Yrsa Sigurdardottir: Why Did You Lie?
Sep. 17th, 2018 11:54 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
bibliogrammaYrsa Sigurdardottir’s novel “Why Did You Lie?” opens with a dramatic scene - a helicopter attempting an open sea rescue of a person reported lost at sea near an isolated lighthouse on a rugged rock formation offshore. What the occupants of the helicopter see is two bodies at the base if the rock tower, and at the top, beside the lighthouse, two people, one on the ground, the other kneeling over him with a knife. The date is January 28, 2014.
The timeline then splits, going backwards, to tell us about four people headed to the lighthouse two days prior - Helgi, a photographer, and Ivar, Tóti and Heida, making a scheduled maintenance visit.
Even further in the past, January 20, and we are with Nina, a police officer who has recently gone through extreme trauma. Her husband has survived a suicide attempt but is severely brain-damaged. She has been the victim of sexual harassment on the job, and a demoralising experience when, during a domestic assault call, the husband assaulted her as well and her partner just stood and watched. After issuing a complaint, she’s been banished to the dead files room in the basement to do clerical work. One if the first folders she opens to work on, unexpectedly, has a misfiled page - one that mentions her husband, and a statement he gave when only a teenager, twenty years ago.
And from January 23, a family returns from holiday. Nói, Vala and their son Tumi have been in the US, after arranging a house swap with an American family visiting Iceland. When they arrive home, they are unhappy to find the the Americans have left some things behind, and have not left the keys to the house and their chalet where they were asked too - in fact, the keys are missing altogether.
There is no hint, initially, of how these threads will be connected. Just mysteries. What happened at the remote lighthouse on Thrídrangar? Who put that page in that file fir Nina to find, and why? And what is it that seems subtly wrong about the departure of the Americans?
As the three timelines advance, odd things begin to pile up - creating an eerie feeing of suspense and discomfort, not quite fear at first, but growing toward it. This is something that Sigurdardottir does with consummate skill. You know something is wrong, you know it’s going to be bad, the only question is, how bad will it be?
Like so many of Sigurdardottir’s suspense novels, the evil behind the strangeness, the fear, the pain and death that follow, has its roots in the past, in darkness that has never been brought into the light, in madness born of loss and grief. And like the horror stories that Sigurdardottir borrows her sense of building atmosphere and tension, when all the threads come together and the full picture is revealed, something of the evil remains leaving us to fear what will come after.
The timeline then splits, going backwards, to tell us about four people headed to the lighthouse two days prior - Helgi, a photographer, and Ivar, Tóti and Heida, making a scheduled maintenance visit.
Even further in the past, January 20, and we are with Nina, a police officer who has recently gone through extreme trauma. Her husband has survived a suicide attempt but is severely brain-damaged. She has been the victim of sexual harassment on the job, and a demoralising experience when, during a domestic assault call, the husband assaulted her as well and her partner just stood and watched. After issuing a complaint, she’s been banished to the dead files room in the basement to do clerical work. One if the first folders she opens to work on, unexpectedly, has a misfiled page - one that mentions her husband, and a statement he gave when only a teenager, twenty years ago.
And from January 23, a family returns from holiday. Nói, Vala and their son Tumi have been in the US, after arranging a house swap with an American family visiting Iceland. When they arrive home, they are unhappy to find the the Americans have left some things behind, and have not left the keys to the house and their chalet where they were asked too - in fact, the keys are missing altogether.
There is no hint, initially, of how these threads will be connected. Just mysteries. What happened at the remote lighthouse on Thrídrangar? Who put that page in that file fir Nina to find, and why? And what is it that seems subtly wrong about the departure of the Americans?
As the three timelines advance, odd things begin to pile up - creating an eerie feeing of suspense and discomfort, not quite fear at first, but growing toward it. This is something that Sigurdardottir does with consummate skill. You know something is wrong, you know it’s going to be bad, the only question is, how bad will it be?
Like so many of Sigurdardottir’s suspense novels, the evil behind the strangeness, the fear, the pain and death that follow, has its roots in the past, in darkness that has never been brought into the light, in madness born of loss and grief. And like the horror stories that Sigurdardottir borrows her sense of building atmosphere and tension, when all the threads come together and the full picture is revealed, something of the evil remains leaving us to fear what will come after.