Criminals

A decent, harried young banker, already on the verge of distraction, hurries north to Scotland and his mysteriously troubled sister . . . A “foreign” mother struggles to make a home for her family in a society she only vaguely comprehends . . . A baby girl is abandoned in a bus-station rest room . . . And thus five lives and more are caught up in a binding net of affection and responsibility, of sibling loyalty, romantic longing, and maternal love.Amazon.com ReviewCriminals is a tweaked gothic. Instead of a dark castle, there is an average Scottish farmhouse, Mill of Fortune. There is nothing supernatural, and the love story is all in one character's mind, nearly losing him his livelihood. Ewan is less a knight-at-arms than a London businessman, and his sister is the madwoman. Mollie, however, is not in the attic, but very much up and about after her novelist-lover has left her. Ewan knows he must check on her and heads for Scotland. During a bus layover, he hears a small whimper and is amazed to find a baby in a bathroom stall. Hearing his bus about to leave, he grabs the bundle and ends up taking it with him. Unfortunately, Mollie's reaction is not one he had hoped for: instead of calling the police, she lays siege, and their criminal career begins. Margot Livesey is clearly interested in exploring one question: How much do you really know about your family? For six chapters, the narration goes back and forth between brother and sister, but the seventh is a surprise--devoted to the man who left the baby on the filthy floor. Kenneth's thought processes are sinister and idiotic, giving him a great deal of comic energy. Having followed Ewan to Mill of Fortune, he is determined to bilk him out of as much money as possible. "Ideas, he thought, I am an ideas man." As Kenneth does his brutal best and Ewan is caught up in insider-trading complications, Mollie--still hanging onto the child--grows increasingly paranoid: "She heard something. Had Ewan spoken? Had the table? She examined each in turn. The sleek wood had grown oddly smug and duplicitous ..." Livesey is an expert practitioner of the fiction of threat, the novel of isolation and misery in which the family is a nest of sorrows. From Publishers Weekly"Banker finds Baby in Bus station" is the caption that uptight London bachelor Ewan Munro ruefully realizes will describe events in this intriguing novel about the banality of evil. Discovering a swaddled infant in a lavatory stall in Perth, Ewan almost absentmindedly takes the baby to his unstable sister, Mollie Lafferty, intending to call the authorities once he arrives at her home. Mollie is in a bad way; she has split with her novelist husband, anguished because he has fictionalized her in his current novel, and, she thinks, given away secrets she didn't even realize she harbored. (Chunks of this novel are interpolated as Ewan reads it, adding tension to a narrative already taut with frightening implications.) For Mollie now recognizes that her great need is to have a child, and she conspires to keep the baby. Meanwhile, the child's feckless father, an amoral layabout called Kenneth, who has impetuously abandoned his daughter, realizes that he can extort money when he shows up to claim her; and her mother, a nurse from Bombay, becomes distraught at the infant's disappearance. Scottish-born Livesey (Homework) controls the narrative with assurance, gradually laying bare the bedrock of her characters' inner lives. One reads with fascinated attention as Ewan and Mollie?he preoccupied by a lapse in his meticulously moral behavior that has made him complicit in illegal trading; she sliding into emotional breakdown?discover how easy it is to become criminals. Livesey maintains a low-key style that perfectly matches the way ordinary lives can slip into chaos; her elegantly simple prose, her control of pacing and characterization and her insights into human behavior combine to produce a fascinating narrative. 50,000 first printing; Literary Guild selection. Copyright 1995 Reed Business Information, Inc.