if ever have snow in winter. English weather is usually boring and mundane, lacking vivid extremes, like English culture generally. I read once in the CIA Handbook that for more than 50% of the time the English sky is grey and overcast. I remember it feeling like that during the entire premiership of John Major, 1990 to 1997.

Anyway, any adult English person has had the experience of organising a barbecue or birthday party or wedding reception outdoors in a garden or park or grand mansion only to have it rained off by steady, grey. ‘Rain stopped play’ is one of the commonest terms in cricket. It’s amazing that Wimbledon ever makes it to the final on schedule given the amount of time lost to English summer rain. The gloomy weather is a big part of that heavy-hearted sense of entirely predictable failure and disappointment which is at the heart of the English character.

Hence the national obsession with weather forecasts, on telly, the radio, in all the papers, despite the fact that any rational adult knows the weather forecast is usually wildly wrong. I remember looking at the BBC’s weather forecast for my part of London which told me it was hot and sunny despite the fact that, out the window, at that very minute it was chucking down with rain. As in so many big organisations, reliance technology meant the weather forecasters were relying more on their expensive computer model than looking out the bloody window.

Three Men In A Boat shows you that nothing has changed, the weather forecast was just as rubbish 130 years ago:

I remember a holiday of mine being completely ruined one late autumn by our paying attention to the weather report of the local newspaper. ‘Heavy showers, with thunderstorms, may be expected to-day,’ it would say on Monday, and so we would give up our picnic, and stop indoors all day, waiting for the rain.—And people would pass the house, going off in wagonettes and coaches as jolly and merry as could be, the sun shining out, and not a cloud to be seen.

‘Ah!’ we said, as we stood looking out at them through the window, ‘won’t they come home soaked!’

And we chuckled to think how wet they were going to get, and came back and stirred the fire, and got our books, and arranged our specimens of seaweed and cockle shells. By twelve o’clock, with the sun pouring into the room, the heat became quite oppressive, and we wondered when those heavy showers and occasional thunderstorms were going to begin.

‘Ah! they’ll come in the afternoon, you’ll find,’ we said to each other. ‘Oh, won’t those people get wet. What a lark!’

At one o’clock, the landlady would come in to ask if we weren’t going out, as it seemed such a lovely day.

‘No, no,’ we replied, with a knowing chuckle, ‘not we. We don’t mean to get wet—no, no.’

And when the afternoon was nearly gone, and still there was no sign of rain, we tried to cheer ourselves up with the idea that it would come down all at once, just as the people had started for home, and were out of the reach of any shelter, and that they would thus get more drenched than ever. But not a drop ever fell, and it finished a grand day, and a lovely night after it.

The next morning we would read that it was going to be a ‘warm, fine to set-fair day; much heat;’ and we would dress ourselves in flimsy things, and go out, and, half-an-hour after we had started, it would commence to rain hard, and a bitterly cold wind would spring up, and both would keep on steadily for the whole day, and we would come home with colds and rheumatism all over us, and go to bed.

Voilà the English national characteristics: the complete incompetence of the forecasters, the blithe indifference of the newspapers (or radio or telly) which publish this twaddle day after day, the utter unreliability of official information, the inevitability that whatever you decide to do will be wrong, and the one over-riding certainty of disappointment. A Philip Larkin world.

Hence, the one time our trio of chums need a cab to collect their stuff from the front door and take them to Waterloo station in a hurry the road, which is usually packed with empty cabs hurtling back and forth, is empty. Similarly, when they get to Waterloo they can’t find anyone who knows the platform for the train to Kingston.

Activities the English (in the shape of J, Harris and George) are doomed to fail at

  • going on an ocean cruise – seasickness
  • putting up a tent in the rain – recipe for homicidal rage
  • hanging a picture on a wall – reduce entire family to tears
  • swimming in the sea – cut your feet to ribbons and get half drowned
  • running a train system – it was an over-priced shambles in the 1880s and still is
  • washing their own clothes in the river – disaster
  • rigging up the hoops and canvas over the boat for the night – they manage to get tangled in the cloth and nearly throttled
  • cooking scrambled eggs – J had never heard of this dish before but Harris turns it into a burned mess
  • opening a tin of pineapple with a knife – impossible to do without serious injury
  • finding a room for the night in Datchet – never do this
  • singing a comic song after dinner – Harris should be banned from even trying
  • playing the bagpipes – when a young fellow J knew practiced at home the neighbours called the police and accused him of murdering his family

To say nothing of the dog

I’m not a dog person, but I appreciate that many English people are, and so I can see that the character of the dog Montmorency, a mischievous fox terrier, is a vital component in the story. He brings a warm, snuffling supplement to the human narrative, either getting into mischief or shedding an ironic light on the human shambles, adding the final cherry on the cake to many a comic moment.

Take the scene in chapter 14 where the chaps knock up a supposed Irish stew by combining the leftovers in the party’s food hamper:

I forget the other ingredients, but I know nothing was wasted; and I remember that, towards the end, Montmorency, who had evinced great interest in the proceedings throughout, strolled away with an earnest and thoughtful air, reappearing, a few minutes afterwards, with a dead water-rat in his mouth, which he evidently wished to present as his contribution to the dinner; whether in a sarcastic spirit, or with a genuine desire to assist, I cannot say.

A cat couldn’t do that, add that final comic touch. Any sensible cat would have sloped off long ago to the warm lap of a homely lady happy to stroke and feed it fishy titbits all day. A dog sticks it out through thick and thin, no matter how incompetent his master(s). Mind you, Montmorency is not quite the tail-wagging, faithful hound some people make out.

When first he came to live at my expense, I never thought I should be able to get him to stop long. I used to sit down and look at him, as he sat on the rug and looked up at me, and think: ‘Oh, that dog will never live. He will be snatched up to the bright skies in a chariot, that is what will happen to him.’

But, when I had paid for about a dozen chickens that he had killed; and had dragged him, growling and kicking, by the scruff of his neck, out of a hundred and fourteen street fights; and had had a dead cat brought round for my inspection by an irate female, who called me a murderer; and had been summoned by the man next door but one for having a ferocious dog at large, that had kept him pinned up in his own tool-shed, afraid to venture his nose outside the door for over two hours on a cold night; and had learned that the gardener, unknown to myself, had won thirty shillings by backing him to kill rats against time, then I began to think that maybe they’d let him remain on earth for a bit longer, after all.

To hang about a stable, and collect a gang of the most disreputable dogs to be found in the town, and lead them out to march round the slums to fight other disreputable dogs, is Montmorency’s idea of ‘life’.

And again:

Fox-terriers are born with about four times as much original sin in them as other dogs are, and it will take years and years of patient effort on the part of us Christians to bring about any appreciable reformation in the rowdiness of the fox-terrier nature.

And:

We spent two very pleasant days at Oxford. There are plenty of dogs in the town of Oxford. Montmorency had eleven fights on the first day, and fourteen on the second, and evidently thought he had got to heaven.

The dog is one more prompt for that amused exasperation which is the tone of the book throughout, that resigned tolerance of each other’s foibles (that’s to say inadequacies and incompetence), the cussed obstinacy of the universe, the stupidity of other river users, with the dog thrown in as an additional element of chaos and frustration.

Montmorency’s ambition in life is to get in the way and be sworn at. If he can squirm in anywhere where he particularly is not wanted, and be a perfect nuisance, and make people mad, and have things thrown at his head, then he feels his day has not been wasted.

To get somebody to stumble over him, and curse him steadily for an hour, is his highest aim and object; and, when he has succeeded in accomplishing this, his conceit becomes quite unbearable.

He came and sat down on things, just when they were wanted to be packed; and he laboured under the fixed belief that, whenever Harris or George reached out their hand for anything, it was his cold, damp nose that they wanted. He put his leg into the jam, and he worried the teaspoons, and he pretended that the lemons were rats, and got into the hamper and killed three of them before Harris could land him with the frying-pan.

Harris said I encouraged him. I didn’t encourage him. A dog like that don’t want any encouragement. It’s the natural, original sin that is born in him that makes him do things like that.

Montmorency helping to untangle the tow line

The dog speaks, by the way. It is given a variety of opinions and several passages of dialogue, once with the cat in Marlow High Street, once when it challenges the kettle to a fight. And it’s not the only normally non-speaking entity to be attributed agency. I was particularly taken with the story of his earliest attempt to sail a boat in which he and his friend struggled to even erect the mast and then managed to get themselves completely tangled up in the sail.

The impression on the mind of the sail seemed to be that we were playing at funerals, and that I was the corpse and itself was the winding-sheet. When it found that this was not the idea, it hit me over the head with the boom, and refused to do anything.

Digressions

Three Men In A Boat in a sense consists almost entirely of digressions. It’s as if, having laid out the narrative of what actually happened in its logical order, Jerome then pondered how he could exaggerate every single incident into the most preposterous comic riff possible.

He has a fantastic comic conceit, i.e. the ability to take a simple idea and develop it into a preposterous and fantastical series of exaggerations. Thus when they’re discussing what food to take, they all solemnly agree no cheese, which prompts J to launch a fairly straightforward joke about the way cheese is very smelly.

For lunch, he said, we could have biscuits, cold meat, bread and butter, and jam—but no cheese. Cheese, like oil, makes too much of itself. It wants the whole boat to itself. It goes through the hamper, and gives a cheesy flavour to everything else there. You can’t tell whether you are eating apple-pie or German sausage, or strawberries and cream. It all seems cheese. There is too much odour about cheese.

But this is only the beginning: mention of cheese leads the narrator to remember the time a friend bought some cheeses in Liverpool –

I remember a friend of mine, buying a couple of cheeses at Liverpool. Splendid cheeses they were, ripe and mellow, and with a two hundred horse-power scent about them that might have been warranted to carry three miles, and knock a man over at two hundred yards.

– a story which becomes steadily more inflated and preposterous over the next four pages, as the cheese proceeds to alienate all the passengers in the train back to London, his cab driver who collects him at the station. The wife of the man he transported it for announces she is moving out of her house (and taking the children) until the cheeses are removed, and then the story develops a surreal, almost horror story persistence as the narrator tries dumping the cheeses in a nearby canal only for the barge drivers to insist the smell is making them ill and that he trawls them back up; he next sneaks them into a mortuary, but the coroner complains that he is trying to wake the dead, and the entire, by this stage surreal and absurd fantasy, only comes to an end when he takes them all the way to the coast and buries them deep in the sand, although people can still smell their strong whiff, but (comically) attribute it to ‘bracing’ sea air.

So it’s: 1. a book of wonderful comic digressions, a kind of unscholarly, more mundane version of Tristram Shandy – but also 2. it struck me how extended these digressions are; he rarely stops a comic conceit after a sentence or two when he can carry it on for as many paragraphs as possible.

Look at the four paragraphs about Montmorency’s character quoted above. Jerome could have stopped after the first paragraph, he’s made his point, it’s very funny. But he presses on for another three paragraphs, milking the notion of Montmorency being a serious hindrance to anyone trying to pack a bag to the absolute max.

Or take the extended sequence about the utter rubbishness of weather forecasts which I quoted above. That’s only the beginning. The weather riff then goes on for twice as much again, leading into a prolonged passage about the barometer in a hotel in Oxford which obstinately pointed to ‘Dry weather’ while it was raining so hard the lower part of the town was flooded.

Probably the book’s central quality is the ability of these digressions to take a comic ball and run with it for a really extended period of time, never dropping it, but blowing the original comic balloon up to the size of a zeppelin.

The fantastical

This raises a third point, which is the tendency of many of the jokes to cross a border from the realistic  to the ridiculous and then continue on into the positively fantastical. Many if not most of J’s extended anecdotes have this quality of exorbitancy, meaning: ‘exceeding the bounds of custom, propriety, or reason’.

I realised this during the account of their inability to find the right platform at Waterloo for the train to Kingston. At first it is realistic, in the sense that big train stations often are chaotic. Then it becomes enjoyably farcical as porters, officials and even the station master give completely contradictory advice. But then it crosses a borderline from exaggeration into outright fantasy when they find a train driver who’ll take them wherever they want to go for half a crown, so they pay up and this man drives his train to Kingston, without telling the station authorities or any of the passengers aboard apart from our chums.

So we went to the high-level platform, and saw the engine-driver, and asked him if he was going to Kingston. He said he couldn’t say for certain of course, but that he rather thought he was. Anyhow, if he wasn’t the 11.5 for Kingston, he said he was pretty confident he was the 9.32 for Virginia Water, or the 10 a.m. express for the Isle of Wight, or somewhere in that direction, and we should all know when we got there. We slipped half-a-crown into his hand, and begged him to be the 11.5 for Kingston. ‘Nobody will ever know, on this line,’ we said, ‘what you are, or where you’re going. You know the way, you slip off quietly and go to Kingston.’

‘Well, I don’t know, gents,’ replied the noble fellow, ‘but I suppose some train’s got to go to Kingston; and I’ll do it. Gimme the half-crown.”

By this point it’s become as fantastical as a children’s story. You feel it’s only a small hop and skip and a jump from here to the Hogwarts Express. And then the punchline:

We learnt, afterwards, that the train we had come by was really the Exeter mail, and that they had spent hours at Waterloo looking for it and nobody knew what had become of it.

The book is generally described as a heart-warming story of a trio of chaps messing about in a boat. This element of fantastical exaggeration is surprisingly under-reported.

And excess. Here is the narrator descanting at length about the types of people who insist on fencing or chaining off their little bits of the Thames waterfront, or erecting officious noticeboards:

The sight of those notice-boards rouses every evil instinct in my nature. I feel I want to tear each one down, and hammer it over the head of the man who put it up, until I have killed him, and then I would bury him, and put the board up over the grave as a tombstone.

I mentioned these feelings of mine to Harris, and he said he had them worse than that. He said he not only felt he wanted to kill the man who caused the board to be put up, but that he should like to slaughter the whole of his family and all his friends and relations, and then burn down his house. This seemed to me to be going too far, and I said so to Harris; but he answered:

‘Not a bit of it. Serve ’em all jolly well right, and I’d go and sing comic songs on the ruins.’

People associate the book with mellow nostalgia, but I hope I’m showing that it’s quite a lot more extreme and disruptive than that suggests. There’s a surprising amount of this comic excess, talk of murdering and strangling and burning and trampling and so on.

There’s a good microcosm of the process in chapter 12 where in just a few sentences you can follow the thought process going from reasonable to exaggerated to manic.

Maidenhead itself is too snobby to be pleasant. It is the haunt of the river swell and his overdressed female companion. It is the town of showy hotels, patronised chiefly by dudes and ballet girls. It is the witch’s kitchen from which go forth those demons of the river—steam-launches!

(The more I read, the more I realised Jerome isn’t dealing in jokes; he writes entire comic sketches. Although he doesn’t do the deliberate surrealism, the way he carries a comic conceit from the funny onto the exaggerated and then to outlandish conclusions reminds me a bit of Monty Python. It is no surprise to learn that he started his career in the arts, in the theatre, as an actor, and wrote a dozen or so plays alongside his career as a prose writer and magazine editor.)

Purple prose and historical fantasias

This brings us to the last aspect of the book worth noting which is the continual advent, in between the extended comic digressions, of passages of over-ripe purple prose. This comes in two flavours: 1. soppy rustic idylls about nature and 2. historical fantasias when the author presents sub-Walter Scott descriptions of the passage of Good Queen Bess or some such historical personage through whatever historic old town or castle they’re boating past.

The many over-ripe nature passages are clearly written with his tongue firmly in his cheek:

The red sunset threw a mystic light upon the waters, and tinged with fire the towering woods, and made a golden glory of the piled-up clouds. It was an hour of deep enchantment, of ecstatic hope and longing. The little sail stood out against the purple sky, the gloaming lay around us, wrapping the world in rainbow shadows; and, behind us, crept the night.

We seemed like knights of some old legend, sailing across some mystic lake into the unknown realm of twilight, unto the great land of the sunset.

And are nearly always the prelude to an almighty thump of bathos. In this case J experiences this great communing with Nature at its most spiritual just before he steers their boat into a punt full of anglers who proceed to curse and excoriate them in extensive and colourful terms. So the purple passages are, at bottom, another type of joke, a variation on the idea of the extended comic passage.

Although some of them are maybe just meant to be happy, light and evocative, slightly tongue in cheek, but also capturing the beauty of unspoilt countrside.

Down to Cookham, past the Quarry Woods and the meadows, is a lovely reach. Dear old Quarry Woods! with your narrow, climbing paths, and little winding glades, how scented to this hour you seem with memories of sunny summer days! How haunted are your shadowy vistas with the ghosts of laughing faces! how from your whispering leaves there softly fall the voices of long ago!

Like P.G. Wodehouse a couple of generations later, the over-egging of these descriptions is part of their knowing, light, good humour.

2. A good example of his historical fantasias is when the trio reach Runnymede and J gives an extended imagining of Bad King John being forced to meet his rebellious Barons and taken on a barge to the island where he is obliged to sign the historic Magna Carta, all visions of bluff, manly, hearts-of-oak Englishmen.

the heart of King John sinks before the stern faces of the English fighting men, and the arm of King John drops back on to his rein, and he dismounts and takes his seat in the foremost barge. And the Barons follow in, with each mailed hand upon the sword-hilt, and the word is given to let go.

Slowly the heavy, bright-decked barges leave the shore of Runningmede. Slowly against the swift current they work their ponderous way, till, with a low grumble, they grate against the bank of the little island that from this day will bear the name of Magna Charta Island. And King John has stepped upon the shore, and we wait in breathless silence till a great shout cleaves the air, and the great cornerstone in England’s temple of liberty has, now we know, been firmly laid.

Many critics have objected to these passages as disrupting the flow of what they think of as a comic novel and feel ought to remain strictly in character as a Comic Novel. But I have already shown that the text is not as straightforwardly humorous as people think. To my mind both the rural visions and the historical fantasias are natural extensions of Jerome’s tendency to really extended comic fantasy. They are another type of tall tale. They share, along with the comic passages, the tendency to exorbitance, to overstep the bounds of ‘realism’ into fantasy.

Many critics have come down hard on these passages but, personally, I found them amusing and entertaining diversions, a relief from the need to be laughing all the time, so they added to the variety and pacing the text.

Also they have the charm of their time. It’s not as if we, nowadays, in 2021, get to read very much high-minded Victorian patriotic history. Modern historians are devoted to debunking the past and showing what a sexist, racist, slave-ridden society Britain has always been. It’s as pleasant to slip into Jerome’s manly, patriotic visions of English history as it is to pretend, for the duration of the reading, that one is a late-Victorian young buck messing about on the river.

Mock heroic

The mock heroic as a literary genre consists of:

satires or parodies that mock Classical stereotypes of heroes and heroic literature. Typically, mock-heroic works either put a fool in the role of the hero or exaggerate the heroic qualities to such a point that they become absurd.

Obviously Three Men In A Boat isn’t a mock heroic work in this sense but, like much comedy, it uses mock heroic techniques. All I mean by this is two things:

1. As an extension of his habit of slipping into extended historical fantasies, Jerome also slips, often in the space of a sentence, into humorously comparing one or other of his companions or the dog, to heroic historical counterparts; as when Montmorency sees a cat in Marlow High Street:

We were, as I have said, returning from a dip, and half-way up the High Street a cat darted out from one of the houses in front of us, and began to trot across the road. Montmorency gave a cry of joy—the cry of a stern warrior who sees his enemy given over to his hands—the sort of cry Cromwell might have uttered when the Scots came down the hill—and flew after his prey.

He doesn’t say which of Cromwell’s battles he’s referring to, maybe to Cromwell’s decisive victory over them at the battle of Worcester in 1651. But the point is the humour in the vast dysjunction between a dog spying a cat in a road and one of the great battles of British history.

2. My other point is more specifically lexical, meaning specifically about language, and more specifically than that, about quotes. Like many comic authors before and after him, Jerome creates a comic effect by juxtaposing descriptions of his clumsy mates and their scrappy dog with solemn and portentous quotes, the more solemn and portentous the funnier the effect, and what language is more solemn and portentous than quotes from those twin peaks of the English language, Shakespeare and the Bible?

Thus he ends a comic passage about his school days and the unfairness of the way the only boy in his class who loved schoolwork was always ill and off school, whereas J and his mates, who hated schoolwork, always showed disgusting good health no matter how hard they tried to get ill and get days off school – he ends this passage with a mockingly solemn aphorism from the Bible:

Such is life; and we are but as grass that is cut down, and put into the oven…

Although the naughty schoolboy in him can’t help adding a comic and demotic phrase to the end of this quote:

Such is life; and we are but as grass that is cut down, and put into the oven and baked.

You can almost imagine J or one of his friends solemnly intoning these phrases in the persona of a dreary vicar, delivering a wise and learned mock sermon on the subject of Harris falling into a stream or George driven mad with frustration at having a tin of juicy pineapple but no can opener to open it with.

(Compare and contrast with the use of Biblical quotes and phraseology by Jerome’s contemporary, Rudyard Kipling, who was saturated in the Bible, its phrases and rhythms, and aspired to, and sometimes matched, the solemnity of the original, as in Recessional.)

So much for comically inappropriate use of Biblical phraseology, as to Shakespeare, comic characters for centuries have used tags from the Bard out of context in order to heighten a comic moment. Thus when George forgets to wind his watch and wakes in the early hours to see, with panic, that it is a quarter past eight and he needs to be at the office by nine, his response is to repeat in comic mode an exclamation from Hamlet, tragically intense in its original context, but long since watered down to become a comic expostulation:

‘Angels and ministers of grace defend us!’ exclaimed George; ‘and here have I got to be in the City by nine.’

3. As I wrote this I realised that alongside the mock heroic presence of these two reliable old warhorses, the Bible and Shakespeare, in the text, there is a notable absence: there are no Latin tags. Jerome had a surprisingly harsh upbringing in the East End, attending a day school, unlike most of the authors and critics of the time, who enjoyed the blessings of a preparatory school followed by public school followed by Oxford or Cambridge, all of which of course, soaked them in the Classics and explains why later Victorian literature is littered with Latin tags which ‘everyone’ was supposed to understand.

Not so Jerome. The absence of Latin is one of the subtle indicators of the slightly lower class vibe of the text which contemporary critics picked up on and criticised (see section on Demotics, below).

The narrator as raconteur

This wide range of comic effects is possible because the narrator early on establishes his persona as a raconteur, a story-teller and memoirist, which allows him very casually to introduce as many memories and incidents and anecdotes as he wants. The narrator’s tone and voice immediately create a very relaxed, flexible and roomy atmosphere. It’s indicated by the number of passages or sequences which overtly begin as memories and tales:

  • I remember going to the British Museum one day to read up the treatment for some slight ailment of which I had a touch—hay fever, I fancy it was…
  • I remember my brother-in-law going for a short sea trip once…
  • Another fellow I knew went for a week’s voyage round the coast, and, before they started, the steward came to him to ask whether he would pay for each meal as he had it, or arrange beforehand for the whole series…
  • He always reminds me of my poor Uncle Podger…
  • I remember a friend of mine, buying a couple of cheeses at Liverpool…
  • I lived with a man once who used to make me mad that way. He would loll on the sofa and watch me doing things by the hour together…
  • I remember a holiday of mine being completely ruined one late autumn by our paying attention to the weather report of the local newspaper…
  • There was a boy at our school, we used to call him Sandford and Merton…
  • It was my misfortune once to go for a water picnic with two ladies of this kind [fussed about their dresses]. We did have a lively time…
  • One golden morning of a sunny day, I leant against the low stone wall that guarded a little village church, and I smoked, and drank in deep, calm gladness from the sweet, restful scene…
  • Speaking of comic songs and parties, reminds me of a rather curious incident at which I once assisted…
  • I remember being terribly upset once up the river (in a figurative sense, I mean). I was out with a young lady—cousin on my mother’s side…
  • I remember going up once from Staines to Windsor—a stretch of water peculiarly rich in these mechanical monstrosities—with a party containing three ladies of this description…
  • I knew a young fellow once, who was studying to play the bagpipes…
  • I was one of a party who hired an up-river boat one summer, for a few days’ trip….

Some highlights

Passages that stood out for me included:

  • the time Harris not only got lost in the Hampton Court Maze but persuaded a whole load of other people to follow him until they were all lost
  • the time J took some young ladies dressed in the latest fashion for a boat trip and the comedy of their things getting wet and dirty
  • the comic passage about the time he was having a soulful moment in a graveyard which was interrupted by an interfering old man who wanted to show him all the tombs and monuments
  • the extended description of Harris making a complete fool of himself trying to sing a comic song after a dinner party
  • the comic anecdote of the German professor who sang a tragic song about a dying maiden but who two mischievous German students had told the foreign audience was actually a cheerfully comic song so that the foreigners guffawed and tittered all the way through, rendering the professor speechless with anger
  • the notion that the kettle can hear you expressing a wish for tea and so deliberately refuses to boil, so the best thing is to talk loudly about how the last thing you want is tea, then the perishing thing will boil, alright!
  • how, back in good King Henry’s day, the innocent day tripper couldn’t go anywhere without bumping into the bloody king and Ann Boleyn on one of their many snogging trips
  • the procession of our heroes down Marlow High Street after a shopping expedition for food and drink, accompanied by the ‘boys’ of almost every shop in the town, plus random urchins and various stray dogs

by the time we had finished, we had as fine a collection of boys with baskets following us around as heart could desire; and our final march down the middle of the High Street, to the river, must have been as imposing a spectacle as Marlow had seen for many a long day.

Jerome’s demotic tone

Nothing excuses violence of language and coarseness of expression…

Contemporary critics, upper-middle class to a man, tutted about Jerome’s slangy expressions and disapproved of the lower-middle-class character of the protagonists. They disliked their levity, their lack of respect for their elders and betters and authority figures of all types. Nothing is taken seriously, everything is debunked. Education.

I don’t understand German myself. I learned it at school, but forgot every word of it two years after I had left, and have felt much better ever since.

Or the high minded activities of worthy philanthropists.

In the church is a memorial to Mrs. Sarah Hill, who bequeathed 1 pound annually, to be divided at Easter, between two boys and two girls who ‘have never been undutiful to their parents; who have never been known to swear or to tell untruths, to steal, or to break windows.’ Fancy giving up all that for five shillings a year! It is not worth it.

Even the modern reader can, I think, detect moments when Jerome seems to be deliberately using slang expressions for effect:

  • She was nuts on public-houses, was England’s Virgin Queen.
  • For once in a way, we men are able to show our taste in colours, and I think we come out very natty, if you ask me.
  • We—George, Harris, and myself—took a ‘raw ’un’ up with us once last season, and we plied him with the customary stretchers about the wonderful things we had done all the way up. [where ‘stretchers’ seems to mean tall tales or whoppers]

The narrator has a habit of adding ‘like’ at the end of sentences, which is clearly non-orthodox and deliberately put in to make the tone just that bit East End.

  • Neither the beef nor the strawberries and cream seemed happy, either—seemed discontented like.
  • We had had a sail—a good all-round exciting, interesting sail—and now we thought we would have a row, just for a change like.

Equally non-U is the way the tone of many of the passages is surprisingly immoderate.

I never see a steam launch but I feel I should like to lure it to a lonely part of the river, and there, in the silence and the solitude, strangle it.

Take the extended passage about the wretched people who put up loud signs warning boaters from mooring on their river frontages which I quoted above, in which J tells us he’d like to burn down their houses and Harris declares he’d like to slaughter their entire families and sing comic songs on the ruins!

In addition to humorously contemplating murder and arson, the narrator cheerfully confesses to having, as a boy, been a thief, pure and simple:

Having acquired a taste for the water, I did a good deal of rafting in various suburban brickfields—an exercise providing more interest and excitement than might be imagined, especially when you are in the middle of the pond and the proprietor of the materials of which the raft is constructed suddenly appears on the bank, with a big stick in his hand.

And appears to recommend stealing a boat in the here and now:

To those who do contemplate making Oxford their starting-place, I would say, take your own boat—unless, of course, you can take someone else’s without any possible danger of being found out.

And the text contains a number of incitements to actual vandalism, which I can well imagine the property-owning classes and all right-minded critics sharply disapproving of.

Of course the entrance [to the Wargrave cut off the Thames] is studded with posts and chains, and surrounded with notice boards, menacing all kinds of torture, imprisonment, and death to everyone who dares set scull upon its waters—I wonder some of these riparian boors don’t claim the air of the river and threaten everyone with forty shillings fine who breathes it—but the posts and chains a little skill will easily avoid; and as for the boards, you might, if you have five minutes to spare, and there is nobody about, take one or two of them down and throw them into the river.

The three chaps come over as fairly middle class with their ‘drats’ and ‘dashes’ and ‘come on old chap’s so I was surprised when J admits a more working class accent in his circle. He describes going boating with a lady friend and how much it changed her temper for the worst. But it was her accent which surprised me.

‘Oh, drat the man!’ she would exclaim, when some unfortunate sculler would get in her way; ‘why don’t he look where he’s going?’

And it’s a telling detail that J doesn’t like Maidenhead because it is ‘too snobby’ and la-di-dah:

The London Journal duke always has his ‘little place’ at Maidenhead; and the heroine of the three-volume novel always dines there when she goes out on the spree with somebody else’s husband.

To summarise: it’s not as posh as it seems. In fact it’s odd to think a book so entirely associated with Hooray Henries dressed in boaters and blazers, hiring punts and hampers and recreating what they considered to be the book’s ineffably upper class and joshing tone, was ever criticised for its lower class attitude

It is just a comedy, but it’s a good deal more rough, anti-social and subversive than most people remember.

It is an ancient place, Streatley, dating back, like most river-side towns and villages, to British and Saxon times. Goring is not nearly so pretty a little spot to stop at as Streatley, if you have your choice; but it is passing fair enough in its way, and is nearer the railway in case you want to slip off without paying your hotel bill.

What he thought of the nineteenth century

  • some quaint-perched eyrie on the cliffs of Time, from whence the surging waves of the nineteenth century would sound far-off and faint.
  • The sun had got more powerful by the time we had finished breakfast, and the wind had dropped, and it was as lovely a morning as one could desire. Little was in sight to remind us of the nineteenth century.
  • I like to watch an old boatman rowing, especially one who has been hired by the hour. There is something so beautifully calm and restful about his method. It is so free from that fretful haste, that vehement striving, that is every day becoming more and more the bane of nineteenth-century life.
  • Mr. W. Lee—five times Mayor of Abingdon—was, no doubt, a benefactor to his generation, but I hope there are not many of his kind about in this overcrowded nineteenth century.

A purple patch about the river Thames

The river—with the sunlight flashing from its dancing wavelets, gilding gold the grey-green beech-trunks, glinting through the dark, cool wood paths, chasing shadows o’er the shallows, flinging diamonds from the mill-wheels, throwing kisses to the lilies, wantoning with the weirs’ white waters, silvering moss-grown walls and bridges, brightening every tiny townlet, making sweet each lane and meadow, lying tangled in the rushes, peeping, laughing, from each inlet, gleaming gay on many a far sail, making soft the air with glory—is a golden fairy stream.

But the river—chill and weary, with the ceaseless rain-drops falling on its brown and sluggish waters, with a sound as of a woman, weeping low in some dark chamber; while the woods, all dark and silent, shrouded in their mists of vapour, stand like ghosts upon the margin; silent ghosts with eyes reproachful, like the ghosts of evil actions, like the ghosts of friends neglected—is a spirit-haunted water through the land of vain regrets.

He’s fallen in the water

In chapter 13 they moor in a grassy spot for lunch. Harris makes himself comfortable on the loose edge of a little stream, starts to carve the appetising steak pie they’ve brought with them but, before anyone can do anything, the earth gives way and he falls into the stream, emerging moments later from amid the reeds muddy, wet and cross. The steak pie isn’t too happy, either.

The incident itself is fairly funny, but two things make it Jeromian. One is that Harris doesn’t just fall in the water, he vanishes! One minute he’s there, something distracts the other two for a second or so and, when they turn back, Harris has vanished leaving them utterly bewildered! For a moment they are thunderstruck… until they hear a wet groaning coming from the reeds. The book is full of moment like this, not just a bit funny, but extreme, like theatrical coups de grace, like a kind of verbal special effect, which stuns author and reader alike.

The second element is the cod Biblical, mockingly philosophical tone of the narrator as he describes the scene, a tone which marinates the entire book, by assuming a high-falutin’ tone in effect mocking all things earnest and pompous, mocking teachers and vicars and property owners and stationmasters and sextons, mocking Great Writers and Lofty Sentiments; contrasting the Timeless Wisdom of the Books of Books and the Immortal Spirit of Nature with the clumsy reality of three hapless young chaps who keep falling in the water and endlessly fighting.

Harris believes to this day that George and I planned it all beforehand. Thus does unjust suspicion follow even the most blameless for, as the poet says, ‘Who shall escape calumny?’ Who, indeed!

Shakespeare, again.


Related links

Related reviews

Squeeze Me by Carl Hiaasen (2020)

The purpling corpse of Uric Burns still hung from the bridge abutment. Photographers clambered around like coked-up marmosets.
(Squeeze Me, page 186)

I suspect that the outstanding feature of this novel was intended to be the extended mockery of President Donald Trump and the First Lady, Melania Trump, who both appear as speaking characters, the former blustering at press conferences or failing to get it up with his mistress, the latter relieving the boredom of her gilded cage by having an affair with her Secret Service bodyguard, on one memorable occasion emerging dripping naked from her bath and ordering her to **** her.

However, two things militate against the book being quite the excoriating sensation Hiaasen and his editors may have planned:

  1. Trump has finally gone, as of January 2021, and it’s surprising – but then again, maybe not – how quickly we’ve stopped giving a damn about him.
  2. Trump has been trumped by the small matter of a worldwide pandemic which has rocked every aspect of our societies, and shows no signs of going away.

Presumably Hiaasen was putting the finishing touches to this novel in spring 2020 when the pandemic first arrived. He’s been canny enough to slip references to it into the narrative but it doesn’t affect the plot at all, indeed, it would be difficult to see how you could have a comedy thriller set during a lockdown. But somehow even the fleeting references to COVID (pages 8, 29, 56, 105) are enough to drag the reader out of Hiaasen’s grotesque fantasy-land and into our all-too-real present.

Plot summary

As usual, as soon as you open a Hiaasen novel the reader is bombarded with a host of characters, each with their own complex backstories and history, who are brought together by a a premise, by one specific incident, the more garish and grotesque the better, whose ramifications rumble on and spread out and ensnare everyone in comic (and sometimes very violent) consequences for just shy of 400 pages.

Angie Armstrong

Angela ‘Angie’ Armstrong runs a wild animal control company ‘Discreet Captures’ i.e. if you’ve got a wild raccoon in your kitchen or a bear blunders into your garden, Angie’s the woman you call to sort it out. She’s five foot three tall and her Army father taught her to address all males as ‘sir’. She was married for a while to Dustin, 21 years older and a good-looking life coach (p.44). However, Dustin didn’t like critters at all, which put a strain on the marriage, then Angie caught him being unfaithful (as happens in most Hiaasen marriages), in this case with an equestrian named Alexandria, so they divorced. She still keeps in touch with Dustin’s son, grown-up, reasonable Joel, who comes to stay every other weekend. Angie’s latest boyfriend is a Merrill Lynch banker named Jesse, who gets casually dumped fairly early on (p.106).

Angie got a job as a wildlife officer with the state of Florida but blew this when out on patrol she saw a drunken slob deliberately run his airboat over a grazing deer. Angie motored straight over and arrested the ‘fuckstick’ (p.37) who continued to insult and abuse her so intensely that she fed his left arm into the maw of a tame alligator named Lola. Yes. Angie takes no nonsense.

The case went to court where she learned the fuckstick’s name was Pruitt. He was fined but Angie was sent to Gadsden prison for 14 months for use of excessive force and discharged from state service. Now, every day at 6pm, Pruitt phones up from a different payphone and breathes revolting threats and abuse down the phone. Angie gives sardonic replies and drives him mad by never losing her temper and referring to him as ‘sir’ throughout.

Angie is, in other words, the latest in a line of tough Hiaasen heroines such as Merry Mansfield in Razor Girl, Honey Santana in Nature Girl, Jolayne Lucks in Lucky You or Erin in Strip Tease.

The Burmese python

Late one night Angie gets a call from Tripp Teabull, manager of the Lipid Estate in Palm Beach. This is a huge mansion complete with ballroom, manicured grounds and ornamental lake where very up-scale parties, receptions and fund raisers are held. Costs quarter of a million to hire for the night without catering.

Teabull is calling because the head gardener, Mauricio, and his crew have discovered an eighteen-foot-long Burmese python lazing in the branches of one of the trees in the grounds with a big lump half way down it. As so often, Hiaasen pauses the narrative for a few pages to give a background explanation of an aspect of his novel, in this case the genuine proliferation of Burmese pythons in South Florida: they were originally bought as pets but managed to escape into the wild, whose tropical climate suits them perfectly.

The novel opens on the night of a big right-wing political fundraiser being given at the Lipid Estate and attended by the usual set of South Florida millionaires, their wives and widows. It opens just at the moment when one of a circle of rich widows, 72-year-old Katherine ‘Kiki’ Pew Fitzsimmons has gone missing, leaving only a cocktail glass and one shoe down by the lake.

Little old lady missing? Huge python with a suggestive bulge in its gut? You don’t have to be Sherlock Holmes to instantly suspect the two are connected.

So Angie is called out to the Estate and charged with getting rid of the python without using a gun or anything which might scare the super-rich guests up in the main house. After some faffing she decapitates the python with a razor sharp machete and gets some of the estate’s bigger guys to roll it up into a coil, stuff it into a box along with ice, put the head in a separate (smaller) box, and carry them to her pickup truck.

Then she drives it to the storage units (Safe’n’Sound) where she stores dead animals on ice before she’s got enough to make a full load and it’s worth driving a hundred miles west into the wilderness where she’s developed a secret burial ground for them. More respectful, and causes less questions, than just dumping them in the garbage.

Uric and the Prince

Job done, right? However, shortly afterwards Angie’s apartment is burglarised, the crims taking her checkbook and laptop. This, we discover, is at the behest of none other than Teabull, the Lipid Estate manager. Terrified that the python really ate the old millionairess Kiki, he wants to totally get rid of the evidence and so commissioned a couple of lowlifes, Uric Burns, and his assistant, ‘a dull-eyed fuckwit’ (p.48) who insists on being called Prince Paladin (real name is Keever Bracco, p.83) to find out where Angie stores her dead animals and to steal back the python corpse and safely dispose of it where cops will never find it.

These two dumb gimps stole Angie’s laptop in order to find out what storage depot Angie uses, in order to break into that and steal the python, but they are so immensely dim that after driving round all night, they report right back to the Lipid estate to ask Teabull where to take it. The latter is understandably  furious since the whole purpose of the heist was to remove the snake as far as humanly possible from the Lipid Estate and here they are, having brought it right back and risking maximum incrimination!

Teabull hurriedly gives the crooks details of a new construction site going up out west, which is still having the foundations laid, with big holes being filled with cement. Teabull pulls a favour with the site foreman, Jackson, buying his crew lunch at a local restaurant so that the site is empty at just the right time for Uric and the Prince to rock up and excavate a hole in the soggy cement. But when they open the boot to bury the snake they find it has thoroughly defrosted and not only that, it has kind of unzipped to reveal a little old lady folded up inside its gut. After they’ve stopped throwing up, the pair bury the lady in the hole in the concrete but there isn’t time to find a new bit of fresh cement and dig a hole in it, before the crew start arriving back from lunch so the two dimwits drive off at speed with a decomposing python in their boot.

However, there’s a detail. Uric is quicker to stop leaning away and throwing up when they first open the boot than his accomplice Prince Paladin and so spots that the decaying lady is wearing big diamond earrings and a necklace of conch pearls. He grabs them while the Prince is still puking. But in trying to get the pearl necklace off, Uric snaps it and a number of pearls roll free into the boot.

Second unfortunate thing is that, when the crims drive off at speed they, hit one of those railway lines crossing the road and embedded in it, which gives the car enough of a big bump to spring the boot open with the result that the snake corpse goes flying out along with some of the incriminating pearls…

Fay Riptoad

Back to Kiki’s rich friends. It is a minor riff but quite funny the way Hiaasen characterises the really rich whose circle old Kiki inhabited by showing that everyone belongs to this or that eminent family the source of whose wealth is humorously signposted along with their surname. Thus Kiki was the grand-daughter of Dallas Austin Pew ‘of the aerosol Pews’; her first husband was Huff Cornbright, ‘of the anti-freeze and real estate Cornbrights’; after Huff drowned while fishing, she remarried Mott Fitzsimmons ‘of the asbestos and textile Fitzsimmonses’; and she is good friends with Fay Alex Riptoad ‘of the compost and iron ore Riptoads’. (The same gag is repeated again on page 122).

This latter lady, Fay Alex, is head of the POTUS Pussies, shrill ageing cheerleaders for ‘the new, crude-spoken commander-in-chief’ (p.8). Being tremendously bossy, on the night Kiki goes missing, Fay takes it on herself to phone and summon the local Palm Beach chief of police, Jerry Crosby (backstory p.53) and insisting that he drop everything to search for her missing friend. Luckily Jerry has developed ample skills at handling the very rich without losing his temper.

Enter the First Lady

Now, I hear you ask, where does the president’s wife come into all this? Well, she is travelling in the usual ten-car motorcade from the president’s residence, the ironically named Casa Bellicosa, when it draws to a halt because the car in front has come across a decapitated python lying across the road. Yep, the First Lady’s motorcade has come across the very same snake corpse which flew out the boot as Uric and the Prince fled the building site where they’d buried Kiki only a few minutes earlier.

In other words, Tripp Teabull wanted the python disposed of as discreetly as possible but instead, due to Uric’s incompetence, it has come to the attention of the President’s wife and the US Secret Service.

The president’s wife’s bodyguards and secret agents swarm everywhere talking into their lapel radios like they do in the movies, before establishing it’s just a weird coincidence rather than some kind of terrorist threat. But one thing leads to another and the security forces identify Angie Armstrong as a leading animal wrangler in the locality. With the result that the Secret Service calls her in to deal with the snake corpse and she is, understandably puzzled, that she is dealing with the very snake corpse she had safely stashed in the storage depot a day earlier. At this point she tells the authorities all about how her apartment was burgled and then her storage area broken into and the snake being stolen, and they all ask themselves: Why?

So this is how Angie finds herself being interviewed by Special Agent Paul Ryskamp, who’s tasked by the Feds with following up on the weird incident which delayed the First Lady’s motorcade. He’s a nice guy. She’s a nice girl. Can you see where this is heading?

Diego Beltrán

So far, so macabre and gruesome and satirical. Things take a notably more serious turn when we discover that on the very same night that a drunk, stoned Kiki was eaten by a giant python, a small people smuggling boat hit the beach not far away, carrying illegal immigrants from Central America including one Diego Beltrán who is to become a dominant figure in the narrative.

As it happens, Diego has already been resident in the States where he had a visa to stay while he completed a degree, so he’s well educated and fluent in English and duly returned to his native Honduras. But life didn’t work out back home, so now here he is, having paid to be smuggled back into the States, along with 20 other illegals.

After they’re dumped on the beach, the passengers all split up. Diego is tramping along a highway when he discovers, at the place a rail line crosses it, something gleaming down in the groove of the track and picks up a shiny conch pearl, obviously one of the pearls from Kiki’s necklace. It is a fateful moment.

Diego goes on to get a low-paid manual job but a few days later is picked up in a sweep by U.S. Immigration and Customs Enforcement. When he’s taken to the police station and turns out his pockets, everyone sees the conch pearl. It is listed and reported, and this triggers a match with missing person Kiki Fitzsimmons, who is reported as last seen wearing diamond earrings and a conch pearl necklace.

So before he knows it, Diego has been accused by the cops of murdering Kiki. Not only that but, because the python corpse held up the First Lady’s motorcade, the FBI get involved, too. Not only that, but the name of this suspect and the fact that he’s an illegal have been quickly gathered by the poisonous Fay Riptoad and passed on, via her close contacts, to the dim, racist, know-nothing, knee-jerk ‘commander in chief’ and, to the horror of all the good reasonable people in the book (namely Angie,  local police chief Jerry Crosby and Paul Ryskamp) the C-in-C delivers an ad lib speech from his golf course, where he singles out the murder of his ‘good friend’ Kiki Fitzsimmons by illegal immigrant Diego Beltrán as just the kind of dire threat from foreigners and criminals which America is facing. ‘That’s why we gotta build a wall, folks, to keep these murderers and rapists out of our beautiful country’ etc.

Within hours an angry mob of C-in-C supporters has assembled outside the Palm Beach County jailhouse where Diego is being held, egged on by right-wing talk-show radio hosts, demanding his immediate lynching or hanging. His name is quickly converted into a slogan chanted by the mob and repeated in the media: ‘No More Diegos!’

This barely needs any commentary. It is intended to be scalding satire on the stupidity and bigoted xenophobia of the moronic president and his base.

Uric and the Prince are identified

Angie, Jerry and Paul had each in their ways been quietly following up on identifying the crooks who burgled Angie and stole the python. They have got as far as identifying Uric and the Prince Paladin aka Keever Bracco from various photos and CCTV footage.

Now there is a further plot development because, when a reward is offered for any news about Kiki, not too bright Uric decides he’ll claim it, so he calls the anonymous crime hotline and reveals where the body of Kiki is buried in the recently laid concrete of a new housing development and also accuses the Prince of carrying out the crime.

When Kiki’s body is then found, it confirms Uric’s story, and closed circuit TV from the site confirms the make of car the crims used, and also shows it driving off at speed. A related camera at the railway crossing shows clear as day how this same car momentarily jumped into the air as it hit the rail bump, the boot flew open and a massive snake corpse flew out.

The good guys form a team

Angie is the link between Jerry the police chief and Paul the FBI agent and by about page 200 she invites them both to a bar for a meal where they meet and form a kind of team. By now they have pretty much all the evidence they need to piece together the sequence of events:

  • python swallows Kiki
  • Angie kills python and takes it to storage on ice
  • Teabull commissions Uric and the Prince to break into Angie’s apartment, find the name of the storage site, break into that and steal the python
  • they go to bury it at the building site but discover Kiki’s body inside the snake, bury that and run out of time to dig a separate body for the snake so drive off at speed
  • when they hit the rail line the boot flies open and the snake flies out but they carry on driving
  • minutes later the First Lady’s motorcade arrives and is halted while the Feds check out the weird dead snake, then eventually move on
  • Angie is called for a second time to dispose of the snake and is brought into contact with the authorities
  • that night Diego Beltrán is walking along the same road when he spots a conch pearl amid the rails
  • a few days later he’s picked up by the authorities as an illegal and the pearl is discovered, connecting him to Kiki
  • somehow the connection between dead Kiki, the pearls and an illegal immigrant is leaked to the President who immediately shapes it to his anti-immigrant narrative and he gives an extempore speech in which he blames Diego for Kiki’s murder
  • a crowd assembles outside the Palm Beach County Gaol where he’s being held, the story goes all over the national press and Diego becomes a symptom of everything evil and wicked which is threatening the US of A

Angie, Jerry and Paul are agonisingly aware that Diego is completely innocent, but the thing has now got so big and so inflamed that it’s going to be hard if not impossible to shift the narrative, and risky for the two lawmen to get involved. Difficult for individuals to go up against the full force of the Presidential propaganda machine and his attack media. The whole thing has spiralled into, as Angie puts it: ‘a five-star clusterfuck’ (p.153).

Donald and Melania Trump

I knew Trump was referenced in the book but I was curious to see how Hiaasen would handle it. Initially he is a peripheral figure, satirically referred to throughout as ‘the commander in chief’. Presumably it is for legal purposes that he is never referred to by name. His Miami home is jokily referred to as ‘Casa Bellicosa’. Some of his (fictional tweets) are quote verbatim, full of spelling and grammar mistakes.

It is a winning piece of satire that the rich old ladies have formed a club named the POTUS Pussies, referencing the commander-in-chief’s famous quote about grabbing pussy. He is referred to as crude and blustering, as ‘that dysfunctional hump in the White House’ (p.189) – all in all, par for the course, by the standards of American liberals who subjected Trump to four years of scathing criticism.

Then about half way through the novel things change when the Trump figure directly intervenes in the Diego case. Things change from being generalised satire about his crude blustering character to becoming a concrete demonstration of what his rabble-rousing xenophobia means for a real individual, a real person whose life is being wrecked. The commander-in-chief figure changes from being merely pathetic to becoming positively malevolent.

In the earlier parts of the book there are more scenes featuring Melania Trump, riding in the motorcade, prowling her private apartments at the Casa Bellicosa, bored and horny.

I wonder whether it was for legal reasons that neither of them are named. The president is referred to as  the president or commander-in-chief, never by name. Indeed, early on Hiaasen adopts the comic strategy of referring to both of them by the codewords assigned to them by the Secret Service.

Thus Melania is never named, but referred to throughout as Mockingbird, her codename, a curiously poignant name. The president’s codeword is Mastodon, which he loves because it sounds mighty. With typical ignorance he asks if he can visit a zoo to see some real-life mastodons but nobody is brave enough to tell him that mastodons, a generic term for woolly mammoths and suchlike, died out during the last ice age.

We see Mockingbird in her car, interacting with her dishy bodyguard, named ‘Keith Josephson’ (which is actually a pseudonym assigned him by the service; his birth name was Ahmet Youssef which, understandably, the Service want to keep concealed from the xenophobic commander in chief, p.86, another piece of satire on the president’s idiotic xenophobia. Youssef’s full backstory is given on pages 281 to 283).

Possibly the most scandalous thing in the book is that Mockingbird is described as having an affair with Youssef/Keith. We first realise this when she insists he hands her a towel as she emerges naked from a luxury bath, and she then orders him to **** her. Then we get used to her ordering him to service her at short notice in a variety of luxury locations. But as the story progresses we realise he, Keith/Youssef, is genuinely in love with her, genuinely thinks she is different with him, even after people start to talk and rumours about them to circulate.

Trump insults

The funny thing is that Donald Trump had already been referenced in a number of earlier Hiaasen novels, way before he showed any political ambitions, as an epitome of American over-wealthy  narcissism. It’s an epic irony that the man Hiaasen had been mocking for decades as an embodiment of American shallowness ended up becoming 45th President of the United States. The fact it happened is beyond satire and what it says about contemporary American society needs no comment.

The president, according to those who know him best:

  • has no memory
  • has feet like moist loaves
  • is a ‘fat toad’ (p.248)
  • is ‘paranoid, draft-dodging, whore hopping…’ (p.261)
  • is described as ‘Presidential Shitweasel’ (p.300) and ‘the climate-denier-in-chief’ (p.301) by Skink
  • is an ‘ignorant clown’ – Ryskval (p.369)
  • is a ‘lying puke-bucket’ – Angie (p.371)

He has a mistress, Suzy Spooner (p.293), a chunky pole dancer who calls herself a nutritionist. We meet the poor woman on several occasions, desperately helping the president to adopt a sex position which can work round his bloated gut and the fact he can no longer sustain an erection. It is typical Hiaasen/typical America, that Suzy is at the same time hawking round New York publishers a kiss-and-tell memoir in which she compares the President’s gonads to ‘dessicated chickpeas’ and describes how he snorts like a wildebeest when he climaxes (pages 293 and 294).

The president struggles mightily to have a bowel motion, emerging from the can puffing and panting, and then struggles to get a hold of his belt buckle ‘below the rolling sea of his gut’ (p.313). He’s portrayed as being fully aware of the ‘phoney Facebook ads’ paid for by his supporters (p.314). When he forgets that her dog died over a year ago, Mockingbird simply calls him ‘such a dick’ (p.315).

Tut tut. Not very respectful.

Plot developments

Uric proves what a scumbag he is by murdering his assistant, the dim-witted Prince Paladin aka Keever Bracco, weighingt down his body and dumping it in a canal near where he dumped the stolen car they drove the snake around in. This is a rookie crim error, meaning both are soon discovered by the cops.

Uric’s anxiety about the cops’ discovery is itself short-lived as he himself is swiftly bumped off by a hitman hired by the Lipid Estate manager Teabull, who is quickly emerging as the daemon ex machina of the plot.

Rather unprofessionally, Uric’s body is hanged from a suspension bridge along with a suicide note in which he claims complete responsibility for killing Kiki, stealing her jewels and then murdering his accomplice – this is Teabull’s pathetic attempt to get the whole damn story shut down. To little avail. When ‘our team’ of Angie, Jerry and Paul hear about it and read the note they realise how fake it is.

The paranoid rich i.e. Fay Alex Riptoad et al, and their attack dog media, soon embellish the Diego situation to have him being a member of the fearsome DBC-88, the ‘Diego Border Cartel’. Nobody knows what 88 means but it sounds scary (p.221). It is an example of the general fictionalisation of American life in which malicious rumours instantly become poisonous political fact.

To complete his tidy-up strategy, Teabull hires an arsonist to lure Angie in her truck to a fake call-out in a remote location as the sun is setting, and the guy lobs a firebomb in the back of her truck. Both she and Joel who she’d taken along, scramble out of the truck which melts down and is a write-off. But this doesn’t put Angie off, was never likely to.

In the event all Teabull’s efforts come to naught as he is sacked from his job at the Lipid Estate as the media furore around Diego snowballs. A TV station runs an entirely fictitious ‘reconstruction’ of the night Diego and his dastardly accomplices supposedly broke into the estate and abducted little old Kiki,  an entirely fictional recreation which leads to just about every rich charity cancelling its bookings at the Lipid mansion, hence Teabull’s sacking. It is also another example of the fictionalisation of American journalism, the triumph of fakery over news.

Mockingbird’s affair with her Secret Service man becomes increasingly intense. His superior, the same Paul Ryskamp who is beginning an affair with Angie, learns about Keith and the First Lady and warns him off, and steps are taken to reassign him, but Mockingbird intervenes to keep him around as her lover. She and the President never even touch each other, let alone sleep together. Anyway, he’s screwing Suzi Spooner so Mockingbird has no moral qualms.

The return of Skink

But the big revelation of the last third of the novel is the Return of Skink, yes everybody, Skink! Skink is back! And his trusty helper and minder, Jim Tile, an old man now, who walks with a cane and lives at the Rainbow of Life Senior Centre. It’s Jim who gets in touch with Angie Armstrong, tells her he sat in back during her court case for mutilating Pruitt on behalf of a friend who admired her style i.e. the old eco-vigilante and ex-governor, once known as Clinton Tyree, who has for a long time now (well, ever since Hiaasen’s second novel), gone under the pseudonym Skink.

Jim gives Angie a map to Skink’s secret base deep in the Everglades and she hires a flatboater to take her out there. Just to keep up his quota of outlandish concepts, Hiaasen tells us that in the empty  eye socket where Skink usually sports a glass eye, he is currently incubating an iguana egg. This doesn’t faze Angie, used to all kinds of weird critter situations, so she passes the Skink test.

He then offers her some roadkill coyote for dinner, which is standard. But we discover he has a new habit: he is continually micro-dosing himself with acid to stave off boredom and despair, and he has slipped a little into her rum.

Which explains why, when Skink takes her into his snake enclosure, Angie finds them glowing with fiery red eyes and changing colour. Snake enclosure? Yes. For it is Skink who has been collecting king-sized pythons and deploying them in Presidential hangouts. He was responsible for deploying mega pythons into: a vanload of the President’s favourite key lime pies; the First Lady’s favourite fashion boutique, plus 2 or 3 other random locations. Did he deploy the monster python which ate Kiki?

Anyway, his obsession with giant pythons explains why Skink’s camp is among trees from which hang hundreds of long dried snakeskins, which the pythons have shed. Half way through their meeting, Angie realises that Skink not only took interest in her trial but paid for her defence lawyer. So he has deep involvement with her going back some way. With that revelation, he shoos Angie back to the shore of the island where the airboat driver has returned to collect her, and she stumbles, dazed, back towards civilisation after this trippy encounter with Hiaasen’s great anti-hero.

The novel heads towards the traditional Big Climax, which is the so-called Commander’s Ball, hosted by Mastodon at the Casa Bellicosa. Seems pretty obvious Skink has got something big planned, like releasing all the pythons he’s been collecting.

Meanwhile, back in what you could call the dirty realist end of the plot, Diego, still in prison, foils one attack by a white supremacist, but is then badly stabbed and beaten up by some ‘Aryan Brothers’. (Look them up. American prisons are full of white supremacist groups. No wonder our media admire America so much: so much to copy, so much to learn from.)

Diego is hospitalised, his plight is dire, a friendly Hispanic tells him there’s a ten grand bounty on his head, eleven if they cut off his ‘nut sack’. His defence lawyers quit because they’ve been receiving death threats. The gaol guards are also threatened and/or tired of the extra hassle of protecting him. They include a new leather belt in his next laundry delivery. One of them gives him a full bottle of sleeping pills. These are not-too-subtle hints that he kill himself. Thus the fate of illegals in the US ‘justice’ system’ i.e. hounded to death.

The President’s Ball

Well, the President’s Ball does serve as the climax to the novel alright, though, to tell the truth, it is a little underwhelming. Highlights are:

1. Throughout the novel there’s been a running thread about the President’s tanning sunbed, and the guys who service and clean it. In the days leading up to the ball there are some unexplained malfunctions so it is no real surprise when it goes badly wrong just hours before the big event, turning the President’s face aubergine purple and burning his hair. With the result that he appears on the stage and delivers a big speech hiding his face behind the only thing they could rustle up at short notice – a Bakongo tribal fertility mask!!!! (p.350) More clearly than ever, you can see how Hiaasen goes way beyond ‘satire’ into a realm of lunatic farce.

2. Mastodon addresses his puzzled millionaire guests from behind his African mask but, when he turns to introduce his lovely wife, she isn’t there – and this is because she is in her private rooms having wild sex with Special Agent Keith/Youssef (in a tiny detail, she is riding him cowgirl style, the position which I’ve noticed, is favoured by all of Hiaasen’s strong, independent female protagonists)

3. As we might have predicted, a massive Burmese python does turn up in the grounds of the Casa Bellicosa, where it disturbs the most repellent of the POTUS Pussies, the cohort of super-rich widow supporters of the Commander-in-Chief, Fay Alex Riptoad. Unfortunately the python interruption occurs just as she is having the front of her expensive dress unbuttoned by an over-sexed guest, Stanleigh Cobo, who thinks he’s ingested a heroic amount of erection-inducing narwhal horn (a long story about erectile dysfunction and the lengths the rich will go to in order to secure cures).

Secret Agent Paul Ryskval had made sure to invite Angie Armstrong to the ball and so, when Fay’s screams attract all the guests, Angie takes centre stage, the only one with the balls and expertise to confront the huge swaying python and Angie suddenly realises that it is tripping. Skink is dosing his giant pythons with LSD.

Still, in the end, Angie manages to decapitate this one like the last one, although her pretty ball dress does get covered in spraying blood in the process. Once the body is taken away by ground staff, and the guests wander off gossiping, Angie goes to the ladies loo to have a good cry. When she comes out, gentlemanly special agent Ryskamp tells her how fabulous she looks and how brave she was. Which cheers her up, a bit.

Angie and the First Lady

The president addressing the crowd in an African mask and a tripping python menacing his chief cheerleader just as she is being undressed for sex, this ought to be funny, and it reads fairly funny in summary, but in practice, somehow, I found it a bit inevitable and, I’m afraid, under-whelming. Maybe I’ve read too many Hiaasens and know what to expect.

But if the doomed gala ball turns out to be a bit of a damp squib, maybe what follows at the end of the evening is the real climax of the plot. Angie is still at the ball and slips a message to the First Lady asking to see her. Mockingbird is curious to meet the woman who dealt with the giant snake and so agrees, and the two women meet on the seawall of the Casa Bellicosa (well, accompanied at a distance by all her security men).

Here Angie explains that a) she knows all about Mockingbird’s affair with Keith, and b) that Keith is a Muslim, which would play terribly with the C-in-C’s supporter, and c) she knows all about the President’s affair with the pole dancer, d) who is writing a no-holds-barred memoir about her affair with the President.

She, Angie, will blow all this wide open, leak it all to the press, ruin everyone’s lives, unless Mockingbird uses her influence, and this threat, to get the President to give Diego Beltrán a full pardon and fast track his appeal for political asylum.

Which is what Mockingbird proceeds to do, encountering the President as he stumbles out of a state room where he just tried and miserably failed to take the pole dancer from behind. Mockingbird makes plain she will blow the whole gaff, expose their sham marriage and list his many affairs to the press unless he releases Diego. So Mastodon caves in.

I hadn’t mentioned that Jim Tile had used some old connections to get invited to the president’s ball, dressing snappily and toting a stylish cane. Right at the end of the evening, after she has had her seawall meeting, he accompanies Angie out onto the steps of the mansion as chauffeur-driven cars line up to collect the super-rich. Jim climbs into one which, she suddenly realises, is driven by Skink. She races after it, flags it down, and is amazed at Skink’s stylish appearance. He has washed and combed his hair and put on a suit specially.

I thought the funniest thing in the entire book was the fact that the iguana whose egg he had been carrying in his empty eye socket has now hatched.

Skink smiled down at the breast pocket of his suit jacket. A little bright green head was peeking out. ‘We’re working on our manners,’ Skink whispered. (p.378)

It’s almost the only moment of gentleness. There’s plenty of humour elsewhere in the book, but it’s of the savage, violent, macabre or super-cynical fuckstick variety. This was one tiny moment of humanity. Thank you, Skink.

It’s quickly over though because when Angie asks what that loud banging is, Skink explains it’s her stalker, Pruitt, stashed in the boot of the car. Skink is going to take him out to the wilderness to teach him ‘how to be at one with nature’. That’s comedy, too, but of the more tough-minded, cruel variety.

Epilogue

Diego Beltrán is freed on orders from the president, is smuggled out the back of the gaol, given a wig and fake moustache and transported north to New Jersey.

Turns out that Skink unleashed not one but a host of monster pythons at a number of other charity balls on the same night. Police chief Jerry Crosby drove round to all of the events, shooting them dead, but was filmed doing so, clips which made their way onto YouTube and killed the Florida hospitality sector stone dead. Why have a party in Florida if a python might eat your guests? The industry’s anger falls on the chief and he quits before he’s fired.

Mockingbird has Youssef acknowledged as her lover, but still kept on by the Secret Service because she blackmails the Secret Service bosses with her knowledge of a hushed-up drug orgy among the agents.

On the last pages Angie hires an airboat and skims out through the Everglades to visit Skink in his new base. No more snakes, he transported them all north to freedom. And Pruitt? Skink attached an electronic tracking collar round his neck and set him free in the wilderness. He’s still alive, somewhere.

And then the punchline to the whole story: the huge Burmese python which ate Kiki Fitzsimmons? Turns out it wasn’t Skink’s idea. He didn’t set it loose on the Lipid Estate. It made its own way there. It was a normal, free python doing its own thing. Nothing to do with Skink, the incident only gave him the inspiration for his later battle plan. Angie laughs with relief, Skink is off the hook and takes none of the blame.

THE END.

The environment

This is the first novel in his long career where Hiaasen seems to have given up on saving the environment which is, I think, the appropriate response. The fight to save the environment has been decisively lost. Eco-systems around the world, along with the countless species they contain, are being exterminated on a daily basis. Global warming is only one aspect of the man-made destruction of the environment, of all environments, going on all the time, everywhere, as Angie mournfully reflects:

It didn’t seem to matter who was in power – nothing got better in the besieged, breathtaking world she cared about most. The Everglades would never be the lush unbroken river it once was; the shallows of Florida Bay would never be as pure and sparkling with fish; the bleached dying reefs of the Keys would never bloom fully back to life. Being overrun and exploited was the historical fate of places so rare and beautiful…

The President of the United States was a soulless imbecile who hated the outdoors but, in Angie’s view, at this point Teddy Roosevelt himself couldn’t turn the tide if he came back from the dead. All the treasured wilderness that had been sacrificed at the altar of growth was gone for all time. More disappeared every day; nothing ever changed except the speed of destruction, and only because there were fewer pristine pieces to sell off, carve up and pave. (p.318)

Fruity and novel language

Hiaasen’s characters swear freely and so does the narrator. ‘Fuckstick’, ‘shitbird’, ‘cockhead’ and ‘Señor Fuckwhistle’ (p.258) being some of the nicer expressions characters use about each other. Here are some other samples of state-of-the-art Yankee slang:

  • Prince was flipping through channels like a gacked-up chimp. (p.74)
  • ‘The Feds cut your time ’cause you flipped. You rat-fucked your friends.’ (p.74) = betrayed.
  • ‘Hit the shower, bro’. You smell like a fucking grow house.’ (p.173) I think ‘grow house’ means the kind of indoors greenhouse space used to grow marijuana.
  • Uric ended up paying the Prince the full three hundred he wanted, which he ended up spending on chronic. (p.173) ‘Among cannabis consumers, chronic can be used as slang for marijuana itself, but many users reserve the term for particularly potent strains of the plant’ (Dictionary.com)
  • nutsack = scrotum
  • knuckle bump, aka fist bump
  • ‘I got a dope new truck’ (p.214) – where ‘dope’ presumably means cool, neat, great.
  • ‘I can’t take a chance that he hasn’t suddenly stripped his gears.’ (p.242) presumably meaning lost it, gone mad, gone psycho.
  • Two white-clad Brits stood in wait while the driver, whose name was Guppo, backed up the gaily painted Betancourt Pastries chariot. (p.247) ‘Stood in wait’?
  • One day Nutter was approached in the chow line by an inmate who said a group of patriots on the outside was offering serious bank for the death of Diego Beltrán. (p.254) = big money
  • A buzz kill = something which destroys the mood, specially a romantic mood around sex (p.280)
  • Studly = like a stud, as in ‘a studly lover’ (p.326)
  • Reamed = getting reamed, being reamed = a strong telling-off (p.33)
  • Rails = lines of cocaine (p.366)
  • Toasted = stoned (p.380)

Fleabag

I was surprised when Hiaasen has his sympathetic protagonist, Angie, in a spare evening, catch an episode of Fleabag, the award-winning British TV series. He also has a character, the one-handed psycho Pruitt, reference Game of Thrones, specifically the one-handed character Jaime Lannister (p.257). Gotta keep up with the popular culture, I suppose.


Credit

Squeeze Me by Carl Hiaasen was published by Alfred A. Knopf in 2020. All references are to the 2021 Sphere paperback edition.

Related links

Carl Hiaasen reviews

  1. Tourist Season (1986)
  2. Double Whammy (1987)
  3. Skin Tight (1989)
  4. Native Tongue (1991)
  5. Strip Tease (1993)
  6. Stormy Weather (1995)
  7. Lucky You (1997)
  8. Sick Puppy (2000)
  9. Basket Case (2002)
  10. Skinny Dip (2004)
  11. Nature Girl (2006)
  12. Star Island (2010)
  13. Bad Monkey (2013)
  14. Razor Girl (2016)
  15. Squeeze Me (2020)

Bad Monkey by Carl Hiaasen (2013)

Sonny Summers looked up, blinking like a toad in a puddle of piss.
(Bad Monkey, page 186)

Hiaasen’s thirteenth novel opens with the usual daunting barrage of information about a challengingly large number of characters and their often complex and detailed backstories, all quickly introduced in the first 40 or 50 pages, before the usual, ever-escalating sequence of farcical, satirical and often very violent complications kicks in.

The setup

Andrew Yancy (backstory p.33) is a 6-foot-two, middle-aged cop, working for small time Monroe County which, when you look it up, is a small jurisdiction far out at the westernmost point of the Florida Keys and whose county seat is Key West.

Yancy used to work up in glamorous Miami but was forced to take retirement after he drunkenly exposed the crooked machinations of a corrupt fellow cop, Sergeant Johnny Mendez, who was running a scam whereby he backdated arrests for crimes for which rewards had been posted, in order to crookedly claim the rewards. Partly because of the way Yancy denounced him (in a drunk phone call from a bar), partly because of cop solidarity, Mendez was exonerated and it was Yancy who was forced to resign (p.16). So although he’s a cop, he’s also the victim of a miscarriage of justice, sort of.

Yancy is not a clean-cut hero, he is a dope-smoking hard case. His current girlfriend is Bonnie Witt, who’s still married to her husband of 14 years, Dr Clifford Witt. Their relationship is complicated by the fact that Yancy has recently seriously assaulted Clifford. Yancy was cleaning his car with one of those hand-held mini-hoovers, on a public street, when Clifford and Bonnie happened to walk by and Yancy clearly heard Clifford insulting and cussing Bonnie. Being a headstrong, impulsive guy, Yancy leapt out of his car and chased a screaming Clifford down the street, till he tackled him to the ground, tore down his trousers, and shoved the hoover attachment up his ass. Yes. It’s played for laughs, but quite violent laughs.

Clifford was Yancy’s dermatologist, that’s how he got to meet and seduce Bonnie. Now Clifford is threatening to take Yancy to court and Bonnie wants Yancy to cut one of those plea bargain deals which you always get in American cop TV shows and movies. The local state attorney is Billy Dickinson who wants to avoid a scandal. Yancy’s attorney at the public defender’s office is called Montenegro.

When a severed arm is hauled out the sea off Key West by two honeymooners from Wisconsin, James and Louisa Mayberry, who are on Captain Keith Fitzpatrick‘s hireboat, the arm is handed over to the local police force which is run by the sheriff of Monroe County, a none-too-bright good old boy named Sonny Summers.

Summers is in thrall to the Florida Keys tourist industry and the last thing he wants is publicity about severed arms, so Summers tells one of his detectives, Rogelio Burton, to ring up his old pal, Yancy, and instruct him to take the arm (in an icebox) up to Miami and use his old contacts to persuade the authorities there that the murder happened off their beaches and so falls within their jurisdiction. The Monroe County forensic examiner, Dr Lee Rawlings has done an initial post mortem, but the boys up in Miami will do a better one.

So, with the hope it will get him back in Monroe’s good books, Yancy reluctantly drives the 90 minutes up Interstate One to Miami where he gets an assistant medical examiner, Dr Rosa Campesino, to examine the arm. She finds a small shark tooth in it but resolutely refuses to accept responsibility or notify the Miami police. Yancy is stuck with the arm and will have to take it back to Monroe County.

Taking advantage of being back on his old home turf, Yancy parks his car outside Johnny Mendez’s home for a bit, toying with hanging the severed arm from the rear view mirror of the creep who got him fired, but then thinks better of it, reluctantly turns and motors back to the Keys.

Here he keeps the arm on ice while he has Bonnie over, cooks for her and goes to bed where she gives more details about the plea bargain she wants to arrange for his assault case. They have sex. Afterwards she springs the surprise that she, Bonnie, is herself a fugitive from justice, her real name is Plover Chase, she was a schoolteacher in Tulsa, Oklahoma, she was accused of extorting sex from a 15-year-old (boy) pupil, Cody, in exchange for giving him A grades. She fled to Florida before her trial,  saw that Clifford’s medical practice was advertising for a secretary, she got the job and seduced him into marriage. Huh. Yancy had no idea.

Yancy’s lawyer tells him that his boss, the prosecutor and the sheriff have arranged a deal so Yancy goes to see his boss, Sonny, to find out what it is. Sonny tells him Dr Witt has agreed to drop all charges  so long as Yancy quits the police force – but it’s OK, because he, Sonny, has found Yancy a new job as… a restaurant inspector! To replace the previous county food inspector, Randolph Nilsson, who died of… food poisoning!! He is given a food inspector instructor, Tommy Lombardo (p.75). Yancy is not happy at all.

It will become a running joke that the most unhygienic restaurant Yancy has to inspect in his new job is called Stoney’s Crab Palace and run by a shifty, apologetic man named Brennan. There are recurrent scenes where Yancy visits and keeps on finding cockroaches in the kitchen and a rat in the freezer. When anyone exasperates him, Yancy always tells them to go eat at Stoney’s Crab Palace, and a bit later we hear, regular as clockwork, that they’re in hospital with food poisoning, ha ha.

It’s also humorous that doing the food inspection job quickly gives Yancy a phobia about eating out, or eating anything prepared by others, and it is a running gag that he loses weight throughout the book as a result.

Pause for thought

All that information – the names and interlocking relationships of 16 or 17 characters, plus snippets of plot and event – is conveyed in just the first 33 densely-packed pages (though I’ve added a few snippets we pick up later on).

  1. It’s a lot to process, and the rest of the narrative continues at the same level of fact packedness.
  2. Reflecting on this made me realise that maybe facts are what Hiaasen has instead of psychology. Hiaasen’s characters are sketched out with quick decisive strokes, but they have no depth. We learn a lot of facts about them but the more we learn, the more the details of their backstories read like corporate dossiers or police files. For example, we keep on learning more and more about Bonnie but she never really gels, as a character.

More people, more events, more information

The severed arm turns out to belong to one Nick Stripling, in his 40s, who had a criminal record for car crash insurance fraud. When, after a week or so, his wife turns up making enquiries, claiming she’s been away in Paris, the DNA from the arm matches the missing man’s DNA, so it’s a positive ID.

Yancy’s boss sends this widow, Eve Stripling, out to Yancy’s house to collect her husband’s severed arm (which Yancy has been keeping in a deep freeze). He hands it over, reasonably professional and polite etc, but as he investigates further, Yancy learns this dead guy, Nick Stripling, had most recently been making money in a Medicare scooter scam, crookedly getting hold of old and vulnerable people’s Medicare accounts, then making fake claims on them, and extracting money from Medicare for the alleged purchase of all kinds of medication and equipment, without the actual patients ever knowing anything about it. Later we discover he’s made over $11 million through this scam.

(Hiaasen has form with disability scams. Compare Stripling’s with the scams run by Mick Stranahan’s creep brother-in-law, Kipper Garth, who was injured in a Skin Tight but not as much as he pretends, and now makes a living sitting in a wheelchair doing TV ads wheedling money out of people disabled in crashes and accidents. Soon as the cameras are off, he stands up and walks round right as rain.)

Yancy attends Nick’s funeral and meets his estranged, sweary daughter Caitlin Cox (and husband Simon, ramrod straight ex-military). Caitlins doesn’t mince her words, furiously claiming her mother is a ‘cunt’ and killed her father. Well, that opens a whole new perspective on the case.

Neville, the Dragon Queen and Andros island

In a separate storyline, we meet Neville Stafford who is a poor old black dude, aged 64 (p.214) who lives on the island of Andros in the Bahamas. Neville has lived all his life in the family home on the beach, Green Beach, but now his estranged half-sister, who lives in faraway Canada, is selling it to some white guy named simply Christopher, who plans to build the usual complex of condominiums and leisure facilities, which he is going to name ‘The Curly Tail Lane Resort’.

Neville goes to visit the Dragon Queen, an impressively scrawny, dirty, smelly, scary drunk woman, to ask her to put a voodoo spell on this ‘Christopher’.

Neville has a pet capuchin monkey which he won at a dominoes game from a man who claims he appeared in the Pirates of the Caribbean films. Neville has renamed the monkey Driggs and has overfed him on fried food, a bad diet for any animal, making the monkey sick so all its hair has fallen out. It chatters and bites and poops freely. It is the bad monkey of the title. Later on, in a comic touch, it is given a full backstory, as full as any of the human characters gets, with a jokily thorough account of his showbiz forebears, his own biography and character (chapter 23).

Yancy starts an affair with Rosa

Back with Yancy and the main storyline, Bonnie announces that she is moving away because hubby Clifford wants to move north (he still has no idea his wife is having an affair with Yancy). She says goodbye to Yancy and disappears from his life. Weeks go by and Yancy misses her. He phones her a couple of times, and on one phone call she explains that her husband, Dr Cliff, has taken to masturbating while part hanging himself by his belt or with a plastic bag over his head, the latest sex fashion for autoerotic asphyxiation (p.170). Cliff doesn’t invite her to take part, so she’s feeling horny and unsatisfied. But she is hundreds of miles away.

Yancy rings up the dishy Miami pathologist, Dr Rosa Campasino, they meet for lunch and start an affair. On the second or third date they swap details of their ex-spouses, as much-divorced Americans do. Yancy was married to Celia who, after three years or so of marriage, wanted to move north but he didn’t want to leave Florida where he was born and raised, so that was the end of that. Dr Rosa was married to a guy called Daniel till she bought him surfing lessons which led to him having an illicit affair with a lissom 29-year-old paddleboard instructor and, she then discovers, several other women, too (p.130). American Marriage, an institution respected around the world.

The first mate is hit

One evening Yancy meets at a bar with Captain Fitzpatrick, the hireboat captain, to ask him questions about the fishing trip when the arm was hooked. In the same bar is a young drunk dude shouting and bragging with a bottle blonde on his arm. The captain tells Yancy it’s Charlie Phinney, until recently his first mate who, after the arm trip, abruptly quit his job, having come into some money. Suspicious.

No sooner have Charlie and his babe left the bar than shots ring out. Yancy runs outside to discover Charlie shot dead on the pavement, his blonde girlfriend in hysterics, and a scooter zooming off down the road. Upon questioning the girlfriend reveals she is called Madeline and works in a shop that sells very rude t-shirts, owned, she claims, by the Russian mafia, managed by a shifty dud named Prestov.

Over the next hundred pages Yancy becomes convinced that Eve Stripling is having an affair with another man, with the very same ‘Christopher’ who is building the new development on the beach on Andros, that she and her lover killed her husband, hacked off his arm, then paid Charlie to hook it to the fishing line of the honeymoon couple from the north. The whole thing was a scam to make the authorities think Nick died in a boat accident and was eaten up by sharks, so they’ll sign off on his death, forget about it, and his widow can cash her dead husband’s $2 million life insurance.

Long-running feud with a property developer

There’s another running gag, that a short irritable guy from New York, Evan Shook, has invested heavily in buying the plot of land next to Yancy’s house (in the little settlement of Big Pine) and is building a monster mansion there with a view to selling it to out-of-towners. The new mansion is way too large for the area (Shook has clearly bribed the authorities), blocks Yancy’s view of the sunset, and has obliterated stands of trees where sometimes, in the fresh dawn, Yancy used to see the distinctive Keys deer come shyly, nibbling trees or grass. Now the area has been de-natured, levelled and is a building site. Yancy loathes and hates the development and Shook.

It becomes a running gag that each time Shook arranges for a prospective buyer to come and look over the half-built property, Yancy arranges something gruesome to meet them.

  • First it’s the body of a big, fat, dead raccoon which he found dead on the highway and carefully places in the half-built living room. Yuk.
  • Then he pays the local pest guy, Miguel, to install a huge bee hive in one of the bedrooms, which the hapless developer upsets with the result that a cloud of furious bees chase him and the prospective buyers off the property.
  • Then it’s Yancy himself who holes up in one of the empty closets after being attacked, beaten and thrown into the nearby canal by a mystery attacker, an assault from which he only barely escapes with his life. When Shook and the latest potential buyers find him, dripping wet and half naked hiding in one of the closets the next morning, Yancy explains his sorry appearance by claiming to have been attacked by one of the packs of savage feral dogs which prowl the neighbourhood which, understandably, puts the buyers off.
  • A few days later and fully recovered, Yancy late one night rigs up a voodoo / Santería shrine in the half-built house, complete with bones and feathers and blood daubings (p.172). This successfully prevents most of the labourers, who are illegal migrants from the Caribbean, from entering the site the next morning.
  • Next Yancy tells Bonnie and her tubby lover Cody (when they turn up half way through the story) that they can camp out in the half-built house, to Shook’s predictable outrage when he discovers them squatting in his property (p.205). It becomes a very funny running feud and Shook’s ever-increasing outrage, anger and frustration with Yancy is very amusing.

By halfway through the book it’s pretty obvious that Eve Stripling did indeed conspire with the little-seen man named Christopher Grunion (we discover his full name on page 166) to murder her husband, and chop off the body to try and prove it was a sailing accident, and then paid hapless young Christopher to hook up the severed arm.

Dr O’Peele is whacked

‘They’ also bump off the drunkard doctor, Dr Gomez O’Peele, who had been connected with Stripling. O’Peele is found dead with a single bullet to the head with the gun in his hand and the cops categorise the latter as suicide, but Yancy had interviewed him just the day before and forced O’Peele to admit that he knew about Stripling’s Medicare fraud. At this point, Yancy thinks Christopher Grunion and Eve Stripling must have learned that Yancy had interviewed O’Peele and suspected that he’d given too much away, maybe even the fact that they’d had Stripling murdered: and that’s why he was bumped off, so he couldn’t be arrested, questioned by the police and so on. Yancy feels partly responsible.

Yancy is attacked

He’s got this far in his investigation, in between his day job of inspecting restaurants, and in between sexy encounters with new lover Dr Campasino, when someone attacks Yancy as he is innocently putting his bin out: whacks him with something heavy upside his head, drags him unconscious to the nearby canal and chucks him in. The cold water wakes Yancy who is savvy enough to pretend to sink to the bottom and then to swim, his lungs bursting, across to the mangroves on the other side of the canal and very carefully surface and not move. The killer surveys the dark water for a while, goes to search Yancy’s house, then departs. It’s after this incident that Yancy decides not to return to his house that night in case the attacker returns and instead holes up in Shook’s half-built mansion next door… where he is found next morning by Shook and his latest set of prospective buyers.

Bonnie returns, with boy friend

Yancy tries to persuade sheriff Summers to let him rejoin the police department as a detective and follow up the case. Summers refuses. Out of the blue Bonnie reappears. Bored of her autoasphyxiating husband she set out on a mission to find the teenage boy who she seduced at school, found him and even though he has matured from a handsome 15 year-old to a balding, stupid fatso, she hooks up with him and the pair have driven down to the Keys and expect Yancy to put them up! As if he doesn’t have enough on his plate already!

The Oklahoma detective

In fact Bonnie comes trailing trouble because a detective from the Oklahoma Bureau of Investigation turns up, one John Wesley Weiderman, a comically strict, literal, unimaginative and dutiful copper, who is on the trail of the errant Plover Chase aka Bonnie due to her jumping bail all those years ago. Much fun is had with him, starting with Yancy jokingly recommending he have dinner at Stoney’s Crab Palace after which, predictably, he comes down with bad food poisoning, and for the rest of the novel he turns up like a bad penny, at inopportune moments.

Claspers and Egg

Back in the Bahamas we meet a new character, K.J. Claspers (p.202). He used to fly planes smuggling cocaine in from South America. Nowadays, he’s middle aged and flies charter planes around Florida and the Bahamas. At the moment he’s on a retainer from this Christopher Grunion and Eve Stripling, and their goon, the big black hired muscle christened Carter Ecclestone (p.320) but universally referred to as Egg (p.203). When, late one night, Neville climbs over the chain link fence protecting the building site where his family home used to be, Egg appears out of nowhere and badly beats him up.

In fact, to his amazement, Neville discovers that this big chunky bouncer is now shagging the scrawny scarey Dragon Queen. She has a mysterious ability to seduce men, even Egg doesn’t know why he’s with her, specially when she takes to riding around in an electric wheelchair, followed by a small cohort of moaning, swaying devotees. And then she successfully takes Neville’s monkey, the bad monkey of the title, away from him.

Pause for thought 2

This summary has only taken us up to about half way through the plot. In other words, about the same amount of event and character occurs in the second half as I’ve summarised so far, including the one Big Revelation which is central to the plot.

It’s far too much for me to attempt to summarise, but the comic strands – increasing mayhem caused by the increasingly unhinged Bonnie, the comic thread of poor Evan Shook’s half-built house being subjected to endless humiliations by Yancy, Neville’s terror at the Dragon Queen’s increasingly outlandish antics – are brilliantly juxtaposed with the Yancy’s serious investigation into Stripling’s murder, and the other murders which seem to have followed from it. Dr Campasino becomes an increasingly willing assistant and the novel climaxes when they both take a few days off work and fly to Andros to track down for themselves the mysterious ‘Christopher’ figure who seems to be at the centre of all the different plot strands.

It is then that the novel turns quite a lot darker, with the kind of savage and macabre violence which is Hiaasen’s trademark. In a nutshell, the bad guys kidnap Rosa who is being threatened with rape just before the good guys manage to track her down and rescue her. Meanwhile Yancy finds himself staring down the barrel of a sawn-off shotgun and being told he knows far too much to be allowed to live.

And the book reaches its climax just as a tropical hurricane hits the island where all the characters have assembled (although it must be said, the storm is a bit of a disappointment, it blows a few roofs off, knocks over electricity poles and scatters debris round the streets, but isn’t the devastating apocalypse which the reader was secretly hoping for).

For once I won’t summarise the sequence of events leading up to the Big Revelation, nor what the revelation reveals. I’ve given you enough information to guess, or you could read it for yourself.

Are these books thrillers?

Somewhere I’ve read that Hiaasen’s novels are categorised as thrillers, albeit comedy thrillers. I suppose that’s the least bad categorisation, but I think the reader rarely feels much sense of suspense or danger. There’s certainly little or no suspense concerning ‘whodunnit’. Both the ‘good’ guy and the ‘bad’ guys are identified very early on and we can be 100% sure that the good guy will survive and triumph (albeit after navigating some perils and getting beaten up or even shot) and that the bad guys will come to a gruesome and grotesque end.

I suppose Hiaasen’s novels have thriller elements (a crime and a detective and a few violent murders) but these seem secondary compared to the comic incidents, farcically complicated plots and continual stream of ironic reversals, pratfalls, twists and turns and misadventures. The reader reads on not so much to find out the nature of the crime – more often than not we watch the crimes taking place in real time and know exactly who did them – we read on to discover what wickedly grotesque turn of events Hiaasen can dish up next.

Explicit sex

I suppose the sex been there from the start of his career, but in the novels from the Noughties, it feels like the sex in Hiaasen books has become more prominent and more crudely explicit. In Star Island out-of-control pop star Cherry Bunterman sits on Abbott’s thigh and presses her hot pudenda down against him so that he feels her hot ‘wedge’ pushing against his leg. That struck me as unusually explicit and porny.

On page 27 of this book, Yancy is described with his head between Bonnie’s legs, but it isn’t left at that. Bonnie has recently shaved her pubes and so Yancy finds himself rubbing ‘his chin back and forth across her pale stubble’ (p.27).

Later, Yancy and Dr Rosa have sex in the morgue where she works, on one of the stainless steel dissection tables. As so often in Hiaasen, the woman takes the dominant position, hitching up her coat (she’s wearing nothing underneath) straddling and riding him (p.164). Later on, Neville will eavesdrop on the thug Egg being straddled and ridden by the bony drunken voodoo queen (p.236). Near the end of the book Dr Rosa and Yancy have a bath and, again, she straddles and rides him (p.387). The woman riding cowgirl position is definitely Hiaasen’s sexual position of choice (in his fictions). Later, after they’ve flown to Andros, in the hotel, Yancy goes down on Dr Rosa (p.238) while humming Yellow Submarine. I’m sure there is more sex and more explicitly described, than in the first novels from the 1980s. When it’s between characters we are meant to be rooting for (Yancy and Dr Rosa) it is described in reasonably sensitive and sort of loving terms. But elsewhere, sex is portrayed (as I commented in my last review) as having become equivalent to a commercial transaction.

It so happened that one of the most feared divorce lawyers in the tri-state region would be attending that night’s fund-raiser, and Evan Shook’s wife said she planned to fuck him and then hire him. (p.346)

Just hiring him wouldn’t be enough. I understand that Hiaasen’s novels are documentaries or sociological surveys, they are savage farces in which everything is meant to be cranked up and exaggerated. I also understand that sex has always played a central role in the genre of farce because sex is humanity’s weakest point, the fact that human beings have sex lives completely undermines all attempts to portray ourselves as sensible, mature and rational beings.

But all that understood, there is still something particularly rotten and corrupt about the way so many secondary characters in Hiaasen use sex purely as a transaction, our of boredom, to get their way, and have stripped it of any psychological significance whatever.

The American opioid epidemic

Once upon a time, back in the golden 1960s, there was a brief moment when ‘drugs’ were portrayed as an escape from humdrum, boring, bourgeois lifestyles. But 50 years later, they are universally available, widely taken, and the new wave of highly addictive painkillers has made junkies of large numbers of otherwise traditional and respectable people in the Great American Opioid Epidemic.

Hiaasen knows all about this and makes Bonnie’s offensively self-righteous husband an immoral quack who is adding his halfpennyworth to the misery of millions.

Dr Clifford Witt had recently retired from the practice of medicine, having invested in a chain of lucrative storefront pain clinics that dispensed Percocets and Vicodins by the bucket to a new wave of American redneck junkies. (p.20)

Americanisms

In another review I’ve pointed out how, across the 35 years of Hiaasen’s publishing career, you can watch the American language mutate and evolve. One aspect of this is the words which have been shortened, like carry bag where we’d say carri-er bag, swim trunks where we’d say swim-ming trunks, high strung where we’d say high-ly strung. Maybe making words shorter is the lexical equivalent of fast food.

In other places, I enjoyed collecting instances of new words or new uses for existing words:

  • a bounce house = bouncey castle
  • a bumblefuck = idiot
  • frosted = to be angry
  • a fuckstick = idiot
  • a goober = a peanut, a fool (p.221)
  • jazzed = pleased (p.400)
  • a mook = a stupid or incompetent person
  • a mope = noun meaning ‘A person of lower socio-economic status that leeches off the greater good of society, is lazy and is normally involved in some sort of criminal activity’.
  • to be stoked = interested (p.333)
  • ‘The sheriff’s wigging’ = very concerned, going spare (p.190)
  • ‘Sheriff Summers was a chronic stickler and worrywart’

Which,

Talking of Hiaasen’s use of English, this book contains a grammatical form I’ve never seen before, the novel use of ‘which’. ‘Which’ can be used several ways (as an interrogative starting a question) but the relevant usage here is when it is used to introduce a relative clause, as in, ‘The dog which bit me’, where which obviously refers back to the noun ‘dog’ in order to enable the description of what it did.

This use of ‘which’ takes its traditional function and then kind of supercharges and elides it. It’s associated with the Christopher Grunion character who uses it as a speedy shorthand to just pick up conversations. I assume it’s a verbal tic Hiaasen has noticed and transcribed, it’s an odd but powerful usage.

There followed an animated discussion that ricocheted between the subjects of urgent medical care and Eve’s gross culpability for Stripling being ambushed. Which, the guy who attacked him? Nick had no goddam idea who it was. (p.319)

Where ‘which’ means something like ‘Who was he, was the guy who attacked him?’ but is quicker.

He couldn’t stop railing about what had happened. Which, what are the odds of getting randomly stabbed in your own back yard during a hurricane? (p.320)

Where ‘which’ isn’t really needed at all, it’s a verbal tic.

Or he could pack up and run. Purchase a new identity, find another place to hide and start over as an international fugitive. Which, talk about exhausting. (p.322)

See what I mean? It’s difficult to concoct a direct translation into standard English, but you can see what he’s doing – using ‘which’ as an all-purpose way of connecting one thought to another,

But all he could talk about was hunting down Yancy before he could escape. Which, no way was that shithead going to sneak out of Andros today. (p.324)

Say the world ‘outlaw’ and everyone thinks bank robber, but did Dillinger cut off a limb to trick the FBI into thinking he was dead? No, sir, he went to the movies and got shot full of lead. Which, these days any fuckwit with a ballpoint pen and a Halloween mask could rob a bank.

I suppose the standard usage would be to replace ‘which’ in this example with ‘whereas’, but Grunion is clearly not a chap who fusses about his parts of speech. He uses ‘which’ indiscriminately to yank together bits of thought process.

Stripling wondered aloud if the stealth urinator was the same man he’d caught snooping outside the house, the old black guy he’d run off with the shotgun. Which, who’d be crazy enough to come back after somebody fired a twelve-gauge over their head? (p.352)

‘Quit being an asshole, Nicky. You weren’t in the medical care business, you were in the stealing business.’ Which, he would have run over her ungrateful ass with the Rollie except the motor didn’t work because Egg had removed the battery to lighten the vehicle for pushing. (p.354)

Yes, in these last two examples the use of ‘which’ is not grammatically necessary, and when it’s used it’s generally incorrectly, in the wrong grammatical way – but it does have the effect of picking up the thought and jumping to the next one, regardless. In many ways I enjoyed this unusual but effective usage more than a lot of the plot.


Credit

Bad Monkey by Carl Hiaasen was published by Alfred A. Knopf in 2013. All references are to the 2014 Sphere paperback edition.

Related links

Carl Hiaasen reviews

  1. Tourist Season (1986)
  2. Double Whammy (1987)
  3. Skin Tight (1989)
  4. Native Tongue (1991)
  5. Strip Tease (1993)
  6. Stormy Weather (1995)
  7. Lucky You (1997)
  8. Sick Puppy (2000)
  9. Basket Case (2002)
  10. Skinny Dip (2004)
  11. Nature Girl (2006)
  12. Star Island (2010)
  13. Bad Monkey (2013)
  14. Razor Girl (2016)
  15. Squeeze Me (2020)

Star Island by Carl Hiaasen (2010)

The setup

Cherry Pye aged 22 (p.396) is a teenage American pop star. She was born Cheryl Gail Bunterman and her ambitious mother, Janet Bunterman was entering her for into talent competitions from the age of 4. Little Cheryl’s voice was poor but her parents compensated by dressing her in provocative clothes and getting her dance lessons from a local stripper. They changed her name to the soft porn-sounding Cherry Pye when she got her first speaking part in a TV show, aged 14, wearing a ‘dubious buckskin cowgirl outfit’ (p.5).

Cherry was spotted by pop impresario, closet paedophile and owner of Jailbait Records, Maury Lykes, who gave her 3 months of intensive coaching and released her first single on Cherry’s birthday. It wasn’t actually Cherry on the single, she was never going to be able to sing, they hired a backing singer and concentrated on teaching Cherry how to dance and lip sync ahead of the lucrative tours organised to cash in on the record (p.20). Together, Janet and Maury developed a special look to establish Cherry’s brand:

‘The BLS brand’, Maury called it – barely legal slut, the essential ingredient being an air of insouciant fuckability. (p.279)

But as a result of all this, Cherry (‘a simpleton, shallow as a thimble’, p.281), at the age of 22, has developed a major drug habit. More accurately, she scarfs down whatever is on the table, be it alcohol, pills or powders, even birdseed! The narrative opens as Cherry’s lying on the floor of a premier room at the luxury Stefano hotel, throwing up (again), worried over by her team, her mother, a young actor she spent the early evening with, her pair of identical twins PR advisers, Lila and Lucy Lark (backstory p.172), and her tough minder, Lev, formerly of the Israeli Mossad. They’re all waiting for the private paramedics to arrive, take Cherry to a private hospital and pump her stomach. Again.

It’s such a recurrent problem that Cherry’s team have a tried and tested procedure in place. For some time they have been using a body double, a lookalike, an actress who is the spitting image of Cherry, to fill in for her, to make public appearances, to attend celebrity parties and so on, when the real Cherry is either in intensive care or at one of her many visits to a rehab clinic.

This double is named Ann DeLusia, aged 24 (p.212), an aspiring actress. She gets fed up sometimes by being at Cherry’s mother’s beck and call, but the pay is good, $800 a week (p.100).

The other character we’re introduced to early on is a paparazzo, Claude ‘Bang’ Abbott, 44 (p.316), a fat, unhygienic slob, but a very good photographer with deep experience in newspaper work (‘back in the day when newspapers mattered’, p.25) before he switched to the more lucrative career of snapping celebrities’ unguarded moments.

Bang got a hot tip about Cherry’s latest overdose from hotel staff, but was then fooled into following and photographing Ann, the lookalike, who was brought out the back of the hotel on a gurney, rather than the real Cherry who was smuggled out the front into a nondescript car. Only as he closes the ambulance doors, does the paramedic reveal that Bang has been ‘had’, much to his irritation.

Bang is convinced that pretty soon Cherry is going to do an Elvis and expire on the john, overdose or generally ‘buy the farm’ i.e. die young – and he wants to have built up a portfolio of photos of the teen star in all possible states of wastage so that he’ll be in a position to bring out an entire coffee table book recording her sorry descent. Think Marilyn. He’ll make a fortune, be able to retire. That’s the plan. Wasted Cherry is his pension.

Pause to assess

So, as usual, Hiaasen is extremely effective at introducing us very quickly to quite a gallery of characters, each drawn with swift precise descriptions, so that within 40 or so pages an entire corrupt and rancid world has been vividly depicted.

As to the subject matter, regular readers of my blog know that I got progressively more disillusioned by the novels of William Gibson as he turned his back on his science fiction roots and wrote longer and longer books which aspire to be thrillers but also feature characters from fictional rock bands, thrillers in which the lead characters wear ‘cool’ leather jackets, ripped t-shirts and shades. Gibson’s early science fiction novels are strange and mind-expanding, while his later ‘thrillers’, especially in their tiresome depictions of the cool world of rock bands, are lame and clichéd.

So I am, in theory, bored of novels set in the shallow, cynical, drug-addled world of pop stars and celebrities and so, in theory, ought to dislike this one, too. Not only do I have a general aversion to this milieu, but Hiaasen has already set one novel in the corrupt world of contemporary music, Basket Case, centring on the murder of a leading rock star who, it turns out, was done in by his scheming wife. It’s a little disappointing that Hiaasen has resorted to covering the same territory twice in the space of just four novels.

On the other hand, it is still a Hiaasen novel, which means that even when it has hints of being a retread, it is outrageously funny. Instead of Gibson’s po-faced and pretentious world, Hiaasen’s savagely amoral frolics skip along at a cracking pace, the dialogue is razor sharp, the characters continually taking your breath away with their stunning amorality.

Unexpected alliances, arguments and double crosses come thick and fast. It is, in other words, continuously shocking and surprising and very entertaining. The characters aren’t rude, they are off-the-scale amoral, cynical, manipulative, grotesquely threatening and violent.

Take the moment when Maury, frustrated at Cherry’s behaviour, has treated himself to a quiet night in, and invites three underage prostitutes round to tie him to his bed and take turns spanking him with badminton rackets. That’s when he gets a phone call from Chemo, the grotesque bodyguard he’s hired to find Cherry when she disappears (again). Hence Chemo’s call, except Chemo announces that now he’s found the errant pop star, he’s not going to return her unless he gets more money, not least because she taunted him (Chemo) about his grim appearance. Hence the call:

Chemo said, ‘You wanna see her alive, then double my pay.’
‘Unfuckingbelievable.’
‘She called me “Waffle Face”. Normally I’d kill a person for that. Normally I’d stick a frog gig up their nostrils and yank their tongue out by the roots.’ (p.117)

It’s a kind of peak Hiaasen moment: the rancid pedophile agent being tied down and whipped by pubescent girls having to negotiate with a 6 foot nine freak hitman about the ransom for a drug-addled, talentless celebrity.

Presumably there are, somewhere in America, a few people who aren’t cynical, amoral, criminal, corrupt and violent scumbags, who don’t instantly resort to fury and physical violence whenever their slightest whim or plan is thwarted. Presumably. Somewhere. But not in Carl Hiaasen’s novels.

Plot developments

As a result of the Stefano hotel meltdown, Cherry is sent to rehab, again and Janet tells Ann DaLusia she can take a few days off, so she drives down to Florida which she’s always wanted to see. She takes the Card Bridge route onto Key Largo and is whizzing round a corner when she sees a man standing in the middle of the road, swerves and goes careening off the road, through a stand of trees and crashes into a creek. Oops.

Anna wakes up to find herself being tended by Skink, SKINK, Hiaasen’s most popular recurring character, the semi-deranged former Florida governor-turned-eco-vigilante, complete with plastic shower cap, long grey braids and dazzling smile.

As in each of the books he appears in, the author gives us a slightly new version of Skink’s backstory as well as a variation on his motivation, namely the depthless outrage he feels at the rape of the wild countryside he grew up in:

The cherished wild places of his childhood had vanished under cinder blocks and asphalt, and so, too, had the rest of the state been transformed – transformed by greedy suckworms disguised as upright citizens. From swampy lairs Skink would strike back whenever an opportunity arose, and the message was never ambiguous. (p.197)

But it doesn’t do to sentimentalise Skink. He is a violent vigilante. At one point he’s hiding out under a pier down on a beach late at night and happens to hear two men manhandling a drunk woman down onto the sand and then knocking her down with a view to raping her. Skink moves in and the paramedics who are later called to the scene are impressed to discover that each of the men has a compound fracture in every limb (p.239). Skink did that, not just beat them up but carefully broke their bones. We are told that from time to time he eats the pets of disagreeable people (p.262). He ties up a Haitian cabbie and steals his cab when it suits him (p.264). He is not a sweetheart. He is genuinely dangerous.

Having pulled her from her crashed car, Skink takes her off to his remote camp in the forest, tends to Ann’s light injuries and feeds her some roadkill alligator tail, which isn’t as disgusting as she first fears. But when she asks to be taken back to civilisation, Skink explains that first she has to help him with his latest scam. This is to hold up a bus full of corrupt and wealthy investors who are engaged in yet another of the countless crooked and environmentally ruinous property developments which Hiaasen’s novels are full of.

Skink tells Ann to step into the road and flag down the bus carrying the developers from the airport to a private hotel facility. Then he leaps out of the bushes and onto the bus terrorises them with a gun, and tying the most corrupt of them, Jackie Sebago, to a tree with a sea urchin stuffed down his pants and rammed into his ‘nutsack’.

By the time the cops arrive, Ann is ready with her story that her car crashed then she doesn’t remember anything till stumbling onto the bus. The cops believe her, let her go, and Ann returns to civilisation pretty dazed by this weird encounter.

Meanwhile, at the Rainbow Bend rehab centre Cherry has met Methane Drudge, drummer with fictional band the Poon Pilots (p.51) (shades of William Gibson and fictional rock bands with lame names).

Together they break out of the rehab grounds, scrambling over the five foot wall. Methane twists his ankle landing, and limps badly as he follows Cherry to the road. Here they discover a car parked and Cherry knocks on the window. The electric window winds down to reveal none other than Cherry’s fanatical paparazzo devotee, Bang Abbott, who is amazed at Cherry’s sudden apparition and staggered when she asks him to drive her to the airport. There is some typically brutal comedy when lame Methane knocks on the back door window asking to be admitted to the car but Cherry blithely tells Abbott to drive off and leave him behind.

Not only that but when they get to the airport and she whistles up her private jet, Cherry impulsively invites Abbott onto the plane to accompany her. So the excited fat man grabs his several cases of expensive cameras and jogs up the steps. And not only that, but half way across America (flying from California to Florida) bored, Cherry whips off her jeans and straddles him, presumably pulling out his pecker, because they have sex. It only last for four minutes but leaves Abbott seriously dazed and confused. (Women on top, riding a man in the ‘cowgirl position’, is Hiaasen’s favourite fictional sexual position, it recurs in most of the novels, most memorably enacted by Dr Rosa Campesino on a steel mortuary table in Bad Monkey.)

This brief intimacy doesn’t stop Abbott, when Cherry falls asleep, getting his camera out and knocking off some shots of Cherry lying asleep and snoring and unbuttoned and sprawled across her plane seat. These will prove excellent photos for the photo-biography he’s planning of her decline and fall.

However, all this comes to naught because, when they land in Miami, her chauffeur-driven car is waiting, the driver loads all the bags, including all Abbott’s cameras, and then, just as with Methane, she simply drives off before Abbott can get into the car, leaving Abbott stamping and fuming on the airport tarmac. Later, with an actor she’s picked up at an upscale nightclub, she reviews Abbott’s photos and blithely deletes them one by one.

Meanwhile, there is a significant development on the bodyguard front. The novel opens with young Cherry being bodyguarded by a tough goon named Lev, who is ex-Mossad. But goaded by Cherry’s mom one too many times, he quits, thus giving her manager, Maury Lykes, a headache about finding a replacement. Luckily he knows a country and western star, Presley Aaron, who went way off the rails for a period of addiction but turned his life around and is now fit and buff and recording again. The turnaround was managed by his brothers who hired a tough minder to guard him. It is this minder which Maury now hires to look after Cherry. She needs some tough love.

And as soon as Maury and Janet Bunterman are introduced to him in a nightclub, the seasoned Hiaasen reader immediately realises that Cherry’s new bodyguard is none other than the freakish sociopath nicknamed ‘Chemo‘ who we first met in novel 3 of the series, 1989’s Skin Tight.

Chemo, as you might imagine with Hiaasen, has a very detailed and freakish backstory (summarised on page 252 ff.). Suffice to say that Chemo stands 6 foot 9 inches tall, his face was fried in a freak accident during some minor plastic surgery (the dermatologist had a stroke and instead of excising a small growth, ended up applying the electric doodad across his whole face so that his face now looks like a bowl of rice krispies). Which explains why Chemo is in a permanently very bad mood. Most bizarre of all, after he had his hand bitten off by a barracuda in Skin Tight, he replaced it not with a prosthetic attachment, but with a battery-powered strimmer or weed whacker as the Americans call it.

Comedy

All this and more has been conveyed in less than the first hundred pages. The forms of Hiaasen’s comedy can be categorised into half a dozen or so levels or types:

Plots

Most obvious is the overall shape of the plots where grotesque and preposterous, farcically improbable events take place, such as the body double actress getting caught up in Skink’s hijacking of a coach full of property investors.

Characters

The characters themselves are often so grotesque as to be funny in themselves, such as the famously strong but half-deranged eco-vigilante Skink or the strimmer-handed, beanpole bodyguard Chemo. Although it is noticeable that this pair, the most garish and entertaining of all the characters in the book, were invented decades earlier (in 1987 and 1989, respectively).

Universal corruption

On a less extreme level, it is funny the way the narrator describes the semi-criminal or immoral activities of his characters, activities which most of us would regard as beyond the pale, but which the narrator mentions with a deliberate casualness designed to emphasise the rancid, rotten, corrupt and immoral culture he is dissecting. Such as the throwaway remark that Maury Lykes is not only a successful pop impresario but has a ‘criminal fondness for underage girls’ (p.20) and the later scene, only a few paragraphs long, in which he arranges for three underage girls who he’s promised parts in his next show, to come to his house, tied him with parachute cords to his bed and take turns spanking him with badminton rackets to the sound of the Disney track, ‘We’re all in this together‘ (p.116). That really is a standout scene.

On a quieter note, it is so casually said you barely notice it when Cherry tells the young actor Tanner Dane Keefe that he wants her to accompany her on her upcoming tour because: ‘I don’t like screwing strangers, especially roadies.’ (p.119) The implication being that, obviously, she has to be screwing someone, almost continuously, right, she’d just prefer if it was someone she knew or liked. That level of moral abandonment.

Compared to that level of debauchery it seems fairly bland, but nonetheless way out of most people’s orbit of experience, when the narrator explains that Janet put ups with her husband, Ned’s, long-standing bisexual affair with another married couple, a) because he’s good with Cherry’s earnings and b) because she herself ‘is sweatily involved’ with her 30-year-old tennis coach (p.68).

Everyone in Hiaasen novels is unfaithful. In fact it’s not clear that the idea of faithfulness exists any more. Why get married if you don’t want to have affairs?

Amorality

All the characters casually demonstrate the most breath-taking cynicism, putting into words ideas and collocations of incident and intention which are way beyond the average person’s experience:

Chemo was the first convicted murderer that Maury Lykes had ever put on the payroll, and he hoped the man understood the concept of boundaries. (p.116)

The comedy extends from what you could call high-level cynicism, through a hierarchy of criminality and casual amorality, down to the more gutter level of sheer venomous abuse, which all these horrible people routinely treat each other to:

Lev said, ‘I hope you get cancer of the schlong. I hope it falls off in your hand.’ (p.30)

It made me laugh because it’s so outrageous, and that summarises Hiaasen’s schtick in a phrase. These novels are outrageous festivals of amorality, horribleness and insult.

Seething narrator

Vituperation isn’t limited to the characters. The narrator himself boils with rage at the corrupt and scuzzy world around him. Within pages of starting reading the reader is forced to acclimatise to Hiaasen’s super-cynical attitude and abrasive phraseology. As a tiny example he doesn’t refer to Miami International airport but to ‘the clusterfuck known as Miami International’ (p.27), conveying three levels of implication:

  1. dropping the ‘airport’ because he assumes the reader is hip enough to get the reference
  2. letting the reader know his attitude to Florida’s ‘advanced’ i.e. heavily polluting and environmentally destructive infrastructure
  3. signalling that he isn’t shy about using latest American vernacular = there’s going to be a lot of swearing

So, there is comic entertainment to be enjoyed at multiple levels:

  • plot
  • character
  • the narrator’s seething cynicism
  • his characters’ cynical attitude
  • their whip-smart repartee
  • or plain old abuse

Silly nightclub names

It is a typical minor running gag running through his books that Hiaasen – not, we suspect, a great fan of cocaine-fuelled nightclubs full of drug dealers, crooked lawyers and property developers – gives comic names to the fictional nightclubs which appear in his novels.

Skin Tight featured a club named ‘the Gay Bidet’ where a whole series of ludicrously named punk bands performed and where Chemo, incidentally, worked part-time as a bouncer. Strip Tease featured a strip joint which changes its name from ‘The Eager Beaver’ to ‘Tickled Pink’, and in other books there’s the club named ‘Lube’. In the same spirit, in this novel Cherry meets young Tanner Dane Keefe at a South Beach nightclub named ‘Abscess’ (p.118), which brought a smile to my lips.

Later on, we are taken to a gimmicky nightclub named ‘Club Ortho’ where everyone has to wear a cast and pretend to have a broken bone (p.244). In the second half the fictional nightclub named ‘Pubes’ gets namechecked and in fact provides the setting for the rather feeble shooting of Abbott, which more or less ends the main narrative (see below).

As it happens, William Gibson also has a fondness for silly nightclubs, in his case less notable for their names than for their ‘wacky’ gimmicks, such as the bubblegum-themed bar or the Kafka-themed club or the restaurant with a full-sized replica Russian tank parked in the middle, The Western World. It is characteristic that Gibson’s comic bar ideas are strained and pretentious whereas Hiaasen’s are gleefully obscene. I go for glee every time.

More plot

Abbott wants his cameras back and wants access to Cherry. Therefore he stakes out the hotel Cherry has checked into and waits till Cherry exits the hotel and gets into the waiting limousine. He cleverly hijacks this by getting a bellhop to drop a load of cases in front of the car, blocking its way, so that the chauffeur and Chemo the bodyguard get out to angrily help the bellhop pile them back onto a luggage trolley, only to hear the limo reverse and skid off with Abbott at the wheel. So far, so clever except that… it is not Cherry in the limo but Ann the body double!

The central part of the novel will be built around this mistake, with Abbott at first not knowing what to do with the body double and then contacting Janet Bunterman offering to return Ann in one piece in exchange for one day with Cherry. (They worry that he’s a pervert but we know it’s not for sex purposes but in order to take a massive portfolio of photos which he can use when, as he expects, she ‘buys the farm’ i.e. dies).

Negotiations are then carried out between Abbott and Chemo, representing the Bunterman family and the manager, Maury, Abbott having first drugged Ann and locked her up in the boot of a hire car.

In fact there’s a whole sequence of meetings between the two men, with Chemo then reporting back Abbott’s demands to his employers, who carefully weigh the options. One option they consider is to let Ann die since, when she is returned a) she’s unlikely to want to continue the job b) if she spills the beans her story will go bigger in the press than Cherry’s comeback album and tour, so she represents a financial threat to all of them.

Now, when Skink released Ann, he gave her his mobile number and, during a moment to herself in a motel toilet, Ann manages to phone Skink and tell him she’s been kidnapped. Skink, though old enough to be her father, had taken a liking to Ann during their couple of days together in the wild Everglades, and so now he sets out on a quest to track her down and release her.

I expected this whole situation would lead up to a mega-violent confrontation but it doesn’t, instead it’s something of an anti-climax. The Buntermans eventually agree to Abbott’s terms, namely that Abbott gets a whole day with Cherry in Keefe’s house (which is on the detached, millionaire enclave of Star Island, which gives the novel its title) to do a serious photoshoot, all under the watchful eye of the baleful Chemo. In the end, all pretty reasonable and non-violent.

Nonetheless, on the way towards this event, the plot at moments feels like the Maltese Falcon, with increasingly complex double crosses all round: without telling Janet Maury pays Chemo to kill Abbott, but Abbott persuades Chemo they can make a fortune by selling the camera full of great fashion photos Abbott has just taken (Abbott is genuinely a good photographer). Meanwhile Abbott, while he had kidnapped Ann, took a load of photos of her with her hair over her face so she looks like Cherry, handcuffed to a bathroom sink, apparently shooting up with a syringe, and he’s gotten in touch with the editor of a tabloid newspaper with a view to selling them.

It all gets very convoluted, a pell-mell of crosses and double crosses, and yet I became steadily more detached, and a bit bored.  Maury tells Chemo to kill Abbott. Then to kill Ann. But Skink has by this time tracked down Ann and become her de facto bodyguard. Anyway, Chemo’s come to admire her spunky attitude. He thinks she’s a ‘pisser’, which is a term of praise.

The climax of the book is disappointing by Hiaasen’s standards. Cherry slips out of the house where she’s being kept to dry out before her upcoming tour and new album release and goes to the legendary nightclub Pubes. Here Ann is waiting for her and confronts her with what she intends to be the dazzling revelation that she, Ann, has been the spoilt little girl’s double for all these years and her parents never even told her.

But Cherry doesn’t respond with a sudden epiphany, a realisation of how shallow her existence is and a determination to turn her life around. She just attacks Ann, knocks her to the dancefloor (they’re in a nightclub) and starts feebly pummeling her until Chemo wades in, picks her up and takes her away.

Skink had come to the club with Ann (Ann had bought him a swanky suit and persuaded him to cut off his long grey braids) and he now picks her up and leaves with her.

Abbott is also at the club and furious with himself because he missed the shot of Cherry being carried out by Chemo. But then Ann calls out to him amid the scrum of paparazzi and he is just about to take her photo when a hired killer in the crowd takes out a gun and shoots him in the ass.

What? Why? Because in the complexity of the second half of the plot, Abbott had forgotten to pay off one of the many narcs and contacts he employs to routinely tip him off about celebs at hotels and bars. He has hundreds of them, he always owes them little sums of money, they’re calling and hassling him all the time, and he has been a little busy involved in a kidnapping scam. All this explains why he’s persistently ignored the calls of one contact in particular, and this guy has gotten so irritated that he’s hired a hitman to shoot Abbott.

So that’s the (rather thin) explanation for this climactic shooting except that… the man fails. They aren’t standing yards apart which would allow for a clean shot, they are smothered together in a heaving crowd and so the man only manages to shoot Abbott in the buttock. The shot disperses the crowd, including the hitman. Abbott is taken to hospital, the bullet removed, the damage to his big guts repaired. It’s all rather… inconsequential.

Tying up loose ends

Cherry’s album flops and the tour doesn’t sell out, so she changes her name and moves into TV. Ann works on a new career. Abbott returns to papping. With the revival of the property market, Chemo gives up being a gun for hire and returns to his former career selling mortgages (broad Hiaasian satire at the type of person who sells mortgages i.e. deranged murderers).

Skink disappears back into the boondocks, though it’s worth emphasising that the novel contains a distinct strand about a detective who has become interested in him. Remember Jackie Sebago the crooked property developer from the start of the book, whose coach Skink hijacks and down whose pants he stuffs a sea urchin? Well, one of the investors in his property development, a no-nonsense crim named Shea, insists he wants his money back and when Sebago is unable to return it ($850,000) because he’s spent it, Shea hires a hitman who kills Sebago by shooting him through the chest with a speargun.

The point being that the cops scour the locality of the murder and stumble across Skink’s camp in the outback. Detective Riley pieces together scattered appearances by Skink: holding up the coach, a speedboat is stolen from nearby; the testimony of the drunk woman who was saved from rape by a scruffy stranger on the beach; a man of the same description seizing the little pet dog out of the arms of a woman in a hotel lobby who was describing how her husband and friends clubbed some dolphins to death; and so on.

Riley gets so far as tracking Skink down to the Miami hotel where he’s staying with Ann, solely in the capacity of her protector. But as Detective Riley interviews, the couple Skink gives blissfully, surreally oblique answers and the cop doesn’t get anywhere. He’s looked up Skink’s record on computer and knows he served in Vietnam. He knows Skink now lives out in the woods not harming anyone. Well, unless they’re scumbags like Jackie Sebago. Detective Riley decides there’s no case against Skink, no evidence, and leaves town wishing him well.

This investigation-of-Skink storyline starts out being quite threatening, as if Skink might actually be arrested, but then becomes amusing but so inconsequential I wondered whether it was setting itself up for some kind of sequel. Will Detective Riley appear in subsequent novels and become Skink’s pursuer?

In this it’s a little like the other storylines, which all fizzle out. Cherry survives, Chemo survives, Ann survives, Skink survives and Abbott survives. They all go their separate ways. Is that it? Bit disappointing…

The banalisation of sex and drugs and guns

1. Sex

Fifty years ago, in the late 1960s and early 1970s, a generation of idealists thought that, if we only took all our clothes off, acknowledged our sexuality, forsook sexual jealousy and indulged in free love, the world would become a better place. The results, like any great social change, were complex and mixed. Without doubt many millions of people experienced genuine personal liberation and the breaking  of taboos around gender and sexuality have been transformative.

On the other hand, the notion that simply getting naked and having sex changes or improves society has been roundly disproved. Arguably, the opposite has happened, and this novel contains numerous instances tending to indicate the way sex has ceased to have any special moral or psychological significance and become utterly debased, a bodily function with as much glamour or spiritual significance as having a crap.

Cherry is in one sense an embodiment of the complete degradation of sex to an empty transaction. She straddles and rides fat Abbott to orgasm because she’s bored. She whines to the young actor Keefe that she wants him to come on tour so she can fuck him instead of having to fuck the roadies, the implication being that she has to fuck someone on a daily, almost hourly basis. We are told that she got round her tough Israeli bodyguard, Lev, by fellating him on a regular basis or letting him ‘bone’ her with a platinum stud through the head of his penis. To get a room service boy at the Stefano to smuggle in drugs to her room (after Chemo has been made her bodyguard with strict instructions to keep her clean) Cherry offers the boy a blowjob.

In Hiaasen’s American sex has become a form of currency, just another version of the cash nexus.

And it isn’t just Cherry for whom sex is a mindless addiction. Abbott, aroused by remembering the mile high shag with Cherry, gets an erection while sitting in his car and whines that the steering wheel is getting in the way, so he shuffles over to the passenger seat to have a wank.

Knocking one off, squeezing one out, wanking, is as casual a business as wiping your nose, and as empty of meaning. From keeping close tabs on her, Chemo gets to know that when she has no-one to fellate or to bone her, Cherry sets her iphone to vibrate and puts it against her crotch so each incoming text or call stimulates her pussy (p.372).

At the bourgeois end of the spectrum, we learn that Cherry’s parents’ marriage is a purely business arrangement: her father has a long standing menage-a-trois with a Danish couple, the sophisticated Jorgensens, while her mom is boffing her tennis coach. So far, so normal, for American marriages.

At the other, more extreme end of the spectrum, we learn that the young actor Tana Dane Keefe has a part in the latest Tarantino movie where he plays a necrophiliac, ‘a corpse-diddling longboarder’ (p.205). It all reminds me of the old rugby song, ‘Bestiality’s best, boys, bestiality’s best.’

The trouble with this kind of thing, with the adolescent urge to shock, is that eventually there’s nowhere left to go. It is possible to hollow out human existence, the meaning of human life, entirely, until it’s completely empty. This is why I despise Tarantino and his ilk. It’s slavery for laughs, it’s murder for entertainment, it’s the death of any attempt to maintain manners, respect and subtlety. It is an insult to the human spirit. But hey, it wins Oscars!

So an infinitely more liberated approach to sex than was conceivable for most people in the 1960s has not led to a happier society or happier individuals, has it? Instead of being the road to freedom that the sexual liberationists imagined, sex has turned out to be just one more dead end, one more rut which only confirms our bad habits and bad decisions.

Relying on sex for a ‘fulfilled’ life is like relying on alcohol or any other drug. Sex has become just another activity like drinking or playing cards which is sometimes meaningful and significant but is mostly humdrum and often just a habit, a potentially smelly, selfish or disease-spreading habit. For the most part, for most of the scumbag characters in Hiaasen’s novels, sex has been emptied of any sacral or numinous meaning that it once had.

Hence the superficially funny but ultimately sad set of phrases which hip Americans have developed  to categorise different types of fuck, the mercy fuck, the sport fuck and the speed fuck (p.338). Fucks are now as coolly categorised and named as brands of handbag.

2. Drugs

Something similar for drugs. It’s a long time since the hippies recommended that we turn on, tune in and drop out. Since then we went through the cocaine wave of the 1970s, the crack cocaine wave of the 1980s, and for the last few decades America has been enjoying the growing tide of the opioid epidemic.

Cherry and her buddies are symptomatic of a generation which has no reservations whatsoever about drugs and so has become greedily, selfishly addicted to whatever it can get its hands on. Thus Cherry quite literally swallows any pills available, including at one mildly comic moment, a handful of dog de-worming pills, doggie laxatives (p.370).

In Cherry and young Tanner Dane Keefe’s hands drug culture has just become a pointless addiction, and their readiness to take anything, anything at all to get off their faces, is about as spiritual or psychologically enlightening as sitting in a pool of your own vomit stuffing your face with Big Macs.

Thus Cherry bribes the room service boy to bring her every illicit substance he can get his hands on and this adds up to: Zanax, tramadol, Ecstacy, Bayer gelcaps, Ex-Lax, banana nut Cheerios and a bottle of Stoli vodka (p.317) all of which she proceeds to swallow, vomiting copiously some time later.

3. Guns

Something similar is true of guns, by which I mean that, in stories like this, shooting people is just an everyday activity which some people do as casually as drinking a beer or having a wank. Shooting someone, like taking drugs or casual sex, has (not for all, but for a fair percentage of the characters) been emptied of any particular meaning.

This really came home in the scenes where Abbott has kidnapped Ann. He asks about her nose, which got hit during the kidnap, asks to borrow headache pills, discusses Cherry’s personality, threatens to shoot her, takes her into a MacDonalds for a meal, explains the realities of life as a paparazzo, threatens to shoot her. It’s just another topic of conversation thrown in among other rather humdrum chats. ‘Pass the ketchup. Oh yeah, if I can’t get the ransom for you, I’ll have to kill you, OK.’ It has ceased to register as a big deal.

In one of the hotels where Abbott is keeping Ann hostage, they actually have a tussle over his gun which Ann grabs hold of, and in their half-assed struggle, the gun accidentally goes off and shoots the tip of Abbott’s forefinger off, the one he uses to press the shutter on his camera, which is vital to his career.

It is remarkable how neither of the characters are particularly upset about this and neither is the author. Not only does it typify the casual approach to guns and gun injuries, it demonstrates something else as well. In previous novels something really grotesque would have happened to Abbott for him having been the baddie all the way through, but in this one, it’s as if Hiaasen can’t be bothered to come up with anything really macabre. The climax of the novel is that the bumbling kidnapper gets shot in the bum.

The casual way modern Americans think about shooting and killing is demonstrated in the closing stretches of the novel where Cherry’s manager, Maury, first of all considers letting Abbott kill the kidnapped Ann, then pays Chemo to kill Abbott, then (when he doesn’t), orders him to kill Ann.

Nothing personal, it’s all purely business, these are just tactics to protect Cherry’s ‘brand’ and not jeopardise the upcoming tour and CD release. In this world, killing people is a legitimate business strategy.

My point is that the threats to kill someone come quite casually in among a range of other humdrum conversational topics; that the activity of shooting someone either to wound or kill them; have become utterly banal and empty and meaningless, as trivial as offering them a cigarette or holding a door open for them or blowing their head off.

Bang Abbott shook his head. ‘Unbelievable. I may have to shoot the fucker.’ (p.257)

Maybe shoot the fucker. Maybe not. Meh. Whatever.

Repetition

I can’t help noticing that this novel repeats several ideas or tropes from previous books. The entire notion of satirising the music industry had previously formed the basis of novel 9 in the series, Basket Case. Admittedly, that was about grown-up rock and adult rock stars whereas this novel is about the distinct and different teenybop market and focuses on a stroppy teenage pop star. But still, it’s fundamentally about the same glossy, empty, pop music-fashion-nightclubbing scene.

The return of Skink and Chemo can either be seen as the welcome reprise of old favourites or… as a sign that Hiaasen was running out of ideas for the kinds of grotesque characters which infested his earlier fiction. Any way you cook it, Chemo is a straight retread from an earlier, much more imaginatively varied and powerful novel.

What crystallised this sense of repetition was when I read in chapter 12 that Cherry’s two PR people, the twins Lucy and Lila Lark, had a long-burning ambition to have plastic surgery in order to be transformed into completely identical twins. The thing is, this is very similar to the storyline in Sick Puppy about the two leggy East European ‘models’ Katya and Tish who are housed, fed and watered by the slimy ex-drug smuggling property developer Robert Clapley because he wants to use plastic surgery to turn them into an identical pair of Barbie dolls. Or, as he puts it with typically Hiaasenesque crudeness:

‘How often in a guy’s lifetime does he have a chance to get sucked off by two semi-identical six-foot dolls?’ (p.137)

Feels like the same basic idea.

And there’s another repeat of an earlier book: Chemo becomes so incensed by airhead Cherry’s repetition of the same limited lexicon, that he retrieves a cattle prod he bought soon after leaving prison, and gives her electric shocks every time she says ‘like’, ‘awesome’, ‘sweet’, ‘sick’, ‘totally’, ‘hot’ and ‘dude’ (p.301). Quite quickly he has to only gesture towards the prong and she corrects herself.

This is pretty funny, and an apt satire on the spread of airhead Legally Blonde lexicon among America’s teens, but we’ve been here before. In Stormy Weather Skink hijacks a couple of newly-weds and fits the asinine husband with a dog-training electric collar. Every time he steps out of line Skink inflicts a massive electric shock which knocks the husband unconscious. Quite quickly the husband anticipates the shocks, eventually falling and rolling on the floor before Skink’s even administered a shock.

Same basic idea. Just saying that, as I read on, I had a disconcerting sense of these repetitions and echoes which, when combined with the lame-ass ending, couldn’t but help suggesting a falling off in Hiaasen’s fertility.

The decline and fall of American journalism

Another recurring theme is Hiaasen’s laments for the decline of old-style journalism, which have featured in many of his novels and, taken together, form an interesting commentary on the decline and fall of American journalism. Early on the narrator laments a time:

Back in the day when newspapers mattered. (p.25)

As I’ve read Hiaasen’s novels through the 1980s and 1990s and 2000s, many aspects of the society he describes have changed (more drugs, more explicit sex, the internet) but one of these threads is his comments on how journalism and the newspaper industry have changed over that period, consistently for the worse.

The early comments (and because the first novel features a star journalist, his managing editor and other journalists in a busy Miami newspaper, it is stuffed with them) are idealistic. Hiaasen thinks it is journalism’s place to hold corrupt politicians and business-people to account. In the 1990s he laments the advent of accountants who reshaped many American newspapers into money-making machines by cutting back on actual journalism and replacing it with features, competitions and prizes.

Thus Basket Case is narrated by a down-on-his-luck journalist Jack Tagger who boils over with contempt for the ‘smooth yuppie’ Race Maggad III who has bought the traditional, old-school newspaper he (Jack) works for and is only interested in it as a money-making machine. For Jack there’s still something worth fighting for in the idea of a civic-minded journalism which serves its community.

But by the time we come to this novel, in 2010, the fat paparazzo, Bang Abbott, is dealing with hard-nosed editors who are themselves having a hard time competing with the internet. The internet presents two threats:

  1. It is immediate, unlike the creaking, 24-hour delay of hard copy newspapers.
  2. And it is democratic, in the sense that absolutely anyone can photograph or take a video of a newsworthy event and upload it in seconds and it will have gone viral before a journalist has even uncapped their pen or turned on their laptop.

It’s a tiny but interesting detail that the editor of the magazine (National Eye) which is the best customer for Abbott’s sleazy paparazzo photos, is not American but Australian, and that he learned his trade on Fleet Street – the implication being that the British press is much more hard-nosed, business-like and ethic-free than US journalism (pages 106 to 111). Certainly we in Britain have to be reminded from time to time just what corrupt scumbags a lot of our journalism is (e.g. the phone hacking scandal).

Obviously, in the 11 years since this novel came out in 2010, things have got significantly worse for newspapers everywhere and the press in America now faces an existential crisis.

I wonder whether Hiaasen’s laments about the death of journalism continue in his more recent books…

Final thought

In terms of satire, Sick Puppy is maybe Hiaasen’s most effective novel because it really explains the workings of corrupt property development and politicians, and the precise way both interact, doing behind the scenes deals, creaming off money, the arrangements whereby all the politicians involved get payoffs and backhanders, and how the tax-paying public are dazzled by the handful of civic amenities which are used to disguise all of this. The novel is festooned with Hiaasen’s trademark grotesquery and violence and macabre deaths and so on, but it also contains this genuinely fascinating deep dive into how this kind of corruption really works.

By contrast, Star Island is, on the face of it, a satire on the discrepancy between the squeaky clean world of teen pop stars and the reality of drug addiction, nymphomania and bulimia. You could also argue it contains a parallel satire about the gutter values of tabloid newspapers or celebrity magazines, with their endless appetite for photos of celebs in embarrassing or squalid situations and so on.

And yet, it doesn’t dig deep. A leading pop start turns out not to be able to sing and to be a nightmare of drugs and sex. Hmm. Tell me something I didn’t already know. Ditto paparazzi. Everyone knows those magazines are trash and the paps who cater for them are reptiles. I remember Spitting Image satirising tabloid journalists as pigs in suits back in the 1980s.

That’s why I don’t like fiction about these subjects, whether by William Gibson or Carl Hiaasen – simply because the subjects feel old and tired and over-familiar right from the start.


Credit

Star Island by Carl Hiaasen was published by Alfred A. Knopf in 2010. All references are to the 2012 Sphere paperback edition.

Related links

Carl Hiaasen reviews

  1. Tourist Season (1986)
  2. Double Whammy (1987)
  3. Skin Tight (1989)
  4. Native Tongue (1991)
  5. Strip Tease (1993)
  6. Stormy Weather (1995)
  7. Lucky You (1997)
  8. Sick Puppy (2000)
  9. Basket Case (2002)
  10. Skinny Dip (2004)
  11. Nature Girl (2006)
  12. Star Island (2010)
  13. Bad Monkey (2013)
  14. Razor Girl (2016)
  15. Squeeze Me (2020)

Nature Girl by Carl Hiaasen (2006)

‘Face it, we live in a stinking shitwash of cruelty and greed and rotten manners.’
(Honey Santana, the nature girl of the title, page 264)

Chapter one

Tommy Tigertail was the strong, silent Native American member of the four-strong eco-‘terrorist’ group led by renegade journalist Skip Wiley, who wreaked havoc in Hiaasen’s farcical first novel, Tourist Season. At the end of that novel, Tommy returned to south Florida’s reservation for Seminole Indians to help run their lucrative casinos.

Ten books and 20 years later, Hiaasen’s eleventh comedy crime thriller opens with Tommy’s young nephew, Sammy Tigertail, disposing of the body of a fat, drunk, middle-aged white tourist named Jeter Wilson. Tommy didn’t murder him. He was giving Wilson a tour of the Everglades when the airboat he was driving through some high grass accidentally threw a harmless, non-poisonous banded water snake up onto Wilson’s neck. Such was Wilson’s panic that he thrashed around screaming trying to get the snake off him till he dropped dead of a heart attack.

Knowing that if he contacted the racist authorities, he would immediately be blamed and arrested, Sammy weighted down Wilson’s body, dropped it in a deep point of a canal, drove to meet his half brother Lee, to collect his favourite belongings (including a spiffy Gibson electric guitar), then, rather than return to the reservation (where he might be tracked down by police and so cause trouble for  his community) hitch-hikes off into the boondocks (definition: ‘rough or isolated country.’)

At the start of a completely different storyline, in a trailer in a park not far away, single mum Honey Santana, aged 39 (p.353) explains to her son, Fry, that she’s lost her latest job at the fish market because the boss, Mr Louis Piejack, crept up and grabbed her right breast, whereupon she turned round and hit him with a crab hammer in the nuts.

In mid-explanation she gets a call from a phone sales company, Relentless Inc, based in a disused B-52 hanger in Fort Worth, Texas; specifically from smooth-talking Boyd Shreave, who tries to sell her a property in some new housing development. When Honey Santana, a smart cookie, effortlessly dances round his call, taking the mickey out of him, Shreave forgets the golden rule of telesales (which is never lose your temper), loses his temper and calls Honey ‘a dried-up old skank’.

This shocks sales operatives sitting in the booth next to Boyd, Eugenie Fonda with whom he’s having an affair. Eugenie herself has a colourful backstory. In 1999 she began an affair with a tree trimmer named Van Bonneville, who claimed to have lost his wife in the recent hurricane – until, that is, police found her body, badly beaten around the head and strapped into the seat of their car which had been dumped in the St John’s River. Van Bonneville was convicted of murdering her and the story became notorious, dubbed the ‘Hurricane Homicide’ trial in the press.

Eugenie, at that point going by her real name of Jean Leigh Hill, was offered a publishing deal whereby a ghost writer came down from New York and helped her knock out her account of the story which, titled Storm Ghoul, became a bestseller and netted her half a million dollars. By this point Eugenie had hooked up with a stockbroker who persuaded her to invest it all in shares in a red hot company from Texas named Enron. Two years later went spectacularly bankrupt in one of America’s largest cases of corporate fraud and Eugenie lost everything.

Which is why she now finds herself sitting in a booth in a converted B-52 hanger in Texas, trying to sell people shares in a new property development and having a sexual fling with not particularly appealing Boyd Shreave, more out of boredom than anything else. After ending the call to Honey, Shreave takes a coffee break and wonders if his career has finally hit rock bottom. And indeed, the call had been recorded, his managers listen to it, and fire him.

Meanwhile Honey, fulled by rage against Mr Piejack, men in general and Boyd’s hideous insult in particular, decides she is going to phone back the company, insist on speaking to Shreave’s supervisor, and generally make his life a misery. She discovers the company has one of those number blockers, so she calls her brother, Richard Santana, a journalist in upstate New York, and he uses his databases to quickly ascertain the telecompany’s phone number and give it to Honey, who commences bombarding its switchboard with calls. Eventually she uses the ploy of pretending to be an insurance company which is trying to find a ‘Boyd’ employed by Relentless Inc in order to give him his payout on a crash. The guileless HR person gives Honey Boyd’s full name and address. Right.

As the story has developed we have learned that Honey Santana has mental health issues. To be precise, she has an obsessively vengeful personality, bordering on the bipolar, which is easily triggered, much to the exasperation of her long-suffering son, Fry. The boy’s father is Perry Skinner, a reformed dope smuggler, who Honey fell in love with, got pregnant by, but who was then busted and sent to gaol.

An example of Honey’s obsessiveness is that, while Skinner was in Elgin prison, she wrote him 147 letters, none of them forgiving him for getting busted for drug smuggling (p.230). She once sent the White House 97 emails to complain about the president’s support for a bill to allow oil drilling in an Alaska national park, bringing her to the attention of the Secret Service, who gave her a full assessment and concluded she didn’t pose a threat. They were wrong. Her doctor has prescribed medication, which she throws away. Her long-suffering son, Fry, tries to help and support her but he’s only 12.

Meanwhile, after the novel has described Boyd’s casual flirting with Eugenie it comes as a surprise to learn that he has a wife, Lily Shreave, though less of a surprise to learn that she has hired a private detective, Dealey, to tail him and take incriminating photos of Boyd and his mistress, Eugenie.

We get to know Dealey, hear his backstory, and to understand why he is particularly proud of a long-lens photo he took of Eugenie fellating Boyd in the car park of a takeaway delicatessen. It’s a career best for Dealey, which he sends off to a private investigator magazine who publish it (faces blurred out), much to the admiration of his fellow professionals (p.148). Amusing.

Pause for breath

All this information, the range of characters and their dense backstories, are conveyed in just the first 40 pages of this 400-page book. It’s a lot of information to process, isn’t it?. The bombardment of facts, people and descriptions suggests both Hiaasen’s characteristic strengths and weaknesses. The strengths are:

  • lots of characters, with colourful and varied backgrounds
  • their backstories described in great detail with journalistic concision and precision
  • the certainty that these storylines are set to intersect and the pleasure of trying to figure out how and why
  • extremely crisp and pithy dialogue, brilliantly capturing the characters’ modern, slangy, abbreviated speech rhythms

The main weakness being that all the characters have the shallowness of people mentioned in newspaper articles. You get name, age, weight, hair colour, a bit of backstory, then they’re thrown into the tumultuous pell-mell of farcical events. Close the book, as you would put down a newspaper, and half an hour later you’ve forgotten about them.

There’s precious little psychology. The characters are what they are and mostly stay the same throughout the narrative. The sense you get in each novel of a large cast of well-defined but somehow shallow characters reminds me a bit of the extravagantly large cast of characters in The Simpsons. And just as in The Simpsons, Hiaasen’s novels offer the amusement and comfort of recurring characters (the main ones being the ex-governor and eco-warrior Skink and his trusty side-man, Highway Patrolman Jim Tile; or, as here, rather poignant references to Tommy Tigertail and Skip Wiley from way back in that first novel, p.150).

Characters from the Simpsons cartoon series

Characters from The Simpsons cartoon series

Characters tend to stand out form the general scum if they have one of two qualities:

  • they conform to well-established thriller or Hollywood stereotypes: strong manly heroes like Mick Stranahan, hero of the previous novel, Skinny Dip, or corporate crooks such as Red Hammernut, or preening, cocky but ultimately weak cowards like the would-be wife-killer, Charles Perrone, also from Skinny Dip
  • or they have grotesque qualities or meet a grotesque fate: such as the over-hairy man-bear ‘Tool’ in Skinny Dip, or the assassin in Double Whammy who is bitten by a pitbull whose jaws he can’t unclamp from his arm, even after he’s killed it, even after he’s sawed its head off, and so goes through the rest of the novel with a rotting dog’s head at the end of one arm

I suppose one way of accounting for the grotesque characters or events in Hiaasen (beside them being gruesomely funny in and of themselves) is the way their fictional garishness compensates for the general lack of psychological depth.

Plot developments

Honey Santana

As we read on we encounter Honey Santana’s back story. We learn about her impulsive marriage to a working man ten years older than her, Perry Skinner, dope smuggler, who discovers her wearing a prom dress by the side of the road next to the car where her drunken teenage prom date was busy throwing up (pages 121 to 123). Skinner took her away, they fell in love, he got busted for smuggling dope and served a few years inside, and was surprised to find Honey waiting for him when he got out (p.230). They got married, they had a son Fry and then her mental disorder, some kind of bipolar condition, never officially defined (her ‘manic spirals’), became steadily worse, till they parted by mutual consent.

One among the many symptoms her son has learned to recognise is when Honey can barely hear anything around her because of the deafening noise going on in her head, ‘the rising babel in Honey’s skull’ (p.171), being combinations of multiple pop music tracks playing inside her head at the same time (for example, ‘Bell Bottom Blues’ at the same time as ‘Karma Chamelon’, p.125, or a disco track and CSN’s ‘Marrakesh Express’, p.82, Smoke on the Water and ‘Rainy Days and Mondays’, p.170, Nat King Cole and Marilyn Manson, p.214).

(It’s noteworthy that Hiaasen had used this riff in the previous novel, Skinny Dip, where Skink, his most frequent recurring character, was having exactly the same problem, of hearing two loud and catchy pop tunes playing inside his head at the same time. I wonder whether the repeat of this idea is an indication that Hiaasen himself suffered from a similar condition. Or just the repetition of quite a good bizarre character angle. Odd that he uses it in two consecutive books, though, as if we wouldn’t notice.)

Honey conceives a Cunning Plan to take revenge on Boyd Shreave. Once she’s got his phone number  she rings him at home, herself pretending to be a real estate salesperson with the made-up name Pia Frampton (p.170). She spins him a line about how lucky buyers will get an all-expenses paid trip to stay in a wildlife lodge in Florida (remember that Boyd, Mrs Boyd and Eugenie all live up in Texas) and gets Boyd hooked. He thinks a city break for 2 in Florida is just what he needs to restart his relationship with Eugenie.

Eugenie

For her part Eugenie has already moved on and has seduced a new guy at work, Sacco, who she gets back to her flat and naked but he won’t stop talking about his obsessions with Bill Gates and Microsoft, so she’s becoming exasperated which is exactly when Boyd knocks on the door with a bunch of flowers and the offer of an all-expenses paid trip to Florida. Eugenie thinks, Well, why not?

Honey’s scam and Richard’s airmiles

So now Honey has suckered Boyd to think he’s going on an all-expenses-paid weekend break to a luxury Florida hotel, how is (slightly demented) Honey going to arrange all this? First the air tickets. She phones her successful journalist brother and persuades him to part with enough airmiles to pay for the  2 American Airlines tickets which she sends to Boyd.

As to the hotel, well, er… She lies to her son, Fry, that she’s got friends coming to stay and paints her double-wide trailer amateurish pictures of macaws and tropical foliage. Ha! Then she gets the boy’s father, Skinner, to take him for a few days, and sits back to wait for Boyd and Eugenie to arrive and their ritual humiliation to begin.

Lily and Dealey

Complicating things nicely is Boyd’s wife, Lily. Lily has all the evidence she needs that Boyd is being unfaithful, but flabbergasts the private investigator, Dealey, by telling him a photo of her husband getting a blowjob in a car park is not enough. She wants a photo of actual penetration. Dealey starts to protest but Lily says she’ll pay him $10,000 cash for it. She is good for the money because she runs a little chain of pizza parlours which she is on the brink of selling to a larger chain for a big figure plus stock options.

So, very reluctantly, Dealey establishes what flight Boyd and Eugenie are getting, books himself onto it, and sets off on his quest to take a photo of them unambiguously having penetrative sex for his client.

Boyd’s excuses

What lies is Boyd going to tell Lily to excuse his absence for a couple of days? He comes up with the story that he is not only still employed by Relentless Inc. but is their star salesman, but, alas, has only just been diagnosed with the very rare condition of aphenphosmphobia (page 122) which means he can’t bear to be touched. So work are going to send him to Florida to visit a clinic which may be able to cure his sad condition.

Lily knows he’s lying and so sets out to torment him, by presenting herself in sexually alluring guises i.e. in bra and panties, in skimpy thongs, and in one memorably pornographic scene, tells Boyd to sit on the sofa, close his eyes, and focus on the fact that she is not wearing any panties (p.132) to focus on her pussy, imagine her shape, the outline of her vulva against her tight jeans in its ‘velvet detail’… then Boyd hears the sound of her slipping out of her jeans and he opens her eyes to see his wife’s naked pussy only yards from him as he nurses what is by now a rearing and straining erection.

But now he’s come up with this preposterous phobia story, he has to stick to it and resist even Lily’s crudest advances. Comedy of a not particularly subtle type.

Sammy and Ginny

Remember how we left Sammy Tigertail canoeing deeper and deeper into the Florida Everglades? He’s not a very competent Indian, much though he wants to emulate his heroic Seminole ancestors. We learn that Sammy’s daddy was a white truck driver who impregnated an Indian woman but, when he was born, took him away to live with him and his white stepmom. They brought him up as a white boy named ‘Chad McQueen’ in the suburb of Broward, till the old guy died from a heart attack on a friend’s stag night, whereupon his Indian mom reclaimed him and took him to live in the Indian community of Big Cypress.

But the rest of the Indian community regarded him as not part of it, both on account of his half-white parentage and also that he seems to be endlessly unlucky (p.163). Sammy thinks of himself as ‘a fucked-up half-breed’ (p.286); ‘I’m only half Seminole… My father was white’ (p.309) and the narrator agrees he is dogged by ‘chronic bad luck’, (p.330).

Above all, Sammy is self-conscious and sensitive about his bright blue eyes, a permanent reminder that he is not pure-blood Indian (p.331).

Proving his bad luck, while he sleeps on an island that first night on the run, a high tide washes away his canoe. But then he hears noises coming from the other side of the island, sneaks over and discovers a fraternity party of students dancing to a boogie box round a campfire, stoned and drunk.

When they’ve all eventually passed out, Sammy tiptoes round to their canoes and starts to steal one. But he is stopped by a voice from among the comatose bodies, a girl’s voice, asking if she can come with him. It belongs to a girl whose name we will discover is Gillian St Croix.

Just as Honey’s prom night date turned out to be useless all those years ago, now this girl, Gillian St Croix (full name p.141; fully backstory p.172), also wants to get away from the lame man who brought her to the island, Ethan.

— Useless men. This is a recurring theme. Pieback, Boyd and Dealey are sorry apologies for masculinity and their womenfolk have correspondingly low opinions of the male sex.

‘One time a guy almost croaked on me in bed,’ [Eugenie] was saying. ‘Lucky I’d passed a CPR class. I kept him goin’ till the paramedics got there, and guess what? He still had his hard-on when they carried him out on the stretcher – that’s all you need to know about men.’ (p.277)

Sammy whispers no way is he going to take her, but Gillian threatens to scream and wake her comatose student buddies up, so, with massive reluctance, Sammy puts her in the canoe, stops once safe round round the headland, then fires a few shots of the rifle to wake the dopey students up, making them panic and hurriedly dress and head off in the remaining canoes.

Which leaves Sammy stuck with Gillian, who turns out to be an incredibly irritating chatterbox, who only stops wittering on when Sammy ties her hands and stuffs a sock in her mouth. But not for long. He paddles blindly for a while, having no compass or map of familiarity with this area, eventually arriving at a remote island called Dismal Key (p.136), though neither of them know it.

Clearly the four storylines of:

  1. Honey Santana setting up Body Shreave for some merciless humiliation at her trailer in Florida
  2. private detective Dealey’s attempts to photograph Boyd and Eugenie in flagrante
  3. Tommy Tigertail and his annoying ‘kidnap’ victim, Gillian, who refuses to leave him alone
  4. Perry Skinner and his son Fry

are going to crash into each other and create all kinds of comic complications. Nature Girl is very well written, elaborately structured, with detailed characterisation, snappy dialogue, vivid imagining of the exotic and outlandish scenes and settings. But somehow, hard to nail down, it lacks the really vehement outrageousness of the earlier novels.

Native American themes

All Hiaasen’s novels are interspersed with factual interludes giving backgrounders on the big issue of the novel. If they were in magazines, they’d be in call-out boxes or side panels, separate from the main text. In the previous novel, Skinny Dip, there were 3 or 4 of them explaining how the runoff of fertilisers and pesticides from vast agricultural landholdings were allowed to illegally leach into the Everglades and destroy their ecosystems.

In this novel we get a series of interludes giving factual background about native American tribes, namely the Seminole nation, which Sammy belongs to (pages 72, 152, 286), also background history of the Calusa people who inhabited Florida at the time of the Spanish conquest and who were decimated by European diseases (pages 202 to 203).

Native American themes are present in other ways throughout the book:

1. Sammy has vivid dreams, dreams in which spirits appear and talk to him, most notably dreams in which the spirit of the dead white man Jeter Wilson appears to him and complains about being weighted down with anchors in some canal where the water’s cold and he’s being bitten to pieces by sharks. In these dreams Wilson angrily asks Sammy to come back and move his body. Later, when Dealey pitches up on the island where Sammy’s taken Gillian, Sammy refuses to believe he’s real, considering him a spirit throughout all their interactions, which is both comic and genuinely a bit spooky. Thus Sammy’s dreams are so vivid that at several points he mistakes people, for example Gillian when she first speaks, for spirits talking to him.

2. Dismal Key turns out to be largely constructed of clam shells by the Indian tribes who lived in this part of Florida for over a thousand years, the Calusa people (p.175) and the story of how they dominated the area but were then wiped out by the diseases brought by the Spanish invaders is not only tragic, but also spooky. For Sammy, their long-gone presence still weighs heavily on his mind.

3. Sammy is also haunted by the memory of his great-great-great-grandfather, Chief Thlocklo Tustenuggee, tricked into signing a treaty with the white man then thrown into prison.

Manifest destiny, otherwise known as screwing native peoples out of their homelands, had been a holy crusade among white people of that era. (p.361)

4. One of these factual callout boxes explains the rise of the casinos and gambling empires which native Americans have built on their reservations to sucker gambling-addicted white folks out of their money (p.357), Many Indians have become very wealthy this way, Sammy describes them as the ‘new Arabs’ in terms of mushroom wealth. Sammy’s uncle Tommy, who we met way back in Hiaasen’s debut novel, is credited with being one of the architects of the Seminole nation’s rise to enormous wealth.

Once written off as a ragged band of heathens, the Seminole Nation grew into a formidable corporate power with its own brigade of lawyers and lobbyists. (p.357)

5. On a personal level, Gillian and Sammy spend a lot of time together and their conversation repeatedly rotates around the issue of ‘race’, her teasing him about having white girlfriends, he very self-conscious of his half-white heritage, determined not to submit to what his uncle calls white pussy’. Whenever  we enter Sammy’s storyline, the word ‘white’ recurs almost continually, and white people don’t come out well in Sammy’s worldview:

The first white person to betray Sammy Tigertail had been his stepmother… The second white person to betray him had been Cindy, his ex-girlfriend… (p.356)

The book bangs on, again and again, that you can’t trust white people and you can’t trust men, impeccably woke anti-men and anti-white attitudes but, as so often, expressed, without a shred of irony, by a…er… white man.

Nature Girl can may be considered Hiaasen’s novel about native Americans (in Florida), their history and current plight (Sammy’s mixed-blood heritage symbolises the way they’re caught between dying notions of their old culture and their full absorption into the capitalist white world) in maybe the same way that Lucky You is his novel about black people, with its feisty black heroine JoLayne and its pair of repellent white supremacists, Bode Gazzer and Chub, whose beliefs, values and temperaments are systematically ripped to shreds. (Note, again, the same tendency of the characterisations in Lucky You: black woman clever and good; white men very bad and very stupid.)

I’m not criticising or damning Hiaasen for the way the themes of race and gender run very loud through his novels. I’m just pointing out how their prominence reflects how dominant they have become in an American society which, over the period he’s been writing in (1986 to the present), he himself is the first to point out has become utterly dysfunctional through the triumph of greed and selfishness, the disappearance of manners and kindness.

In my opinion the two phenomena are connected, and represent twin aspects of a culture and society becoming ever-more putrid. Funny reading about it, but I wouldn’t want to live there, amid the ever-increasing inequality, violence and cultural disintegration.

Highlights of the rest of the novel

Boyd and Eugenie fly down to Florida and catch a cab to the address on the holiday brochure Honey has knocked up and mailed them. You can imagine that they are vastly disillusioned to arrive at Honey’s badly painted trashy trailer and discover that this is the destination of their supposed dream holiday. Eugenie is all for turning round and going straight back to the airport but a) it is now late at night b) it is raining c) Boyd is a cheapskate and despite the obvious crappiness of the situation, insists that they accept Honey’s ‘welcome’ and put up for the night in the trailer’s none -too-clean double bed.

Meanwhile, the private investigator Dealey had been on the same flight as Boyd and Eugenie and trailed them to this trailer park. He is loitering outside Honey’s trailer and is just peeking through a window, when he is surprised from behind by a guy with a shotgun. It turns out to be Mr Piejack from the fish market. He’s in bad shape. Not only did Honey hit him in the nuts with a crab-cracking hammer, but a day later some Latinos turned up and forced Piejack’s hand into a basket of angry live crabs. His screams brought colleagues and then paramedics who hammer the crabs off his fingers, but many of them are clinging onto his fingers. I.e. the fingers of his right hand are all severed. Paramedics rush Piejack to a hospital where an incompetent surgeon sews them back onto the wrong stumps, his thumb being reattached to his little finger stump.

There’s generally one major grotesque incident in a Hiaasen novel and this is it, the case of the wrongly sewn-on fingers. Despite this grotesque mishap, Piejack is more sexually obsessed by Honey than ever (backstory about PIejack, his fishy career and miserable marriage pages 248 to 250). Piejack takes Dealey off at gunpoint…

Next morning, Honey tells Boyd and Eugenie that the next part of the ‘holiday’ is packing some bags and going kayaking along nearby waterways, which Eugenie is rightly suspicious of, but Boyd insists they play along. Truth is Honey doesn’t know exactly where she is going and they kayak badly for a few hours till they arrive at an island in the middle of nowhere.

Little are they to know that this is the exact same island where Sammy Tigertail has brought irritating Gillian, who won’t stop talking, who keeps teasing Sammy about her whiteness, who keeps provoking him with her semi-nudity and asking why he won’t ‘bone’ her.

So that’s two of the groups of characters on the island. The third set consist of the sex-obsessed Piejack and Dealey. Having kept him under guard all night, next morning Pijack forces Dealey to accompany him as they drive to a boat hire place, rent a powerboat and set off to follow Honey and her two luckless kayakers to the unknown island.

Piejack and Dealey are able pick them up using binoculars, then trail them at a distance so as not to be seen and moor their boat on the other side of the island. Things quickly go wrong when Piejack, in the middle of threatening Dealey, is whacked from behind by Sammy, falling into a dense cactus patch. Sammy thinks he’s killed Piejack (damn! the second white man he’s killed in just a few days!) and takes Dealey off with him, poor Dealey, as one character comments, maybe the only person in history to be kidnapped twice in one day!

But that’s not all. The fourth component is Honey’s ex-husband Perry Skinner, the crab fisherman. That morning he spotted Piejack driving with a stranger through the streets of Everglade City (the tiny rural community where Honey and Perry live), realises something is up, quickly picks up his son, and takes out his crabbing boat to pursue Piejack and Dealey in their boat, at a safe distance.

And thus the narrative brings all four sets of characters – Sammy and Gillian; Honey, Boyd and Eugenie; Piejack and Dealey; Perry and his son – to the same remote, mosquito-infested island, with what blurb writers would call ‘hilarious consequences’.

What ensues is almost textbook farce, with a complex series of comings and goings, encounters, violence, threats, running away, and the couples splitting up and partnering off with someone from another pair, comic misunderstandings and confrontations.

It could almost be performed onstage as a Feydeau farce, set in one big room with multiple doors, and characters entering in various combinations, having comical mishaps before exiting and another little set of characters entering to perform their comic scene. The fact that it’s set on an island with four sets of characters and a lot of rueful comedy reminded me a little of The Tempest.

Among a welter of incidents, Boyd, the soulless lunkhead, manages to tazer his own penis. (He thinks it’s a gun and shoves it down his pants like a tough guy only for it to go off accidentally. Men, eh?)

At one point Sammy is confronted in the middle of the day with dead Mr Wilson’s spirit, whining about being stuck in the cold water and eaten by sharks. To get rid of it Sammy shoots his rifle but the bullet ricochets off a tree and hits Dealey, shattering his shoulder. He collapses, loses consciousness, the women tend him but he’s in a poor way.

In other scenes, Gillian wears Sammy down with her incessant chatter till he gives up and agrees to have sex with her, which mainly involves her vigorously riding his erection while continuing her endless chatter.

Boyd demonstrates in a hundred ways what a selfish, useless, spineless, soulless goon he is. Honey had arranged this whole scam in order to get Boyd into the back of beyond and then deliver a lecture about his bad morals and behaviour re. his rude telesales phone call to her which is where the entire narrative began.

And yet, when it comes to it, nothing works. As dawn rises the day after they came to the island, Honey marvels at the change in the quality of the light, the calmness of the water, the beauty of a flight of egrets across the sky. Boyd doesn’t get it, and announces he needs to have a crap.

The man was unreachable, a dry hole. For such a lunkhead there could be no awakening, no rebirth of wonderment. (p.296)

On one level the novel is simply about a mentally ill woman who tries to reform a soulless dolt and fails, leaving her feeling ‘foolhardy and defeated, the queen of lost causes’ (p.297). (By the way, Honey appears to be the ‘nature girl’ of the title.)

On day one on the island Sammy had snuck up on Piejack while the latter was pointing his shotgun at Dealey and whacked him real hard. Piejack was out for a long time, finally came to and crawled off to hide in a cistern tank where he fell on cactus, managing to get covered in prickles. Also a colony of fire ants discovers the juicy food of his recently transplanted fingers under the surgical gauze.

Thus he awakes on the second day on the island looking like a drooling, demented walking puffer fish ‘benumbed by the derangement of lust’ (p.302). He has metamorphosed into the Grotesque Figure who can be found in most of Hiaasen’s novels (cf Chemo, Tool etc al.) Piejack stumbles across Honey alone in her camp and kidnaps her, fitting a noose round her neck and dragging her off into the undergrowth.

Meanwhile, a coast guard helicopter arrives. Dealey had phoned for it with the last power in his cell phone.

Perry Skinner, who, despite his former prison sentence, emerges as the strong, manly hero of the book, doesn’t want to leave the island till he’s found his ex-wife, Honey, who he still loves. On the other hand he’s sort of in charge of the good guys and knows that Dealey is badly wounded by Sammy’s shot to his shoulder and so needs to be choppered out.

So he and Gillian and Sammy put Dealey’s half-conscious body into one of the brightly coloured kayaks and push it out into the main body of water where the coastguard quickly see it. Unfortunately, as the chopper hovers low, Dealey tries to stand up to signal to it and promptly capsizes the kayak, flailing in the water and likely to drown. So Gillian quickly strips to her mesh panties (for the umpteenth time) and swims out to save him. So she and Dealey are winched to safety by the coastguard chopper which flies away. Shame. Sammy was just starting to like her.

In another part of the island, Eugenie had been tending Skinner’s son, Fry, who is only 12 and managed to hit a truck while skateboarding before his dad collected him and brought him on this wild goose chase to some remote island in the Everglades.

Here, Fry has begun to suffer symptoms of concussion and gotten separated from his dad (I told you it’s a labyrinthine series of people getting split up, lost, encountering people from the other groups, with or without guns).

Fry has just fainted and been discovered by Eugenie, who is tending him when they both hear the Coast Guard chopper. Fry tells her not to worry about him and go and so, reluctantly, Eugenie runs off in the direction of the creek where the Coast Guard has spotted Dealey flailing round his kayak and Gillian swimming out to save him.

The narrative then cuts away to a factual account of the precise make and number of Coast Guard patrol, and explains how it had been called to the island after Dealey rang Lily Shreave (his client, remember; the one who sent him to get photos of Boyd actually penetrating Eugenie), describes how he has been kidnapped and brought to some godforsaken island in the ‘Glades. Lily rang the coastguard. Hence the helicopter.

Anyway, the net result is that by page 320 Eugenie, Gillian and Dealey have been choppered back to civilisation.

Leaving Sammy Tigertail and Perry Skinner and the latter’s ill son, Fry, looking for the gruesomely maimed pervert Piejack and Honey, who he’s kidnapped and is leading around on a leash, with the cowardly Boyd blundering around as a kind of wild card.

There is no subtlety about the characterisation. The narrator describes Boyd as a drooling moron, explaining to the reader at factual length what a GPS tracker is and why Boyd had to be an imbecile not to realise what it was and to mistake it for a radio (p.322). And he tazered his own penis.

Sorry apologies for men

Hiaasen’s novels usually have a central topic which is the butt of his factual exposures and satirical flaying. About half way through this book I began to wonder whether the subject being flayed in this one is men and masculinity. Boyd the useless creep. Piejack the pervert. Dealey the craven investigator. The narrative marshals a long list of evidence against men.

Eugenie remembers her former lover, Van Bonneville, who was useless the one and only time they had sex, and then didn’t get any better in the sack after she discovered he had murdered his wife.

We get a vivid scene where Eugenie tries to seduce Boyd’s replacement at the telesales centre, Sacco, who turns out to be a knock-kneed obsessive.

The text keeps up a steady barrage of criticism of the entire male gender, either via the narrator or the no-holds-barred comments of all the female characters:

Honey’s outlook on men was sinking to a point of abject revulsion. The day was new, and yet already she’d been ridiculed by a soulless twit and kidnapped by a reeking pervert. (p.304)

‘Don’t ever change,’ [Eugenie tells Fry]. ‘By that I mean don’t grow up to be a jerkoff like ninety percent of the men I meet.’
‘Mom always tells me the same thing, except she says it’s more like ninety-five.’ (p.307)

‘Don’t be a typical dumb-ass male and get yourself lost in the woods.’ (p.318)

Even the natural world is roped in to make the point. When Fry points out two chameleons on a branch to Eugenie he explains that the one puffing out its chest and doing what look like little press-ups is the male doing a mating dance.

‘That’s the male,’ said Fry. ‘He’s showin’ off.’
‘Go figure,’ said Eugenie. (p.316)

I wonder if an author wrote a book in which characters said 95% of the black people they met were jerkoffs, black people show off all the time, one character told another not to be a typical dumb-ass black, and so on – I wonder whether sweeping abuse and insults about blacks or Jews or Muslims would be seen as quite so funny as sweeping insults and abuse of white men.

When the narrative stops to reflect on the five men Honey dated after divorcing Perry, it’s really just another opportunity to give examples of piss-poor men, namely:

  • Dale Rozelle, ‘a duplicitous shithead’, who lies about being a member of the Sierra Club in order to get into Honey’s pants (or get her to ‘give up the velvet’), slaps his own bum and makes barnyard noises during sex (now there’s something I must try out :)).
  • Dr Tyler Teehorn, her son’s orthodontist, who she gives a ‘mercy fuck’ after his wife left him, but who then clings to her like a mollusc and is a suffocating bore.

When the Coast Guard helicopter appears, Hiaasen makes a joke of the way the routine rescue of a fat white guy in a kayak is transformed when the crew see a nubile woman strip virtually naked (down to just her mesh panties, for it is Gillian) and another hottie waving brightly coloured underwear at them (Eugenie). These sights invigorate the male rescuers, lending them, in the sardonic tones of the narrator, ‘unbreakable focus and esprit de corps‘ (p.323).

Gillian went on, ‘Ethan doesn’t really care about me. It’s just the sex.’
‘Well, he’s a boy.’
‘Why are they all like that?’ (p.364)

Men, eh. Do anything for the promise of poon. Pathetic. In the last hundred pages I collected adjectives used to describe men: lame (345) sonofabitches (351) bores (325), shitheads (324), schmucks, bumblefucks (343), sexual harassers (344), sex fiends (347), toads (352), dumb-ass drooling morons (322), brutish criminals (350) and rancid buckets of scum (347).

Admittedly most of this abuse is targeted at Piejack, the gangrenous, drug-addled, sex-obsessed stalker, but then he was invented precisely to be the butt of this torrent of anti-male abuse. And is unsubtly contrasted with the sterling qualities of the three female leads: confident knows-what-she-wants Gillian; tall, sexy Eugenie; and Honey, the nature girl who wanted to reform slimy Boyd Shreaver, who is a super-devoted loving mother to young Fry, and is ‘tough and outspoken and damn near fearless’ (p.355). Shit men, heroic women.

It’s a tiny comic detail when the Coast Guard tells Gillian that the single most common name men gave their dinghies and boats in Florida is Wet Dream (p.338). Ha ha. Men and their dicks and their dumb-ass sense of humour, eh.

One last thought: it isn’t a new theme for Hiaasen. Reviewing my notes on Strip Tease, I see that that novel, also, as you’d expect from a text all about the ‘erotic dancing’ industry, was crammed full of dismissive comments about men and their desperation for pussy.

  • ‘Men will try anything,’ Monique Jr said, sceptically. ‘Anything for pussy.’ (Strip Tease, page 16)
  • It taught Erin one of life’s great lessons: an attractive woman could get whatever she wanted, because men are so laughably weak. They would do anything for even the distant promise of sex. (p.26)
  • Erin was constantly reminded of the ridiculous power of sex; routine female nakedness reduced some men to stammering, clammy-fingered fools. (p.87)

Is this general statement true of men in the real world? Is it true for all men even just in Carl Hiaasen’s novels? Or is it a kind of satirical trope, the kind of predictable, fixed parameter which then enables savage satire to be written, alongside other generalisations such as all white people are racist, all politicians are corrupt, all property developers are evil, and so on.

In other words they are conventions of the genre. Certainly having read a dozen or so Restoration comedies a while ago, and then a set of Ben Jonson’s citizen comedies, sex and, more precisely, the sex-obsession of some men has always been a theme of comedy, and is cranked up to the max in the over-driven form of comedy which is farce.

The climax – Skinner kills Piejack

The climax of the novel comes when Skinner and Sammy come into a beach clearing to discover lurid, ill Piejack threatening Honey with the shotgun and ordering her to strip. Honey’s son, Fry, who got separated from his dad some time back, has snuck up behind Piejack and hits him with a plank but Piejack recovers and points the shotgun at both Fry and Honey.

Seeing this from the trees, Skinner goes running forward but Piejack shoots him in the knee, forcing him to flop to the sand. That just leaves Sammy, still standing on the edge of the clearing, witness to the entire scene, who has to make a choice. In his head he hears his wise uncle saying this is all white people craziness and  that he should walk away, and Piejack points the gun at him and tells him to do just that.

Now, among his personal belongings which his half-brother Lee had brought him to take into the boondocks right at the start of the story, was a lovely Gibson guitar (which he can’t actually play, although Gillian turns out to be able to play it).

Now Sammy sees the guitar has gotten tossed to one side of the beach and politely asks Piejack if he can retrieve it. He walks across with Piejack keeping the shotgun aimed at him, picks up the guitar walks a few paces but then, unexpectedly, hands it to Skinner, still on his knees. Skinner labours to his feet, staggers forward and, as Piejack shoots him, brings the guitar down like an axe and cleaves Piejack’s skull in two.

Postscript

So that’s the end of the jeopardy which had been driving the plot for the previous 100 pages. Now there’s just tying up the loose ends.

We are told Piejack’s last shot blew away part of Skinner’s hip and he is bleeding badly. Honey and Fry carry him to Piejack’s hire boat and she charts a course back to the dock at Everglades City and tells Fry to run as fast as the wind to get help and call an ambulance.

Sammy Tigertail loads Piejack’s corpse into a different boat and chugs back to the canal where he sank the body of Jeter Wilson. He does the same to Piejack’s corpse, stringing it with weights and dumping it in the same deep underwater hole. Almost immediately he starts seeing Jeter Wilson’s death spirit appearing to him, complaining about his new companion.

All this leaves flabby Boyd the coward still on the island. He had climbed up a huge poinciana tree to escape from the general mayhem and from up there he’d tried to the Coast Guard helicopter, though the pilots were, as Hiaasen emphasises, totally entranced when they saw the prospect of picking up not one but two scantily clad women.

When he hears the two shots Piejack fires, Boyd heads off in the opposite direction, eventually hitting another beach and discovering an untended canoe. He quickly sets off but is, of course, useless at paddling, plus night is falling.

In the middle of the night he hears a boat passing nearby and shines a small torch he has, but it is only Sammy in a powerboat towing the body of Piejack and the rest of the canoes, and he flips Boyd the bird, and putters off, leaving Boyd literally all at sea.

The First Resurrectionist Maritime Assembly for God

Then there is a weird comic afterlude. Boyd comes to a beach and finds himself landing on another island. Much earlier in the story Perry and Fry, in search of Honey, had briefly landed on this island and discovered it was being used as a retreat by a small group of revivalist Christians, to be precise, five members of the First Resurrectionist Maritime Assembly for God wearing only white gowns (p.371).

It had already been hinted that these folk are not as pure as they claim to be and, sure enough, Boyd staggers out of his canoe onto the beach and interrupts the Assembly’s leader, Brother Manual, gripping Sister Shirelle by the hips and boning her enthusiastically from behind. Hiaasen points out that Sister Shirelle’s formidable and unbound breasts are jouncing in tandem, which is good to know.

There follows an unexpected passage of broad, farcical satire, as Manuel and Shirelle hurriedly make themselves decent and greet Boyd (almost naked, with hands bloodied from climbing up then back down the big poinciana tree) as the Promised One and the Messiah. For a few days they devout Bible bashers worship, feed and water him. But Boyd turns out to be an obnoxious whiner and even the most deluded devotees quickly lose faith. The congregation depart the island leaving him with a few rations but no canoe.

Boyd is leaning back against the big cross the Assembly had erected on the beach in bleak despair when a huge wild eagle lands on its top and takes a big dump on him. Comedy.

He runs into the sea to wash himself and makes such a racket and commotion that he is spotted and picked up by Coastal Rangers out on patrol, returned to civilisation, hosed down, dressed in charity clothes.

Boyd‘s storyline comes to a savagely farcical conclusion when, thus tidied up, he is enjoying a few beers in a local bar when he overhears some tourists from up north fantasising about moving to the Sunshine State. Boyd smoothly introduces himself as the agent for some (totally fictional) prime beachfront properties and realises with a flash that this is the role which suits his worthless, soulless, slimeball character – he will be an estate agent in Florida!

Eugenie, Sammy and Skinner

Talking of agents, Eugenie quits her job in telesales and presents herself at the office of private investigator Dealey, now much restored after an operation to repair his shot-up shoulder.

Eugenie suggests that, after all the fuss and bother, they send Boyd’s wife, Lily, not a video of Boyd and herself boning, but a video she shot during the brief time she spent with young Fry, a sequence of two chameleons copulating on a tree branch. (Right till the end of this book, ‘boning’ in one form or another is the central subject.) Impressed by her confidence, sales skills and insights into relationships, Dealey decides to take her on as a partner in his detective agency.

Sammy finds peace on another island. He had recovered some parts of the smashed Gibson guitar after it was used to brain Piejack, and starts whittling a new body from treewood. He fishes, cooks and eats, lies under the huge sprawl of night-time stars. The same great eagle which shat on Boyd comes and roosts in the trees every evening. Sammy begins to think of him as a guardian spirit. Slowly, we get the sense of him becoming attuned to the wilderness and the simple life of his ancestors. A fairly happy ending.

And Skinner and Honey get back together. Her jaw is clamped shut while it heals from an almighty whack Piejack gave it back on the island which broke it, and Skinner is walking with a cane while his new artificial hip beds in, so they decided to move back in together and look after each other.

Twelve-and-a-half-year-old Fry is anxious that they’ll just end up arguing and splitting up again. But the novel ends with a symbolic scene. Once again Fry and Honey are sitting at dinner (with Skinner) when the phone rings. Honey gets irate about dinner being interrupted, just as she did at the very start of the novel.

However, both Fry and Skinner tell her to let it ring, let it go. It’s hard for such an obsessive, but Honey takes their advice and eventually it stops. People don’t really change, but they can learn new tricks. The book ends with the happy family joking together over dinner.

Construction

It should be obvious from this detailed summary that this novel, like all Hiaasen’s novels, is wonderfully constructed, the multiple storylines and the complex backstories of its large-ish cast of characters beautifully dovetailed and woven together by a master carpenter. He is an absolute master of narrative construction, it’s one of the most impressive things about his books.

More sex than previously

It might just be me, but it seemed to me that sex – almost pornographically explicit imaginings of naked pussies and willies, and jokey references to cocks and fannies and thongs and bras and breasts and vibrators – is far more present in this novel than any of the previous ones.

‘I’d blow Dick Cheney for a Corona,’ she said. (p.225)

We are casually told Eugenie loves straddling Boyd’s cock and was, indeed, starting to do the same to his replacement, Sacco, when the front door rings. Lily tries repeatedly to provoke Boyd into having sex with her, wearing thongs, straddling him, slipping under the table at a restaurant, unzipping his flies and starting to suck his cock. Later in the story, they haven’t been together long before irritating Gillian (see below) is presenting herself to Sammy Tigertail in ‘mesh panties and a white bikini top’ (p.163) to arouse him.

‘White pussy is bad medicine.’ (Tommy Tigertail, p.142)

All three of the women in the book – Honey, Eugenie and Gillian – are not only described as attractive:

  • ‘Sammy Tigertail had never seen a woman so lovely’ as Honey (p.290)
  • when the Coast Guard appear at the end of the story it is to rescue ‘two extremely attractive female evacuees’ (p.323)
  • Honey is ‘athletically built’ (p.358)

But are impressively sexually active. They are tall and shapely, with nice boobs (Eugenie has ‘outstanding breasts’, in Fry’s opinion, p.316), are continually slipping into thongs and mesh panties, offering blowjobs at the drop of a hat.

I know these are comic, escapist poolside paperbacks, but there does seem to be a more than usually amount of male wish fulfilment in this one.

Eugenie chuckled tiredly. ‘I’ll do whatever it takes to get off this island, and that includes hand jobs, blow jobs, butt jobs, even singin’ opera stark naked.’ (p.279)

When Sammy stumbles late at night into the little camp Honey, Eugenie and Boyd have made, he accidentally wakens Eugenie, who begs him for water, since they’re all thirsty. And she immediately offers to anything – ‘I’ll do whatever you want. And I mean whatever‘. She is, after all, very proud of her metal tongue stud and the pleasure it gives the men she fellates.

I suppose Eugenie leaping immediately to offer sex at every opportunity is meant to be a comic part of her over-sexed character.  But they’re all obsessed with sex, Piejack and Boyd and Lily, who is obsessed with seeing photos of her husband penetrating another woman, and Gillian uses every opportunity to propose sex to her handsome half-Indian abductor:

‘Meanwhile, Big Chief Thlocko, let me show you what my people call a “quickie”.’ (p.310)

Even the comic details have a more than usually sexual tinge: for example, part of Boyd’s general uselessness is the way he once had a domestic accident in such a way as to straddle a cactus and get his entire groin studded with painful cactus needles (p.341).

When they get to Dismal Island Boyd brandishes the implement he found under Honey’s bed and which he takes to be a gun, swirling it round his hand before sticking it back in his pants, like a tough guy with a revolver, only for it to jolt him with a phenomenal electric shock because it was not a gun but a taser; leaving him with ‘a half-barbecued cock’ (p.239).

We are told that the PI Dealey has only ever been subject to violence once in his career and, you could imagine thousands of forms this could take, but it is entirely in line with the book’s focus on sex that this attack took the shape of the woman he was illicitly photographing as part of a snooping job, spotting him and throwing her nine inch vibrator at him. (It hit him directly in the throat and he couldn’t speak for three weeks, p.196.)

‘Damn, boy, you could be quite the rock star… All the free poon and dope you can stand.’ (p.226)

When Boyd and Eugenie are paddling a two-person canoe, Boyd is so useless that Eugenie wants him to stop altogether. There are many ways she could do this, starting with using the gift of speech. Instead, it’s very much in line with the soft porn vibe of the book, that she prefers to express this wish by taking off her halter top so as to be topless. This appearance of her boobs distracts Boyd so much that he stops paddling alright, but it also… continues the tone of titillation which colours the whole text.

When Skinner and Fry come ashore on a remote island attracted by a fire on the beach, they discover it is in fact a small group of Christian zealots holding an unorthodox act of worship. The point is the narrator draws our attention to the fact that the prettiest one, Shirelle is dancing and gyrating without a bra… and when the leader of the congregation follows them to give them a leaflet, Skinner angrily confronts him with the shrewd guess that he has ‘balled’ Sister Shirelle, that she has kneeled down and worshipped him in a very special way (p.258). And, as we’ve seen, at the end of the book Boyd interrupts the group’s leader in the act of energetically boning Shirelle from behind. Of the religious devotee Sister Shirelle, not only do we learn that her big breasts jounce joyfully around but that, in Brother Manuel’s opinion, she would ‘go down on Judas Iscariot if he was a hottie’ (p.385).

And the entire character of Mr Piejack, the lecherous manager of the fish market who fires Honey after he grabs her breast as she’s placing fresh wahoo steaks on display, such that she turns round and hammers in the nuts (p.232), he is nothing more than sexual obsession personified. He goes to ridiculous lengths to try and see Honey nude and/or touch her, he is a slavering stalker, who’s played for laughs, but is also one more strand of the novel’s sex-obsession. When he abducts Honey, he says he’ll only turn her loose if she promises to ‘give up the velvet’ in a particularly creepy and repellent way (p.304).

Eventually, Gillian (the ‘rambunctious college girl in mesh panties’, p.394) wears Sammy down and he gives in to having sex with her, which is described as her boisterously riding him. That’s the sex position of choice in Hiaasen’s novels, in which all the female characters are depicted as modern, liberated and active, rather than passive recipients.

What stood out in this particular description is the way Hiaasen goes out of his way to describe the way Gillian clenches her cervical muscle around Sammy’s cock, describing it not once but twice (p.287) – just that bit more pornographic detail than we’ve had in the previous novels.

Boyd lies to his wife that his work are sending him to a special clinic in Florida to be cured of his aphenphosmphobia and she pretends to go along with the story, all the while knowing she’s sending Dealey the private dick to photograph his penetration of his mistress. This is the precise term that is used, repeatedly, on pages 112, 113, 115, 147. Lily rings up Dealey to check: ‘Penetration? You got penetration?’, p.242.) Lily wants an unambiguous photo of her husband’s cock entering his mistress’s vulva. If Dealey is unsure how to get the shot, Lily tells Dealey to hire some porn and study the technique and the angles. Which he does and which the novels gives us descriptions of.

I think I know that lots of people are sex mad. It’s not such a novel or informative theme as the bass fishing in Double Whammy or the agricultural pollution in Skinny Dip or the plastic surgery industry in Skin Tight or the extended satire on tacky theme parks in Native Tongue or the detailed explanations of corrupt property development in Sick Puppy. What industry or sector is being satirised here? Telesales, maybe, a bit, at the start. But mostly it’s sex-obsessed creepy men.

A critic might say that all this titillation is here to make up for a slight lack of something else, the lack of a really meaty political or social subject.

Words for sex

Small thing but I was struck by the way lots of characters use the word ‘bone’ for the f word. ‘He just wanted to bone me’, ‘Has he boned her yet?’, ‘She’s paying you twenty-five grand to tape her old man boning some bimbo?’ (p.241) etc. Gillian calls Sammy ‘a serious blue-eyed Bone Machine’ (p.316). Presumably that’s why an erection is referred to as a ‘boner’, because it’s what men use for ‘boning’.

Other synonyms include the more traditional ‘ball’ (‘so I’d ball him’); ‘sleep with’, or just plain ‘do’.

‘I’m getting a complex,’ she said; ‘why aren’t you trying to do me?’ (p.245)

Whatever word is used, ‘boning’ or characters obsessing about ‘boning’, is a much more central theme to the novel than in previous ones. It’s all Gillian or Eugenie or Lily or Piejack or Boyd seem to think about.

Dad rock

Having established in previous novels that the narrator – or at least all his sympathetic characters – are fans of 1970s Adult-Oriented Rockers such as Neil Young and the Rolling Stones and Creedence Clearwater Revival, Hiaasen keeps up the Dad Rock ambience with references throughout this novel to  more Dad Rock classics such as The Eagles (p.163), James Taylor (p.225), The Beatles, Jimi Hendrix (p.227), the Rolling Stones (p.245), Johnny Cash (p.266), the Allmann Brothers (p.312), Kiss (p.316), Neil Young again (p.393). Is it a deliberate marketing ploy, to appeal to boomer rock fans?

Having mulled it over, I think the recurring references to Dad Rock make up one of the 3 or 4 components of Hiaasen’s Good Place. Almost all Hiaasen’s energy goes into eviscerating the forces of evil and corruption at very great length, with often gruesome and violent consequences.

What is there to balance against a world of corruption and lies? Well, I think there is a handful of good things in Hiaasen’s world and good ole rock and roll is one of them. The epitome of Good is the image of the strong, competent, decent guy, Mick Stranahan (who features in Skin Tight and Skinny Dip) alone on his remote house built on stilts out in Biscayne Bay, quietly fishing with a loyal dog by his side and Neil Young on the cassette player as the dawn comes up over the ocean. Good times. Simple down-home values. Beautiful unspoilt scenery. Quiet fishing. Loyal dog. Cool sounds. Maybe light up a half-smoked doobie. Life is sweet. It is still possible to get away from all the crap, and the old-time music which recurs throughout the books are markers for that.

J.B.

Obligatory James Bond reference, p.303.


Credit

Nature Girl by Carl Hiaasen was published by Bantam Press in 2006. All references are to the 2007 Black Swan paperback edition.

Carl Hiaasen reviews

  1. Tourist Season (1986)
  2. Double Whammy (1987)
  3. Skin Tight (1989)
  4. Native Tongue (1991)
  5. Strip Tease (1993)
  6. Stormy Weather (1995)
  7. Lucky You (1997)
  8. Sick Puppy (2000)
  9. Basket Case (2002)
  10. Skinny Dip (2004)
  11. Nature Girl (2006)
  12. Star Island (2010)
  13. Bad Monkey (2013)
  14. Razor Girl (2016)
  15. Squeeze Me (2020)

Sick Puppy by Carl Hiaasen (1999)

Florida:

  • a state owned and operated by banks, builders and real estate developers… (p.262)
  • where developers and bankers bought the politicians who ran the government. The state was urbanising itself faster than any other place on the planet, faster than any other place in the history of man. Each day 450 acres of wild forest disappeared beneath bulldozers across Florida… (p.281)

I think the scale of the corruption and greed which characterises American economic, financial and political life is difficult for English people to really grasp. Just as the state communism of the Soviet bloc penetrated every level of society and deep into people’s souls, so America’s hyper-developed consumer capitalism shapes and colours every aspect of American lives. They are surrounded by branding and products and bombarded via every conceivable medium with messages ramming home the idea that the only values which count are commercial values.

This is an ostensibly comic novel, and it is often very funny, savagely, sometimes brutally funny; but its depiction of corruption and philistine greed at every level of American society is worked out in great detail and is terrifyingly plausible. Nothing happens which isn’t motivated by power, money or lust.

Pork was the essential nutrient of politics. Somebody always made money, even from the most noble-sounding of tax-supported endeavours. (p.50)

The Toad Island property development

At the heart of this novel, as of so many of the other Hiaasen stories, is a crooked property deal: on the north-west coast of Florida is an unspoilt island named Toad Island because of the proliferation of tiny, orange-backed toads which swarm over it. As always, the plot is complicated, falling into half a dozen distinct but complexly inter-related storylines, which follow the tangled activities of about 15 or so characters:

Robert Clapley

Robert Clapley is a crooked property developer. Aged 35, he has ‘Yuppie ex-smuggler written all over him’ (p.39). He has bought up Toad Island and plans to turn it into yet another shiny resort development, complete with 16-story condos, a golf course, beachfront restaurants etc. He wants to Americanise i.e. ruin it. It will be renamed Shearwater Island.

Ordinarily Clapley would fund a development with laundered drug money from cocaine and marijuana imports, which is what he did with his previous project, laundering the money through a Dutch holding company (p.313). But the Shearwater Island development is his most ambitious and so he’s been forced to seek funding from legitimate sources (well, banks, if you consider most international banks legitimate businesses, instead of fronts for money laundering activities of drug cartels, Russian billionaires, Arab sheikhs and African dictators).

In order to enforce his interests and persuade people to do what he wants, Clapley employs Mr Gash, a stocky sadist who wears a houndstooth suit and has spiky English punk hair. At one stage he ties up someone Mr Clapley isn’t happy with and forces a live rat into their mouth. Later on, he tries to murder the hero and rape the heroine. He is not a nice man.

Because almost everyone in a Hiaasen novel is a grotesque, a caricature, an extreme, Mr Gash is given a grotesque hobby. He has used underworld connections to get hold of bootleg tapes of 911 emergency calls, i.e. the phone calls people make at extreme moments just before they die. So far, so sick, but, being Hiaasen, Mr Gash has taken this much further and mashed up the tapes with classical music. Thus he enjoys driving round with his sound system cranked up full, listening to the screams down the phone of a man whose wife tied him to a bed then set his hair on fire, then rang 911 so his last minutes of agony could be recorded — all set to elegant Mozart music.

Speaking of the grotesque and extreme, Robert Clapley, the yuppie, ex-drug smuggling property developer is not only a crook, he has a bizarre kink. Sure, he takes drugs and screws hookers, that comes as standard; but recently he was introduced to two statuesque dolly birds from Eastern Europe, Katya and Tish, and has personally arranged their visas so they can stay on in the Land of the Free and enjoy his seafront apartment, jacuzzi and cocaine. But Clapley has a secret passion: when he was a boy he played with his sisters’ Barbie dolls and developed a sexual fetish for them. He carries Barbies round in his pockets, even when he’s terrorising customers. Now he has conceived the idea of surgically altering the two Slav girls so that they both end up looking like Barbies. If they want to stay in the US of A, the girls have to agree. As Clapley reasonably explains:

‘How often in a guy’s lifetime does he have a chance to get sucked off by two semi-identical six-foot dolls?’ (p.137)

Governor Artemus

Clapley has for many years made donations to the funds of Florida’s governor, handsome former-Toyota car salesman, Dick Artemus, which is why, in exchange for a promise of more donations, Artemus has included the $27.7 million cost of replacing the rackety old wooden bridge from the mainland to Toad Island with a 4-lane modern concrete bridge, in his latest budget (p.58). It is one among many items in the annual budget which he can present as ‘modernising’ and ‘developing’ the state, but which are being undertaken entirely to benefit donors, in this case his good friend and political supporter, Robert Capley.

The Toad Island development is being constructed by the prestigious engineering firm of Roothaus and Son (p.40). They’re employing as project supervisor Karl Krimmler. All Hiaasen’s characters are given extensive backstories which are carefully interspersed throughout the text to give the narratives pace and variety. Thus, later in the novel we are told that Krimmler has hated nature ever since his kid brother popped an angry chipmunk down his pants. Ever since, he has wanted to take revenge on the natural world and nothing pleases him more than watching huge earth-moving machinery chopping down forests and filling in ponds and massacring thousands of pesky little orange toads.

So Krimmler doesn’t get on very well with Dr Stephen Brinkman, a biologist fresh out of Cornell Graduate School, who’s taken a $41,000-a-year job with Roothaus as their ‘environmental specialist’ (p.41) which basically means he has to ensure the site of any development is clear of any endangered species or other critters on the various state or federal lists of protected species or habitats, so that Krimmler’s land-razing teams can crack on. Later in the novel, the hitman Mr Gash will shoot dead Brinkman and bury him with a digger.

Willie Vasquez-Washington

But getting the funding of the Toad Island bridge onto Dick Artemus’s budget is only the first step. The budget itself has to be passed by the state legislature and in particular the influential House Appropriations Committee. Chair of this vital committee is Willie Vasquez-Washington, who keeps colleagues unsure whether he has black, Hispanic or native American blood (in order to intimidate them  with his minority credentials and/or secure a rake-off from state funding supposedly targeted at ‘minorities’).

Willie will only pass the governor’s budget through the committee if he receives a slice of the action. To be precise, he demands that $9 million be found from somewhere to build a community centre in part of his electoral district. It will be called the Willie Vasquez-Washington Memorial Outreach Centre. It will get him good coverage in the local press and secure votes from genuinely grateful families. But also:

  • Willie will get himself appointed executive director at an annual salary of $49,500 plus medical benefits and free car
  • the company of a good friend of his will secure the $200,000 dry-walling contract
  • the company run by the husband of his campaign manager will get the contract to supply 24-hour security guards
  • and Willie’s deadbeat brother just happens to own a rundown grocery store in part of the buildings which will need to be demolished to make way for the centre and which will be bought by the developers for 5 or 6 times its actual value

Thus Hiaasen builds up a detailed and persuasive picture of the graft, corruption and pork barrel politicking which surround every property development in Florida and whose ongoing net result is the devastation of the natural environment.

Nils Fishback

Meanwhile, there are some people living on Toad Island, 207 in all. They are sort of led by Nils Fishback, himself a failed architect and developer, who lost a lot of money buying up Toad Island real estate the last time someone promised to develop it 8 or so years ago. When that project went bankrupt, Fishback was stuck with numerous lots of unwanted land and adopted a man-of-the-people environmentalist pose, barefoot, brown as a nut and bandanna-ed.

It is Fishback who constitutes himself unofficial mayor of the island’s thin population and leads a half-hearted environmental opposition to the development. But of course he, like everyone else, has his price. Fishback demands from Clapley $510,000 based on an inflated valuation of the bum lots he bought years ago and in exchange he’ll use his influence to make sure the other inhabitants of the island acquiesce in the development (p.56).

See how it works? Pork for everyone. Everyone taking a cut, everyone spending all their time considering all the angles and how to maximise their revenue.

Palmer Stoat

And sitting at the centre of this complex web of financial and political matrices is a man named Palmer Stoat for Stoat is one of the two or three most important, influential and rich political fixers in the state of Florida (p.6) or, as Hiaasen puts it, in ‘the swamp of teeming greed known as Florida’ (p.380).

In this swamp, Stoat is a ‘big time lobbyist’, ‘adept at smoothing over problems among self-important shitheads’ (p.380).

It is Stoat who holds series of unofficial meetings with the governor, with Clapley, with Willie Vasquez-Washington, on golf courses or in strip clubs, and conveys the terms and conditions of the various deals which are required, the pay-offs, the back-handers, advises how to manage the press, the politicians, guides all parties through the paths of corruption, and so on.

More than any of Hiaasen’s previous novels, this one goes deep into the actual mechanics of back-handers, with detailed lists of how other elements in the governor’s budget sound and look good but are, in every case, designed to benefit party donors or members of the families of key players in local politics and business. Nothing is innocent. Nothing is pure.

And this obsessive centrality of money poisons not only politics and business but every aspect of human psychology and relations. The novel goes to great lengths to show how almost all personal relationships and almost every single conversation is based on The Deal. Even marriage, long, long ago in America, became a deal, between a woman wanting money and security and a man wanting a trophy wife, a bimbo on his arm to attend all those important social functions. Even casual relationships between men and women are shown to be full of calculation. When we hear about Twilly’s former relationships or Desie Stoat former partners, they are all couched in the language of The Deal: in this relationship he got this and she got that, then they discovered the deal wasn’t working out so they went to lawyers to annul the contract.

Lawyers infest American civic life partly because people regard other people instrumentally, as means to an end, like the pair of lowlifes in the previous novel, Lucky You, who spent 450 pages continually assessing whether it was worth carrying on being partnered with the other one or whether, what the hell, it was more cost effective just to shoot their partner and have done with it. There is no remnant of what used, laughably, to be called ‘humanity’ in any of them.

In novels (and movies) like this it feels like Americans have long, long ago lost the ability to think of other Americans as people. Everyone is a connection to be exploited, a partner to be used, until a better contact, job opportunity or ‘mark’ to be conned comes along.

The trigger

So that’s the setup, that’s the background. Factually dense and complicated, isn’t it, like most Hiaasen novels. You can tell he was a journalist because a) he has an awesome insight into the precise mechanisms of corruption in all these different spheres and b) he conveys it with tremendous brevity and precision. And you can tell he’s American because it’s all done in zippy, slangy, swearword-ridden prose.

You want to know about the actual plot? OK, well, it starts casually enough. Into this complex nexus of relationships comes Twilly Spree. Twilly is an unemployed 26-year-old college dropout who’s inherited enough money not to have to work and has long-standing anger management issues, not least regarding littering and despoiling the environment (anger issues which derive from his own father’s job as a property developer, systematically spoiling the coastline of Florida with property developments, pp.31 to 34).

This is why when Twilly’s driving behind a swish Land Rover and observes a load of MacDonalds wrappers being chucked out of its window, he sees red and tails the Rover back to an impressive luxury home, the home of none other than… Palmer Stoat.

Twilly watches from outside while Stoat gets changed and his wife – the stunningly good-looking 32-and-a-half-year-old Desie (p.327) – dress up for a meal at an Italian restaurant. They drive there in the wife’s convertible BMW, tailed at a distance by Twilly. Once they’re safely inside Twilly approaches the crew of a garbage truck working nearby and asks if he can borrow it for an hour for $3,000. They instantly agree and go off to a topless dancing joint (to chat up an ‘exotic dancer’ named Tia) while Twilly drives the truck to the posh Italian restaurant and dumps the garbage truck’s entire contents over Desie’s BMW, leaving it buried under several tonnes of stinking waste.

This is just the beginning, the opening salvo in the long farrago of farcical mayhem and comic complications which unravel across the next 500 pages (Sick Puppy is Hiaasen’s longest novel).

Plot highlights

Turns out Stoat has a big black friendly labrador he names Boodle (apparently American slang for ‘bribe’). Twilly breaks into Stoat’s house and kidnaps the dog. When he discovers Boodle is on medication, he goes back to burglarise Stoat’s house the following night (waiting till Stoat’s driven off accompanied by a woman) but finds Mrs Stoat waiting for him with a gun (the woman in the car was the maid).

After a moment or two of tension Twilly easily takes the gun off Desie and then, to his amazement, Desie announces that she wants to go with him, insists on going with him (to the motel where’s he’s keeping the happy doggy), and they slowly, over the next hundred pages or so they become an item.

(Many of Hiaasen’s central love affairs start this way, with one or other partner kidnapping the other or holding them up or generally breaking the law, in the same way that, after a while, I realised a lot of them feature one or more kidnapping.)

At this point Twilly simply wants Stoat to stop being a litterbug and chucking rubbish out his car. It’s only when Desie moves in with him that Twilly discovers the much bigger story about Stoat’s role in the upcoming devastation of a pretty, unspoilt island up on the coast. At that point Twilly broadens his horizons into blackmailing Stoat to use his connections to cancel the project: the blackmail is, cancel the project or I kill your dog.

Such is Stoat’s attachment to his big labrador that he sets out to do just that, leading to a raft of complications. Robert Clapley really doesn’t like the news of the cancellation, which is why he comes round with Mr Gash who ties up Stoat in his own house and inserts a live rat in his mouth. After a few uncomfortable moments Gash lets Stoat and he is at pains to clarify to Clapley that the project isn’t cancelled, merely delayed till his dog is returned, then it will all be revived again.

It explains why Clapley, once he understands that a dognapping is behind the complications, commissions Mr Gash to track down and kill the dognapper. This quest takes Mr Gash some time. In its early phase it leads him to the suspended workings on Toad Island where Gash encounters a very drunk Dr Brinkman. Drunk enough to think he can take out the stranger with a gun but when he takes a swing at Gash with a storm lantern, Gash calmly shoots him dead.

Shootout on the beach

And it’s here, on the island, several hundred pages of complicated discussions, meetings, and plot twists later, that there takes place probably the climactic scene. For it is here that Mr Gash finally discovers Twilly and Desie who’ve driven up to it in a big ranch wagon, with the dog (who Twilly, incidentally, early on insisted on renaming ‘McGuinn’). Mr Gash shoots Twilly who falls to the sand (the wagon is parked on the island’s beach) then forces Desie to strip at gunpoint and tries to rape her. His rape attempt is interrupted when the big labrador throws himself on Mr Gash’s naked back and calmly takes his neck in his teeth which leads to a bizarre, macabre and comical tableau.

The return of Skink

Anyway, all this is to ignore what might, to many Hiaasen fans, be the most significant thing about the book which is The Return of Skink! For the current governor, Dick Artemus, decides he needs the help of the legendary former governor of Florida, one of its most famous (fictional) sons, Clinton Tyree, who quit politics back in the 1980s to become a back-to-nature eco-vigilante. True to the basic principle that all human interactions in the book are exploitative, Artemus blackmails Skink into using his special skills to track down the damn dognapper and get the Toad Island project back on track.

Just to recap a bit: In order to explain why the project needs to be suspended, Stoat has had to tell both Clapley and the governor that his dog has been kidnapped and given as many details as he can about the kid who’s done it, and who he’s glimpsed a couple of times.

As mentioned, Clapley’s response is to commission Mr Gash to find and kill Twilly, but the governor’s is to blackmail Skink into coming out of the backwoods, find Twilly and bring him to the law.

Skink’s brother

But how does Artemus blackmail Skink? Well, for the first time in the series we are told that Skink has a brother; for while Clinton Tyree was being a hero in Vietnam, his brother Doyle was also serving in Nam but had a drunk idea to go fishing one night in enemy-occupied territory, and the sergeant driving the jeep managed to crash it and was killed outright while Doyle was badly injured.

Doyle was invalided out of the army but then had a nervous breakdown because of the guilt (pp.258 to 260). When he became governor, Clint used his position to swing a sinecure for his brother, to get him a job as ‘keeper’ of a fully automated lighthouse where he could hide himself away. (See? Everyone, absolutely everyone, even idealist Skink, uses their position and power to benefit themselves or friends and family. That’s what power is for in America.)

How does governor Artemus find the legendarily elusive Skink? He summons Jim Tile, the black state trooper everyone knows is Skink’s friend, and gets him to deliver a letter explaining to Skink that he has to find Twilly before the bad guys, or the current governor will expel Doyle from his safe lighthouse crib.

(Governor Artemus discovered the story of Skink and Doyle thanks to the diligent researches of his super-efficient personal assistant, Lisa June Peterson, the only one of his PAs who he doesn’t try to screw because she’s so damn good at her job and who, despite having given away the secret of Doyle’s existence, is in fact a keen fan of Skink. When Skink finally arrives at the governor’s mansion, Lisa June gets on well with Skink and, after a few conversations tells him she’s planning to write his biography. Hmm. I wonder whether she’ll become a recurring character.)

Anyway, this explains why, in parallel to Mr Gash’s attempts to track down Twilly, Desie and McGuinn, Skink is carrying out his own researches and how the two plotlines lead up to the climactic scene on the beach on Toad Island.

As you recall, Mr Gash follows the station wagon, sneaks up on it and when Twilly makes a move on him, shoots him, then tries to rape Desie, then has to fight off the bloody labrador which has jumped on his back because he thinks it’s all a boisterous game.

At which point Skink walks out of the undergrowth and interrupts proceedings, himself toting a gun. When Mr Gash goes to draw on him, Skink shoots his kneecap off and then fires another bullet through Mr Gash’s cheek, severing his tongue. While Desie is putting her clothes back on, Skink carries Mr Gash to the half-begun construction site, fires up an earth mover, and drives it forward till its caterpillar tracks have rolled over Mr Gash’s bottom half, pinning him in the mud. Mr Gash is still alive, though, and able to scream tongueless abuse while Skink turns and walks away, leaving him to die.

(In one last, gruesome touch, Mr Gash has just enough energy to get his cell phone out of his pocket and calls 911, only to be unable to communicate his situation because his tongue has been shot away. But his call will be recorded, just like the calls of all the other dying people he used to so enjoy listening to.)

Rhino horn and a wildlife park

There’s more, though, quite a lot more. Hiaasen has given Stoat a number of florid hobbies or interests. The simplest one is a taste for fine cigars, so that the novel repeatedly finds him in an expensive cigar store-cum-bar, puffing on a $300 dollar Havana. (There’s also a running gag that Stoat keeps quoting classic rock song titles but getting them slightly wrong, for example telling his wife he’s had ‘a tough day’s night,’ quoting that old Beach Boys’s song, ‘Wouldn’t it be great’, and so on.)

Much more lurid is Stoat’s hobby of shooting African wildlife at a semi-legal private zoo, the Wilderness Veldt Plantation. The grotesque comedy derives from the way most of the animals in this so-called safari park are at the bitter end of their lives and can barely stand up, let alone bound anywhere. In fact the novel actually opens with the scene of Stoat at the Plantation and shooting a rhinoceros which is so knackered it is utterly stationary.

Stoat wants the rhino’s head professionally stuffed so it can join all the other stuffed animal heads on the wall of his snug. (In a scene near the start of the book, Twilly sneaks into Stoat’s empty house and prises the glass eyes out of all the stuffed heads hanging on the wall of his snug and arranges them in a pentangle on his desk, in order to freak him out.)

But Stoat discovers from the sleazeball, Durgess, who runs the Plantation and organises these corporate ‘shoots’, that rhino’s horn is extremely valuable because of its supposed aphrodisiac qualities. To be precise, its abilities to give men rock-hard erections.

So Stoat sends away for the dead rhino’s horn to be converted to powder. The idea is that you sprinkle the horn powder into your drink on the evening you plan a big sex session. Thus Stoat becomes ever-more excited at the prospect of giving himself impressive erections with which to impale the florid array of mistresses and call girls he is routinely unfaithful to his wife with. (This helps explain why, faced with an idealistic and obviously nice young man in her kitchen, Desie on impulse decides she wants to run away from lying, thieving, cheating scumbag Stoat.)

When Clapley is livid that the Toad Island project is being put on hold till Stoat can pay off the dognapper and get his damn dog back, Stoat tries to appease him by offering him some of the recently arrived rhino horn powder. It helps appease Clapley and forestalls any further insertions of live rats into Stoat’s mouth.

But foolishly, instead of taking a light dusting of it in his drink, as he’s supposed to, Clapley gives the horn dust to the Barbie girls, who snort it like coke and go bananas, leading to a 24-hour orgy which trashes his bedroom. Next thing he knows, Clapley is on the phone to Stoat saying the girls refuse to have sex with him unless he can supply more magic rhino dust. Where can he get some more? Now?

So this pressure from Clapley forces Stoat to call up the wildlife guy, Durgess, and demand that he set up another big game shoot. We then follow Durgess as he and his ‘Supervisor of Game’, Asa Lando (p.337), scour the crappier wildlife parks of America and beyond in a bid to rustle up some half-decent ‘wild animals’. Like everything else in Hiaasen’s Florida, the Plantation is a scam, built on multiple other scams.

Eventually Durgess and Lando manage to buy an ancient and decrepit rhino which can barely stand, and have it flown to their park in readiness for a visit by Stoat and Clapley. Stoat has decided to make the event into a Big Day Out and bring together all the interested parties in the Toad Island ‘development’. So he’s invited along governor Dick Artemus and the corrupt vice chairman of the House Appropriations Committee, Willie Vasquez-Washington – and this will provide the farcically violent climax of the novel.

(In a telling detail, Hiaasen tells us the land on which the park is now sited used to be owned by genuine citrus farmers, who sold it to the Plantation which is, in fact, co-owned by a Tokyo-based fish cartel and a Miami swimsuit designer named Minton Tweeze [p.446]. It is yet another example of the way some kind of ancient agricultural authenticity has given way to the modern corporate world characterised by a) international finance and b) shallow lifestyle emptiness. The Plantation pretends to recreate big game Africa while in fact being an abandoned citrus plantation on which its crooked owners tie down decrepit zoo-bred animals so they can be shot at by overpaid executives and drug dealers who take seven shots to hit an inanimate animal tied to a stake twenty yards in front of them. It is beyond pitiful.)

So as the novel approaches its climax, Stoat and Clapley and the governor and Willie stay up late the  night before ‘the hunt’ in the Plantation’s hunting lodge, getting drunk and telling ‘pussy stories’.

But unbeknown to them, Skink and Twilly have tailed them. Oops. This won’t end well. That night, at the other end of the park, Skink and Twilly break in through the plantation’s barbed wire fence, bringing with them binoculars, guns and camouflage outfits. They’re here to try and sabotage the Toad Island deal although, as they smoke a joint round a small campfire and roast roadkill (Skink’s habitual diet), neither of them knows exactly how.

The big game shoot fiasco

In the event, the farcical climax works out like this: next day dawns and the hunting party of Stoat and Clapley and governor Dick Artemus and Willie Vasquez-Washington head out, led by Durgess, accompanied by Asa, and with two of governor Dick’s bodyguards in tow towards the pitifully decrepit old rhino, which Durgess and Asa have carefully tied down to metal stakes to render as utterly undangerous as possible. Of course they are all armed to the teeth with all kinds of heavy duty rifles, and are watched through binoculars by Skink and Twilly, hiding at a distance.

What nobody expects to happen is that, when the wind blows the scent of the rhino towards Skink and Twilly’s hiding place, it over-excites the big, friendly labrador, Boodle/MacGuinn, who breaks free from his lead and goes running down the hill towards the fantastic smells emitted by the necrotic rhinoceros, which it bounds and leaps around.

At first the rhino ignores the barking labrador, right up till the moment MacGuinn bites the rhino’s tail. At that point it lumbers to its feet and sets off in a charge towards the most open piece of terrain – which is precisely where the four hunters, 2 bodyguards and two guides are standing.

In its first pass, while the other six men run away, Stoat and Clapley line up either side of the rhino’s path and, as it goes to run between them, they both fire simultaneously: Stoat manages to miss the rhino at point blank range, but Clapley’s bullet hits and smashes Stoat’s rifle, whose wooden butt explodes, mashing up most of the shoulder it was resting against (p.470). But that’s only part one.

For the enraged rhino then returns and spears Clapley on the horn he so wants, and then crushes Stoat to death. It is a scene of mayhem and catastrophe. Once the rhino has vacated the scene, Skink calmly strolls down from his hiding place in the nearby hill and reclaims MacGuin.

Tying up loose ends

And that is the gruesome and farcical climax of the novel. In the last 15 or so pages various loose ends are tied up:

Skink visits his brother holed up in the lighthouse. Doyle really is a basket case and can’t bring himself to open the door despite Skink banging on it and begging. All Skink wants to tell him is his position there is assured for all time. Skink now has enough on governor Artemus to end his career. (Threat, exploitation, power.)

Stoat is buried and we are shown the very mixed feelings of Desie who feels guilty about in some way triggering the sequence of events which led to his death.

To keep him quiet about what he’s seen (and photographed) Governor Artemus accepts Vasquez-Washington’s demand for the funds and so a new high school is built and named in his Willie’s honour.

Clapley’s two girls had already abandoned him when he couldn’t supply any more rhino powder and are now making careers in porn movies.

The novel ends with Twilly giving Skink a lift across the state back towards the outback, before intending to head back home, a chastened young man. But on the way they find themselves behind a car containing a foursome of young drunk litter louts chucking beer bottles and lit cigarettes out the window, and Skink looks at Twilly and Twilly looks at Skink, and they decide to take these young people need a lesson in environmental awareness! I.e. Skink emerges triumphant.

Dog’s eye view

In all this summary I haven’t found space to mention that a lot of the book is devoted to seeing events through the dog’s eyes. We don’t get doggy stream of consciousness, but the dog’s perceptions and ‘thought processes’ are described in detail at countless points throughout the story. Admittedly, these amount to about three ideas: going for a walk, fascinating smells, and food, but Hiaasen conveys very effectively the fun of owning a big, bounding healthy dog. Rather like the love of fishing which resonates through his novels, the reader assumes the vividness of the descriptions of McGuinn’s tail-wagging energy and liveliness reflect Hiaasen’s own interests and sympathies. The doggy passages go a long way to redeeming the sex mania and addiction and greed and corruption which characterise almost all of the human characters.

One-line summary

Possibly, I’m not quite sure – it would be fun to argue its merits vis-a-vis all the others in the series – but possibly this is the best Carl Hiaasen novel up to this point. It certainly feels like the most complex, combining gruesome violence with really in-depth analysis of American corruption, along with moments of real feeling, like Desie’s complex emotions at wanting to leave her scumbag husband and the genuinely moving scene where Skink reassures his profoundly disturbed brother that he’s going to be alright, and the recurring descriptions of the labrador’s boundless doggy enthusiasm and excitement.

It’s an astonishing achievement to combine so many different affects, from journalistic insight, to outrageous gruesomeness, to genuinely touching moments, along with hundreds of cynically hilarious scenes and plot developments, all in the covers of one novel. It’s like eating a box of fireworks.

Jaded sayings

‘Tract homes and shopping malls and trailer parks as far as the eye can see. More people, more homes, more roads, more houses. More, more, more, more, more, more, more…’ (p.414)

‘Life, liberty and the pursuit of real estate commissions.’ (p.442)


Credit

Sick Puppy by Carl Hiaasen was published by Alfred A. Knopf in 1999. All references are to the 2001 Pan paperback edition.

Carl Hiaasen reviews

  1. Tourist Season (1986)
  2. Double Whammy (1987)
  3. Skin Tight (1989)
  4. Native Tongue (1991)
  5. Strip Tease (1993)
  6. Stormy Weather (1995)
  7. Lucky You (1997)
  8. Sick Puppy (2000)
  9. Basket Case (2002)
  10. Skinny Dip (2004)
  11. Nature Girl (2006)
  12. Star Island (2010)
  13. Bad Monkey (2013)
  14. Razor Girl (2016)
  15. Squeeze Me (2020)

Lucky You by Carl Hiaasen (1997)

‘He’s a whole different person,’ Trish whispered.
‘Good,’ Krome said. ‘He needed to be.’
(Lucky You, page 446)

Carl Hiaasen’s campaign to make you loathe and despise Americans for their stupidity, greed and violence continues in this, his seventh solo novel, set among the slimy lowlifes, retards, rednecks and religious nutcases of South Florida.

Each Hiaasen novel has a central theme from which a complex matrix of crazy events and related sub-themes unfurl. This one is the Florida state lottery. On the week in question there are two winners of the lottery who have to share the prize money of $28 million and this is enough to trigger a 480-page firestorm of greed, crime and corruption.

JoLayne Lucks

One of the winners is JoLayne Lucks, 35, a physically fit black woman who lives in a trailer park (Hiaasen’s favourite location for his collections of lowlifes and criminals). JoLayne’s hobby is breeding turtles. She has 46, all different species, in an aquarium outside her trailer (so they’re pretty small, 3 or 4 inches long with heads ‘the size of grapes’, p.379).

Bode and Chub

But what spices things up and drives the plot is that the other winners are a pair of educationally sub-normal rednecks: Bodean James Gazzer, 31, five foot six, who’s made a career of blaming everyone else for everything that’s gone wrong in his short shitty life, who’s recently gotten interested in anti-government militias of the Waco Siege and Oklahoma City bombing variety (backstory pages 18 to 22), and so who’s drifted into the white supremacist ‘culture of hate and hardcore bigotry’ (p.20). Bode makes a living creating forged documents.

A couple of months before the start of the narrative, Bode had hooked up with Chub, a beer-gutted six-foot-two, ponytailed, unshaven, unwashed, smelly slob (full name: Onus Dean Gillespie, backstory page 96). The two bond over a shared contempt for:

government, taxes, homosexuals, immigrants, minorities, gun laws, assertive women and honest work. (p.3)

In fact, as the story opens Bode has just decided to set up a militia named The White Rebel Brotherhood (p.36). For the rest of the novel Hiaasen has a lot of fun attributing every prejudice and bigotry going to the short, angry, venomous Bode, and his dumb, grunting sidekick, Chub. It is the couple’s ignorant but venomous race-hatred and bigotry which is the real subject of this novel.

Having read half a dozen Hiaasen novels I fully expected that Bode would end up committing a string of heinous crimes and then being grotesquely killed in the end and, having just completed it, I can tell you that’s exactly what happens.

Tom Krome the journalist

Hiaasen was and is a rather renegade, award-winning journalist and his first novels feature some very renegade journalists who, you imagine, are like fictional versions of himself let completely off the leash. The series starts with the protagonist of his first solo novel, Tourist Season, the award-winning journalist Skip Wiley, who goes beyond the bounds of ordinary journalism by setting up an eco-terrorist group.

Here in Lucky You there’s another of these journalist incarnations, this one named Tom Krome. Krome emerges as the decent bloke hero of the story. He also allows Hiaasen to share his thoughts on what’s happened to the newspaper business in the 20 or so years since he joined it back in the 1970s. This is that the newspaper industry has been eviscerated by accountants, keen to dispense with almost all the editorial content and to sack seasoned journalists, in order to turn newspapers large and small into efficient, advertising-revenue-generating machines with the result, as his managing editor comments, that the news gets softer and softer, contains less and less real journalism, more and more fluff about pageants and fetes, until nobody bothers reading it any more (p.321).

Interesting to read laments about the death of journalism and newspapers from 25 years ago. Newspapers are, nowadays, of course, in an even more parlous condition.

Anyway, Tom Krome is depicted as a good journalist, with old-school instincts for following a story. with the result that he’s found himself fired from a number of papers till he’s ended up at the minor league Register, where he has to answer to an idiot named Sinclair, Assistant Managing Editor of Features and Style, and stuck covering weddings and divorces. It rankles – a lot!

Grange, town of religious visions

Now JoLayne Lucks lives in an area called Grange, which is notorious for its religious sightings and miracles.

Grange’s meagre economy had come to rely on the seasonal Christian tourist trade. (p.420)

We know this from a number of storylines and events:

  1. Tom Krome’s new girlfriend, Katie (who is cheating on her husband, Circuit Judge Arthur Battenkill Jr.) is a True Believer in miracles and healing.
  2. One of JoLayne’s neighbours in the Grange trailer park, Demencio, operates a religious fraud: he owns and displays a four-foot-high statue of the Virgin Mary with a reservoir of scented water inside, which is operated by a footpump so that the waiting queue of the faithful each get to kiss the statue and see miracle-working tears trickle from its yes. That’s before or after they’ve bought some of Demencio’s over-priced mementos and merchandising, which is where he makes his money.
  3. But Demencio isn’t the only one. There are various other religious fradusters around who capitalise on the town’s reputation, not least a failed carpenter by the name of Dominick Armado who, one drunk night, at a very low ebb in his private life, drilled perfect half centimetre holes in both his hands and now touts them as miraculous stigmata, charging a few dollars a time to allow credulous pilgrims to touch them, pray to them or have their photo taken with God’s Chosen One (p.378).

As a character wonders, late in the novel, having encountered all this religious nuttery, and after Armado has insisted on showing her the new holes he’s drilled in his feet, surely there must be something which explains all the freakery:

Surely this could be explained – a radiation leak in the maternity ward; a toxin in the town’s water supply. (p.460)

Early plot

The plot gets going when Tom Kromer is reluctantly sent out out to Grange to interview some blah blah lottery winner on what he thinks will be the epitome of boring small-time journalism. But Krome is won over by JoLayne’s style and balls. He arrives to find her front door is open and, on knocking and entering, discovers her in her bath, butt-naked, covered in bubbles and holding a shotgun pointing at his groin. So: quite ballsy, then. JoLayne listens to what Krome’s got to say, then politely refuses to be interviewed or to feature in any news reports. He goes back to his motel to ponder his next move.

What drives the novel is that the two thick racists, Bode and Chub, are not content with getting half the week’s winnings. They want it all. So Bode insists that they, also, drive out to Grange, They quickly establish that there’s only one lottery ticket outlet in the little town, at a branch of the Grab’N’Go chain, and they work out that JoLayne is the likely winner by cross-questioning the shops’ dim assistant named ‘Shiner’, the useless son of a born-again Christian mother.

Bode and Chub drive to JoLayne’s trailer and beat the crap out of her in a bid to get her ticket. Their plan is that Bode will present to the lottery authorities with one ticket and claims half the $28 million, and Chubb will present with JoLayne’s and claim the other half. The lottery tickets are sold anonymously, there are no names attached, so whoever is holding it is the owner.

Bode and Chub savagely beat JoLayne, introducing a sickening note of violence into the book at an early stage. They punch her in the breasts and groin and push the barrel of their revolver into her mouth, demanding to know where the ticket is. But not before JoLayne uses her long fingernails to give them cuts on the face, to rip out half of Bode’s eyelid and half of Chub’s eyebrow. She’s feisty.

It’s a stalemate until the rednecks have a brainwave: they shoot one of her precious baby turtles and threaten to shoot all the rest, at which point JoLayne gives in and hands over the ticket. They beat her up a bit more and leave. On the way out of town they revisit the Grab N’Go where they recruit the idiot Shiner to their fledgling White Rebel Brotherhood, explaining to him that all his failure in life is due to a conspiracy of fags and blacks in Washington DC, and (the reason for making a fuss of him) persuading him to lie about serving JoLayne the winning ticket.

Tom Kromer is woken up in the dark of his Grange motel bedroom. It takes him a while to realise it’s JoLayne who’s snuck into his room. When she won’t let him switch on the light and he puts his hands up to her face, he realises she’s been really badly beaten.

She takes him back to her trailer which is wrecked, with blood everywhere. Tom begs JoLayne to go to the cops but she refuses. Tom eventually realises it’s because she thinks if the cops start searching for them, the two hoodlums will destroy the ticket and she needs that ticket. Why?

And here enters the environmental angle, which is such an important element in Hiaasen’s fiction and which had been missing from the narrative up to this point. Turns out JoLayne works as an assistant to Dr Cecil Crawford, Grange’s vet (p.51) and has a natural feel for animals. In her time off she likes to sneak into Simmons Wood, a lovely piece of unspoilt wilderness and observe the wild animals (backstory p.137).

The point is that one day JoLayne is horrified to see a notice up warning that Simmons Wood is going to be demolished and turned into a shopping mall. She wants the lottery winnings not for herself but in order to buy Simmons Wood and preserve it for future generations. So that’s why she doesn’t want to call the cops or have her story written up in the papers; because that might force the thieves to destroy the ticket and she needs that money.

(The wood is owned by an old man, Lighthorse Simmons, who used to love to hunt there. He’s gotten old now and on his last trip was accidentally shot by another hunter. Now it’s his two greedy children, Leander Simmons and Janine Simmons Robinson, who are selling the land off and greedily hoping to make the maximum profit.)

Mary Andrea Finlay Krome

Tom has a wife, Mary Andrea Finlay, who he’s been trying to divorce for four years. She fancies herself a leading actress, although she only appears in provincial theatres. Tom’s attorney, Dick Turnquist, has been trying to serve papers for divorce on her for years, but it’s one of the running gags of the story that Mary is constantly on the move, one step ahead of the lawyer and his endless quest. The narrative is punctuated by the lawyer periodically phoning up Tom for another bulletin on how he just failed to nab her yet again.

Katie and the judge

Then there’s Katie, wife of Circuit Judge Arthur Battenkill Jr. Tom has been having an affair with Katie for precisely 14 days, a whirlwind of sex and guilt, because Katie, in between blowjobs, is also a devout Christian, who has championship sex and then days of chronic guilt.

Because Kromer doesn’t ring her that night, from the motel in Grange where he’s staying, Katie has a fit of religious conscience and decides to admit to her husband she’s having an affair. More than that, in a fit of compulsive honesty she lists to the judge every sexual encounter she’s had with Krome, starting with the first blowjob she gave him in his car. American Christians are such fun! She’s also motivated by the knowledge that her 40-something husband is screwing both his legal secretaries, Willow and Vine. Katie hopes that if she confesses to her adulteries, he will too. Of course he doesn’t. But he is furious and instantly decides to take revenge.

Which is why, when Krome gets back to Miami from his brief trip to Grange, he discovers all the windows in his house shot out. Circuit Judge Arthur Battenkill Jr. had gotten his legal assistant, Champ Powell, to do it.

When Tom phones her, Katie drives right round, explains what has happened, apologises, says she thinks it’s best, under the circumstances, to call off their affair and, as an afterthought, mentions that she thinks her husband, in his psychopathic jealousy, is going to have Krome killed. Great. Just great. A few blowjobs and fancy fucks and now his life is in danger, thinks Tom.

When Krome checks back into the office of the Register his numbskull editor, Sinclair, declares the lottery story dead and assigns him something else. Krome refuses to take it. He wants to track down whoever beat up JoLayne, he wants to turn it into a real journalistic investigation. Sinclair refuses to budge. So Krome quits and walks out. He calls JoLayne and tells her he wants to help her get her ticket back and save Simmons Wood.

The mob

Then there’s the mafia connection. Hiaasen goes into some detail to explain that the people who want to buy Simmons Wood – who Leander Simmons and Janine Simmons Robinson are so keen to sell to – are actually organised crime.

Richard ‘The Icepick’ Tarbone is a major player in organised crime in Chicago. He regularly creams off large amounts from the accounts of a big union called the Central Midwest Brotherhood of Grouters, Spacklers and Drywallers International. One of the ways this is done is for the union to buy up land and make a big show of investing millions in some project, only to encounter a string of problems, such as lack of labour, strikes, shortage of materials, failure to secure the right permits and so on, which eventually let the project plough into the sand. No-one looks too closely at the accounts to see that the actual losses are over and above the ones posted – and that is the amount creamed off by the union (the process is explained in detail on page 139 and is, according to Hiaasen, common practice in Florida real estate deals: ‘Gangsters bought and sold real estate in Florida every day’, p.440).

Trouble is the realtor in charge of the sale, is Clara Markham, has now received a new bid for the land. It’s from JoLayne who, as soon as she realised she’d won the lottery, got in touch and said she’s outbid all other bidders to buy the wood.

The union’s lawyer aka the Icepick’s fixer, is Bernard Squires. When news comes in that there’s a rival bid the Icepick tells Squires to get his ass down to Florida and sew up the deal in person. Trouble is the realtor in question, Clara Markham, happens to be a good friend of JoLayne’s, not least because of JoLayne’s expert veterinary treatment of Clara’s Persian Cat, Kenny (named after Kenny Rogers, the country singer) and so when JoLayne begs her for a week’s grace (to give her and Tom Krome time to track down the rednecks who stole her lottery ticket), Clara is happy to play along, to Bernard Squires’ mounting frustration.

Moffit

Oh I nearly forgot to mention Moffit. He is a big, imposing, immaculately dressed Afro-American who is an old, old friend of JoLayne’s, they go back to high school and he’s always had a deep and enduring flame for her. And he happens to work for the US Alcohol, Tobacco and Firearms Agency.

There’s often a figure like this in Hiaasen’s plots, an old buddy who just happens to have access to government or police computers, a figure who can, therefore, conveniently join the dots and fill in plot holes. Compare with the FBI agent who helps Erin out in Strip Tease.

The quest

Thus it is that by page 100 the narrative has established two damaged people, JoLayne (veteran of six relationships with six loser men and now recovering from a bad beating) and Tom Krome (trying to juggle the demands of his psycho wife, possibly being chased by hitmen set on him by a judge, and now unemployed) decide to track down Bode and Chub (who, being morons, are continuing to use the credit card they stole from JoLayne, and so are leaving a fairly easy trail to follow) and get her lottery ticket back.

And this ‘quest’ is the motor for the next 300 pages of fast-moving, savagely satirical and often very violent narrative. If you are sensitive about racist language, psychology and scenes, this most definitely is not the book for you. The novel takes the reader deep into the damaged psyches of two violent and repellent white supremacists.

Highlights from the rest of the plot

Bode and Chub eat several successive evenings in Hooters restaurant where filthy, slob, face-scratched Chub falls in love with a leggy blonde waitress named Amber who smiles in order to get her tips but finds the pair disgusting.

Once Moffit has learned about JoLayne’s being beaten up and robbed he is very angry and uses computers and cop contacts to identify Chub and visit his apartment. He trashes it, searching thoroughly for the lost lottery ticket, discovering no end of white supremacist posters, guns and porn, before deciding to freak out the racist idiot by writing in three-foot-high red letters on the wall ‘FEAR THE BLACK TIDE’.

When they return to the trashed apartment, this message freaks Bode and Chub out so badly that they pack all their worldly goods and drive south, planning to steal a boat (the ironically named Real Luv) and hide out in the Everglades until they can claim their lottery money and organise their white brotherhood. (In case I haven’t mentioned it, that’s Bode’s plan; to use his winnings to set up a nationwide white Aryan militia.)

Shiner turns up to join them. He’s quit his job at the Grab’N’Go and, in an access of idiotic enthusiasm, has had the initials of the movement tattooed on his bicep. They agree with him to drive south and rendezvous on the coast where they can steal a boat. What the other two don’t expect is that, to please them, Shiner kidnaps Amber from the car park outside Hooters at the end of her shift.

Meanwhile, Tom and JoLayne track down the bad guys by calling her credit card company and finding out where money is being spent. They establish the pair keep eating out at a local Hooters, but spend a long time debating where and how to take the crooks. They have staked out Chub’s apartment so are able to trail them south to a marina where they watch Chub steal a speedboat. Tom and JoLayne  themselves hire a boat for a day.

Thus the main setting of the book shifts, rather surprisingly, from an urban setting to an uninhabited island off the coast of Florida, where Bode and Chub and wimpy fat skinhead Shiner and surprisingly tough waitress Amber rig up a miserable camp. A rainstorm hits. Jolayne and Tom have followed at a distance (not least because, like all Hiaasen heroes, Tom is expert on the water, has binoculars to follow the bad guys’ boat at a distance etc). Now they moor their boat on the other side of the island, and stalk and watch developments among the baddies.

The grotesque highlight

Each Hiaasen novel has a grotesque highlight, a memorably gruesome image which stays with you. In Double Whammy it’s the redneck killer with a dead pitbull’s head attached to his wrist. In Stormy Weather it’s the crooked property salesman crucified to an outsized satellite TV dish by a disgruntled customer. In this novel, it involves the drooling idiot Chub.

Chub, among his countless other vices, snorts glue or aerosols. At various points in the narrative he manages to make himself insensible on whatever sniffable substance he can lay his hands on. On the boat trip out to the island Chub makes himself so blotto on a tube of boat glue he finds, that he passes out with his hand trailing in the water only to wake and find half of it eaten off by a giant crab.

This section on the island drags on a bit, with various arguments and shifts in psychological dynamic between the three white supremacists and their waitress hostage described at what begins to feel like inordinate length.

Tom and JoLayne rescue Amber, Bode dies

Eventually, in a fury of frustration, Chub finally tries to rape Amber and she is fighting him off when there’s a gunshot. Chub is thrown off Amber’s naked body because Tom has just shot half his shoulder away, swiftly followed by a shotgun butt to the head which knocks Bode unconscious.

Tom and JoLayne patch up Chub to stop him bleeding to death, then put Shiner and Amber into the stolen boat, with a map and instructions to go back to civilisation, which they do without mishap.

But, as so often happens (as happened in the very similar situation in Stormy Weather), although they’ve tied up the bad guys, one of them – Bode – manages to get loose and makes a run for it through the mangrove groves to the other end of the island where Tom and JoLayne’s boat is moored.

Except Tom chases him and tackles him in the shallows, they both thrash around kicking and punching. Unfortunately, Bode kicks a stingray which was having a quiet nap on the mud floor and responds by embedding its big sting deep in his thigh. Bode lets go of Tom who staggers upright, himself half-drowned in the epic struggle, then pulls Bode in from the shallows onto the sand. And here he bleeds to death (p.397). Yes, I thought he’d meet a sticky end, Hiaasen’s baddies always do.

The judge, his assistant and the exploding house

This main central plank of the narrative is interspersed with two other plot developments:

Circuit Judge Arthur Battenkill Jr. gets cold feet. Having had all Tom’s windows shot out he becomes paranoid that Tom will track him down and do something bad to him and/or write about him in his newspaper. So the judge decides that he must not only scare Tom Krome, but kill him! So he gets his legal secretary, Champ Powell, to blow up his house. Champ is a whizz at the law but less so at arson and pours out so much gasoline round Tom’s empty house that he passes out, falling against the cooker as he does so, and blowing the house to kingdom come, killing himself. His body is charred beyond recognition in the ensuing fire. The point is – everyone now thinks the corpse in the house was Tom: everyone thinks Tom is dead, from his managing editor at the newspaper (who didn’t even know he’d quit), to his lawyer, his wife he’s trying to divorce, Katie his lover (who’d admitted everything to the judge) and so on. This sparks a complicated trail of interactions and consequences, while Tom is happily oblivious to it all, far away in the outback trailing the racists.

Sinclair becomes Turtle Boy

Quite a lot earlier in the plot, the editor of the Register had told Sinclair to get his ass up to Grange and find out what Tom Krome was up to and why he wasn’t reporting in to the office (we know it’s because he’s followed the bad guys out to the island but nobody else knows that).

Sinclair does so, and tracks down the house of JoLayne and her neighbours, Demencio and Trisha, but here something weird happens: he has a spiritual awakening.

When JoLayne left with Tom, she asked her neighbours Femencio and Trisha to look after JoLayne’s 46 little turtles and, business with the Weeping Virgin falling a bit slack, Demencio has a brainwave. Why not paint the faces of the 12 apostles onto the shells of 12 of the turtles and claim they appeared overnight? The scam is a runaway success, drawing in thousands of paying believers to the aquarium the pair set up specially for the ‘Holy Turtles’.

Now when Sinclair, poking around to find Tom Krome, is introduced to Demencio and Trisha, when they give him one of the lickle baby turtles to hold, Sinclar has a profound spiritual experience, is converted on the spot. He takes to wearing a white gown and immersing himself in the lined trench Demencio builds for the apostle turtles and letting them crawl all over him. He forgets about his job, he forgets about Tom Krome, he experiences otherworldly bliss and speaks in tongues.

Soon rumour gets round of the freak Demencio nicknames ‘Turtle Boy’, and Sinclair finds himself becoming a major religious attraction in his own right.

There’s quite a lot more plot complexity and detail, because one of the central aspects of the genre of farce is that it has a preposterously convoluted plot.

The bad judge is arrested

By the time Tom and JoLayne return safely to civilisation the threat against him has been lifted. The police have by this stage realised the corpse in Tom’s house was not him but the judge’s legal assistant, and the judge’s wife, Katie, has told the police all about the judge’s arsonical felonies, so that the judge has forgotten about Tom and is packing to escape to the Bahamas. Only to walk out his front door and be arrested by the FBI (p.430). So that storyline, which had taken up a lot of space and complexity, is happily resolved.

Thoughts and reflections

1. White supremacy and race anxiety

Religion is the most obvious and flagrant subject of the satire, what with Demencio’s weeping Madonna and the apostle turtle scams (not to mention Shiner’s born-again mother who I haven’t mentioned so far but insists she can see the face of Jesus printed on the local highway and eventually goes into a kind of religious partnership with Turtle Boy.

But the religious satire is overshadowed by the novel’s larger, more serious theme, which is race, or race relations in America. It is the central theme in Bode and Chub’s lives that they plan to set up a militia named The White Rebel Brotherhood dedicated to the salvation of the white race, against the great tide of blacks, Hispanics, gays and lesbians and liberals and Jews who they see as taking over their country. Their paranoia is satirised in Bode’s incoherent notion that a vast UN or NATO force is waiting on the Bahamas and, at any moment, will invade mainland America and suppress the white race in the name of the international conspiracy of thingummy, something – whenever he gets to this point, in his explanations to Chub or Shiner, Bode gets confused and angry, realising his paranoid delusions don’t actually make sense (pp.351).

The pair’s stupidity is satirised by the way Bode doesn’t realise the White Rebel Brotherhood is the name of a popular rap band. When he learns this it infuriates him, so that Bode changes the name of his little gang to the White Clarion Aryans, who:

‘We believe in the purity and supremacy of the Euro-Caucasian people.’ (p.299)

So far, so dumb, so satirical and so fairly funny. But it isn’t funny when they beat the crap out of JoLayne and grab her breasts and punch her in the groin calling her the n word. A ‘bad’ word here or there is piss in the wind compared to the force of their deep, raging, unrelenting, racist bigotry.

Hiaasen goes some way to investigating the roots of the problem, with periodic explanations that the roots of their hatred lie in the endless frustrations of lazy, stupid, badly educated, dropout, unemployed, lowlife, small-time criminals.

But towards the end of the book there’s a powerful scene where JoLayne cradles the badly wounded Chub in her lap, tending to the wound Tom has just shot in his shoulder (to stop him raping Amber) because she can’t bear to see anything die. JoLayne asks him directly the reason for his unrelenting rage. But all she gets back is cuss words (p.391). Nothing can be explained. These people are too damaged to change and too mentally limited to reflect on their own lives and beliefs.

Same when Bode is dying. JoLayne pitifully asks him:

‘Please. I’m trying to understand the nature of your hatefulness…What did I ever do to you?’ She demanded. ‘What did any black person ever do to you?’ (p.398)

To which Bode can only reply with a thin list of petty offences, none of which get at the real psychological root of such monstrous anger and hate.

On a different plane, the issue of race recurs in the ‘mixed race’ relationship between white Tom and black JoLayne. This mainly takes the shape of her teasing him about his white liberal guilt (p.346) and his honky ass. There’s the moment in the car driving south when she takes the mickey out of the way he only likes ‘white-boy rock’, triggering a spluttering defence on his part, which makes her crack up with laughter (p.244).

This is meant to be fairly light-hearted joshing but to me, at any rate, indicated yet another way in which racial differences seem to be so difficult to normalise. All I mean is that JoLayne and Tom are as liberal individuals as it is possible to imagine, and yet even for them, the difference in skin or race or ethnicity or whatever you want to call it, still creates nervousness and imbalances of power. Can it ever be completely neutral, a relationship between a black person and a white person, completely without an awareness of race? Not if this novel is to be believed.

Anyway, back to Bode and Chub and their pathetic white supremacy, Hiaasen gives it a thorough and extended hammering, but satire doesn’t change anything in the real world. Hiaasen was mocking white supremacy and ignorant bigotry back in 1997 yet Donald Trump came to power on the back of a huge sea of it 20 years later, and his presidency climaxed in the amazing scenes of the Proud Boys storming the Capitol and waving the Confederate flag.

The problem doesn’t seem to have gotten any better in the 24-odd years since 1997, does it? Writing savagely satirical novels isn’t enough. Nowhere near.

2. America, criminal state

Last time I went to New York I hated it. I watched American TV, listened to American radio, saw American hoardings, browsed in American shops, and felt suffocated by it, by the unrelenting commercialisation of everything. There seems to be little or no natural interaction between human beings behaving innocently, politely and candidly. Absolutely everything is monetised, is a deal, every service in a shop or hotel or taxi requires a tip. Money is front of everyone’s mind.

And that’s what comes over in Hiaasen’s books. There’s no character that doesn’t have an angle. They are all after something, and they all spend all their time calculating the odds, the profits and losses, of every deal and every venture. Demencio’s religious frauds are obvious butts for satire, but there isn’t much essential difference between that and the various crooked lawsuits we learn Circuit Judge Arthur Battenkill Jr. has been involved in. Everyone is faking and lying for money.

Hiaasen gives a particularly detailed explanation of how the judge swings one last crooked judgement before he realises he has to flee the Feds. He finds in favour of a well-known insurance fraudster, 70-year-old Emil LaGort who makes a living out of tripping or falling at supermarkets then suing them for negligence (p.374). Generally, LaGort’s claims are thrown out or he settles for small fees, but the judge rings up LaGort’s attorney and advises him to go hard on the next case. The lawyer is puzzled. The judge explains that, if the lawyer sues LaGort’s latest corporate target for $500,000, he (the judge) will find in his favour – on the understanding that LaGort’s attorney will then give him half that amount. Why? To pay for his hurried flight to the Bahamas.

In other words: the American legal system is not just a bit crooked, it is one enormous scam, from top to bottom, a vast system of interlocking scams and deals at every level, greased by money and bribery.

These aren’t generalised slurs. Hiaasen gives detailed descriptions of hos America’s countless scams and cons work in practice. He explains in great detail the mafia scheme for creaming money off failed building projects, described above. The mafia makes money by commissioning large-scale property developments which are then left deliberately incomplete and declared write-offs, so the mob can launder money through them. The result is to leave Florida covered with abandoned works, whose sole material impact is to devastate the landscape. And this is happening all the time, has been going on for decades.

Hiaasen’s America is all like that, at every level. You can visualise a hierarchy, like a medieval diagram of the ‘estates’, with scumbags like Bode and Chub at the bottom, organised criminals like The Icepick and his fixer Bernard Squires at a higher level, doing deals with bribeable cops, supervised by crooked judges like Battenkill, and then the crooked local politicians Hiaasen has lambasted in other novels sitting at the top, easy to buy and influence with big dollar campaign contributions, the whole thing covered by a TV and print media which are themselves only interesting in keeping the gravy train of corruption and payola spinning forwards in order to bring in those advertising dollars. Money money money. An unending panorama of greed and corruption in every direction.

And then, in a stroke of genius, you give all these crooks and retards and mobsters and hitmen high-powered guns and automatic weapons and let them loose on each other.

Everyone who lived in Dade County knew the sound of a semiautomatic.’ (p.311)

It’s a modern vision of the Inferno. It is contemporary America. In the week since I finished reading the book I think there have been three mass shootings in America, one just yesterday in Hiaasen’s own Miami. What a great country.

3. Americans have a word for it

As part of their can-do, get a move on, hurry hurry culture, Americans just seem to have snappy nouns and catchy phrases to describe things and actions that the English bumble over. A few examples being:

  • to cinch = verb, when you’re wearing a hat with a loop of string under the chin and a toggle which you can move up the two bits of string to tighten them up, you ‘cinch’ it tight; women cinch a scrunchie on their hair
  • a domelight = the overhead light in a car (p.249)
  • to fishtail = verb, to have the rear end of a car slide from side to side. ‘Recklessly he gunned the truck across Highway One and fishtailed into the northbound lane.’ (p.265)
  • a hummer = a blowjob (p.325)
  • a ride-along = someone who comes along for a ride in a car (p.400)
  • walk-ons = when you run a boat hire company in a marina and you get customers who haven’t booked ahead but just walk up and ask if they can hire

Credit

Lucky You by Carl Hiaasen was published by Alfred A. Knopf in 1997. All references are to the 1998 Pan paperback edition.

Carl Hiaasen reviews

Native Tongue by Carl Hiaasen (1991)

An irresistible convergence of violence, mayhem and mortality. (p.280

Frankie ‘the Ferret’ King was a low-level operative for the mob in New York. When he was arrested for supervising the import of a consignment of pornographic videos (which accidentally get shown to junior school children, since they were labeled as kids programmes) he happily turned State’s witness and sang like a canary about fellow racketeers in the mob. After which the State put him in the witness protection program and sent him to South Florida:

prime relocation site for scores of scuzzy federal snitches (on the theory that South Florida was a place where just about any dirtbag would blend in smoothly with the existing riffraff). (p.39)

He takes the name Francis X. Kingsbury (the X is for Xavier, which he invents because he thinks gives him ‘class’) and trains as a real estate salesman. It was the era when unspoilt Florida land was being sold off to developers to quick-build condominiums, resorts, golf courses, endless roads, and Kingsbury quickly got rich as a realtor.

But then he got ambitious and announced his plans to the local chamber of commerce for a South Florida rival to Disney World, to be called The Amazing Kingdom of Thrills, complete with Wet Willy water flume, Magic Mansion, Orky the Killer Whale, Jungle Jerry, the Wild Bill Hiccup show, a petting zoo and much more (pages 32 and 107).

Within a few years the Kingdom of Thrills is a roaring success and has a full-time press and PR section, in which nobby ‘vice president in charge of communications’ Charles Chelsea oversees much cleverer, down-on-his-luck journalist, Joe Winder. Joe was fired from his newspaper for getting into a fistfight with a senior editor about a damning story he (Joe) had written about his (Joe’s) own property developing father (p.133).

Joe’s girlfriend, Nina, makes a living on a sex chatline spinning elaborate erotic fantasies to men who jerk off to her voice at premium rates meaning that, on her one night a week off, the last thing she wants to think about is sex, leaving Joe very frustrated.

Among Kingsbury’s many scams he tumbles to the fact that Federal wildlife agencies will give you money to look after endangered species. So Kingsbury contacts a crooked wildlife dealing woman he met once while they were both waiting outside court during their trials, and between them they cook up the idea of a fictional species, the ‘blue-tongued mango voleMicrotus mango‘ (p.288), and Kingsbury persuades the authorities that he is protecting the last surviving pair of this almost extinct species and gouges $200,000 out of them for their care.

Of course there’s no such thing as the ‘blue-tongued mango vole’, they are just common or garden voles whose tongues Kingsbury and his team paint with indigo dye at regular intervals. In fact the original female vole died and the Amazing Kingdom’s security chief (the vast Pedro Luz, addicted to anabolic steroids) replaced her with a female hamster, with various bits nipped and tucked. Despite this, the male vole is likely to try and mate with the hamster, who replies with fierce violence and so a security guard has to be stationed at the voles’ enclosure to prevent them from murdering each other.

So far, so farcically ludicrous, And the voles are just one of the centrepieces of the Rare Animal Pavilion at this amazingly crooked, corrupt theme park, where fat tourists from the cold North (known to native Florideans as ‘snowbirds’, p.32) queue up to admire the little critters, to buy blue-tongued vole t-shirts, posters, key-rings or make a donation to their preservation. Kingsbury even made up tacky names for the fake couple, Vance and Violet Vole (p.313).

Everywhere he looked there were old people with snowy heads and pale legs and fruit-coloured Bermuda shorts. All the men wore socks with their sandals, and all the women wore golf visors and oversized sunglasses. (p.29)

The plot is set rolling by a sweet but crazy old lady, Molly McNamara, who lives in a nice apartment in a retirement home and runs a little group of like-minded pensioners who are dreadfully concerned about the environment called The Mothers of Wilderness (p.31). Unknown to the other nice old ladies, Molly has hired a couple of small-time crooks, specialists in breaking and entering, the dim Bud Schwarz and even dimmer Danny Pogue, to break into the Amazing Kingdom and liberate the voles.

This they do, one fine night, but when one of the voles escapes through an airhole in the cardboard box they’ve put them in, on the seat of the car they’re driving, Danny playfully throws it into a passing convertible full of a tourist family (causing a near crash and consternation) and a little later, when the other one escapes, they throw it into a passing truck. This is because Molly neglected to tell them how rare and precious the voles are, and the two dim burglars mistake them for common rats.

When they turn up shamefaced at Molly McNamara’s apartment, the little old lady amazes them, and the reader, by shooting Bud Schulz through the foot and Danny through the hand. She doesn’t mess about. She reminds me of the character Maude, played by the redoubtable Ruth Gordon, in the 1971 movie, Harold and Maude.

Farce

This is enough of a taster for you to see that Native Tongue is another of Hiaasen’s violent and savagely satirical crime farces. Wikipedia defines farce as:

a comedy that aims at entertaining the audience through situations that are highly exaggerated, extravagant, ridiculous, absurd, and improbable. Farce is also characterised by heavy use of physical humour; the use of deliberate absurdity or nonsense; satire, parody, and mockery of real-life situations, people, events, and interactions; unlikely and humorous instances of miscommunication; ludicrous, improbable, and exaggerated characters; and broadly stylised performances.

Well, that’s what we have here. Another aspect of a farce is its absurdly complicated plot and this, also, characterises Hiaasen’s fictions. Rather than try to untangle it, I’ll give some of the more absurd and excessive highpoints. Basically the plot spins out of control as Kingsbury tries to cover up for the disappearance of the blue-tongued voles, threatening and then bumping off the small number of employees who were in on the scam.

Joe Winder emerges as the ‘hero’. After putting up with a series of lies and accidents at the Amazing Kingdom he eventually quits and goes freelance, trying to puzzle out the various shootings, murders and other violent events which have started to take place there.

The most florid of these is the mystery disappearance of the Amazing Kingdom’s vet, Dr Will Koocher. A day or so later one of the Kingdom’s star attractions, Orky the killer whale is found dead. When the state authorities conduct an autopsy they discover Orky choked to death on the body of Koocher! Joe liked Koocher so his suspicious death is one of the triggers to him digging deeper into what is really going on, and eventually quitting/being fired.

There’s an entertaining back story about Orky (original name Samson) who is, in fact, a rogue and bad-tempered animal who rarely performs as he’s meant to, and – we learn – had been rejected and sold on by a number of other reputable theme parks before he comes to rest at Kingsbury’s park, the lowest of the low. Everything about the Amazing Kingdom is like that – all the performing animals are duds, the floats don’t work, ‘Uncle Eli’s friendly elves’ are a bunch of bad-tempered, dope-smoking midgets, and so on.

‘You mean it’s a scam.’
‘Hey, everything’s a scam when you get down to it.’ (Joe and Carrie, p.75)

One of the first things Joe does after he’s been fired, is issue a series of satirical and facetious ‘press releases’ on Amazing Kingdom-headed notepaper, designed to stir up maximum trouble for his old employer. The first one satirically points out that the recent outbreak of hepatitis at the Amazing Kingdom, or the sudden infestation of moccasin snakes, is not that serious, and not that many tourists have been injured or died. He faxes these to every media outlet in the country, driving Kingsbury wild with frustration and ordering Charles Chelsea to write press releases countering them.

Thus the middle of the novel contains an entertaining battle of the press releases which are quoted in their entirety. They reminded me of the medieval genre of flyting, the ritual exchange of insults in medieval literature, or of the pamphlet wars which characterised Elizabethan London or the vituperative Grub Street satirised by Alexander Pope in the 1730s (pages 198 to 262).

During this period Joe has been slowly breaking up with Nina who a) isn’t keen on sex b) has aspirations to write longer, more imaginative erotic scenarios (in the amusing Epilogue, Hiaasen tells us that after the events of the novel are concluded, Nina goes on to write poetry which is promoted by Erica Jong and ends up as a Hollywood scriptwriter).

Instead Joe gets into a relationship with Carrie Lanier who works at the Amazing Kingdom wearing the ‘Petey Possum’ costume. After he gets beaten up by unknown assailants, Carrie takes him back to her trailer in a trailer park, where he eventually moves in, bringing along his collection of classic rock cassettes and his typewriter (on which to write the satirical press releases).

Meanwhile, the Amazing Kingdom of Thrills’s head of security, Pedro Luz, is mildly injured and put on an IV drip at hospital, but is so thick he takes to drinking the drip through his mouth. Since he was already on an unhealthy diet of steroids and body enhancements, this begins to have a drastic effect on his health and appearance. Basically, he turns into a mutant: his cock and balls shrivel up, his face bloats like an old melon and he becomes covered in florid acne.

Tiring of the war of press releases, Kingsbury sets the increasingly grotesque Pedro Luz to ‘deal with’ Winder, so Luz trails him back to Carrie’s trailer park. When he presses his head against the trailer wall, Luz hears a shower going and blasts a load of bullets through the shower wall. At this very moment Carrie drives up and, seeing Luz doing this, carries right on and knocks him over with the car, parking on his foot.

By this point off his face on steroids and other drugs, Luz chews his own foot off above the ankle, and makes off on his stump, driving himself to hospital. It’s at moments like this that Hiaasen goes way beyond the standard amount of killing and physical mayhem you might find in a crime novel, into a whole new level of the macabre and gruesome. It is his signature manoeuvre, his distinctive strategy.

Property development

Eventually we discover that the real motor for the plot, as so often, is corrupt property development. Having sold property in the first part of his career, and having amassed a few million running the Kingdom, Kingsbury’s next step is to create a huge new complex, the Falcon Trace Golf and Country Club Resort Community (p.228). (Just as the Reverend Charles Weeb’s plans for a vast housing development with fishing lakes was at the centre of this novel’s predecessor, Double Whammy).

Creating the space for this new development has required devastating a large area of untouched Florida forest and lake and it just happens to be an area of lake which, since he was a boy, has been important to Joe Winder as an escape and a refuge from his difficult relationship with his father.

One day Jim turns up with his fishing rod and the entire place has gone. All the trees and underbrush, everything has been scoured flat leaving a wasteland of sand and gravel and some huge diggers ready to start excavating the foundations. Joe expresses what sound like Hiaasen’s own howls of pain at seeing the beautiful landscape of his boyhood state being massacred, flattened, burned and blown up by corrupt, crooked and soulless exploiters.

‘I’m just sick of asshole carpetbaggers coming down here and fucking up the place.’ (p.296)

An extra spin is given to Joe’s grief and anger by the fact that his very own father was one of the original Florida land developers and so he carries a heavy load of Oedipal guilt.

Skink

And Skink the 6-foot-6, hulking environmentalist vigilante, punisher of bad guys and all-round avenger, Skink is back!

For new readers Hiaasen gives a brief recap of Skink’s backstory, namely that he was once Clinton Tyree, dashingly handsome ex-Vietnam vet with a gleaming smile who stood for governor determined to clean up Florida’s corrupt politics. But when he vetoed the latest in a long line of corrupt land development deals, the powers that be (banks, developers, golf course and lake and condominium developers, TV companies and advertising agencies) ganged up to stymie his every policy and law until on one climactic day, when a case he’d brought against demonstrably corrupt developers was thrown out of court and a famous wildlife area began to be bulldozed, Clint snapped. He walked out of the Governor’s mansion, disappeared into the outback, has never been seen since, as Clinton Tyree (chapter 17).

For fifteen years the governor had been living in an expatriation that was deliberately remote and anonymous. (p.149)

Instead, Clint changed his name to Skink, lived wild, ate only roadkill and berries and fish, grew his hair into a long grey ponytail, took to wearing bright orange hazard suits and floral decorated showercaps.

Hiaasen introduces Skink at a dramatic moment about a third of the way into  the story. Joe Wilder had been lured to a meeting at an isolated point on the coast by someone who said they had information about the (at that point still-unsolved) disappearance of Dr Will Koocher. It’s a trap. Two thugs bear down on Joe and then start to beat him up, badly. He is just about passing out when the beating stops, he’s aware of screams, out of one half-closed eye sees one of the attackers running for his life, then passes out.

It’s Skink, come to the rescue at just the right moment – although it’s a while till Joe formally meets the ex-governor. With typical savagery, we later discover that Skink strangled one of the attackers and hanged him by the neck from a nearby bridge and the other one is found dead and folded up in the boot of a wrecked car.

Skink is a hero of sort, and his cause – defending the environment – is just, but he frequently steps way over the boundaries. He is chivalrous to ladies – it turns out he has a long-standing friendship with old Molly McNamara who set the entire plot rolling – but he also blows off his frustration by shooting at planes coming into land at Miami airport or just at random tourist hire cars on the freeway. He is, as Bud Schwartz remarks, ‘Bigfoot without the manners’ (p.191).

Bud Schwartz said, ‘You realise we look like total dipshits.’
‘No, you look like tourists.’ (p.105)

Trooper Jim Tile

Special mention must be made of Trooper Jim Tile, one of the few black highway patrolmen in the state of Florida, who Governor Clinton promoted but who lost his job and was kicked back into the boondocks the moment Clinton disappeared. Trooper Jim recurs throughout the novels as Skink’s loyal minder and protector who tries, with uneven results, to keep him and other ‘good guys’ in line with the law. Jim emerges as, quite simply, the most dependable, sound and moral character in the series.

Bad stuff happens

From this point onwards the plot assumes a similar shape to its predecessors, in that around Skink cluster a constellation of good guys –Joe Winder, girlfriend Carrie, at one remove Molly and the two burglars Bud and Danny – against the bad guy, Francis Kingsbury and his very bad henchman, steroid-crazed Pedro Luz, who goes right off the rails and starts beating up or trying to kill everyone he can.

It is Luz, for example, who breaks into Molly McNamara’s apartment and beats her very badly, breaking some ribs and knocking out some teeth, for her part in liberating the blue-tongue voles. Mind you, during the struggle Molly manages to bite off the tip of one of Pedro’s fingers.

See what I mean by ‘savage’, as in savage and brutal farce. When there is violence it is brutal violence: Dr Koocher being stuffed down a killer whale’s throat, Jim’s attacker being strangled and hanged from a bridge, Molly being savagely beaten, Luz getting his finger bitten off. Like Jonathan Swift, you feel Hiaasen’s savage satire goes beyond specific wrong-doings and expands to become mockery of human beings as a species, vulnerable as we are to so many absurd and risible physical catastrophes. It is a multi-angled attack on the very idea of human dignity.

To make Skink even more grotesque than before, Hiaasen now has him trialling a new mosquito repellent for the army (Extended Duration Tropical Insect/Arthropod Repellent, EDTIAR, p.124). He’s also wearing a 150 megahertz radio collar he took off a dead panther. Florida’s environmental agency tags its pitifully small population of panthers. Skink is wearing the collar of number 17, which he found dead on the highway, run over by, naturally, a tourist hire car (pages 102 and 234).

I haven’t made clear that the dimwits Bud Schwarz and Danny Pogue come round to liking and respecting old Molly (despite the fact that she shoots both of them in their extremities). They are genuinely outraged when the (at that point unknown) intruder breaks into her apartment and badly beats her (when the two dimwits are not there). Although twerps, they become enrolled on the side of the ‘goodies’.

Hence another grotesque highlight when Luz and a sidekick, Churrito, ex-Nicaragua military (p.158), lure Bud and Danny to a meeting at a rival theme park attraction, Monkey World where, when they all start fighting, a gun spins into the baboon enclosure and a baboon picks up the shiny object and accidentally shoots Churrito in the face (p.195).

Later on, Kingsbury organises a media event to launch the beginning of his property development and new golf course, by getting a tired old championship golfer, Jake Harp, to playfully tee off a couple of balls from a small patch of astroturf which has been set up on the building site and out over the ocean.

Not one but two snags foul up this plan, which are that a) the golfer turns up so terminally hungover that he can barely focus on the ball let alone hit it and b) remember how Frankie came to Florida under the Witness Protection Scheme? Well, the two small-time burglars inform on him, phoning mob connections in New Jersey (Salvatore ‘the Salamander’ Delicato, p.213) and, in return for a bag of cash, telling them where their stoolpigeon is hiding out.

With the result that the Mafia send a (disappointingly unglamorous) hitman, short fat, farting Lou, who tracks Kingsbury to this grand press launch and shoots an assassin sniper rifle at Kingsbury just as the golfer is teeing off. Except that, at that vital moment, the golfer had asked Kingsbury to adjust the tee, so the ex-racketeer ducks at the vital millisecond and the Mafia hitman ends up shooting the golfer instead (chapter 29). Oops.

Joe Winder hires a former military man and a boat and gets him to fire a rocket-propelled grenade at the diggers which are starting on the Falcon Trace development, more precisely at the concrete mixer which explodes and spews wet concrete high into the air before spattering down on all the workmen. These are all wonderfully over-the-top, entertainingly violent and amoral extravaganzas.

The climax

As I’ve noted the plot is complex because complicated plots is one of the hallmarks of farce. Complex and coincidence-riddled plots in a way satirise the entire idea of a ‘plot’, of a ‘story’, and mock the notion of fictional ‘realism’ i.e. that any story can be sensible and moral and meaningful in such a screwed-up, violent and immoral world.

Hiaasen’s novels characteristically build up to a big climax, a big cheesy event of the kind celebrated by straight-faced, media-dominated, consumerist American culture and which Hiaasen the savage satirist loves pulling to pieces, like the beauty pageant in Tourist Season or the live TV fishing competition in Double Whammy.

In this novel the grand climax comes when, in a bid to counter the bad publicity generated by Joe Winder’s malicious press releases, Kingsbury has the bright idea of celebrating the alleged 5 millionth visitor to the Kingdom with a big prize for the visitor and a gala pageant celebrating the Kingdom, complete with music, floats of all the animals and costume characters etc.

Not least among the pageant’s objectionable features is the way it utterly bowdlerises the history of Florida, glossing over the religious persecution, the Indian extermination and the slavery in order to create a series of floats celebrating how the Indians welcomed the white man and how happy the slaves were on those plantations (p.182). Outraged satire.

Inevitably, the whole thing goes madly awry. Trooper Jim Tile has, by this time, been recruited to the cause, and organises a police roadblock which stops the cars of the Amazing Kingdom’s entire security force as they drive over the bridge into north Key West. When some of the stopped security guards call on Tile’s white colleagues to sort out this ‘n……’, it seals their doom and they are all arrested (p.279).

So, with no security personnel to police the parade, it is left to the by-now deranged Pedro Luz to try and stop the mayhem planned for the parade by Joe Winder, Carrie the Petey Possum character and Skink. He fails, although there is a lot of violence along the way. The upshot is:

  1. The Mafia assassin who shot the golfer by mistake, makes a return visit, ironically posing as the 5 millionth visitor and thus winning a prize car, before he shoots Kingsbury dead in his control room.
  2. After capturing and badly beating Joe Winder, Luz (by now ‘percolated in hormones’, p.194) is pushing him across the back lots of the Kingdom (empty because all the tourists are attending the parade) when they encounter Skink and, after a struggle, Luz ends up being pushed into the dolphin aquarium where he is shagged to death by the dolphin who is in a very horny mood, has a very long schlong, and strong flippers (pages 302 to 305).
  3. Luz had interrupted Skink in the process of ferrying cans of gasoline around the Kingdom which, with Luz out of the way, he proceeds to light up, setting off explosions all over the site.

Joe Winder and Carrie make it to safety through the swamps and out to the clear ocean while the entire Amazing Kingdom of Thrills goes up in explosions like the climax of a James Bond movie. Jim Tile turns up in a state police car and whisks Skink, who has also escaped the premises, off to safety.

In the comic Epilogue, which have become part of the Hiaasen formula, we are told that Bud Schwartz goes on to set up a private security firm. Danny Pogue, who had been converted by Molly McNamara to the cause of nature and the environment, goes off to Tanzania to train as a wildlife warden. Nina, Joes phone sex girlfriend, goes on to publish poetry then ascends to the giddy heights of writing Hollywood screenplays. Uncle Ely’s dope-smoking Elves never work again. Charles Chelsea retires from the PR business and sets about writing a novel.

Florida

A culture in terminal moral hemorrhage. (p.280)

Hiaasen’s novels take it for granted that Florida is the outstanding state in the USA for violence, universal corruption, and the utter amorality of a citizenry drenched in mindless consumerism.

  • Key West – where many of the judges were linked by conspiracy or simple inbreeding to the crookedest politicians. (p.31)
  • Like so many new Floridians, Kingsbury was a felon on the run. (p.38)
  • The Security Department at the Amazing Kingdom of Thrills was staffed exclusively by corrupt ex-policemen, of which there was a steady supply in South Florida. (p.48)
  • ‘New Yorkers’, said Jim Tile, ‘they think they’ve cornered the market on psychopaths. They don’t know Florida.’ (p.266)
  • The man said, ‘I got a confession to make. I cheated a little this morning… I cut in line so we could be the first ones through the gate. That’s how I won the car.’ It figures, thought Kingsbury. Your basic South Florida clientele. (p.314)

Miami Vice

Hiaasen is aware that his fictional turf overlaps with the territory covered by the phenomenally successful TV series Miami Vice, which began to be popular just as he began publishing his novels. Miama Vice ran for five seasons on NBC, from September 1984 to January 1990, and popularised the image of Miami and South Florida as full of slick criminals and cool detectives wearing designer threads having high speed car and boat chases.

Hiaasen mentions Miami Vice several times, but his jaded cynicism comes from a very different place. Nobody is slick, nothing is ‘cool’ in Hiaasen-land; anyone who has any money must be a crook, a crooked lawyer, a crooked politician, a crooked land developer or a drug baron. The word ‘Miami’ doesn’t imply slick and stylish but degraded and corrupt.

The asshole probably did have a gun; it was Miami, after all. (p.138)


Credit

Native Tongue by Carl Hiaasen was published by Alfred A. Knopf in 1991. All references are to the 1992 Pan paperback edition.

Carl Hiaasen reviews

Acts Without Words I and II by Samuel Beckett

Act Without Words I

Act Without Words I (a mime for one player) is a short mime piece written by Samuel Beckett. It was originally performed after Beckett’s major play, Endgame, during the latter’s first run in London. It was Beckett’s first attempt at the genre and dates from a period when he had just experimented with his first play, Waiting For Godot, and his first radio play, All That Fall. You can view a modern production of it on YouTube.

The scene is a desert on to which a man is abruptly ‘flung backwards’. Mysterious whistles draw his attention in various directions. A number of more or less desirable objects, notably a carafe of water, are dangled before him. He tries to reach up to the water but it is out of reach.

A number of cuboid boxes, obviously designed to make it easier for him to reach the water, descend from the flies, each one’s arrival signalled by a blast on the whistle. But however ingeniously he piles them on top of one another, the water is always moved to be just out of reach.

After ten or so minutes of painfully frustrated efforts, in the end the protagonist sinks into complete immobility. The whistle sounds – but he no longer pays attention. The water is dangled right in front of his face, but he doesn’t move. Even the palm tree in the shade of which he has been sitting is whisked off into the flies. He remains immobile, looking at his hands.

The meaning(s)

With its figure abandoned in a desert and subject to endless frustration, Act Without Words I feels like a variation on the theme of Godot except with one protagonist instead of the four we meet in the play.

Tragic

If you take a bleak and nihilistic view of Beckett, then the mime depicts a man flung on to the stage of life, at first obeying the call of a number of impulses, drawn to the pursuit of illusory objectives by whistles blown from the wings, but finding peace only when he has learned the pointlessness of even trying to attain any of these objective, and finally refusing any of the physical satisfactions dangled before him. He can find peace only through ‘the recognition of the nothingness which is the only reality’.

Actually a number of Beckett critics including Ruby Cohn and Ihab Hassan have dismissed it as too obvious and too pat. ‘Oh dear, life is meaningless, what shall I do?’ When stated that bluntly, it is a cliché.

Comic

That said, the putting of a man through a number of humiliating tasks which he can never achieve, in a wordless mime, is strikingly similar to the early, black-and-white, comedy films which Beckett loved. Take the 1916 short film One am written, directed and starring Charlie Chaplin. In its 34-minute duration a posh man in a top hat who is very drunk is dropped off outside his house by a taxi and then spends the next 30 minutes trying to find his key, get into the house and then taking an awesome amount of time getting up the stairs.

Or take the Laurel and Hardy comedy short, The Music Box, in which the hapless duo are deliverymen tasked with delivering a big, heavy piano up the longest flight of stairs in California.

The point is that both these movies are about protagonists facing a series of frustrations and setbacks exactly as the protagonist of Act Without Words I does. Viewed through this lens, and if you watch the Beckett on Film version, it feels like the protagonist is reduced not to philosophically noble, nihilistic despair, but to childish, sulky refusal to take part in this stupid game. Much more like the comic protagonist of a silent movie.

Portentous

In The Faber Companion to Samuel Beckett, C.J. Ackerley and S.E. Gontarski suggest that the protagonist’s final refusal to play, to be tempted by the water dangling in front of him, is not a childish sulk, but represents his rejection of purely physical needs and his rebellion against his fate as a human. In refusing and rising above purely physical needs, he is enacting the psychological process described by Albert Camus in his lengthy and popular sociological work, The Rebel (1951).

From a deluge of words to wordlessness

What strikes me most about this piece is the fact that a mime, in effect, consists entirely of stage directions.

In this respect Beckett’s work presents an interesting trajectory, from the vast solid cliffs of prose in The Beckett Trilogy via the light and fast-moving dialogue of his main plays (Waiting For Godot, Endgame, Krapp’s Last Tape) to the abandonment of the written or spoken word altogether and the reduction of the dramatic event to action, pure and simple, of wordless mime consisting solely of stage directions. In this it anticipates a number of Beckett’s later works which will be wordless mimes.

Beckett’s stage directions

It also reminds the viewer of the extreme precision and pedantry of Beckett’s stage directions. Beckett was always obsessive about the physical behaviour of his characters, regarding humans as closer to automata than people, as evidence in the numerous obsessively detailed descriptions of physical options and behaviours in the novel Watt.

He carried this obsessive attention to the minutiae of physical action over into his plays and became notorious among directors and actors for the extreme precision of his stage directors and his inflexible insistence that they must be followed to the letter, precisely as he had written them.

As you read through the plays, as you come across more mimes and musical movements and so on, you realise that the composition of the stage directions was every bit as precise and detailed and calculated for effect as the actual prose and dialogue and speeches.

And of course no member of the audience is aware of this but the reader of the piece sees that it ends with the four-times repeated stage direction He does not move, reminding us of the famous stage direction at the bitter end of Godot – They do not move.

Suicide

Speaking of Waiting For Godot at one point in Act Without Words the protagonist takes the length of rope he’s been given and obviously plans to hang himself from the palm tree which is more or less the only feature in the desert landscape.

This reminds us of Estragon’s throwaway suggestion in Waiting For Godot that the two tramps hang themselves and, of course, both suggestions turning out to be fruitless. You don’t get out of it that easy, this thing called life.

Act Without Words II

Act Without Words II is another short mime, written a few years after the first one. It, also, was composed in French before being translated into English by the author although, being a mime, there was no dialogue to translate, just the stage directions. The London premiere was directed by Michael Horovitz and performed at the Institute of Contemporary Arts on 25 January 1960.

Even more than the first one, number II is another work which depends entirely on the precision of the choreography. Two men are in sacks. A long stick enters from stage right and pokes one of the sacks. Character A struggles out of his sack and elaborately gets dressed before picking up the second sack and placing it further from the stick, before undressing and getting back into his sack. The same procedure is then applied to the other sack containing Character B, who is poked, struggles out of his sack, does callisthenics, cleans his teeth, gets dressed and so on. His job is to move the other sack, containing Character A further along the stage, before he, too, undresses and gets back into his sack. And so on, Forever.

Anyone who’s read Watt or Molloy will recognise the helpless, Aspergers syndrome-like obsessiveness of the repeated behaviour, of numerous apparently pointless repetitions carried out with minute variations and exasperating precision. This, the work says, is how utterly pointless our lives are with all the gettings-up and breakfasts and showers and dressing and going to work. All variations on the same bloody pointless and endlessly similar actions. Is this it? Is this all?

To emphasise the precision he wants and the clinical emptiness of the actions, Beckett includes a diagram of the changing positions of the sacks relative to each other.

The Goad

At the height of the Swinging Sixties, in 1966, photographer Paul Joyce (the great-grand-nephew of James Joyce) saw Act Without Words II as part of a Sunday evening performance at the Aldwich theatre and thought it would make a fun short experimental film. Joyce approached the cast, Freddie Jones and Geoffrey Hinscliff, and they said okay, so, after a little thought, Joyce transposed the production from the theatre to a rubbish dump in Rainham, Essex.

The way there are two characters who fuss about their clothes, and wear silly outfits, and both wear bowler hats, reminds us of Vladimir and Estragon in Waiting For Godot – just as Character A eating a carrot reminds us of Vladimir offering Estragon a carrot, who proceeds to make such a palaver about eating it, in act one of Godot.

Having started to think about silent comedy classics, it’s hard not to miss the suggestion that Character A’s ill-fitting suit and round hat is at least in part a reference to Charlie Chaplin’s tramp character, while Character B’s skinny physique, bony face and pork pie hat is strongly reminiscent of Buster Keaton.

It is an absurdist reductio ad absurdum, but it is telling us something less about Life, than about literature and film – namely that the comic and the bleakly nihilistic are very closely allied. If you slip on a banana skin and band your nose it’s a tragedy; if someone else does, it’s a comedy.

Both these mimes strike me as having next to nothing to say about ‘Life’ – what a ridiculous idea! – but do make you reflect a bit about the thin line which separates tragedy from comedy, the humdrum from the absurd, the serious and po-faced from the farcically hilarious.


Related link

Samuel Beckett’s works

An asterisk indicates that a work was included in the Beckett on Film project, which set out to make films of all 19 of Beckett’s stage plays using leading actors and directors. The set of 19 films was released in 2002 and most of them can be watched on YouTube.

The Second World War 1939 to 1945

*Waiting For Godot 1953 Play

Awarded the Nobel Prize for Literature 1969

The Provoked Wife by Sir John Vanbrugh (1697)

‘Lord, how like a Torrent Love flows into the Heart, when once the Sluice of Desire is open’d! Good Gods! What a Pleasure there is in doing what we should not do!’
(Lady Brute)

Cast

The cast list is clipped and to the point i.e. not as entertaining as some.

THE MEN
Constant
Heartfree
Sir John Brute
Treble, a Singing-Master
Rasor, Valet de Chambre to Sir John Brute
Justice of the Peace
Lord Rake, Companions to Sir John Brute
Colonel Bully
Constable and Watch

THE WOMEN
Lady Brute
Belinda, her Niece
Lady Fancyful
Madamoiselle
Cornet and Pipe, Servants to Lady Fancyful

Brief plot summary

Sir John Brute is tired of matrimony. He comes home drunk every night and is continually rude and insulting to his wife. She is meanwhile being tempted to embark upon an affair with the witty and faithful Constant. Divorce is not an option for either of the Brutes at this time, but forms of legal separation have recently come into existence, and would entail a separate maintenance to the wife. Such an arrangement would not allow remarriage. Still, muses Lady Brute, in one of many discussions with her niece Belinda, ‘These are good times. A woman may have a gallant and a separate maintenance too’.

Belinda is at the same time being grumpily courted by Constant’s friend Heartfree, who is surprised and dismayed to find himself in love with her. The bad example of the Brutes is a constant warning to Heartfree to not marry.

The Provoked Wife is a ‘talk play’, with the focus less on love scenes and more on discussions between female friends (Lady Brute and Belinda) and male friends (Constant and Heartfree). These exchanges are full of jokes, but are also thoughtful and often have an air of melancholy and frustration.

After complications caused by a forged-letter, the play ends with marriage between Heartfree and Belinda and stalemate between the Brutes. Constant continues to pay court to Lady Brute, and she continues to shilly-shally.

Extended plot summary

Lord Brute has a soliloquy about bored he is of being married – he encounters Lady Brute who asks an innocent question and sets off his surly angry replies – then Lady Brute has a soliloquy wondering what she did in her life to merit such treatment (although she admits 1. she married Brute for his money 2. everyone warned her about him, but she thought she could ‘change’ him.)

Enter Belinda, Lady Brute’s niece, and they have an extended dialogue about what a brute Lord Brute is. Belinda has spotted that her aunt is in love with Constant. Lady Brute gives a speech about how women ought to resist the temptation to flirt and coquette. Both then unite in critiquing the character of their neighbour, the exorbitant flirt and narcissistic Lady Fancyful.

Scene 2 Lady Fancyful’s dressing room Where we meet the lady herself and there is comic interaction between her English maid – who tells the truth about her appearance – and her super-flattering French fashion adviser, Mademoiselle, who tells her what she wants to hear. A letter arrives containing a song some admirer has composed for her. Lady Fancyful calls for Pipe her musician who comes and sings it.

Another letter arrives, Fie! she is so popular! It is more prosaic, from an admirer who says he will tell her all her Faults if she comes to the Walk in St James’s Park. There follows a comic dialogue between Lady Fancyful, who feigns to be shy and nervous of meeting an unknown man. Mademoiselle hands her all her accoutrements and virtually drags her out the door.

(It is a notable feature of this scene that entire sentences from Mademoiselle are in French, indicating that the audience was expected to understand it. Does this indicate the openly educated aristocratic audience which plays were still targeted at, at this late date?)

Act 2 Scene 1 St James’s Park Enter Lady Fancyful and Mademoiselle. The letter writer turns out to be Heartfree, who they know already to be ‘a profess’d Woman-hater’. Heartfree proceeds to tell Lady Fancyful she’s a damn attractive woman but has made herself so prettified and pretentious that she has become a figure of fun. He says he will reform her. Lady Fancyful decries his awful manners, and they exit.

Heartfree is immediately greeted by Constant (who we know from Scene 1 that Lady Brute knows is paying court to her) and they have a dialogue which is, in effect, Cynicism (Heartfree) talking to True Love idealism (Constant). Heartfree provides one summary:

I persuade a Woman she’s an Angel, and she persuades you she’s one.

At greater length:

As for her Motion, her Mien, her Airs, and all those Tricks, I know they affect you mightily. If you should see your Mistress at a Coronation dragging her Peacock’s Train, with all her State and Insolence about her, ‘twou’d strike you with all the awful Thoughts that Heav’n itself could pretend to from you; whereas I turn the whole Matter into a Jest, and suppose her strutting in the self-same stately Manner, with nothing on her but her Stays and her under scanty quilted Petticoat.

Constant has loved Lady Brute since he first saw her at her wedding and wonders why she studiously avoids him. Heartfree says ‘Tis women for you’, but we know it’s actually because ‘Lady Brute’ does in fact love him but wants also to remain true to her principles.

Enter Lord Brute who is brutishly blunt about how he hates being married, though he concedes that Lady Brute is virtuous. He invites Constant and Heartfree to come out tonight, get drunk and bed some whores.

Scene 2 Lady Fancyful’s Lady Fancyful admits to Mademoiselle that Heartfree’s rudeness did in some manner affect her. Enter Mr Treble who has set a poem of Lady F’s to music. He sings it. She asks if there are any new songs in Town and Treble produces another one which they get Lady F’s singer, Pipe, to sing.

The chief characteristic of the poems in these plays is how utterly mechanical and unlyrical they are (like the plays themselves, like the taste of the times):

Not an Angel dwells above,
Half so fair as her I love.
Heaven knows, how she’ll receive me;
If she smiles, I’m blest indeed;
If she frowns, I’m quickly freed;
Heaven knows she ne’er can grieve me.

Lady Fancifull can’t get Heartfree out of her thoughts and agonises about writing a letter to him.

Act 3 Lord and Lady Brute and her niece Belinda are just finishing luncheon. He declares he will smoke and is anticipating being visited. The womenfolk wonder if the visitor is Constant and vow to stay in the room, despite his choking smoke. They deliberately prattle about their petticoats to wind up Sir John until he loses his temper, throws his pipe at them, and drives them out the room.

Heartfree and Constant arrive at this moment and ask Sir John what’s wrong and he curses all women. He invites them to sit and share a glass, he notices Constant is sad, because of a woman, is it? This is dramatic irony because it is, of course, because of Sir John’s own wife that Constant is sad. Sir John proposes a toast to Constant’s mistress, with the same ironic effect.

A servant announces some of his hearty friends (Lord Rake and Colonel Bully) are at the door calling him away to drink and make some kind of plan for the evening. He tells our two heroes to stay till he gets back. Heartfree realises this is an opportunity for Constant to forward his troth and agrees. Exit Lord Brute.

Enter Lady Brute and Belinda who good-humouredly spar with Constant (who feels faint with love for Lady B) and Heartfree, who allows himself to be taught how to be a Perfect Man by pert Belinda.

Enter Lady Fancyful (‘an Inundation of Impertinence’ as Lady Brute calls her) who lights up the stage very much as Lord Foppington lights up The Relapse. She proceeds to tell the ladies how rudely Heartfree addressed her and suggested she reform her entire appearance and manner and very amusingly to act out how clumsy and crude he would have her be.

Belinda realises that Lady Fancyful is in love with Heartfree, and decides to make her jealous by a little flirting with Heartfree. It works, as Lady Fancyful reveals in an aside to the audience: she does fancy Heartfree and Belinda flirting with him does make her jealous.

Heartfree grows bored, realises there’s no scope for Constant to advance his love suit to Lady Brute with the room full of women, and they leave. Lady Fancyful is very irked by the devout leave Heartfree takes of Belinda, while almost ignoring her. She vows to go home and study her revenge.

Re-enter Constant leading to a very elevated dialogue with Lady Brute, in which he declares his love and she replies with her Virtue.

LADY BRUTE: He who has Discretion enough to be tender of a Woman’s Reputation, carries a Virtue about him may atone for a great many Faults.
Const. If it has a Title to atone for any, its Pretensions must needs be strongest where the Crime is Love. I therefore hope I shall be forgiven the Attempt I have made upon your Heart, since my Enterprize has been a Secret to all the World but yourself.
LADY BRUTE. Secrecy, indeed, in Sins of this kind, is an Argument of weight to lessen the Punishment; but nothing’s a Plea for a Pardon entire, without a sincere Repentance.
CONSTANT: If Sincerity in Repentance consists in Sorrow for offending, no Cloyster ever inclos’d so true a Penitent as I should be.

You need your wits about you to really grasp the cut and thrust of these sharp remarks. There is something very intimate about such a deep and searching matching of wits, more so than in conventional love compliments. Constant and Lady Brute draw very close but at the end, when he asks for some token that he may have hopes his suit is heard, she tears his hand from hers and says that’s all she has time for and runs out.

When Heartfree re-enters Constant is in raptures that Lady Brute has at least given him Hope although, when Heartfree asks how she expressed it, it is comedy (and maybe an indication of how difficult it was even for contemporary audiences to follow such a cut-and-thrust dialogue) that Constant can’t remember the precise form of words she used. In fact, if you have to carefully reread the end of the dialogue to realise that she didn’t.

Scene 2 Sir John, Lord Rake, Colonel Bully in a pub, drinking and singing songs about going to the Devil. It is interesting that these songs are all cast in opposition to the government and the prevailing culture. They reference recent legislation about freedoms of speech and association, which they declare themselves against. It is the old aristocratic culture defying the new mercantile, legislative Whig culture of William III.

Scene 3 Lady Brute’s bedchamber Lady Brute and Belinda have a complex dialogue in which they first declare that women only behave the way they do (wear uncomfortable stays, go to plays, walk in the dusty park, even live in smoke-filled London) with the aim of attracting men, as if they were trivial frivolities they could throw off at any moment.

They then go on to describe in minute detail all the artifices they employ at the theatre to show themselves off to men, to smile to show off their teeth, show a variety of facial expressions, Yes it is a ridiculous world in which women so perform for men. And yet, Lady Brute finishes, Nature has given them One Thing which ensures they will always be top.

Yet our kind Mother Nature has given us something that makes amends for all. Let our Weakness be what it will, Mankind will still be weaker; and whilst there is a World, ’tis Woman that will govern it.

Then they talk about their loves. Lady Brute confesses she is weakening under Constant’s constant attack and pledges of love. But she wishes she had a partner in crime and asks if Belinda will not surrender to Heartfree. He isn’t that interested, Belinda replies. They agree to see the two young blades again, in Spring Garden, but will wear masks next time for greater amusement.

Act 4 Scene 1 Version 1 Lord Brute, Lord Rake and the Colonel refer to having stabbed someone i.e. in a drunken street brawl! They confirm their aristocratic, Royalist sympathies by accosting a passerby who turns out to be a dissenting i.e. non-confirmist tailor. They steal the vicar’s gown that the tailor was carrying, Lord Brute dresses up in it, and then they accost what the jovially refer to as ‘the enemy’ i.e. the constable and watch. Lord Brute attacks them with a club but the watch overcome him and arrest him (the others run off).

Version 2 In 1725 the play was revived and Vanbrugh, still living, rewrote this scene to make the poor tailor who the posh drunks (the ‘Courtiers’ as he calls them) attack, a woman’s tailor – and he is carrying not just any woman’s outfit, but a dress he has made for Lady Brute!

Sir John Brute immediately requisitions it and puts it on so that, when they are stopped by the constable and the watch, the latter joke about him being an Amazon, and Sir John drunkenly jests that he is Boudicca:

SIR JOHN: Sirrah, I am Bonduca, Queen of the Welchmen; and with a Leek as long as my Pedigree, I will destroy your Roman Legion in an Instant—Britons, strike home!

This makes the repartee with the constable, and then with the justice of the peace they bring him before, much funnier, in the broad pantomime tradition of men dressing up as women – if he is the queen then his accompaniers must be his maids of honour and so on – there is much more scope for banter, but it doesn’t stop there.

David Garrick in Vanbrugh’s Provoked Wife, Theatre Royal, Drury Lane painted by Johann Zoffany (1763)

Still drunk, Sir John tells the justice that he is none other than Lady Brute. This raises things to a new comic level, with Sir John giving an extended impression of a rebellious, drunken, lawless wife and the justice and officers sympathising with the poor – and they think, absent – Sir John.

But I am intrigued: did Vanbrugh revise this scene because it made the plot tighter, tying in his wife even to Sir John’s wild nights out, and shedding a drunken ironic light on the marriage which is the subject of the play?

Or because, by 1725, ridiculing the clergy had simply become untenable in what, over the 25 years to the revised version, had become a much more restrained and bourgeois society? That it had become too controversial and disrespectful to appear in a ‘comedy’? Whereas grown men dressing up as women is not only timelessly funny, but politically safe?

Scene 2 Heartfree can’t get the thought of Belinda out of his head and when Constant joins him he can’t help revealing that he, too, is one of the party of unhappy lovers. A servant brings a letter, pretending to be from anonymous admirers but infact from Lady B and Belinda, inviting them to a rendezvous in Spring Walk that evening at 8pm. Heartfree says he is too lovestricken to go, but Constant persuades him.

Version 1 Drunk Sir John Brute in the disguise of a cleric is brought by the constable to the house of the justice who politely tries to get to the bottom of it. When asked his name Sir John hiccups and says his name is Hiccup and the justice asks if he is one of the Hiccups of Norfolk. After more banter the justice lets him go. On the way out Sir John asks the constable if he wants to go pick up a whore, and when the latter says no, curses him and staggers off into the night.

Version 2 As explained above, in the 1725 revision of the play, Sir John is dressed in his wife’s dress, and this allows for the a joke whereby drunk Sir John accuses the arresting officer of trying to ravish him! It is literally knockabout stuff:

SIR JOHN Sir, there may have been Murder, for aught I know; and ’tis a great Mercy there has not been a Rape too—that Fellow wou’d have ravish’d me.
SECOND WATCH: Ravish! Ravish! O lud! O lud! O lud! Ravish her! Why, please your Worship, I heard Mr. Constable say he believed she was little better than a Maphrodite.
JUSTICE: Why, truly, she does seem a little masculine about the Mouth.
SECOND WATCH: Yes, and about the Hands too, an’t please your Worship; I did but offer in mere civility to help her up the Steps into our Apartment, and with her gripen Fist—ay, just so, Sir.
[Sir John knocks him down.]

Scene 3 the Spring Garden Heartfree and Constant meet with Lady Brute and Belinda wearing masks/disguises. All of them are shadowed and eavesdropped on by Lady Fancyful and Mademoiselle, also in masks. Heartfree & Constant & Lady Brute and Belinda are just commencing some heavy bantering when Sir John enters the scene, still dressed as a doctor of divinity and roaring drunk. He hails Constant and Heartfree as friends and grabs both the women, assuming they are their whores. Lady Fancyful and Mademoiselle retired in fear to a nearby arbour.

Heartfree, who never wanted to come anyway, leaves, Sir John starts insulting the ‘whores’, at which Lady Brute runs to Constant for protection and shows him her face. Heartfree re-enters, Belinda runs to him and shows him her face. Realising who the ladies are, Constant and Heartfree order Sir John to leave which, a little improbably, he does.

Belinda and Heartfree now have a fairly frank conversation in which he admits he loves her and might even go as far as marriage. It’s getting dark. She invites him to take a turn around the park and the exit. Meanwhile, Constant is chatting up Lady Brute and tells his friend not to hurry back.

Constant tells Lady Brute his love but she puts up objections; she is married and is not her virtue, her loyalty to her awful husband, part of what Constant likes about her? If she abandoned her virtue would it not destroy his love? And more of the same. Constant decides to storm the citadel and starts kissing her hand, her arm, her neck and pulls her towards a nearby arbour. Except this is the very arbour Lady Fancyful and Mademoiselle are hiding in. As Constant and Lady Brute reach the entrance to it, Lady Fancyful and Mademoiselle come running out past them.

Because of this, Lady Brute is thrown into utter terror that they witnessed her kissing a strange man, her reputation will be shot, her virtue worthless, her life not living. Terribly upset, she grabs Belinda, who is now just returning from her stroll with Heartfree, and rushes her off home.

The last word goes to Lady Fancyful, who is herself upset at seeing Heartfree pay court to Belinda, and out of her upset emerges a determination to take revenge.

Act 5 Scene 1 Lady Fancyful’s house A brief recapitulation of Lady Fancyful’s determination to be revenged.

Scene 2 Sir John Brute’s house The men have come back to Lady Brute’s house i.e. there are Constant, Heartfree, Lady Brute and Belinda. The servant assures them Sir John was seen staggering blind drunk into a tavern and will be some while, so ladies invite the men to stay and play a round of cards. But they have barely settled before the servant reappears to announce Sir John was kicked out of the tavern and has unexpectedly arrived home!! Quick quick, a panic-stricken Lady Brute hides the men and Belinda in the closet!

Sir John staggers in, filthy and bloody, and is rude and insulting to his wife. He begs a kiss, and she is so disgusted he deliberately smothers her in kisses till she is as dirty as him, then ‘tumbles her’, presumably onto a couch or divan. First he wants a ‘cold tea’ and proceeds to kick open the door of the closet and discovers… Heartfree and Constant! Sir John is elaborately, drunkenly polite to them and Lady B begs them to leave which – after assuring Sir John of his wife’s virtue they do.

Sir John has a bit more rant, slumps into a high chair and falls asleep snoring. Lady Brute is thrown into a panic (again) about her reputation. Belinda comes up with A Cunning Plan. They’ll tell Lord Brute that Belinda and Heartfree are now a loving couple and that they hid in the closet to escape detection and rumour, Constant hid with them so as to protect her ladyship’s reputation. Belinda says she’ll even go so far in backing up the story as to marry Heartfree – which leads to more dialogue about suitable and unsuitable marriages.

Having arrived at this plan, they ironically curtsey to the stinking filthy slob in the chair and call a servant to clean him and put him to bed.

Rasor, the servant they give this task to, alone on stage, now reveals that he has overheard everything the women said and will use this information to tell the French maid he is in love with in order to win her favours!

Scene 3 Lady Fancyful’s house Mademoiselle has told Lady Fancyful that her own paramour is Rasor from Lord Brute’s household i.e. she is the paramour Rasor was talking about a a moment ago. Lady Fancyful tells Mademoiselle to tell Rasor to tell Lord Brute everything that happened in the Spring Garden, masks, making love, kissing and all i.e. to betray Lady Brute’s adultery to him.

Exit Lady Fancyful. Enter Rasor who rushes over and snogs Mademoiselle, and then dangles his news in front of her, demanding kisses before he tells her everything he overheard i.e. Lady Brute loves Constant, the trio hiding in the closet, Lady Brute conspiring to help Belinda marry Heartfree.

But then Mademoiselle, conversely, dangles her news in front of him, demanding kisses as she tells him about the couple meeting in Spring Walk. She gets Rasor quite worked up and, for more ‘favours’, demands that he goes back and tells his master (Sir John) all she has revealed. He exits.

However, only seconds later, Lady Fancyful enters and regrets her course of action. It will probably lead to Belinda and Heartfree getting married, which is the last thing she wants. She tells Mademoiselle to call Rasor back!

Scene 4 Constant’s lodgings It is, by now, the next morning. Heartfree and Constant are pondering how to talk Sir John out of his suspicions at finding the pair of them in his wife’s closet when a letter arrives. It’s from the ladies who say explain their Cunning Plan i.e. to tell Sir John the couple were hiding because of Heartfree and Belinda’s secret intention to get married, which they wished to keep hid.

Good plan, but Heartfree is reluctant and it leads to an extended dialogue about fidelity in marriage (that old, old, old chestnut).

Scene 5 Sir John Brute’s house Constant and Heartfree rendezvous with Lady Brute and Belinda. Belinda asks Heartfree how he fancies the idea of matrimony and he says it’s a leap in the dark but he’s prepared to risk it (hardly young love).

Enter Sir John who is not unnaturally quite rude about finding two strange men in his wife’s closet. But Constant quickly rises to defend Lady Brute’s virtue and discovers (as Heartfree had told him) that the coward Sir John quickly backs down.

Sir John soliloquises, declaring he’s never loved his wife and she’s never loved him, he doesn’t know why she married him, and lamenting that he is without doubt a cuckold to the young stallion in front of him, who has threatened to draw his sword. The choice comes down to dying a hero or living a rascal. Oh well…

And so he gives his hand to Constant and, when Heartfree asks for the hand of Belinda, willingly gives it – all the while cursing and damning them both as dogs!

Two Revelations Meanwhile, Lady Fancyful has crept in in disguise, takes Belinda aside and reveals – in disguise – that she is an anonymous woman who is already married to Heartfree who made her swear not to tell anyone or he’d murder her! With wild improbability, instead of spotting this as a scam, clever Belinda is depicted as believing it and herself betrayed by Heartfelt’s bigamy.

At the same time a servant hands Heartfree an anonymous letter, supposedly from ‘a friend’, claiming the author has slept with Belinda, had a child by her and another is on the way!

Thus when Constant turns to ask the happy couple if they want to send for a priest, they both burst out with bitter accusations of the other, insisting the wedding be delayed, and start to chase each other round the stage!

Rasor, the servant, watching this, laments his part in their downfall and decides to set all right. He exits and returns a) dressed in sackcloth as a repentant b) pulling in Lady Fancyful and Madamoiselle.

He undoes all the complications of the plot. he tells the cast that Lady Fancyful lied in the anonymous letter as from a woman who was married to Heartfree; that the letter claiming Belinda was ever made pregnant was also a lie; and he tells Sir John that no illicit activity took place before the closet scene i.e. he is not a cuckold.

Rasor sets all straight and miserably apologises to the whole cast.

Belinda and Sir John ask who made him do it? Rasor claims he did it, he fell like Adam, out of Lust. Who was his Eve? He pulls off the mask of Mademoiselle. The company gasp! But behind her was the snake, Satan. Rasor pulls off the mask of Lady Fancyful!! The company gasp again!!

ALL: Lady Fancyful!
BELINDA: Impertinent!
LADY BRUTE: Ridiculous!
ALL: Ha! ha! ha! ha! ha!

Lady Fancyful tries to put a brave face on it till the end, claiming that Belinda and Heartfree will make such a wretched couple she was doing them a favour – then pompously exits, followed by Mademoiselle.

Heartree and Belinda promptly forgive each other and prepare to go to church. Constant interrupts to sing a love song which, inappropriately, describes the sad fate of an innocent maid in ancient Greece who lets herself be ravished then is abandoned by her lover. Hmmm. In the last six lines Belinda and Heartfree say, nonetheless, they’ll risk it, and:

HEARTFREE: Then let’s to Church: And if it be our Chance to disagree——
BELINDA: Take heed—the surly Husband’s Fate you see.

Constant and Lady Brute are, however, no further forward in their love affair. It is an oddly muted and almost sad finale.


Thoughts

This play isn’t as good as The Relapse because a) its central the monster figure, Lady Fancyful, isn’t as epically monstrous as Lord Foppington was in that play, and b) there is something frustrated and melancholy about the frustrated love of Constant and Lady Brute.

Unless I’m missing something, they don’t even speak in the finale, let alone get anywhere near marrying – for that would overthrow the premise of the play which is Lady Brute’s solid virtue.

Articles about The Provoked Wife describe it as ‘a talk play’ or even a ‘problem play’ i.e. one designed to prompt discussion of the ‘issues’ by the audience. I hazard the suggestion that this is to overcredit theatre audiences as moral philosophers rather than as, well, people out for a night’s entertainment.

If you went for dinner after seeing the play, in the middle class tradition. possibly one line of chat would be to discuss the rights and wrongs of Lady Brute’s behaviour – which is certainly complex. My opinion would be that she made the same mistake so many women do (I say this because I listened a few days ago to a radio news item about the new legislation being brought in to help battered wives in which the same way of thinking came up again and again) – that she could change a brute. She had an over-high opinion of her ability to change someone, and an under-real understanding of how difficult it is to change anybody. (I speak as the father of two teenagers who I have been trying to persuade to get up before noon and tidy their own rooms for what seems like several hundred years.) Changing people’s behaviour is hard; changing their character almost impossible.

So is she right to reject Constant and remain in her unhappy marriage? It certainly feels wrong to have played Constant along as far as she did, if she has no real intention of leaving her husband.

But in my opinion, the real talking point of the play is that it is marred. In a number of ways it doesn’t quite come off, it feels unfinished, it feels like it needed one more draft to make it mesh.

The most obvious aspect of this is the way the traditional ‘blocker’ of the happy marriage of the young couple doesn’t evolve organically from the setup but is introduced only at the end of the final act (Lady Fancyful’s scheme to discredit Heartfree and Belinda)… and then is promptly undone about two minutes later. These plays veer close to being farces, and this last minute complication and last second resolution feel stuck on with sellotape.

And the ad hoc, last-minute feel of the Complication goes some way to undermining the comic grandeur of Lady Fancyful. She has such epic comic promise in the first half, that we feel her determination to outdo Belinda and grab Heartfree for herself deserved some grander, wilder, more elaborate Scheme.

So maybe it is to some extent the ‘issues’ which it deals with which give The Provoked Wife its rather chewy, problematic flavour. But it is also the way the entire plot structure feels a little undercooked and leaves you feeling somehow cheated.

Vanbrugh’s style

That said, Vanbrugh’s prose style again shows itself much more clear, direct, comprehensible and therefore more obviously funny than many of the other comedies I’ve read. This quote isn’t particularly funny, I give it as an example of his clarity.

BELINDA: Sure it must feel very strange to go to Bed to a Man.
LADY BRUTE: Um – it does feel a little odd at first; but it will soon grow easy to you.

‘A little odd’, I was just struck by the perfect naturalness of a phrase which we still use 320 years later.

Here’s another example.

BELINDA: And some careful Thoughts on your own, I believe, have hindered you from sleeping. Pray how does this matrimonial Project relish with you?
HEARTFREE: Why, ‘faith, e’en as storming Towns does with Soldiers, where the Hope of delicious Plunder banishes the Fear of being knock’d on the Head.

Hmm. Maybe what I like about it is its lack of subtlety and sophistication. Possibly I am not sophisticated enough to appreciate the more recherché and long-winded texts. Whatever the reason, I think there’s no denying Vanbrugh’s style is pithier, his phrasing more direct and accessible than his contemporaries.

Sir John Brute has a handy quote which sums up the thing I’m talking about, the way many characters in other Restoration comedies express themselves in such lengthy and convoluted phraseology, sometimes mixed up with legal or specialised jargon, that you need notes to understand them – and that the characters sometimes don’t even understand each other!

SIR JOHN BRUTE: Your People of Wit have got such cramp ways of expressing themselves, they seldom comprehend one another.

In my view, Vanbrugh is never like that. He is always lucid and forceful in his expressions.

(After writing that, I read the Wikipedia article which explains that The Relapse was deliberately phrased simply and bluntly ‘to be suitable for amateurs and minor acting talent’, but that The Provoked Wife was written for more versatile professionals including leading actors of the day, and so is deliberately more emotionally subtle. That may be true, especially the scenes in which Lady Brute and Belinda, or Constant and Heartfree, discuss the emotional subtleties of their situations – but I don’t think it disproves my basic point that, even in those situations, Vanbrugh has a gift for clarity of expression unmatched by his rivals.)

Misandry

BELINDA: Well, you Men are unaccountable things, mad till you have your Mistresses, and then stark mad till you are rid of ’em again. Tell me honestly, Is not your Patience put to a much severer Trial after Possession than before?
HEARTFREE: With a great many I must confess it is, to our eternal Scandal;

Misogyny

LADY BRUTE: We are as wicked, Child, but our Vice lies another way: Men have more Courage than we, so they commit more bold, impudent Sins. They quarrel, fight, swear, drink, blaspheme, and the like: Whereas we, being Cowards, only backbite, tell Lyes, cheat at Cards, and so forth.

As I’ve mentioned, in my opinion these formulations aren’t intended to be the statement of some great philosophy or worldview, the reverse. They are the social clichés and stereotypes of their day, bromides and truisms which have little or no value as statements of fact, but are the oil which lubricates the complicated machinery of the comic plots.

HEARTFREE: I shou’d have, if I had a good Opinion enough of her’s, to believe she cou’d do as much by me. For to do ’em right, after all, the Wife seldom rambles, till the Husband shews her the way.
CONSTANT: ‘Tis true, a Man of real Worth scarce ever is a Cuckold, but by his own Fault. Women are not naturally lewd; there must be something to urge ’em to it. They’ll cuckold a Churl, out of Revenge; a Fool, because they despise him; a Beast, because they loath him. But when they make bold with a Man they once had a well-grounded Value for, ’tis because they first see themselves neglected by him.

You can choose to read this stuff as meaningful and so be upset by the way it transgresses our 21st century woke values. Or you can see it as the verbiage and small change of conversation which is required to make the plays go.


Related links

Reviews of other Restoration plays

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