Lisa Moore is approaching something like legend. After her Canada Reads win, her Commonwealth Writers’ Prize victory, and her name perennially floating on the finest longlists — Booker, IMPAC Dublin, and Giller, to name a few — she seems unstoppable. Caught won’t do anything to slow her down.
The novel has an action movie premise — a drug runner who busts out of prison and flees from the cops to make one last score — but a psychological depth that’s profoundly moving. In this respect it’s a rare bird: a book about driven criminals and haggard policemen that defies cops-and-robbers clichés and delivers a narrative as reflective as it is rousing.
The story follows David Slaney, a Newfoundlander who slips out of a Nova Scotia prison the 14th of June 1978, on the eve of his twenty-fifth birthday. He has served four years after a botched smuggling operation with his childhood friend and partner-in-crime, David Hearn, which saw them snagged off the coast of Newfoundland with two tons of weed. Now with dogs and squad cars sniffing at his heels, all he’s got is a prayer and a plan: get to Vancouver to meet Hearn, then get to Colombia to buy more marijuana.
The title, of course, hints at the end. But with a fugitive-centred book entitled Caught, Moore seems to suggest it doesn’t matter if we know the ending in advance. Patterson — the sweaty, self-doubting policeman assigned to Slaney’s case — alludes to this as he ponders death at a Mexican bullfight: “The best stories, he thought, we’ve known the end from the beginning” (272). This topples crime genre code, and is a provocation. After all, if we know what’ll happen, why read? In laying her cards on the table from the cover onward, Moore issues an invitation: find another reason to turn the page. Set aside your plot-worship and the logic of ‘What happens next?’, and get cozy with literature’s other facets. Maybe take a shine to her phenomenally crisp sentences.
Of course, some readers may be whiffing escapism, and that would be fair enough. The story has its holes, and it appears Moore cares little for penning a plot-driven book. Lyricism and well-hewn prose seem her main concerns. If you like that, you’ve got a treat in store. If you don’t, you’ve been warned. Still, the novel has a solid story, and is worth reading even if you have little patience for “literary” books.
Speaking of literary writing, here’s a sample of Moore’s seductive prose. It’s a description of Slaney’s hideout about above a Guysborough bar that “had strippers once a week and… sponsored a school basketball team” (5):
The test pattern was on the television. An Indian chief with feathered headgear, his profile of bone and forbearance. There was a bookshelf with miniature figurines of woodland animals, perhaps two hundred of them that had been collected from boxes of Red Rose tea. The figures sat on the peeling vinyl skin of the pressboard shelf as if they were climbing hills and descending into valleys in a great exodus. (27)
There’s real pleasure in reading Moore’s sentences. Her style is clear, lean, and thoughtful. Caught is a book with few commas and short paragraphs. Your eye slides down the page like maybe you’re on the run yourself. But the quick pace was surely slow in design; the words are well-chosen and rarely self-indulgent (a slurp of hot coffee should never be “an amplified susurration of scalding liquid” (62), in my opinion — but such wordiness is rare in this splendid novel).
Splendid writing aside, what Moore seems to want us to focus on is the mentality of an unrelentingly bold young man. The novel zeroes in on how Slaney sees and responds to the world, rather than the cat-and-mouse game of Newfie fugitive versus RCMP. The story is gripping in its own way, but it’s also replete with real life randomness: Slaney chatting up truck drivers, taking tea with old ladies in rooming house hideouts, eating ice cream with New Brunswick girls curious enough to pick up desperate hitchhikers on the run. It’s a meandering, organic tale.
This works well for a story that’s an exploration of unrestrained, naïve, youthful hope. Caught is about how David Slaney yearns for freedom, for movement, for adventure. It’s about his fear of ordinary, staid existence, and about the deep sadness that thrusts him into a criminal world with no happy endings. This tenor comes out in a passage toward the book’s end when Slaney has finally met his Colombians suppliers:
Slaney was offered a violin and he played it like a fiddle, jigs and reels, and then something slow and full of need that he made up as he went along…
All the need he’d felt in prison came out of the wooden instrument under his chin. All the longing, terse and barbed and broken, hung over the bonfire. The flames near the crackled black logs were blue and flicking. It seemed like the fire breathed up and sank down with the music. The ocean roared and shushed. Someone had bongo drums; someone had a tin whistle. There were a few stringed instruments made of gourds. A silver flute. Everybody playing together, improvising. Looking up into each other’s eyes so they could all know where they were going with it. Slaney leading the way, sawing gently, tapping his foot, urging them on by nodding yes and yes.
If Slaney had a reason for going on this trip in the first place, maybe it was this: so he could be on a Colombian beach playing all his sadness out under the stars, stoned out of his mind. He was there for the sense of abandon he felt. (226-227)
This passage typifies the novel’s atmosphere. It’s 314 pages of sadness and dreams and getting high and wilding out all night on a beach as the repercussions of bad choices close in from every side.
Caught is a remarkable book about a remarkable man, achingly rendered by one of our most insightful novelists. It’s a fun read that’ll make you think hard about being alive till you feel something in your bones, and it’s one you’ll remember well past the last page. With this latest effort Moore proves that, no matter the genre, she’s a writer who knows how to catch our attention.
- Lisa Moore, genre writer? Only if you think thrillers can’t be literary (theglobeandmail.com)
- 6 questions with Lisa Moore: ‘There are tools every writer needs’ (theglobeandmail.com)