This is the third in Malla Nunn's series set in South Africa, featuring police detectives Emmanuel Cooper and Samuel Shabalala.
Cooper’s mother was Afrikaner and his father British.
Shabalala is Zulu. This story takes place in 1953, a few years after
apartheid was legislated. There are several authors who have placed their
stories within the context of apartheid. Set in the past or the present, all
the stories have been moving, including this one.
Malla Nunn weaves
great character texture throughout her books. Of course Cooper is flawed: He's
stubborn, societally adrift, and marred by his past. Book two, Let the Dead
Lie, showed that effusively. It chronicled his journey through the hell created
by the racial stratification. Blessed Are the Dead tells the story of his road
to social redemption, if not philosophical clarity and inner peace.
Serving a sentence in police purgatory, Cooper and Shabalala
get sent to all the unimportant cases. Finally, with the “help” of Colonel van Niekerk, alternately Cooper's mentor and nemesis, they
draw a murder in a small village at the foot of the imposing Drakensberg
Mountains, about four hours outside of Durban. The body of a young Zulu woman
has been found. She was the daughter of a local chieftain and a maid in a white
household. The suspect pool is wide and the investigative footing is dangerous.
No one is happy to see the detectives. The Zulus would
prefer their own form of justice, but the white man's law rules. The police
constable in the closest village to the killing is unhelpful and strangely
absent during critical periods of time. The village doctor, a white woman, is
likewise reluctant and unwelcoming. The rich, white family for whom the young
woman worked would just as soon run the detectives off the range and back to
Durban. Nunn does a wonderful job peeling away the obfuscation to reveal
everyone's secrets. Some, of course, have nothing to do with the murder and
everything to do with the nature of what it means to be human.
I was not totally sold on the second book, but it proved to
be a necessary passage in Nunn's fascinating overarching script of how a
corrupt state policy has an impact on people and how some of them find
extraordinary strength to do what's right.
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