Sociopathology Takes A Grim Look At The Roots Of Identity In 'Taking Lives.'
By Randall Holdridge
Taking Lives, by Michael Pye (Knopf). Cloth, $23.
DISSATISFIED WITH your life? Take someone else's. All
you need is the opportunity, and with a little care you'll obtain
a new passport, unlimited credit, and a functioning ATM number.
The serial killer in Taking Lives is Martin Arkenhout,
a Dutch exchange student to the U.S., whose first killing isn't
really a killing at all. Rather, it's an exchange of identities.
He swaps names and numbers with an American college freshman
of similar age and appearance when a highway accident makes it
possible for him to escape "the scrubbed regularity"
of his former life. Martin moves easily into the underground
of New York's avant-garde art scene, until the father of his alter
ego makes a visit to his NYU dorm. This requires Martin to take
another life, this time after a thoughtful process of selection
and calculation. Now, it's one life after another.
But Taking Lives isn't a gory thriller about a psychopathic
rampage. While it is full of foreboding, this story offers little
to the reader who wants blood-crazed boogie men leaping out of
bushes or from behind doors after nightfall. Novelist Michael
Pye is after more than goosebumps in this multi-faceted consideration
of the vulnerability of personal identity.
Martin is not so much a psychopath as he is a self-absorbed,
remorseless sociopath in relentless pursuit of the good life.
He resents anyone who is "inhabiting the life he needs and
living it without style and glory." In justifying his need
to "start over," Arkenhout says, "You get to finish
off somebody else's life, and do it better than they do."
Taking Lives' biggest fright is that this proves relatively
easy for him to do--with a little research and the substitution
of a thumbnail photo here and there--despite the vast mesh of
connections which superficially sustains modern identity. It's
possible in part because of Martin's facility of speech: "He
knew how to dress up his mind in a language, not just get the
vowels right." But it's possible also because there are
plentiful lives that no one will miss so long as the electronic
flow of 16-digit information continues uninterrupted.
In a hurried decision, Martin takes the life of professor Christopher
Hart, who is living alone on sabbatical leave in Holland. Unknown
to him is the fact that Hart is an art thief, pursued by a British
Museum administrator, John Costa. Here the plot requires a frankly
incredible coincidence to bring the killer and the sleuth together
in a vacation spot in Portugal--but so it happens.
This setting, in a remote foothill village, gives Pye an abundance
of metaphors to hammer home his thematic points: community life
in a small town where all are known to one another, the obscuring
smoke and obliterating flames of seasonal brushfires, twisting
mountain roads doubling back on one another. All serve their purpose,
as do the actual and fantasized love affairs which abound. More
grist for this particular mill is the provenance of the stolen
art works, which Hart has and Costa seeks to regain.
Attention shifts to the identity crisis which Costa is undergoing,
mired in the collapse of his childless marriage and unpleasant
revelations about his father's youthful identity as a collaborator
with Portugal's fascist dictator, Salazar. Moreover, the local
policeman, presumed to be Costa's ally, is actually a victim of
Costa's father's betrayal years before. Costa's developing breakdown
complicates the cat-and-mouse game between him and his murderous
suspect. Ironically, the killer's assumed identity is more stable--perhaps
even more "real" --than his pursuer's; though Costa's
uglier, convoluted identity ultimately proves the more deeply
rooted.
The authorial machinations in Taking Lives gradually come
to feel heavy-handed. Fortunately, Pye has an astounding surprise
ending in store--one that fully redeems both book and hero.
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