Eccentric, wealthy businessman, former architect Michel Hartog arrives at a swanky country asylum to collect Julie Ballanger, a young woman who’s lived there, voluntarily, for 5 years. She’s leaving to be employed as a nanny for Hartog’s young nephew, Peter aka “the snotty brat.” Hartog inherited his wealth unexpectedly when his brother and sister-in law died in a plane crash, and their deaths left him in charge of the family fortune and the well-being of his nephew, the heir. Now Hartog has hired a former mental patient as a nanny. What’s wrong with this picture?
If you listen to Hartog’s driver, Hartog has a reputation as a philanthropist for hiring people who have physical or mental problems. Hartog’s home is a “house of defectives.”
Julie nodded. The driver handed her the drink. He had poured himself a Ricard. He drank half of it and wiped his mouth with his sleeve.
“Physically, you are better built than Old Polio.”
“The nursemaid before you. Completely off her rocker. Fifty if she was a day. And an idiot. What about you? What’s your thing?”
“I don’t understand at all,” said Julie. “My thing? What do you mean?”
“The thing that’s screwy with you.”
“I’m cured,” Julie stated.
“The hell you are!” exclaimed the driver. “The boss’s way of doing good is over the top. He only hires retards. He sets up factories for cripples to work in, can you figure that?”
“Those guys who go around in little motorized wheelchairs? He’s got them working on a production line! In this house it’s the same baloney. The cook is epileptic. The gardener has only one arm, pretty handy for using the shears. His private secretary is blind. His valet suffers from locomotor ataxia–no wonder his meals arrive cold! The snotty brat’s old nanny–well I told you about her. As for you, you must know yourself.”
Hartog is certainly very odd, but his first scene at the asylum shows us that he’s not a nice man, so does he hire Julie from some sort of philanthropy or contrariness or is there something deeper at play?…..
Julie’s introduction to Hartog’s nephew is not reassuring; Peter is a difficult child, and Hartog, who encourages Julie to drink, is strangely repellent, with a smile which “resembled the coin slot of a parking meter.” Julie is not the only one who hits the booze hard in Hartog’s house; it’s “a drinker’s paradise,” and even the valet downs Guinness with his breakfast omelet. Hartog runs his home in a paradoxical fashion. On one hand, he whimsically expects his employees to be available whenever he pleases, sharply dressed and ready to perform their duties, but on the other hand, he indulges certain vices. Thrust into this new stressful environment, Julie washes down tranquilizers with alcohol.
Although we never get the whole story of Julie’s past life, some information is revealed in fragmented hints, but these crimes are only the external projections of something much deeper. Julie who claims to be “allergic” to the police is politically alienated from bourgeois society. Hartog plucks her from an insane asylum, hands her a job, a wardrobe full of clothing and a regular paycheck. He expects her to be impressed and grateful:
“What do you think of me?” Hartog asked. “What do you know about me? Do you get the feeling you are in a fairy tale?”
“I don’t believe in fairy tales.”
“Okay. But what then?”
“You are a soap, oil, and detergent magnate. You are rich and you are a philanthropist.”
“Let’s not exaggerate.”
“You do Good. You are probably trying to compensate for the feeling of being a usurper. Because your wealth is not the fruit of your own labor. Only the death of your brother and his wife made you the owner of it. You must have developed a strong sense of guilt, even if you had no wish for them to die. Anyway, one always wishes for the death of one’s brother at some level.”
“Congratulations!” said Hartog in a toneless voice. “Is that what they teach at the asylum?”
“It’s not an asylum. It’s an open establishment. I could have left any time I wanted.”
“But you stayed there for five years. Why?”
“You’ve seen my records. You know why.”
While this is a crime story, The Mad and the Bad also contains a socio-political undercurrent. Hartog expects gratitude from Julie for offering her ‘another chance,’ but he also wants to see awe–awe for his wealth and his accomplishments. But Julie is unimpressed. She sees Hartog as an unexceptional human being with the advantage of controlling a fortune:
“Quite the little rebel,” he observed. “I know all about you. Pickpocket. Arsonist. Congratulations.”
“Of course you do,” replied Julie. “It’s all in my file.”
“You, all you poor people, are just too stupid. You go about things in the dumbest way.”
“Everyone can’t inherit money.”
“For my part I do something with my inheritance. You people wouldn’t know what to do with one.”
I’m not going to reveal much of the plot–the back cover of the book reveals more than I intend to address here. But since this is a crime novel, a hit man and his sloppy henchmen enter the scene, and Julie’s brief re-entrance into society comes to a screaming halt. Suddenly, she finds herself back in a life on the run, and all of her old survival skills return. Julie describes herself as looking like a “post-op transsexual,” but this is just a reflection that Julie eschews bourgeois society’s signifiers of the feminine ideal; in reality she’s fit, attractive, handy with weaponry and adept at survival. As the book continues, there’s a parallel metamorphosis that takes place as both Julie and Thompson, the hitman with a nagging ulcer, return to primal behaviour.
The Mad and the Bad is a deeply subversive novel and contains the same sharply observed criticisms of bourgeois society that are found in Fatale. As the novel continues, Julie’s ‘madness’ becomes questionable, and as her violent history morphs into her violent present, she is removed farther from society’s norms and sinks deeper into self-preservation. Her past insanity is seen mal-adjustment–a reaction to the hypocrisy of a decadent, materialistic society and a drive to anti-social behaviours; she simply opted to no longer live in the world and voluntarily retired to the asylum where, drugged and removed from aggravation, she was “cured.” Her re-entry into society has turned into a nightmare, and those same anti-social behaviours that sent her into the asylum in the first place, now allow her to survive. Another character, Fuentès, a failed idealist, has also rejected society, and in his case, he’s not locked up in an asylum, but chooses to isolate himself in a bizarrely constructed building whose labyrinth design grants security and is a testament to his individualism. Is Fuentès, another fringe dweller, also mad, or is his abandonment of society a signifier of sanity?
There are moments when Julie seems aware of her delusions, but there are other times when she can’t control herself. One scene in which a preacher emphasizes the symbiotic relationship between religion, the government and the police seems to awaken something in Julie:
She had to get rid of all these bastards who were out to destroy her. This was no time to lose her head. She would have loved to open fire with a machine gun and create a bloodbath.
It’s no coincidence that one of the book’s destructive, brilliantly explosive scenes takes place in a large department store–a temple to consumerism. Violence detonates with a darkly humorous edge as Julie is pushed to extremes in order to shock the customers and shop assistants out of their stupor. Yes, Julie uses the location for her purposes, but as the tranquilizers wear off and she blazes across France, Julie comes alive, all those old skills ignite, and we cheer her on.
Manchette shows that while the ‘bad’ are predictable, the ‘mad’–those who reject society–are not. This is the fourth Manchette novel I’ve read, and my favourite to date. For its irony, its unexpected twists, and for the marvelous character of Julie, The Mad and the Bad will make my best-of-year list. For those interested, here are reviews of Fatale, The Prone Gunman and Three to Kill
Translated by Donald Nicholson-Smith & with an introduction from James Sallis.
Review copy/own a copy
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