Someone does that job for Troy. Shortly after she has met Lazlo and seen his exquisite workmanship on an intricately stamped necklace, he is murdered. Troy’s guilty conscience and unethical ways get the better of her. Imagining the worst and thinking that she might actually be thought the killer she stages the scene of the bloody murder to look like a suicide. She flees Lazlo’s studio but not before impulsively stealing the copper plate that made the beautiful design in the silver necklace. All of this occurs in the first two chapters. This is our protagonist? Knight seems to be writing a Patricia Highsmith novel with a love mad female version of Tom Ripley, a woman who cares for no one really but herself.
|Bracelet designed by Taxco silversmith|
Hector Aguilar (circa 1940s)
The tone and language of The Blue Horse of Taxco (1947) is completely different than the Elisha Macomber (her best known series detective) novels in Knight’s early writing period. It’s darker, not at all lighthearted, and fueled with the illogical passions of impulsive desires not unlike the novels of pulp and noir writers. She is finding a way to tell a story of crime without resorting to old-fashioned thriller tropes and set pieces that seem lifted from cliffhanger serials. Gone are the quaint clues and girl sleuthing sequences found in her early books. Knight’s focus now is on character as opposed to multi-layered puzzling plots which is not to say that she has completely abandoned the puzzle. There is still the mystery of the pieces of the figurine of the title that will feature in the plot. But overall the story arises out of the characters’ behavior and thinking and their relationships not an artificial manipulation of events created only to bamboozle the reader.
(The above is a slightly edited portion from a longer essay on Kathleen Moore Knight I wrote for issue #68 of Geoff Bradley's fine journal Crime and Detective Stories (CADS). The issue will be coming out in a few months.)