“It was an eerie spectacle, for the darkness obstructed the rest of the bodies so that the prisoners looked like the heads of fallen angels nailed to a backdrop of night, with their hands for wings.”
Pushkin Vertigo continues to publish some astonishing crime novels, and this is proved once more by a second Frédéric Dard novel, The Wicked Go To Hell which follows on the tail of Bird in a Cage. The Wicked Go To Hell follows the escape of two convicts–one a spy and one an undercover cop. There’s very little down time in this gripping tale, an exploration of identity and morality .
The novel opens with a bureaucratic scene of a cop named Mérins meeting with his chief while groans of beating and torture taking place next door provide the incongruous background noise to what should be an office meeting. The man being beaten is a spy. He’s been interrogated five times, four times too many, according to the chief, but like many ideologues, the prisoner isn’t breaking. The chief has an alternate plan–he intends to place Mérins undercover in the same cell with the prisoner. They are supposed to buddy up and then plan an escape.
“We’ll lock you both up in the same jail cell… a tough one.. the sort of place that gives kindly old ladies the shivers. The pair of you will escape!
You’ll try to hole up somewhere and you’ll wait. The breakout will be big news. The head of the organization, knowing that his man has escaped, will want to get him back… At some point or other, he’ll break cover…Then, when you’ve got your hands on him…”
He made a chopping motion with the side of his hand. The gesture meant death.
The Chief expects that guards will be killed along the way, but hey, it’s all in the name of making the escape look authentic….
“Your second problem: the escape… Keep telling yourself, old son, that you’re acting unofficially.”
He repeated the word, spelling it out with great vehemence:
“Un-off-icially! The minute you leave the office I shall disown you! You know what that means?”
Sure I knew. He couldn’t help taking a sly sideways look at me.
“If you run into trouble, I won’t be able to lift a finger to help you, especially since escape won’t happen without breakages…”
The novel then shifts from the first person to the third–two freshly beaten men, handcuffed together, are thrown into a cell by a sadistic warden, where they join a third prisoner, a mute. The two new prisoners, Hal and Frank exchange names, but we don’t know which one is the undercover cop and which one is the spy. Each man expresses suspicion that the other has been planted in the cell as a “stool pigeon.”
Days of beatings pass in the airless, dank, dark prison; nights are full of screams, and then Hal and Frank hear that an execution of another prisoner is planned. They hatch a plan to escape on the day of the execution, and the plan gives them hope, raising their spirits:
They had grabbed it as they would a battering ram-and in fact their idea was itself a battering ram, with which they would try to smash down the gates….
I don’t think I’m spoiling anything to say the men escape, and that’s when the story really begins. ..
Although this is a novel about an escape, the atmosphere is incredibly claustrophobic–running from the dank, stinking cell to the outside world, the desperate men are chased and hunted, and exchange one hell for another.
In common with other titles in the Pushkin Vertigo line, The Wicked Go to Hell is an incredibly clever novel. Author Frédéric Dard deliberately blurs the lines between the ‘good’ and the ‘bad’ guys, stripping them of their identities so that we try to guess which one of the two men is the spy and which one is the undercover cop. All we have to judge them by is their current behaviour–which really is how we should see everyone–not by their uniforms or their status. Both men lose their identities as they become dehumanized prisoners. But then after the escape, we keep waiting for the reveal, and it comes, finally at the end of the wonderful story in which right and wrong blur into escape and survival. While both men begin this journey on opposite ends of the law, there’s a greater morality here in the bonds of friendship, debt and loyalty.
According to the afterword at the end of the book, Dard wrote 284 thrillers. I’m hoping that Pushkin mines this author’s work. The Wicked Go To Hell was made into a film. I’d love to see it.
translated by David Coward
Original title: Les Salauds en Enfer (1956)
16 responses to “The Wicked Go To Hell: Frédéric Dard (1956)”
I blame you for my TBR pile.
Go ahead, blame me, I can take it.
Just found this article in The Guardian: https://www.theguardian.com/books/2016/may/14/frederic-dard-france-crime-novels-georges-simenon
Thanks Gert. I like the sounds of the statement that Pushkin is going to be publishing a lot of Dard.
284? Goodness, gracious, almost like Simenon…
Yes and just like Simenon he wrote under a bunch of names.
Great link, gert, thanks. Looks like we can expect at least 4 more Dards, and possibly many more, from Pushkin. He sold 200m books in France! Wow.
In general this review reminds me I need to get to the 3 Vertigos sitting on my shelves…
You’d like the two I’ve read so far, Ian.
This sounds excellent. I really need to get to him soon. I think many of those novels are from the San-Antonio series and those aren’t as literary, if I’m not mistaken.
I wonder if Pushkin will tap the series or just publish the standalones.
I would presume they’ll stick to the standalone. The series is huge.
Dard is a cult writer here, especially for his San Antonio series.
How’s the style? “normal”? I’m asking because the San Antonio ones are written in a very special prose, full of argot, play on words…
PS: He comes from a lovely village not very far from Lyon.
I just watched Disappearance which was set in Lyon, so i thought about you. No, no argot, or at least I didn’t notice any.
Dard sounds like an excellent addition to the Pushkin Vertigo stable – that’s good to know as I have a copy of the other one you reviewed a while back, Bird in a Cage. 284 thrillers though, that’s a hell of a work rate…
Lean and tough – perfect description. And clever as well, how he sets up and handles the knowing / not knowing issue after the escape. At the end, it almost doesn’t matter which is which.
An excellent introduction to Dard – I’m sold. Tokyo Zodiac will be next vertigo, from the TBR.
The only ones I haven’t cared for from Vertigo is Clinch which I found too ugly for my tastes.