Graeme Cameron (www.graeme-cameron.com)
Harlequin Mira (www.mirabooks.co.uk)
Erica has been abducted by the man who killed and dismembered her best friend, and is now living in a cage in his basement. Her abductor is a seemingly ordinary man with a penchant for murdering pretty young women. But things aren’t going as planned: at the local supermarket, a pair of blue eyes are his downfall, and he finds himself falling in love with Rachel; his relationship with Annie, who he had planned on murdering, but who he ended up saving from potential rape, is complicated to say the least; and neither he nor Erica is sure who has the upper hand in their relationship, or why exactly Erica is still living in the cage in his basement weeks after her abduction.
For his debut novel, Graeme Cameron puts the reader inside the head of a nameless serial killer at the point where his life takes a very strange turn. The narrator is an interesting character – friendly and personable, a man who might live next door, and who you might stop to have a conversation with on your way past his house. Like Jeff Lindsay’s Dexter novels, there’s more than a hint of black humour here, but Normal presents us with something altogether darker and more sinister: this man targets young women, and seems unable to control himself when in their presence. There is no moral code here, nothing to redeem him in our eyes. And, yet, it’s impossible to dislike him, and when things start to go pear-shaped as the story progresses, we find ourselves rooting for him, hoping that he might find a way out, despite the horrible things we have watched him doing.
A number of factors conspire to make the narrator of Normal question his career choices: his meeting with Rachel, and the rapport that quickly develops between them; the arrival on his doorstep of the police, who have linked him – however circumstantially – to the disappearance of a prostitute. But there seems to be a foreshadowing of this in his treatment of Erica: he gives her a microwave oven so she can cook her own food because she says she won’t eat anything that he has prepared; he spends hundreds of pounds on clothes for her, and takes her from her cage into his home where he allows her to bathe, and eat, and watch television. And even he is unable to explain why he has spared her for so long, or why he is now treating her like a houseguest rather than a prisoner held against her own will. It is a decision that will haunt him, given the new direction his life seems to be taking.
Cameron focuses on the relationship between abductor and abductee, and paints it in a completely unexpected light for the reader. These two people feel like a married couple at the end of their tether with each other. Erica becomes suspicious of her abductor’s motives, and gives him hell when he disappears for extended periods of time. When his kindness towards her inadvertently places her face-to-face with a CID officer, her reaction is completely unexpected. Interestingly, on his dates with Rachel, our hero feels some guilt about Erica, as if he is cheating on her. It’s an interesting dynamic, and Cameron uses it to great effect to drive the story in the direction he wants it to go. This is Stockholm Syndrome taken to the extreme, with a reciprocal feeling from the man who, for all intents and purposes, should be calling the shots, but who isn’t.
Normal is wonderfully written, and blackly funny throughout. The comparisons with Dexter will be obvious for the humour alone, but Cameron draws on – and extends – a much broader-ranging sub-genre. The first person narrative puts us in the head of this psychopath, with access to his thought processes and justifications for what he does. Not since Lou Ford, the protagonist of Jim Thompson’s seminal The Killer Inside Me, have we been so closely involved with the workings of the sociopathic mind. Despite the humour, Normal is a chilling and gripping read, made all the more so by the seeming outward normality of the man at its centre (and the sometimes questionable motives of those he encounters). There is a mastery of the language here that allows us to laugh out loud while we’re trying to think through the consequences of the narrator’s every action, and to wonder at just how plausible a plot-line it is.
If I have one complaint about the novel, it’s Cameron’s repeated use of “innuendoes” to insinuate murders that the narrator hasn’t committed. Throw-away lines like “[She] made a hell of a mess” play on the reader’s expectations, only to pull the rug out from under us several paragraphs or pages later. While it’s an interesting trick, and fits nicely with the overall light-hearted tone of the novel, I feel it was overused: once is clever; twice, slightly funny; beyond that it just gets predictable and irritating. In the grand scheme of things, it’s a reasonably minor quibble.
Graeme Cameron has done a phenomenal job with Normal. Taking the serial killer formula and playing with it to see what new and interesting shapes he can make has resulted in a dark and hilarious examination of the psychopath next door, and how quickly our carefully constructed world can start to crumble around us. It is a brilliant first novel, and I suspect we’ll be hearing a lot more about Cameron in the near future.