Tag: Patricia Highsmith

  • Title: Strangers on a Train
    Author: Patricia Highsmith
    Year: 1950
    Country: USA

    Format: Paperback
    Pages: 256
    Read: 20 – 28 March 2026
    Reread

    Two strangers, up-and-coming architect Guy Haines and wealthy drunkard Charles Anthony Bruno, meet by chance on a train. As the two men talk it becomes clear that Bruno is obsessed with murder. He outlines his plan for the perfect murder, or rather the perfect pair of murders. Each man would do the other’s dirty work, ensuring there’s no motive connecting him to his respective crime. Bruno even proposes the ideal victims: His father, and Guy’s estranged wife Miriam. Guy protests he’s not the type to commit murder. But Bruno insists there is no “type”, that any man can kill given the right circumstances. And when Bruno goes ahead and strangles Miriam for Guy, it sets in motion a series of events which lead inexorably to Guy fulfilling his half of the bargain.

    I first read Strangers on a Train just over a decade ago. Back then I found it faintly underwhelming, perhaps because the fun and thrilling Hitchcock film was fresh in my memory—as was Highsmith’s excellent book, The Talented Mr Ripley. Honestly I’m not really sure what I was thinking. This time I was able to better appreciate Strangers on a Train for what it is… and I loved every second!

    This is a remarkable debut novel, much deeper and darker than the film it inspired. It’s a study of the ugliest recesses of the human psyche, exposing how a perfectly ordinary man can be driven to kill. “What else do you think keeps the totalitarian states going?” Highsmith paints both Guy and Bruno vividly, with disturbing insight. Their thought processes are laid out in detail; every paranoid spiral, every hateful and violent impulse. It may lack some of the action set-pieces of Hitchcock’s adaptation*, but it had me constantly gripped by the guts.

    The story also has a strong homoerotic subtext. Guy and Bruno share a profound connection, one that must be repressed and hidden at all costs—yet they can’t keep away from each other. Bruno even plies Guy with gifts, desperately seeking his approval. These are compelling, queer, obsessive themes that Highsmith would revisit throughout her career.

    I’m not sure why I drifted away from Patricia Highsmith, having initially been so thrilled to discover her. Revisiting Strangers on a Train has suddenly reignited my enthusiasm in a big way. I’m excited to explore more of her books in the future, rereading the ones I remember fondly and trying some new ones too. My reading schedule is already looking pretty full, but I really hope to make time for more Highsmith this year.

    *Interestingly, the climactic merry-go-round scene in the Hitchcock film was taken, uncredited, from an entirely different book: The Moving Toyshop by Edmund Crispin.

  • Title: A Quiet Place
    Author: Seicho Matsumoto
    (Translated by Louise Heal Kawai)
    Year: 1971
    Country: Japan

    Format: Paperback
    Pages: 231
    Read: 31 December 2025 – 4 January 2026
    First reading

    A Quiet Place is a crime thriller by prolific Japanese author Seicho Matsumoto. While away on a business trip, middle-aged bureaucrat Tsuneo Asai receives the devastating news that his younger wife Eiko has died of a heart attack. When he visits the small boutique where she collapsed, Asai is puzzled that his wife never once mentioned visiting the area. Nearby he notices several seedy couples’ hotels—quiet places. Was Eiko leading a double life? And was her death more suspicious than it first seemed?

    ~ Warning: The following contains significant plot spoilers. ~

    The cover of this book describes Seicho Matsumoto as Japan’s Agatha Christie. While that’s true for the other Matsumoto stuff I’ve read, I’d argue A Quiet Place is really more like a psychological thriller by Patricia Highsmith. Asai’s investigations reveal that his wife was having an affair—he’d been too devoted to his job to notice. Eventually he confronts Eiko’s lover and, provoked by the man’s apparent lack of remorse, impulsively murders him. From there, what started as a typical investigation plot pivots into Highsmithian paranoia. It’s an interesting development, and a genre I enjoy, so I’m not disappointed by it. But I do think it’s somewhat misleading to sell it as a Christiesque murder mystery. It’s not so much a whodunit as a howgetawaywithit.

    This is a quick and enjoyable read. Matsumoto’s social commentary is interesting—Asai is forced into impossible situations by Japanese social customs and his all-consuming dedication to work. And as a fan (and writer) of haiku, I love that a haiku plays a vital role in the investigation. But it’s not as evocative or as gripping as the other Matsumoto books I’ve read. In fact it’s probably my least favourite Matsumoto book so far. I’d recommend Inspector Imanishi Investigates or Tokyo Express as better starting places.

    (Just one more thing: The final scene unexpectedly made me laugh. Asai comes face to face with the very witnesses he’s been trying to avoid, and gives himself away by shrieking and running away. At that moment I couldn’t help but picture him as Homer Simpson!)