Gwen Moffat lives in Cumbria. Her novels are set in remote communities ranging from the Hebrides to the American West. The crimes fit their environment, swelling that dreadful record of sin in the smiling countryside cited by Sherlock Holmes.
Kate Shugak is a solid native Aleut, five-foot
eight, 120 pounds, fortyish: a P.I.
resident in an Alaskan village but currently holed up in her cabin in the forest recovering from a near-fatal wound to
herself, and worse, the miserable death
of her beloved dog.
So Kate
is not feeling sociable when a string of orienteers comes galloping across her
property; even less so when one limps back, lost. The last straw is the news
that the girl has stumbled on a body. The necessity of returning her to
civilisation forces Kate in from the cold and, having looked at the remains
herself, she is involved in the case as a witness. At the same time and
apparently by coincidence she is engaged by a distraught wife who is searching
for her missing husband. There is no apparent connection. People disappear in
this northern wilderness all the time and the body found by the orienteer was
little more than bones, scavenged by wildlife, and years old; the client’s
husband was alive a week ago.
The absentee is a geologist and his
destination unknown so the investigation must start with his back history and
his contacts, the first and most obvious being his wife. But although she
provides some information including the name of her husband’s closest friend
and colleague, it’s pretty obvious that the woman is holding something back.
Then she steals Kate’s off-roader and shortly afterwards is found dead under
the crashed vehicle with a suspect head wound.
Kate flies to Anchorage in search of the
missing man’s friend. Having made an appointment she turns up at his address to
find he’s been killed in what passes for a “home invasion”. The plot is following
a predictable pattern. Both men were geologists. The missing husband had sent
specimens to an assayer and they showed signs of gold. This isn’t surprising in
a state as rich in natural resources as Alaska. There are innumerable mines in
the region, many abandoned, at least one major operation closed down but still
in private hands, hiding behind a web of shell companies.
At the
centre of that web is an aged tycoon so powerful that he can import muscle from
the Chicago mafia. A couple of gay hoods
sporting mullet haircuts and wall-to-wall tattoos have appeared in the village
bar looking for a local man who’s had the sense to go to ground. Since he’s a
member of Kate’s extended family, here’s a personal thread tying her to the
action. A neat crescendo accelerates. Somewhere there is a new and hitherto
unsuspected goldmine but where?
The plot is transparent and none the worse for
that. It’s the unfamiliar setting and the minor characters that make the story.
All are well-drawn but it’s the aged who shine and best of all: the four
aunties, whittled down to three as one tries to dodge a grizzly when driving
home from berry-picking. She was not much missed, being the least likeable of the
quartet led by Auntie Vi who runs the B and B in the village. She was installed
to manage the place by the mine people but there is no suggestion of gratitude
or servility on the part of Auntie Vi. After all, it was less than her due; her
people were here before the exploiters. Native Aleuts have learned survival
techniques, a quality neatly demonstrated when Kate’s fierce and much-mourned
love shows up at the end of the book.
A raw
romp of a tale, jokey and facetious, colourful and careless of human life: an
antidote to pretentious stuff on the one hand, Scandinoir on the other: a
frontier book, and tops in the genre.