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Twisty, dark, and fetid as a maze of back alleys, this vivid ramble about the fate of a man caught up in the family drama at a slaughterhouse packs a powerful punch. Millar gives his imagination full and disturbing rein, setting the tone with a literal bloodbath inflicted on Paul Goodman as an endurance test when he applies for a job at Shank's abbatoir. Shank's daughter Geordie, one of the most vicious and skillful workers at the slaughterhouse, masterminds Paul's dunking and soon perversely captures his heart, enraging her jealous sister, Violet. Paul is the only physically and mentally hale character in the entire book; Geordie's legs have been crippled since birth, Violet is disfigured from a car accident, Shank himself is psychopathic, and Paul's best friends are the pathetically helpless Lucky and the age-twisted Kennedy, whose dying diabetic wife controls his life with an iron will. Given the misery-ridden cast and setting, the most surreal surprise is the semblance of a happy ending.
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You could say this is about a slaughterhouse worker who falls in love with the boss' daughter, and you'd be right, sort of. Millar's vision is much darker than the typical tale of star-crossed lovers: the factory where Paul Goodman works is an abattoir straight out of Hieronymous Bosch, and his girlfriend, Geordie, is a cruel cripple who oversees the furious killing. When they run afoul of Geordie's father, the slaughterhouse owner, it isn't a matter of an overly protective papa--it's a life-and-death scenario. In a parallel plot, Goodman forges a friendship with a henpecked shopkeeper who, unbeknownst to him, knows the secret to the long-ago disappearance of Goodman's father. Millar (On the Brinks, 2003) has been jailed in both Ireland (for IRA activity) and the U.S. (for armored-truck robbery), and his prose smacks of self-teaching. It's sometimes lyrical, sometimes overwritten--and sometimes weak on the fundamentals. The brutality of his grotesque world further limits the audience. But for those who like their tales dark and dank, this near-gothic thriller might be meat and potatoes. Keir Graff
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