Murder on the Leviathan : A Novel

Rating:
Summary: Erast proves he's not a one trick pony
Review: Boris Akunin's "Murder on the Leviathan" is one of the best books of 2004. This is techinally the third of the Erast series, but second translated into English. This time, Erast is seen through the eyes of five different characters, as a vainglorious French detective tries to find the slayer of Lord Littleby and ten of his servents. The Frenchman finds that there are a number of eccentric men and women abroad the steamship, including our favorite Russian, Erast Fandorin, who we know will solve the case. The Frenchman misreads some of the passengers, like Gintaro Aino, a Japanese doctor, and Reginald Milford-Stokes, a man in denial and who measures the ship's course every three hours. Along the cruise, we learn that Littleby was killed over a shawl that is the key to a priceless treasure somewhere in India. A great resolution where we learn who the killer(s) are. I can't wait for Turkish Gambit.

Rating:
Summary: Another Good Book from Boris Akunin!
Review: Boris Akunin's Murder on the Leviathan is the second English language publication of a series of novels involving Russian sleuth Erast Fandorin. Leviathan is different in tone and structure from Akunin's first Fandorin mystery, The Winter Queen, but makes for a worthy successor.

The reader should note that this is actually the third book in the Erast Fandorin series but only the second published in English. Murder on the Leviathan does contain a couple of references to Fandorin's adventures in Turkey, that formed the basis of the second book, but those references do not have any impact on the reader's ability to enjoy this book standing on its own.

It is no insult to advise the reader that Murder on the Leviathan is a highly structured, formulaic mystery that is written within the clear guidelines established for genre-mysteries in the Agatha Christie tradition. The enjoyment to be gained from reading books of this sort is derived from the writer's ability to work within that structure in an entertaining and exciting way. Akunin accomplishes this task with ease and, in the process, also manages to add a few new wrinkles to the genre.

The story centers on a gruesome mass murder carried out in connection with the commission of a brazen robbery of a priceless Indian shawl in Paris in 1878. The investigation is led by a less than stellar Parisian detective, the aptly named Inspector Gauche. Like Christies' Murder on the Orient Express, the initial investigation leads Inspector Gauche to a restricted setting with a limited number of suspects. In this case the setting is the S.S. Leviathan, making its initial voyage from Southampton, England to Calcutta,India via the Suez Canal.

Inspector Gauche boards the ship in Southampton after determining that the murderer will be on the vessel. Suspects are readily identified. Those suspects are a diverse bunch. They include an upper-class Englishman of dubious sanity, an apparently delicate young Swiss woman in the middle of her first pregnancy, a mysterious Japanese army officer whose knowledge of things military seems a bit sparse, and a professor who just happens to specialize in ancient Indian artifacts of the sort found missing in Paris.

Everyone has, or appears to have a motive. As the story unfolds the reader is provided with any number of clues and red herrings as is common of this sort of mystery. The story races to its inevitable and dramatic conclusion. It would be unfair to reveal more.

As noted earlier, the success of a book of this type centers on the ability of the author to work well within the established formula for these sorts of parlor mysteries. Akunin handles the formula with aplomb and grace and even breathes some fresh life into this venerable category of mystery books.

First, Leviathan does not consist of a straightforward narrative written in one voice. Rather, each chapter is written in the voice of one of the characters in the book, whether Inspector Gauche, one of the suspects or our own Erast Fandorin (more on his role in a bit). The story is advanced in each chapter but the change in voice adds a different perspective and insight. It also leads the reader to wonder whether he was reading the words of a guilty or innocent party. This structure added a layer of interest to the story and also served to paint the characters with a deeper, fuller brush.

Second, Erast Fandorin, although arguably the `hero' of these stories plays a somewhat minor yet very critical role in the development of the story and the ultimate solution of the crime(s). Fandorin does not join the ship until it has made at least one port of call. Fandorin does not take charge of the investigation. The bumbling, pompous Inspector Gauche remains firmly (or so he thinks) in charge of the investigation. Fandorin only interjects himself into the action when it becomes clear that Gauche is about to veer dramatically off course. When Fandorin does talk - people listen - and the reader pays attention. For example, it is Fandorin, alone amongst the passengers who has some understanding of the manner and way of thinking of the mysterious Japanese passenger. In fact, Akunin in real life speaks Japanese fluently and at one point in his life worked as a Russo-Japanese translator.

Keeping Fandorin off center stage also allowed the other passenegrs room to develop as characters as the story progresses. It was not all about Fandorin and the greater development of the other passengers' characters made for a more compelling read.

Fandorin's role also happens to be the books primary weakness in my opinion. I purchased Murder on the Leviathan in part because I was drawn to the character of Fandorin that Akunin had set out so masterfully in Winter Queen. The conclusion of Winter Queen left me wanting to see Fandorin grow and survive. I did not see that in Leviathan except for one section where Fandorin looks into the tortured soul of one of his fellow passengers with great empathy and understanding. This minor disappointment was outweighed though by the story itself and by the way Akunin told the story. I do look forward to seeing more of Fandorin in future volumes of the series.

I did like this book. I think anyone who likes this type of mystery genre will like Leviathan. First, Akunin shows respect for the structure. Second, Akunin's respect for the form did not prevent him from writing a highly entertaining and fresh piece of work. I only add that reading Winter Queen is not a prerequisite to enjoying or understanding Murder on the Leviathan. It would, however, enhance the reading experience.

Rating:
Summary: Another Good Book from Boris Akunin!
Review: Boris Akunin's Murder on the Leviathan is the second English language publication of a series of novels involving Russian sleuth Erast Fandorin. Leviathan is different in tone and structure from Akunin's first Fandorin mystery, The Winter Queen, but makes for a worthy successor.

The reader should note that this is actually the third book in the Erast Fandorin series but only the second published in English. Murder on the Leviathan does contain a couple of references to Fandorin's adventures in Turkey, that formed the basis of the second book, but those references do not have any impact on the reader's ability to enjoy this book standing on its own.

It is no insult to advise the reader that Murder on the Leviathan is a highly structured, formulaic mystery that is written within the clear guidelines established for genre-mysteries in the Agatha Christie tradition. The enjoyment to be gained from reading books of this sort is derived from the writer's ability to work within that structure in an entertaining and exciting way. Akunin accomplishes this task with ease and, in the process, also manages to add a few new wrinkles to the genre.

The story centers on a gruesome mass murder carried out in connection with the commission of a brazen robbery of a priceless Indian shawl in Paris in 1878. The investigation is led by a less than stellar Parisian detective, the aptly named Inspector Gauche. Like Christies' Murder on the Orient Express, the initial investigation leads Inspector Gauche to a restricted setting with a limited number of suspects. In this case the setting is the S.S. Leviathan, making its initial voyage from Southampton, England to Calcutta,India via the Suez Canal.

Inspector Gauche boards the ship in Southampton after determining that the murderer will be on the vessel. Suspects are readily identified. Those suspects are a diverse bunch. They include an upper-class Englishman of dubious sanity, an apparently delicate young Swiss woman in the middle of her first pregnancy, a mysterious Japanese army officer whose knowledge of things military seems a bit sparse, and a professor who just happens to specialize in ancient Indian artifacts of the sort found missing in Paris.

Everyone has, or appears to have a motive. As the story unfolds the reader is provided with any number of clues and red herrings as is common of this sort of mystery. The story races to its inevitable and dramatic conclusion. It would be unfair to reveal more.

As noted earlier, the success of a book of this type centers on the ability of the author to work well within the established formula for these sorts of parlor mysteries. Akunin handles the formula with aplomb and grace and even breathes some fresh life into this venerable category of mystery books.

First, Leviathan does not consist of a straightforward narrative written in one voice. Rather, each chapter is written in the voice of one of the characters in the book, whether Inspector Gauche, one of the suspects or our own Erast Fandorin (more on his role in a bit). The story is advanced in each chapter but the change in voice adds a different perspective and insight. It also leads the reader to wonder whether he was reading the words of a guilty or innocent party. This structure added a layer of interest to the story and also served to paint the characters with a deeper, fuller brush.

Second, Erast Fandorin, although arguably the 'hero' of these stories plays a somewhat minor yet very critical role in the development of the story and the ultimate solution of the crime(s). Fandorin does not join the ship until it has made at least one port of call. Fandorin does not take charge of the investigation. The bumbling, pompous Inspector Gauche remains firmly (or so he thinks) in charge of the investigation. Fandorin only interjects himself into the action when it becomes clear that Gauche is about to veer dramatically off course. When Fandorin does talk - people listen - and the reader pays attention. For example, it is Fandorin, alone amongst the passengers who has some understanding of the manner and way of thinking of the mysterious Japanese passenger. In fact, Akunin in real life speaks Japanese fluently and at one point in his life worked as a Russo-Japanese translator.

Keeping Fandorin off center stage also allowed the other passenegrs room to develop as characters as the story progresses. It was not all about Fandorin and the greater development of the other passengers' characters made for a more compelling read.

Fandorin's role also happens to be the books primary weakness in my opinion. I purchased Murder on the Leviathan in part because I was drawn to the character of Fandorin that Akunin had set out so masterfully in Winter Queen. The conclusion of Winter Queen left me wanting to see Fandorin grow and survive. I did not see that in Leviathan except for one section where Fandorin looks into the tortured soul of one of his fellow passengers with great empathy and understanding. This minor disappointment was outweighed though by the story itself and by the way Akunin told the story. I do look forward to seeing more of Fandorin in future volumes of the series.

I did like this book. I think anyone who likes this type of mystery genre will like Leviathan. First, Akunin shows respect for the structure. Second, Akunin's respect for the form did not prevent him from writing a highly entertaining and fresh piece of work. I only add that reading Winter Queen is not a prerequisite to enjoying or understanding Murder on the Leviathan. It would, however, enhance the reading experience.

Rating:
Summary: Clever and enjoyable
Review: Having read _The Winter Queen_, I had to read the next Erast Fandorin mystery. I was not disappointed, and in fact, I believe _Murder on the Leviathan_ is the better of the two.

Written from the perspectives of the various suspects, Erast more or less takes a "back seat" as the reader is led through the murder mystery on a ship bound for Calcutta out of France. Each character provides their own perspective on the mystery, the suspects, and the clues - a very intriguing and clever device. The cast of characters, as an earlier reviewer pointed out, are straight out of an Agatha Christie novel, but with the unique and humorous twist I have come to expect from Akunin.

As the story plays out, we learn that each suspect has their own story to tell - more than a few of which are red herrings, but all are entertaining. A very clever book, which I thoroughly enjoyed. I look forward to more titles from the same author being translated.

Rating:
Summary: Good but not great
Review: I really enjoyed the first book in this series, The Winter Queen, and so I eagerly picked up the next translated novel from Akunin to be released in the U.S. Murder on the Leviathan has its moments to be sure, but overall I liked the first novel much better.

Here, after a description of a brutal crime scene in Paris, all of the action takes place aboard the luxury liner Leviathan, and particularly in a certain first class salon where French Investigator Gauche has arranged to gather all of his prime suspects in one place. The comparisons to Agatha Christie are apropos, since we see the various suspects starting to get on each other's nerves and turn on each other when they realize one of them might be a killer.

Aside from the stagnant setting, I think for me the novel suffers in comparison to The Winter Queen because Akunin does not use his protagonist, Erast Fandorin, nearly enough. In the first book, Erast is a great character, piecing together layers of treachery while narrowly escaping death on numerous occasions. Here, he is more of an observer than a participant, barely interacting with the characters until periodically he has to burst Gauche's bubble and point out the flaws in the Frenchman's theory every time Gauche thinks he has solved the crimes. The author changes narrative techniques here, getting inside the heads of different characters in different chapters (and sometimes simply reprinting letters home from one of the suspects), but the one character consistently ignored is Fandorin.

There were some amusing episodes, like the ridiculous bingo game (in which Erast kept winning to his embarrassment) and the pages devoted to the samurai Japanese suspect, but overall the story didn't fly at the pace of The Winter Queen. I look forward to reading more of the series, but for those who haven't read either book, start with The Winter Queen you will like it better. 3 1/2 stars.

Rating:
Summary: Erast at sea
Review: I was eagerly awaiting this new book in the series, having thoroughly enjoyed "The Winter Queen" by the same author. This book continues the tale of Erast Fandorin, who was a junior detective in the first novel but now, three years after experiencing a terrible tragedy, we find as a Russian diplomat on his way to Japan. There are a series of murders, both on land and aboard ship, and the presence of an officious French detective and a small list of subjects makes for interesting reading. Erast once again shows his capacity for rational thought in going to the heart of any mystery. I rather preferred the somewhat vulnerable Erast of the first story, but advancing age and tragedy certainly would change a person, so its not unbelieveable. I know there are several more Erast stories in the process of being translated from Rusian into English, and I look forward most eagerly to their publication!

Rating:
Summary: funny, eccentric, ingenious!
Review: I'm afraid I might have done Boris Akunin a great disservice. I thought The Winter Queen was a decidedly average read; I didn't find the plot too gripping, and I disliked the style. Now, there's nothing I can do about the plot: I've simply never been fond of "adventure" stories, so I'm not particularly going to like a pastiche of one, either - as The Winter Queen was. However, I must have been in some bizarre mood, because I found the style of Leviathan to be an absolute delight!

This is the third Erast Fandorin novel - the second to be translated into English (Turkish Gambit, the real 2nd, is scheduled for publication in December). Here, we see less of Fandorin than we did in TWQ, or it certainly seems like it. This is partly because Leviathan is told from five different perspectives. One is that of French "Investigator of Especially Important Cases", Gustav Gauche (who definitely lives up to his name); the remaining four perspectives are those of four main suspects in a murder inquiry (two of these are told in the 3rd person, two in the 1st). Thus we see Fandorin through only their eyes, making him a decidedly enigmatic and intriguing detective.

The crime being investigated is the murder, in Paris, of Lord Littleby, collector of fine things, and nine members of his staff. (Yes, nine.) Due to a clue left at the crime scene (in the form of a badge shaped as a golden whale), Gauche deduces that the murderer will be one of the passengers on the steamship Leviathan - newly built and embarking upon its maiden voyage to Calcutta. He boards the ship and begins his enquiries, trying to sift out the murder from the 142 first-class passengers (yes, 142.)

As evidenced partly by the ridiculous number of suspects and murder victims (in the end it totals 11), Akunin is clearly having a good time pointing fun at the traditions of the detective genre. And he does it very well indeed. Leviathan is an excellent detective story in its own right, while all the while it gently makes fun of itself and the genre - as TWQ did with espionage fiction. It is a hilarious novel at times; a brilliant, incredibly clever pastiche.

Akunin's main source here is, of course, Agatha Christie. The set-up is immediately recognisable as almost classic Christie, a la Murder on the Orient Express or Death on the Nile. He even manages to work in Cards on the Table and The Clocks (particularly hilariously!) among others, and that is on top off the usual Russian literary influences. For example, one of the periphery characters mentioned is named "Marcel Prout".

Leviathan is an absolutely excellent novel. I would recommend it to anyone. It is not necessary to have read The Winter Queen, and I'd probably advise that you just jump straight in here. Akunin's 2nd novel in translation is an incredibly sharp, teasing, funny, and ingenious mystery, with a great set of characters. A Japanese passenger, one of the four main suspects, is particularly wonderful. Certainly, it was his sections of the book I enjoyed most of all, highlighting fascinatingly the class of 19th century cultures. Plus, his sections of narrative are the only time I have ever come across a book that is part-written in what I can only describe as "landscape".

Rating:
Summary: Christie Homage Done Well
Review: It is impossible to read Boris Akunin's Murder on the Leviathan (ably translated by Andrew Bromfield) without automatically thinking of Agatha Christie. All of her various character types are here, with a clever riff/spoof of both Hercule Poirot and the French detectives he would on occasion encounter. It is a compact book with a great number of red herrings thrown about, the perfect summer read for those who have already worked their way through the Christe oeuvre a couple times over and have tired of more contemporary psychological thrillers. This mystery may be way over the top at times but, like a good Agatha Christie, it is always a pleasure.

Rating:
Summary: Christie Homage Done Well
Review: It is impossible to read Boris Akunin's Murder on the Leviathan (ably translated by Andrew Bromfield) without automatically thinking of Agatha Christie. All of her various character types are here, with a clever riff/spoof of both Hercule Poirot and the French detectives he would on occasion encounter. It is a compact book with a great number of red herrings thrown about, the perfect summer read for those who have already worked their way through the Christe oeuvre a couple times over and have tired of more contemporary psychological thrillers. This mystery may be way over the top at times but, like a good Agatha Christie, it is always a pleasure.

Rating:
Summary: A great "Who-done-it"!
Review: This was probably one of my favorite Fandorin novels of the series. Here, we meet our hero as a more mature Russian diplomat as he finds himself in the middle of a murder mystery that started in Paris and led itself onboard a luxury passenger ship en route to the East. Fandorin, after his adventures during the Turkish war (which were covered in the "Turkish Gambit" that was the second book in the series in Russian, but skipped for the English readers at least for now), is older and wiser, elegant and stylish, yet somewhat more cynical. He displays great observation qualities of Sherlock Holmes, and, at first, stays out of the way of investigation conducted by the "old walrus" Gustave Gauche, "Investigator for Especially Important Crimes" - but is forced to interject as he sees that the search for the villain is turning more and more in the wrong direction.