
Zoe Ferraris' CITY OF VEILS is a wonderfully written, compassionate work of fiction about a complicated place and its people. However, as importantly for our purposes, it's also a refreshingly fine twist on the police procedural, which in my experience, is often tougher to find.
The action begins with the discovery of an unidentified woman's body on a Saudi beach. The detective inspector called to the scene, Osama Ibrahim, thinks: Please, not another housemaid. I learned why, then much more about the hierarchies, tensions, and practical accommodations that underpin life in the coastal city of Jeddah. This is Ferraris' second novel featuring these characters, the first of which, FINDING NOUF, won her an L.A. Times Book Prize. I hadn't read the debut, but enough background was given that I didn't feel lost or unable to catch up to the relationships.
An ensemble of investigators and civilians, both women and men, form a spectrum of religious observance, careerism, family devotion, and display how predominant gender roles affect them all. The daily behaviors required from, and restrictions upon, women excited my strongest emotional reactions, but they weren't portrayed histrionically or homogeneously. Conflicts resulting from these traditions simmer within each of the major characters, not only between them.
At times, the differing formalities of domestic life created, for me, a welcome comedy of manners. At other inequities, I had to put the book down and breathe a minute. As one character, another American woman, remarks, I am used to something different. There is cruelty and unfairness portrayed, but also spiritual searching, bravery, affection, and gentleness, just as occurs in every place I understand better. None of this derails the narrative drive of the investigation. The desire to see the crime solved drew me back in, always to the heart of the story, as the search wended its way through competing suspects and motives which sprang up in plausible and satisfying confusion.
Unlike other novels with settings in which I'm better grounded, I'm not able here to determine where Ferraris, as authors must, has amped up reality's frequency and severity for effect. She lived in the community she writes about, and her depiction echoes what I've read, but I already know no parent would send a child to Oxford if violent murder in the student body and faculty were as common as Inspector Morse finds it. I don't know how much fact I've absorbed with the dramatization. I can't assess the normality of Ferraris's interplay between the Saudi religious police and the occasionally fractious and lingerie-loving citizenry. However, admitting my own ignorance doesn't make me less fascinated by her particular perspective on this society, and I don't think you'll be able to turn away either.
In a detailed storyline with multiple POVs, there are often minor coincidences or plot conveniences that one reader finds less tolerable than another. I counted a couple. You'll notice different ones. Just so you're aware, lousy character motivation bugs me way more than circumstantial contrivance, and Ferraris' characterization is fan-freaking-tastic. I only stubbed my toe on her plot once, and early on. With selective labeling, the author places a gun upon a mantle in the first act, per Chekhov's possibly apocryphal quote, never to be fired in the third. For a reader who recognizes the references, and Ferraris may be unfairly depending upon readers not to, it's actually more equivalent to placing a nuclear weapon on the mantle. (Also, of flashing its candy-red ignition button at us every so often.) Given the intimate scale of this story, at a personal and societal level, the drawing of even temporary attention toward any global implication was jarring and unnecessary. For me, it was the only clam she blew, and though it may unfold further in future novels-- of which I hope there will be many--I would've been happier not to wrangle with what it did to my story expectations.
My romantic imagination always warms to the thought of camels trotting across the Empty Quarter, no matter how musky or deadly the reality, so I do award extra credit for that inclusion. I can't help myself. But even placing my idiosyncratic fascinations aside, CITY OF VEILS is the best, most engrossing crime novel I've read this year.
I'm delighted we have 5 copies of this excellent book to share with commenters here at Women of Mystery! All you need to be entered is a comment with either a valid e-mail address or a profile that links to one. Updates to the thread will verify your acceptance. We'll accept entries through midnight on Friday.
For added diversion, you might share with us whether the last 5 books you've read tended more toward the pleasures of the already-beloved or the thrills of the exotic. Why do you think that is? We'll announce our winners after noon on Saturday, August 28th. Good luck to all!