The Not Knowing

Cathi Unsworth

Average Rating 7/10 (1 Review)

London, March 1992. Nearly a year after the release of Brit noir sensation, Bent, the capital is still in the grip of its cultural and stylistic impact. Diana Kemp, journalist on the alternative arts magazine Lux, is dismissive of the film's cult following but admires the technique of its debut director, Jon Jackson. In fact, some of her admiration has a more personal nature and when Jon disappears following a triumphant Guardian lecture, she feels the loss, acutely.

Two weeks' later, Jackson's body is found in a condemned lock-up in the arches behind Camden market. A victim of his own success? Perhaps - the murder site resembles the particularly bloody final scene of Bent. But why would anyone want to destroy the golden boy in such a way? Attempting to put a lid on the past, Diana buries herself in work. But an assignment, at the ICA's Crimewave festival, leads her on a voyage of discovery where not knowing might be the only thing that saves her.

Review by Ben Macnair (301117) Rating (7/10)

Review by Ben Macnair
Book Source: Not Known
Rating 7/10
The story starts with murder. Jon Jackson, a famed, and controversial film director is found gruesomely murdered, in a copycat fashion in his most famous film.

Film journalists Barry Hudson and Diana Kemp knew Jackson, Diana biblically, and their interview was the last one he ever gave. The editor of their new magazine, Lux, believes that the interview is the golden ticket that will gain the magazine readers, and a lot of money, but as the police, and the tabloids become increasingly interested in solving the case, things start to become more and more dangerous. Diana is now also seeing an up and coming writer, Simon Everill, but he is not all that he seems on the surface.

This novel has strong characters, a believable narrative drive, and details that place their stories, situations and characters into a definite time and space. The weather is evoked, becoming a character in its own right, as are locations, and secondary characters who provide the gritty underbelly to a film industry that is too often seen to be glamourous. The twists and turns in the narrative are well drawn and developed, with the reader at times being concerned for the safety of Diana and Barry who provide the humanity in this crime novel, and gave two very compelling reasons to see the story through until its somewhat gruesome conclusion.
Ben Macnair (30th November 2017)