Mark Barry (1)

I don't think I've ever read a novel that combined the narrative elements of intrigue, humor, and exposé in a story about literature. About books. And about the somewhat arcane profession of "night porter" in a high-end hotel, this one in Wheatley Fields, England, the lodging headquarters, at story's commencement, of a quartet of authors in town for the Arkwright Literary Fiction Awards, a prestigious event akin to the Academy Awards, but for authors.

Since I don't know if ANY other novel has taken on this eclectic combo of elements, perhaps I should amend my first line to, "...a novel that so SUCCESSFULLY combined...," for, indeed, this is a wonderfully, creatively, and unusually successful book.

The titular Night Porter is our story's narrator and from his point of view we not only gain a very rich and visceral sense of place in regards to Wheatley Fields and surrounds (including the weather, which is almost a character in the book!), but of the rooms, hallways, and meeting places within The Saladin Inn itself, the historical hotel (built in the 13th Century) where he conducts his job and has for many years. A man who believes strongly in the nobility and value of his chosen profession, he introduces us to the fine-points of his many tasks and responsibilities, as well as lays out the details and players involved in the unfolding event.

The bulk of the story has our Night Porter (NP) wrangling the many and various needs (and quirks) of the nominated quartet staying at the Saladin, namely: Jo, the beauteous American author of "young adult" novels; Amy, the smoky, sensual British romance novelist who's in contention with a more literary effort this go-around; Frank, an African-American star in the "thriller" category, and Julian, the thirty-something self-published (first ever at the Awards) wunderkind who's written a well-received piece of contemporary fiction, but whose behavior online (trolling may be an understatement!) and off (outrageous bouts of public drunkenness), and general sense of bitter, cynical and overtly aggressive behavior (particularly towards Amy, for whom he seems to bear a unique level of antipathy) - has put him on the wrong side of a great many, both writers and their readers.

But NP and Julian find a workable enough camaraderie and it's through their many conversations and interactions that author Mark Barry very cleverly, and insightfully, shines a light on the often skewer-worthy minutia of the literary world, from the frustrations and various denigrations of being self-published vs. the banality and power of the commercial publishing paradigm, to the oh-so-human aspects of jealousy, insecurity, and back-biting that exist in this very competitive environment. As NP gets more and more involved with these four authors, he finds himself drawn to Amy, wary of Frank, endeared to Jo, and sympathetic - if irked - by the brilliant, but often vicious and self-sabotaging, Julian.

Things take an ominous turn, however, when Julian, in a spectacular explosion of drunkenness, loudly and publicly attacks Frank and Amy, and alienates even Jo (with whom he's actually managed some mutual affection), just days before the awards ceremony. When later that night, NP discovers him nearly dead after a clear case of assault, the story morphs from an interesting drama of literary fisticuffs to a literal and page-turning whodunit.

This mystery leads to many others, culminating on the big night, where the minute-by-minute lead up to and unfolding of who wins what, who might be guilty, "how did Julian leave the hospital and get here?" - right up to a stunning revelation of why the rancor between Amy and Julian is so intense - is so expertly composed and built by Barry that it achieves maximum nail-biting (not something you'd necessarily expect in a novel of this sort!), to the point that I had to make myself not skip ahead, but slowly let the tale unfold!

Barry is a master at weaving narrative, dialogue, wit, and description in a story that never flags, and despite its exploration of the rather insular and "inside" world of writers and publishing, the story involves a completely relatable set of circumstances that will engage and intrigue readers of all backgrounds. He also employs footnotes in an unusual and, initially slightly distracting way, but, like subtitles in a foreign movie, once a reader gets familiar with their rhythm and placement, their use becomes a delightful side-bar to the larger text. It's in those footnotes that we hear the asides, the thoughts, the more internalized perspective of our narrator, and they become such a bonus component of his character.

Having read Barry's much darker but equally expert (and profoundly original) novel, CARLA, prior to this one, my expectations were high. I am so damned pleased, as a very selective reader, to find them fully realized in THE NIGHT PORTER, another profoundly original, creatively rendered, and very suspenseful tale from a favorite author.… (altro)