Claudia Pineiro; translated by Miranda France
Betty Boo by Claudia Pineiro, translated from the Spanish by Miranda France, is a crime novel with a twist. The novel opens with a cleaning lady entering an exclusive gated community and country club in Buenos Aires. Her employer is a wealthy businessman. Much to her horror, she finds him with his throat slit. He has died in the same manner and is in the same chair where his wife’s body was discovered three years before. The murder fuels a range of theories, not least of which is that this is a revenge killing since he is a suspect in his wife’s murder.
Enter Nurit Iscar, nicknamed Betty Boo because she shares the same black curls as the cartoon character, Betty Boop. Nurit is an investigative reporter, turned novelist, turned reporter. She is hired by her former lover, the editor of the newspaper, El Tribuno, to write background features on the case. Her employer sets up accommodations for her to live in the gated community so she can be close to the action.
Nurit teams up with two reporters from El Tribuno—a seasoned crime reporter who has since been demoted to the society pages, and a young trainee assigned to the crime pages, known only as Crime Boy. Working together, the three of them unearth a series of linked murders, all of which relate to a crime committed years before. Their discovery of the culprit leads to more questions than answers.
Pineiro’s style poses an initial challenge due to its lengthy, page-long paragraphs; dialogues with no quotation marks; shifts from introspection to vocalization, and from one character to another. But it doesn’t take long to become familiar with her style. Perseverance is amply rewarded because the novel has much to recommend it. The narrative moves at a brisk pace. The characters are multi-generational, well-rounded, unique, and relatable. This is especially true of Nurit Iscar and her three spirited female friends. Conversations are interesting and ring true to the characters’ ages. But the real strength of the novel lies in the narrative voice, which is engaging, funny, confident, and thoroughly entertaining. Pineiro has a unique way of creating the impression of simultaneity by shifting between different characters and scenes with words such as, “While this is happening . . .” and then switching to a different character or scene. This technique speeds up the action and layers the narrative, giving it a cinematic feel.
Although this is a crime novel, the crime component is not overriding. The narrative is replete with digressions and opinions on various issues, including dating; the effects of aging on the human body; a satire on gated communities and their mind-numbing security arrangements; the need for journalists to tell the truth; the internet; second chances, especially for the middle-aged; and various other observations about life.
Is it a crime novel? Yes. But it is more than that. The writing, characterization, and pacing make it highly entertaining and more than simply a novel about a crime.