One good reason for readers to blog is to pick up book tips, and this exact scenario occurred recently when I visited Kevin’s blog and noted that no less than two other bloggers: Kim and Max both recommended Michael Dibdin’s Dirty Tricks (and yes it’s been made into a television film!). Kim compared Dirty Tricks to Henry Sutton’s Get Me Out of Here, and since that book was one of my favourite reads of 2011, that sealed the deal.
Dirty Tricks is narrated by a forty-year-old Oxford EFL teacher who pedals his “tenth-hand push-bike” from his shared flat in the slums of East Oxford to his pathetically underpaid job at the Oxford International Language College. It’s here that the narrator meets a married couple, the upwardly mobile and socially pretentious Parsons, accountant Dennis, “a wine bore of stupendous proportions,” and his sexually rapacious, PE teacher wife, Karen–a pencil-thin woman with a “large, predatory mouth, like the front-end grille on a cheap flashy motor.” After feeding Dennis’s wine snobbery, the narrator finds himself invited to a dinner party at the Parsons’ suburban home with the “lumpenbourgeoisie,” and he embarks on a sordid affair with Karen in which the biggest thrill comes not from orgasm but from the thrill of blatant coupling right under Dennis’s nose. After rubbing elbows with members of the consumer-driven middle-class, the narrator gets a taste of the good life, and following a holiday with the Parsons in a villa in the Dordogne, he decides it’s about time he moved up in the world…..
I wanted the lifestyle which other people of my age and education enjoyed but which I had forfeited because of the wayward direction given my life by the humanistic propaganda I was exposed to in my youth. I didn’t crave fabulous riches or meaningless wealth, I simply wanted my due.
And just how Dibdin’s unnamed sociopathic protagonist decides to get his “due” is the subject of the novel, and since the tale is told by an unreliable narrator of classic proportions who refuses to play by society’s rules, Dirty Tricks is both transgressive and darkly comic. The opening paragraphs of Dirty Tricks resembles a confession, but it’s not of course; this is a justification:
First of all, let me just say that everything I am going to tell you is the complete and absolute truth. Well yes, I would say that, wouldn’t I? And since I’ve just sworn an oath to this effect, it might seem pointless to offer further assurances, particularly since I can’t back them up. I can’t call witnesses, I can’t produce evidence. All I can do is tell you my story. You’re either going to believe me or you’re not.
Nevertheless, I am going to tell you the truth. Not because I’m incapable of lying. On the contrary, my story is riddled with deceptions, evasions, slanders and falsifications of every kind, as you will see. Nor do I expect you to believe me because my bearing is sincere and my words plausible. Such things might influence the judges of my own country, where people still pretend to believe in the essential niceness of the human race–or at least pretend to pretend.
Thus begins the narrator’s hilarious confessional narrative in which he explains and justifies his actions. He tells us his side of this sordid tale of adultery, murder, and social-climbing while waffling on the precise version of events until he creates one he intends to stick to. Part of the reason the novel works so well is that all of the characters are unpleasant, and when the homicidal EFL teacher, a seething mass of envy with a self-admitted “yen for married women” is unleashed in suburbia, the results are explosively funny and wicked. Dibdin takes us deftly into the mind of the sociopathic narrator, and here he is applying grandiosity to murder
It is striking that at a time when just about every other human value has been called into question, the value of life is still universally accepted as an absolute. Despite this, I have no qualms about admitting to men of your culture and experience that the demise of Dennis Parsons seemed to me to be jolly desirable.
With this narrator, Dibdin creates an awful human being who’s always full of unpleasant surprises and whose base actions are unspeakably low and self-serving. Now matter how awful the narrator is, I found myself laughing out loud at his twisted, sick thinking. Just when I thought the narrator had sunk to his lowest behaviour, there were endless disgraceful actions in store.
I’ve always made a point of borrowing money from women early in the relationship so as to give them a hold over me. It also helps when the time comes to break off the affair, because you can talk about the money instead of feelings and love and messy, painful stuff like that.
In true sociopathic style, the narrator ambushes the reader with his twisted logic. Here he is discussing the past of one of his EFL students, Garcia:
Trish had given me a brief account of the allegations against him, but just to be on the safe side I phoned Amnesty International, posing as a researcher for a TV current affairs programme. Their response was unequivocal, a detailed catalogue of union leaders, students, newspaper editors, civil rights workers, Jews, feminists, priests and intellectuals tortured and murdered, a whole politico-socio-economic subgroup targeted and taken out. I was dismayed. With a record like that, Garcia might well regard the menial task I had to offer him as beneath his dignity.
In this extremely entertaining novel, our narrator leaves a trail of revenge, death and disaster and yet always sees himself as the victim–a simple man who merely tried to turn his life around, and as the crimes rack up, his justifications become more complex, skewed and hilariously wicked. Author Michael Dibdin’s journey into the mind of a sociopath would be chilling if not for the humour, and for this reader the very best parts of this terrific novel occur when the narrator mimics the emotional responses he knows society expects of him.
For Kim’s review, go here. Kim also liked Henry Sutton’s Get Me Out of Here.