Any description of Danny Leigh's book The Monsters of Gramercy Park is likely to include words like psychological and suspense and should include fantastic. Although neither a typical thriller nor a traditional mystery, Monsters is a perfectly paced work of suspense that keeps you guessing until--and, in some ways, beyond--the end.
Lizbeth Greene is a successful writer of gory crime novels, but her latest book is getting a lackluster reception and she's run out of ideas. Enter convicted gang lord Wilson Verez, serving a life sentence for racketeering, who's just been moved out of solitary confinement. Wilson could be Lizbeth's key to a new bestseller; she could help keep him from returning to solitary. Both are complex characters with multitudes of secrets. As the stuttering Wilson says to Lizbeth at one point, "You are not the person the world thinks you are. And you have never chosen to correct that. So why shouldddd I?"
Lizbeth Greene is a successful writer of gory crime novels, but her latest book is getting a lackluster reception and she's run out of ideas. Enter convicted gang lord Wilson Verez, serving a life sentence for racketeering, who's just been moved out of solitary confinement. Wilson could be Lizbeth's key to a new bestseller; she could help keep him from returning to solitary. Both are complex characters with multitudes of secrets. As the stuttering Wilson says to Lizbeth at one point, "You are not the person the world thinks you are. And you have never chosen to correct that. So why shouldddd I?"
Lizbeth and Wilson are each an intriguing mix of success and failure, insight and blindness, confidence and phobias. Either point of view would be interesting on its own, but Leigh effectively switches perspectives throughout the book. Their separate views give us information that one alone could not. For instance, following Wilson allows us an insider tour of solitary confinement that is equally fascinating and disturbing. We see first hand what his life there is like.
When they are together, their meetings spark a compelling intellectual give-and-take reminiscent of The Silence of the Lambs. Lizbeth and Wilson are dependent on each other, are using each other; their conversations are cautious and manipulative. Leigh extends this dynamic beyond the physical meetings in ways such as sharing Lizbeth's writing as she listens to her interview tapes and including the full text of the children's story (a gothic tale called "The Monsters of Gramercy Park") that Wilson gives Lizbeth in hopes that she'll get it published for him. Her attempts to interpret his words often leave her with more questions than answers.
When they are together, their meetings spark a compelling intellectual give-and-take reminiscent of The Silence of the Lambs. Lizbeth and Wilson are dependent on each other, are using each other; their conversations are cautious and manipulative. Leigh extends this dynamic beyond the physical meetings in ways such as sharing Lizbeth's writing as she listens to her interview tapes and including the full text of the children's story (a gothic tale called "The Monsters of Gramercy Park") that Wilson gives Lizbeth in hopes that she'll get it published for him. Her attempts to interpret his words often leave her with more questions than answers.
The supporting characters - Nancy the assistant, George the gift shop owner, and others - are well drawn, but the tension surrounding Lizbeth and Wilson remains the driving force. Leigh's skillful prose, impeccable timing, and talent for sustaining suspense make for an engrossing story that's hard to put down. Fans of character-driven novels, mysteries a la Ruth Rendell, or Alfred Hitchcock-style intrigue should all enjoy The Monsters of Gramercy Park.
I admit to finding one small distraction: Leigh occasionally interrupts the narrative to announce the specific CD that Lizbeth is listening to. While there's nothing wrong with invoking a personal soundtrack, this could have been better integrated into the otherwise smooth writing. Fortunately, this only occurs a handful of times and it's a minor quibble.
I admit to finding one small distraction: Leigh occasionally interrupts the narrative to announce the specific CD that Lizbeth is listening to. While there's nothing wrong with invoking a personal soundtrack, this could have been better integrated into the otherwise smooth writing. Fortunately, this only occurs a handful of times and it's a minor quibble.
I wasn't familiar with Danny Leigh before The Monsters of Gramercy Park, but I'm eager to check out his earlier novel, The Greatest Gift (Faber & Faber 2004). Leigh, who has worked as a musician and a journalist, knows how to tell a story. I hope he'll keep the suspense novel in his repertoire as well.
