Serial killers of some description or another appeared in each of these three books – a trope which I have slowly grown weary of, but it was handled intelligently in each of the novels below and brought something fresh to the subgenre. However, what I found far more interesting were the obvious differences in approach to investigating a crime, reporting on it and even finding a resolution in the three countries and societies described here. [My own translations unless otherwise marked.]
Klaus Vater: Am Abgrund – Berlin 1934
The serial killers here are in power. Berlin after Hitler’s rise to power, during a murky period of German history, when the SS and the SA (both Nazi supporters) are fighting for power between themselves, and the police is losing authority daily and its right pursue criminals according to legislation. During the construction of a tunnel for the S-Bahn in Berlin, an explosion kills several of the construction workers. A ‘non-aryan’ carpenter Leiblein is accused of provoking the explosion and is arrested. Hermann Kappe is a Kommissar with a lot of heart and ethical principles, and he soon realises that Leiblein is being made a scapegoat for a matter which the various political factions would like to see buried. As the lines between right and wrong, truth and cover-up, become increasingly blurred, it becomes clear that the power of the fist (or weapons) triumph over the power of law. In fact, law itself is being subverted by a new political regime keen to rid itself of any opposition. Kappe has many moments when he fears for himself and his family. He learns to compromise, to find small loopholes in a society which is becoming ever more frightening and inhuman. No happy outcome is possible, only temporary relief and terrifying uncertainty.
Without looking at them, [Kappe’s boss] told them: ‘According to a report from the Reich’s Ministry of Transport, Director Dr. Erich Klausener shot himself in his office earlier today. There is no police confirmation of this. The news came to us via the security services… It’s hard for me to believe them. Gentlemen, it’s clear to me that there is an entirely different tune being played here. The Führer is clearing out anyone who stands in his way: Klausener, von Schlicher and his wife, … and many more. I don’t know what to do anymore.
They waited for him to say something more. But he didn’t. Then he told them: ‘You can go now.’
Hideo Yokoyama: Six Four (translated by Jonathan Lloyd-Davies)
In Japan, the police seems to be as much of an administrative morass as the great corporates. Officers are rotated between departments every few years, and Superintendent Yoshinobu Mikami finds himself moved from Criminal Investigations (specifically: murder) to Press Director in the Administrative Affairs department. Even worse, when he tries to create a more collaborative relationship with journalists, his efforts are thwarted by his superiors and decisions about what to reveal and what to hide are made above his head for reasons which are not even explained to him. The amount of political manoeuvring and the social nuances which need to be taken into account make the Japanese police force seem labyrinthine in comparison to its Western counterparts. Everything seems to be about preserving the reputation of the police and getting promoted.
Captain Tsujiuchi is on his ‘tour of duty’ from Tokyo in the prefectural HQ where Mikami works, but he has no real power. He isolates himself in his office and is kept far from any real problems by Mikami’s fellow officers.
The Prefecture D Police had been diligent in their cultivation of the man’s near-divine status. They reported favourable information and insulated him from everything that wasn’t good news. They devoted themselves to ensuring that his time in the Prefectural HQ was spent in comfort. He was kept free from germs, sheltered from the troubles and worries of the local police, treated instead like a guest at a spa, and when he returned to Tokyo it would be with pockets full of expensive gifts from local companies. I enjoyed my time here, surrounded by the warmth of the local community and the officers serving it. They would feel relief as he recited the formulaic words during his departing speech, then, hardly leaving time for them to gather breath, they would begin to gather information on the personality and interests of the incoming captain.
And then we come to France, itself no stranger to the stranglehold of bureaucracy. However, as in all countries with a Latin influence, rules are made to be broken or reinterpreted, and Comissaire Adamsberg pushes the boundaries of what is permissible more than most. At a certain point, he is in a rush to get to a certain place in the countryside and is pulled over by the traffic police. He tries to explain that it’s an emergency, but the two gendarmes (a different branch of the police than the detectives, and suffering a bit of a chip on their shoulder from being regarded as inferior) seem to take great pleasure in throwing the rule book at him:
‘I forgot to put my beacon on. I’ll come tomorrow and we’ll sort all that out…’
‘Ah, no, not tomorrow. First of all, because it’s Sunday, and secondly, because it will be too late.’
‘Too late for what?’
‘For testing your alcohol levels…’
‘I repeat: it was an emergency.’
‘Sorry, sir, your trajectory was a bit uncertain in the curves.’
‘I was just driving fast, that’s all. Emergency, how many more times do I need to say it?’
‘Blow here, Commissaire.’
In this book, Adamsberg relies so much on his legendary intuition and continues to pursue a line of enquiry regarded as tenuous by Danglard and some others in his team, that he is almost faced with a mutiny. When he insists on going to Iceland to pursue some leads, his team is divided between those sceptical but loyal to their boss, and those who openly disagree with him. Yet Adamsberg does not pull rank on them and punish the disbelievers: his is a democratic approach, even when he is at the receiving end of distrust. He can even forgive serious mistakes, as one team member discloses rather more than they should have to a suspect. But he does make sure that they realise their mistake and never repeat them.
I have to remind you all that no private information about any of our team members should be given out to a stranger. Not even if he has gone for a piss or to feed the cat. Not even if the stranger is sympathetic, cooperative or frightened.
So there we have it: three very different approaches to policing, one of them is set in a historical context, three insights into different cultures. The world of Scandinavian, British and American policing, which we are all so familiar with, suddenly seems very much easier, doesn’t it?
6 thoughts on “Police Procedurals in Three Countries”
I’m getting tired of the serial killer trope, too, Marina Sofia, to be honest. But if it’s handled exceptionally well, it can work. I am looking forward to reading the Vargas, and the Yokoyama looks good, too.
I was joking about ‘serial killers’ in the German novel – it is the ones in power who are the future serial killers, and the police cannot do anything about them…
I know what you mean about serial killers. Interesting in a series you already like. So I’d be interested in the Fred Vargas.
It will be translated shortly, I understand – should appear in April or May 2016. There is a good reason, this time, for the serial killing, rather than just someone who wants to trick the police.
Gendarmes and policiers: what’s the difference? The gendarmes are a police force that is part of the military (Ministry of Defense) while policemen belong to the Ministère de l’Intérieur. Why two forces? I think it was originally to prevent a coup d’Etat and hope that, with the segregation of duties, the power in place is never short of police forces.
South of Europe we are: the Greek Charitos and Adamsberg have something in common in the way they manage their teams.