By Lauren Beukes
ALL POSTS CONTAIN SPOILERS
This book wasn’t as bad as I thought it would be.
I’ll admit, I only read it because it’s been made into a TV show. When I see a new show (or movie) that has been adapted from a book, I feel peculiarly guilty about watching it if I have not first read the source material. I have a prejudice that, since the book was first, it is the “real one” and anyway it’s probably better. So, as soon as I heard about the TV show for ‘The Shining Girls’, I dashed out and bought the book.
Now, of course, genuinely shitty books do occasionally get made into better movies (ahem, ‘The Godfather’, ahem). And just because someone was willing to make a TV show of it does not necessarily mean the book was worth reading in the first place. But it does mean that someone took a look at the plot and thought it was interesting or cinematic enough to hold the attention of a TV audience. More, it means that someone thought it was interesting enough to put their money where their mouth is and make it.
And I was intrigued by the plot of this one. ‘The Shining Girls’ is a murder mystery about a time-traveling serial killer, and it sounded like it might just be crazy enough to work.
It’s a real thing, the Just So Crazy It Works Plot, but it’s rare. It needs beautiful execution: control, balance. It’s much more likely to work on screen, I think, but there are books that are completely captivating despite being impossibly outlandish: ‘And Then There Were None’ by Agatha Christie, for example (best murder mystery every written, in my opinion). Or, say, ‘The Life of Pi’ by Yann Martel. Or anything by Thomas Pynchon or Carl Hiaasen (a guilty pleasure writer of mine). Just because a plot is ludicrous doesn’t mean that the book will be bad.
And the plot of ‘The Shining Girls’ is ludicrous. As plots go, this one will not benefit from a synopsis, but I will provide one anyway. One day in 1931, Harper Curtis discovers a House. Though it appears derelict from the outside, the inside of the House is richly decorated, and upstairs, written on the walls, are the names of girls. Girls that shine, though with what, we will never quite learn: potential, life, energy. The House, Harper discovers, will allow him to travel to any time of his choosing (between 1929 and 1993, anyway). In exchange, all Harper has to do is kill the Shining Girls: to find them, whenever they live, and disembowel them.
Kirby is one of the girls. When Harper comes for her, in 1989, her dog manages to chase him off before he can finish the job, leaving her with horrible scars and a determination to find Harper, and to stop him.
My expectations were pretty low, going in. I expected the writing to be bad, and the plot to be stupid. I was wrong about the writing – Beukes only distracted me with clunky writing a few times, and it was usually in an attempt to do period-appropriate dialog that fell flat. Mostly, the prose held up: not annoying, not alienating, not confusing.
But the plot, the plot is another thing altogether.
Here’s the thing about wacky plots, I think: to pull them off, you really need to commit to them. If they rely on a crazy mechanic (time-traveling, a house that compels you to murder young women), you can’t flinch from it. You need to show it to the reader, let them look on it in full and at leisure. If you try to gesture at it and then move on, it will perversely only draw their attention to the fact that it makes absolutely no sense.
Beukes, I think, makes this mistake. The House, the girls, the time-traveling: none are explained, none are even well-described. Harper feels compelled to kill specific girls; he knows psychically where they are. He opens doors and finds himself in different decades. Bodies appear and disappear and reappear again – people who have been killed come back. Everything, we are told, is a circle, but we are never told what the hell that means. The entirety of this eccentric plot rests on a mechanic – a time-traveling murder house – that we do not understand at all. And, ultimately, that isn’t good enough.
It’s strange to complain, of a murder mystery, that there isn’t enough about the time-traveling house, but that’s what I’m saying. I suspended all my disbelief to read about a serial killer whose House makes him travel through the 20th century to murder certain young women, and if I’m going to suspend my disbelief that far, I want all the unbelievable info in return. And I was not satisfied.
I wish there had been more detail. I wish there had been more information. Beukes takes the entire novel at a sprint and it feels rushed. The chapters are too short. The perspective skips between multiple characters, and, because the chapters are so brief, the switching feels chaotic. You can’t settle into anything. Nothing was clear – nothing is resolved.
We never learn what the House is, how it travels through time, or why it does. We don’t know where it came from, who built it. We don’t learn what is special about the girls, whether it is something real or a delusion of Harper’s. We never learn why the House requires their deaths; we never really even learn if it actually does, or whether Harper simply wants it to.
And it’s not that every single question needed to be answered in full. I get that there is a place in literature for mystery. There is a way to do magic without explaining magic, and sometimes that is the better option. In fact, it often is. We were all better off, for example, when the Force was just the Force, and no one had ever heard of midichlorians.
And there might have been a way to do ‘The Shining Girls’ without jilting the reader and without explaining the House. I don’t think it was just the lack of explanation that ended up being problematic for me; I think it was the combination of the lack of mechanistic insight, and the too-brisk pace that did it. It felt as though Beukes knew that the premise (time-traveling murder house) wouldn’t bear up to sustained examination. It felt as though she wanted to write this story, this plot, but she also felt insecure about it, so she rushed to get it over with. It felt like she didn’t believe in it, and that’s the kiss of death for a wacky plot.
You can’t write the time-traveling murder house and then flinch from the time-traveling murder house. You have to lean in to it, to own it, glory in it. I think, to make it really work, you need to be proud of the time-traveling murder house. It would have been difficult, I’ll grant you: it would have taken HUGE authorial balls. But I think she could have carried it off, though. She’s capable enough as a writer, and certainly doesn’t lack for imagination. I wish she had tried.