Reading: Ben Aaronovitch — The Hanging Tree

Let’s get the car out of the way first: PC Grant and The Folly score a Ferrari 288 GTO. Hashtag Merking. (And I’m taking this a poignant homage to Iain Banks’ The Business, also, yes, again, “Brutal.”, also no, I’ll never not “Brutal” if a Ferrari turns up in a skiffy or fantasy novel.)

And, youse who read me regularly all know my pruneface when a cis author attempts a trans woman character, so pruneface, I called it a Trannyphant, ’cos it’s the trans elephant in the room, ’cos none of you authors were doing it 10 years ago and it’s only ‘fashion’ (or ‘trans tipping point’) that you’re doing it now, and fuck me your obsession with genitals and surgery and medicalisation of trans women’s bodies is nasty — and it’s almost always trans women, and playing us for laughs? So, here’s a lesson in how you do it right:

Guleed passed me the completed IID on Caroline Linden-Limmer and pointed out a note which registered that she’d been granted a Gender Recognition Certificate when she was eighteen — changing her legal gender from male to female.
‘So …’ I started, but was cut off by the vast silence emanating from Stephanopoulos behind us.
I looked over at Nightingale, who looked quizzically back, and decided to explain the implications later. Surprisingly, when I did, his reaction was outrage that someone had to apply to a panel to determine what gender they were — he didn’t say it, but I got the strong impression that he felt such panels were intrinsically un-British. Like eugenics legislation, banning the burka and air conditioning.
I thought of the little girl in the blue dress — you can’t get a certificate until you’re 18 — it must have felt like a long wait.
Her mother, when I met her, didn’t strike me as someone who liked to wait.

The tall bit in an earlier section can go either way, and there’s plenty implicit in characters in the scene which doesn’t get conveyed here. But Aaronovitch has already done BAME (Black, Asian, Minority Ethnic — I know, it’s a clunky term, but working with what’s available here) and queer, and Muslim — and all wrapped in Police, and it reads believable to me (and if anyone’s all, “Frances, fam, you’re being taken for a ride there, and not in a 288 GTO.” I’ll own that), and that’s it. A few lines, and we move on with a real person who has a full life and this is one of the least remarkable parts about her.

Meandering elsewhere, Aaronovitch does police acronym soup and gadget geekery with the casual humour of someone who knows a story isn’t the equipment, but loves throwing in a bit anyway. I criticised this in recent Laundry Files novels, where technical paraphernalia overwhelms the story, inducing a fast-forwarding through the pages. So far, Aaronovitch hasn’t fallen into this, though contra that, the pace of his novels, and what he’s set himself up to get through in a novel-length work, leaves some character development or response hanging. Like how PC Grant’s partner, PC Leslie May takes up with the Faceless Man and betrays him. Grant muses it’s because the Faceless Man knows how to repair her destroyed face, but this feels a little unsatisfactory. It may be Aaronovitch is playing a longer game with May here, or that this in fact speaks directly of Grant’s poor emotional and interpersonal development (he did have a junkie for a father) which, along with his habit of getting lost in details instead of focussing on the larger issues, may denote a disconnect between how he sees himself — and the stories are told in first person — and the actual liability he is as both a person and PC.

Or maybe it’s that May is a white woman and like so many of them has little moral compunction in selling out her not-white mates if that gives her a leg-up. Aaronovitch makes it delightfully clear that the Faceless Man, Martin Chorley, is one of those rich, white supremacist types, who thinks British Empire is the natural order, which doesn’t paint May in a good light:

‘So apart from the face,’ I said, ‘Why are you working with this guy?’
Lesley ignored me, but the question obviously irritated Martin Chorley.
‘Because she’s properly British,’ he said.
‘And I’m not?’
‘No, ’ he said, ‘Not that I blame you for it, you understand. Your mother was no doubt enticed over to fill some vacancy in the NHS or to drive a bus, or some other job that the working man was too feckless to do himself.’
[…]
‘But Lesley is a proper Brit,’ said Martin Chorley, who I realised had probably been waiting years for an audience. ‘That wonderful blend of Romano-Celt and Anglo-Saxon with a flavouring of Dane and a pinch of Norman French. That happy breed that conquered the world and could again if all their children were kind and natural.’

As the UK stands, on the brink of a racist, white supremacist, elitist-driven Brexit, with 60,000 Nazis gathered in Warsaw yesterday, and every day feeling the tide of the genocide they want to bring rolling further in, I love this simplicity in Aaronovitch’s writing. We’re long past pretending white supremacists are anything more complex. And anyway, all this was known and clear if not in the first Rivers of London novel, then certainly in the second, Moon Over Soho. Aaronovitch has never written anything other than London, the real London.

Ben Aaronovitch — The Hanging Tree
Ben Aaronovitch — The Hanging Tree