DEATH TAKES ME

A professor and a detective become obsessed with a killer.

“That’s a body.” That’s the reaction of professor Cristina Rivera Garza—the main character of this novel, who shares her name with its author—when she discovers the corpse of a man while on one of her customary runs. The man is missing his penis, the victim of a mutilation; “a terrible thing against the dead,” Cristina says, referencing “Great Deeds Against the Dead,” a sculpture by Jake and Dinos Chapman, itself based on an etching by Francisco Goya. Cristina reports the body to the police, and the case is assigned to an officer, “the Detective,” who is interested in a clue left at the scene of the crime: four lines from a poem by Argentine literary legend Alejandra Pizarnik. Over the following days, three more bodies are found, all with their genitals removed. As the Detective works to solve the case, Cristina receives a series of cryptic messages from the murderer, who tells her, “You shouldn’t be afraid of me. I won’t hurt you. I couldn’t possibly hurt you.” There’s also the Detective’s assistant, Valerio, and a tabloid journalist, both of whom are fascinated with the case. Much of the novel is given to various philosophical musings on gender and art, and the text is interspersed with occasional verse. It’s a fairly audacious literary experiment with shades of Roberto Bolaño, but it never really comes together—the narrative trickery is frustrating, and while Rivera Garza is clearly a more than talented author, the effect is ponderous. For a novel with a blood-soaked premise, this one is oddly bloodless.

A rare miss from an author with an impeccable bibliography.