The Deadliest Art (Provence)

Rating:
Summary: Another Winner for Bogner
Review: As a Southern California mystery writer, I genuinely enjoyed Mr. Bogner's previous novel, TO DIE IN PROVENCE. I was not aware of this follow-up novel, THE DEADLIEST ART, until I read a glowing review of it in THE LA TIMES. Now that I've read this new work, I can attest that that wise TIMES critic was correct. THE DEADLIEST ART is a winner. In this novel, Michel Danton is back on the scene. He is preparing to marry Jennifer Bowen, the American professor who saved his life in Bogner's previous book. Events intervene. An acid-scarred body of an American junior golfer is found on a beach and other murders occur. The police begin their investigation, and Bogner presents flashbacks of the criminals in alternate chapters. The flashbacks begin in Venice Beach in California, near my home turf. The story works. Bogner captures his settings pefectly. His characters are vividly drawn. THE DEADLIEST ART is an excellent crime fiction work.

Rating:
Summary: An Allegorical Commentary on Societal Ills
Review: In Aix-en-Provence, France, criminal investigator Michel Danton and California expatriate Jennifer Bowen will soon marry. Not to long ago, he and Jennifer were shot and she had to kill two people on his last major case. Knowing about her nightmares and that he inherited artwork worth hundreds of millions of dollars, Michel promised Jennifer he would resign as head of the Special Circumstances Section once a replacement is selected. Though he admits to himself that he loves Jennifer, he will miss the job he has held for seven years.

Michel avoids getting involved in the squabbles of his parents over the food and other arrangements for the wedding because he is involved in a new case. On the beach lies the abused body of a young girl apparently washed ashore. Michel begins making inquiries that soon has him out of country. Each step closer to the truth sends him one step deeper into a cesspool that the American EPA would avoid.

A new Norman Bogner novel is always a reason to cheer, but a new Dalton and associates tale is nirvana (see TO DIE IN PROVENCE). Michel's latest case, THE DEADLIEST ART, is a powerful police procedural that hooks the audience because one cannot help caring for Michel, Jennifer, and the rest of the brood. The investigation is intelligently constructed to keep readers guessing and reading (set aside time for one sitting). As usual Norman Bogner provides a powerfully entertaining, fast-paced story line that defines what a thriller should read like.

Harriet Klausner

Rating:
Summary: A True Pleasure To Read
Review: Norman Bogner's new novel, "The Deadliest Art", is fantastic! It is a sequel to "To Die In Provence", but it can easily be read on its own. If you read this book, you'll definitely want to read the first book anyway. The story follows French detective Michel Danton as he struggles to honor his promise to his new bride to give up his dangerous work, while being presented with a case of unimaginable horror. The book alternates between the actions of the criminals and their pursuers in a non-synchronous manner that works perfectly. "To Die In Provence" was a great mystery, plunging one into the customs and culture of the South of France. "The Deadliest Art" surpasses it, with an even deeper immersion into French psyche and attitude, coupled with an exploration of the Venice of Southern California. As you are simultaneously drawn into the madhouse of the killers and Michel Danton's increasing desperation, you won't be able to put this book down!

Rating:
Summary: A True Pleasure To Read
Review: Norman Bogner's new novel, "The Deadliest Art", is fantastic! It is a sequel to "To Die In Provence", but it can easily be read on its own. If you read this book, you'll definitely want to read the first book anyway. The story follows French detective Michel Danton as he struggles to honor his promise to his new bride to give up his dangerous work, while being presented with a case of unimaginable horror. The book alternates between the actions of the criminals and their pursuers in a non-synchronous manner that works perfectly. "To Die In Provence" was a great mystery, plunging one into the customs and culture of the South of France. "The Deadliest Art" surpasses it, with an even deeper immersion into French psyche and attitude, coupled with an exploration of the Venice of Southern California. As you are simultaneously drawn into the madhouse of the killers and Michel Danton's increasing desperation, you won't be able to put this book down!

Rating:
Summary: Review of Deadliest Art & To Die In Provence
Review: Some might have said that Norman Bogner was playing bad poker and attempting to draw to an inside straight when he wrote 'To Die In Provence' in 1998. After all, he was a writer of mainstream fiction -- Seventh Avenue, The Madonna Complex, California Dreamers, among others - and the Provence book is a mystery. But after you read it you find it is much more than a mystery. The major characters, Michel Danton, chief investigator for the Special Circumstances Section of the French Judicial Police, and Jennifer Bowen, an American art history professor, remain with you and breathe on, as well as a host of minor characters. You find that you want to know more and that is a sign of a good book. The author filled his straight and won the hand.
What is meant by 'more than a mystery'? I mean that the author has widened the scope, brought more to the table. Mysteries usually present the good man or good woman, usually a detective or cop, who then pursues the bad guy who has perpetrated a crime on usually good folks. The progression is linear from start to finish with few detours. Subplots are usually absent along with any serious reflections from the hero, minor characters appear and disappear after they help the hero, the bad guys are caught, resolution is complete, and a new book will appear next year. Along the way it is sometimes difficult to suspend disbelief because the hero carries a 25 shot 6-shooter. Examples are MacDonald's Travis, Parker's Spenser, Grafton's Kinsey, Child's Reacher, White's Doc Ford and a thousand others. A lot of these are good men and women detecting, pursuing and catching the bad folks in very good books. I've read them and like them. Norman Bogner, on the other hand, takes a lot of time defining and exploring his characters. With precise use of literary hydrofloric acid he etches very real people in glass. Because the people are real they have flaws and sometimes the glass fractures because of internal struggles within the characters, as well as cracking under the pressure of the externals not under their control. The crimes, along with the accompanying mystery/detective motif, the setting in southern France, and the pyscho-killer, presented in 'To Die In Provence' act as a catalyst to bring the strengths and weaknesses of Michel and Jennifer, as well as others, to the surface and we see them struggle and reflect and we wince and fret over them and we want them to 'grow out of it' and overcome. We want to know the answer to the question, 'If it doesn't kill you, does it make you stronger'?
Bogner uses the same deft strokes to paint the canvas of his settings and the minor characters evolving in the background. Whether we want to or not we painlessly and relentlessly learn about the town of Aix-en-Provence, a good French restaurant, food, wine, and the friends, acquaintances, and parents of Michel, the French Judicial system, and, most surprising and different, how a killer operates and what makes him tick within the clock of the mystery. As one reads larger, more encompassing, questions surface. How is a man's behavior affected by his origin? How can a rich young girl-woman be captivated by a killer? The latter, of course, is the 'Manson' question. If you want to know how the author answers these, read the book
After an intervening book, 'Honor Thy Wife', a 'mainstream' novel, Norman Bogner has returned with another compelling mystery, 'The Deadliest Art.' The author, not content with leaving Michel and Jennifer in literary limbo, brings them back in an even more intricate plot. While it is nice to have read the previous book, it is not at all necessary for Bogner, with wide reach and skill, reintroduces you with great detail. And a whole new set of questions is asked while the 'mystery' evolves. A young girl's body washes ashore near Aix-en-Provence. Her back is disfigured. Why? Thus, the mystery is triggered. Danton takes charge of the investigation and the backgrounds change, ranging from the back alleys of San Antonio, Texas, to Bruges in Belgium, the ever present Provence in France and, finally, to Venice, California. Again we relentlessly but painlessly learn about art, food, places and people, French and American cultures and, amazingly, tattoos. While the mystery unfolds and the murders pile up so do the larger questions. Bogner attacks the question of why, especially in America, are we so intent on being someone else, where is the benefit in illusion, what is art, and where are we going. Along with this the author has created a killer and his accomplices so diabolical and sociopathic and tied and knotted them to art in such a clever way that future villains may be defined as Bogner-esque in scope. When the book finally and fittingly ends, it ends with exploding revelation in Venice, California. Today, standing on the Venice Boardwalk in front of the Small World Bookstore, both of which front the frequently polluted Pacific Ocean, one can watch the unending parade of current American Culture before you in all its glory. One can only smile and nod one's head at the author's choice of a concluding locale. And one realizes that 'The Deadliest Art' has presented us with a slice of American culture presented as a reflection of ourselves. Whether we want to or not. If one has read 'From Dawn To Decadence' by Jacques Barzun, that giant tome, or Morris Berman's, 'The Twilight Of American Culture', or watched 95% of recent American movies or television, one cannot help but see the undercurrents in 'The Deadliest Art.' The author has succeeded again in giving us not only a compelling mystery but a compelling novel. More important, he has asked tough questions. If you read one book, you'll want to read the other.

Rating:
Summary: Review of Deadliest Art & To Die In Provence
Review: Some might have said that Norman Bogner was playing bad poker and attempting to draw to an inside straight when he wrote `To Die In Provence' in 1998. After all, he was a writer of mainstream fiction -- Seventh Avenue, The Madonna Complex, California Dreamers, among others - and the Provence book is a mystery. But after you read it you find it is much more than a mystery. The major characters, Michel Danton, chief investigator for the Special Circumstances Section of the French Judicial Police, and Jennifer Bowen, an American art history professor, remain with you and breathe on, as well as a host of minor characters. You find that you want to know more and that is a sign of a good book. The author filled his straight and won the hand.
What is meant by `more than a mystery'? I mean that the author has widened the scope, brought more to the table. Mysteries usually present the good man or good woman, usually a detective or cop, who then pursues the bad guy who has perpetrated a crime on usually good folks. The progression is linear from start to finish with few detours. Subplots are usually absent along with any serious reflections from the hero, minor characters appear and disappear after they help the hero, the bad guys are caught, resolution is complete, and a new book will appear next year. Along the way it is sometimes difficult to suspend disbelief because the hero carries a 25 shot 6-shooter. Examples are MacDonald's Travis, Parker's Spenser, Grafton's Kinsey, Child's Reacher, White's Doc Ford and a thousand others. A lot of these are good men and women detecting, pursuing and catching the bad folks in very good books. I've read them and like them. Norman Bogner, on the other hand, takes a lot of time defining and exploring his characters. With precise use of literary hydrofloric acid he etches very real people in glass. Because the people are real they have flaws and sometimes the glass fractures because of internal struggles within the characters, as well as cracking under the pressure of the externals not under their control. The crimes, along with the accompanying mystery/detective motif, the setting in southern France, and the pyscho-killer, presented in `To Die In Provence' act as a catalyst to bring the strengths and weaknesses of Michel and Jennifer, as well as others, to the surface and we see them struggle and reflect and we wince and fret over them and we want them to `grow out of it' and overcome. We want to know the answer to the question, `If it doesn't kill you, does it make you stronger'?
Bogner uses the same deft strokes to paint the canvas of his settings and the minor characters evolving in the background. Whether we want to or not we painlessly and relentlessly learn about the town of Aix-en-Provence, a good French restaurant, food, wine, and the friends, acquaintances, and parents of Michel, the French Judicial system, and, most surprising and different, how a killer operates and what makes him tick within the clock of the mystery. As one reads larger, more encompassing, questions surface. How is a man's behavior affected by his origin? How can a rich young girl-woman be captivated by a killer? The latter, of course, is the `Manson' question. If you want to know how the author answers these, read the book
After an intervening book, `Honor Thy Wife', a `mainstream' novel, Norman Bogner has returned with another compelling mystery, `The Deadliest Art.' The author, not content with leaving Michel and Jennifer in literary limbo, brings them back in an even more intricate plot. While it is nice to have read the previous book, it is not at all necessary for Bogner, with wide reach and skill, reintroduces you with great detail. And a whole new set of questions is asked while the `mystery' evolves. A young girl's body washes ashore near Aix-en-Provence. Her back is disfigured. Why? Thus, the mystery is triggered. Danton takes charge of the investigation and the backgrounds change, ranging from the back alleys of San Antonio, Texas, to Bruges in Belgium, the ever present Provence in France and, finally, to Venice, California. Again we relentlessly but painlessly learn about art, food, places and people, French and American cultures and, amazingly, tattoos. While the mystery unfolds and the murders pile up so do the larger questions. Bogner attacks the question of why, especially in America, are we so intent on being someone else, where is the benefit in illusion, what is art, and where are we going. Along with this the author has created a killer and his accomplices so diabolical and sociopathic and tied and knotted them to art in such a clever way that future villains may be defined as Bogner-esque in scope. When the book finally and fittingly ends, it ends with exploding revelation in Venice, California. Today, standing on the Venice Boardwalk in front of the Small World Bookstore, both of which front the frequently polluted Pacific Ocean, one can watch the unending parade of current American Culture before you in all its glory. One can only smile and nod one's head at the author's choice of a concluding locale. And one realizes that `The Deadliest Art' has presented us with a slice of American culture presented as a reflection of ourselves. Whether we want to or not. If one has read `From Dawn To Decadence' by Jacques Barzun, that giant tome, or Morris Berman's, `The Twilight Of American Culture', or watched 95% of recent American movies or television, one cannot help but see the undercurrents in `The Deadliest Art.' The author has succeeded again in giving us not only a compelling mystery but a compelling novel. More important, he has asked tough questions. If you read one book, you'll want to read the other.

Rating:
Summary: an engrossing read
Review: This is my first Michel Danton mystery novel, and I will definitely be reading the first book in this series, "To Die In Provence" and be keeping an eye out for future Michel Danton mystery novels. Hard edged and gripping, this kind of mystery novel is not my usual fare, however I was quickly won over and found it quite difficult to put this book down. The identity of the murderer and his cohorts is known from the very beginning, so that this mystery novel is not so much about the authour engaging the reader to play armchair detective; rather "The Deadliest Art" is more of a psychological study about the workings of a deranged mind, and of the sway that this mind has over those that come into contact with it.

Michel Danton is busy preparing for his upcoming marriage to Jennifer Bowen, keeping his quarrelsome chef-parents in check, getting to know his about-to-be mother-in-law, and regretfully contemplating his resignation as commander of the Special Circumstances Section of the Police Judiciare (he had promised Jennifer that he's give up his very dangerous job for something a little more sedate), when a body of a young girl washes up on one of the beautiful Provence beaches. A check with missing persons reveals that the body is that of 13 year old Caroline Davis, an American who had been on holiday with her parents in Bruges, and who the Belgian police believe was kidnapped by unknown American woman. A preliminary autopsy reveals that the girl had been sexually assaulted, and that her body had been disfigured by some kind of acid wash. To Michel, it becomes obvious that the girl had been specially selected for whatever horror she had been put through. With little to go on, Michel and his team begin sifting through every little piece of information that they can get at, hoping for a breakthrough, when they receive news that there been two more kidnapping attempts. But the women involved in each kidnapping seems to be a different one. Is there a whole bevy of crazed women on the loose kidnapping young girls? Michel would like to be able to concentrate on his upcoming wedding, but finds his attention continuously being taken up by this strange murder-kidnapping case. Will he be able to catch the mind behind this criminal spree before another girl turns up dead?

"The Deadliest Art" has two plot-lines that work quite independently of each other until they intersect in the last few chapters, and Norman Bogner does a wonderful job of juxtaposing each plot line without missing beat. One plot line deals with the police investigation and Michel's upcoming marriage ceremony. The other plot line deals with the murderer's life, motivation, the murderer's losing grip of reality, and the spell that the murderer casts on all those around. Eventhough the murderer's identity is revealed within the first few chapters, I'll not go into too much depth about this particular plot line, because it was this plot line that was gripping and held my interest. I do wish however that Norman Bogner had spent a little more time on the police investigation of this kidnapping-murder than he had done. Uncovering the sad, bizarre and shocking history of the murderer lent a touch of horror to this mystery novel that was engrossing, but I would have enjoyed it a lot more if he had concentrated more on the police investigation that he did on Miche Danton's private life.

Nitpicking aside, "The Deadliest Art" is an engrossing read, and worth all it's rave reviews.

Rating:
Summary: As clever as "The Cabinet of Doctor Caligari"
Review: While agreeing with the other readers' comments, I was most fascinated by the storytelling device that Norman Bogner invented in this novel: Unsynchronized chronology of converging stories. This differs from standard thriller technique in which the point of view swings back and forth between the good guy and bad guy like the arm of a metronome or clock pendulum, with the story driven by advancing time.

The novel opens in Provence, France, where Bogner reintroduces us to Det. Michael Danton and art historian Jennifer Bowen, now in a state of prenuptial bliss. Next, a continent away in Venice, California, Bogner introduces murderous Garrett Lee Brant "and his beautiful Eve" who are just stepping out for a millennium New Year's party hosted mammary-enhanced Heather Malone, Garrett's benefactor and sometime lover. Garrett is a frustrated artist who is fascinated by Gauguin, with whom he "holds regular conversations." (His back story reveals the ability to speak in a number of voices.) Garrett has received no recognition for his work on canvas but is enjoying enormous commercial success doing tatoos on the Venice (CA) boardwalk. Eve is skilled in the art of makeup. Switch to Provence where Michael is called to investigate a girl's body washed up on the beach. Switch back to Heather Malone's party, an upscale S&M affair. Heather introduces to Mr. Jan Korteman, a Belgian photographer who specializes in high-grade pornography. Eve makes her own moves and a four-way psychological sex drama unfolds.

And thus two "parallel" stories evolve, with Michael investigating the girl's death and consoling the parents and with Jan taking Garrett and Eve to live as his house guests in Belgium where they engage in a sinister artistic collaboration. The stories evolve asynchronously: The protagonists working slowly to stop the crimes that the antagonists have yet to commit. This yarn is not driven by the beat of a metronome. It is driven by the fascination of the reader who realizes that by the end of the book the two stories must converge. As the book begins to run out of pages, the antagonists' story accelerates and catches up with the protagonists, with fascinating and deadly results. Bogner has invented a new technique in thriller fiction: Converging stories told in warped time.

And as if this was not clever enough, Bogner throws in one final twist which will make the reader pinch himself, turn back to the first page and read the story once more. "The Deadliest Art" is high art, every bit as clever as "The Cabinet of Doctor Caligari."