Casual Debris

From Casual Debris.

The fourth part of John Saul's serially published The Blackstone Chronicles focuses on a handkerchief. If italicized prologues are to be believed, this cursed item is embroidered with a fancy R by an asylum patient who deliriously believes she is living at society's upper social echelons. Drama ensues, which includes the less-than-pleasant nurse using the handkerchief to wipe spaghetti sauce (I'm assuming tomato) from her uniform, and, tossed in for good measure, some old asylum water therapy/torture.

Enter our buddy Oliver Metcalf, editor of Blackstone's local paper, The Chronicle. Arriving at the office he learns from his assistant that local gossip Edna Burnham has been spreading theories related to the recent trend of violent deaths. Burnham connects the three deaths to the mysterious gifts each household received shortly before tragedy struck, and in addition links it all back to the asylum. Editor Metcalf refuses to believe there is any connection, is not aware of any mysterious gifts, and generally scoffs at the woman's ideas. Yet the reader, aware of the all-too-obvious connections, is left to wonder if perhaps town gossip Burnham should depose Metcalf and serve as The Chronicle's, and Blackstone's, top investigative reporter.

Following her aunt's death in Part Two, Rebecca is taken in by librarian Germaine Wagner and her wheelchair bound mother, "Miss Clara." As I discussed in my review of "The Dragon's Flame," Germain is only one of two negative characters in the series (this was before we were introduced to Clara), both being unmarried women. In her previous home Rebecca was likened to Carrie, whereas here she is treated like Cinderella, with Prince Oliver delivering the cursed handkerchief as though it were a glass slipper. Germaine usurps the gift, passing it onto her mother who seems to know something of its history. Germaine takes it back and begins to hallucinate, and the predictable occurs.

Our side plots include Oliver rummaging through old asylum case files, and bankers & contractors & lawyers (Bill McGuire and Ed Becker and a woman, all interchangeable) visiting the asylum to help assure themselves the investment is sound. There Becker comes across a chest of drawers he decides to purchase (a presentiment of things to come?).

Part Four is more of the same. It reads like filler in that nothing new is discovered, only some minor details regarding Oliver's father which we already suspected. Both build-up of the main plot and its drawn out climactic sequence are familiar. Saul tries to escalate suspense by pairing the climax alongside Olliver's realizations about his father, but since the former is predictable and the latter delivers no surprises nor conclusions, the effect is flat and I found myself rushing through it all. I expect the fifth book to be a similar filler-type entry, with part six being the most interesting, at least of the second half of the series.

Finally, amid all this drama, the most intriguing mystery is left unsolved. When Germaine takes the handkerchief from Rebecca, she notices it is "spotless and neatly pressed." (29) Now, how did the asylum staff get all that spaghetti sauce out of the fabric?