Now I know how the original readers of Christie’s “Murder of Roger Ackroyd” must have felt – a mixture of indignation (“Not fair, I was tricked!”) and admiration at how the trick was pulled off. All I can say is, the author of “Black Water Lilies” (Michel Bussi) would not be admitted to the Detection Club in the 1930s, because this book does not play fair.
I don’t want to give away too much of the plot, but it’s set in Giverny, northern France, the home of the Impressionist painter Monet, who in his later years painted many versions of his lily pond, with the water lilies depicted in every colour except black. If there were to be such a thing as Monet’s “Black Water Lilies”, it would be enormously valuable.
When a prominent local citizen is found dead in the stream that feeds Monet’s garden (I keep typing Money for some reason), a police inspector, Laurenc Serenac, newly arrived from southern France, is called in to investigate, but finds that the villagers have closed ranks. The one person he thinks could help is the village schoolteacher, Stephanie Dupain.
Giverny is as much a character as any of the humans, or the dog, and the perils of being a tourist village are highlighted, that sense of being not real, so photographed (and painted) that the village itself is a fiction. It is hard to pick apart the real from the imagined, and the reader is constantly searching for clues as to which is which. An impressively unexpected ending has sent me back to the beginning, to re-read.