I spent an interesting hour yesterday in the offices of the Royal National Institute of Blind People, talking ‘down the line’ to half a dozen or so members of a group of blind or partially sighted people about my work as a writer. Most had some awareness of my books through various audio or large print versions, others from radio and – going back a little – from television. Fay, now in her early 80s and a retired probation officer, had read only one – In a True Light – and found it compulsive. She liked the way the different parts of the story commented on one another [it moves between New York and London in the late-50s and the present] and she liked the style. Laconic, that was how she described it. Laconic. Well, I can live with that.
They let Sloane out of prison three days short of his sixtieth birthday.
That’s how it begins.
First published in 2001, and a break from the sequence of 10 Resnick novels that began with Lonely Hearts in 1989 and finished [for good and all, I thought at the time] with Last Rites in 1998, In a True Light sought to move away from Nottingham and the police procedural [though it does feature two New York cops – Catherine Vargas & John Cherry – of whom I’m very fond] to new locations and a broader range of subject matter. I’d been interested for some little time in the abstract expressionist paintings of such artists as Joan Mitchell and Helen Frankenthaler, who first came to prominence in the 50s, and this, I thought, would give me the opportunity to explore that interest further. The list of works consulted was far longer than previously; longer than it would be until, years later, I researched the Miners’ Strike for the 12th and final Resnick novel, Darkness, Darkness.
The story of In a True Light is straightforward enough. When Sloane, a painter, is released from prison in London, where he has been serving time for forgery, he goes to New York in search of the daughter, Connie, a jazz singer, from whom he has become estranged [sound familiar?] and who is involved with a violent man – Delaney – whom the police suspect of murder. One back in New York, he remembers being there as a struggling young artist and the brief but fiery affair he had with an established painter, Jane Graham, who he learns is slowly dying.
To be honest, I’ve never been totally convinced how well the book ‘works’, how effectively (believably?) those sections dealing with Delaney, his violence and his connections with the Mob, merge with the rest. But some readers don’t seem to have that problem; like Fay they like it a lot.
As did Michael Connelly …
In In a True Light he is at his very best. It’s a crime story, sure, but it’s also a larger story about redemption and consequences set to the beat of the human heart.
And this comes from the reviewer (Marcel Berlins?) in The Times …
At one level this is the story of Sloane’s attempt to save his daughter from the criminal world in which she has become trapped. It is also a sensitive and moving study of ambivalent fatherhood, an unsparing portrait of an artist, and an atmospheric look at the bohemian New York of the late Fifties.
Perhaps I shouldn’t be some hard on myself, hard on the book?
One of my favourite passages is a description of Thelonious Monk playing piano at the Five Spot, which I refashioned as a poem and was recently published in Aslant, so I won’t repeat it here.
Instead, here’s the young Sloane calling, unannounced, at Jane Graham’s studio, and being allowed to watch her work …
“OK,’ she said, stepping back. ‘Come in. Come in and sit over there.’ Pointing to the far side of the room. ‘Sit there and don’t say a word,’
So Sloane sat for almost two hours, shifting his weight from side to side, from one buttock to the other, slowly stretching his legs. then drawing them up to his chest, as Jane, blanking him out, worked on her painting, moving, moving, rarely still, pacing, walking back and forth, in then out, close and away. The wide canvas stretched across its heavy wooden frame and stapled fast, covered then with white paint applied in broad strokes, a white, stippled ground upon which she was adding blocks of colour, gradations of alternating blue and yellow shading down to mauve and orange, their edges blurred and softened with a swab of cloth soaked in turpentine, each balanced in relation to what was immediately above and below, and to the painting as a whole.
Jane darting quickly forward now, a fast sweep of brush from right to left, a slash of darkling, curving red; and then another, finer, ending in a filigree of scarlet flecks like tracks in snow.
And Sloane, watching, in thrall, as the painting grew, took on a life, each element held in tension with the rest but all, somehow, and this the real art, the artistry, in harmony. Something he would rarely, if ever, himself achieve. Not like this. Beautiful. Thrilling. The act, the thing, the thing itself.