Heart of Glass is a dark tale about obsession, greed and music. It is a pacy literary crime noir thriller exploring the darkness in human nature. It contains Realism, Drama, Tragedy, Horror and Gothic elements. It is loosely naturalistic as a genre, which means the narrative style is straightforward American vernacular prose describing of mundane things without sentimentality and seemingly devoid of emotional investment or attachment. It means the characters are products of their environment and their upbringing, and they behave exactly as they please i.e. badly.
The character of Li-an is inspired by the titular character in Thérèse Raquin by Emile Zola, a spoilt, immature beautiful woman who does one bad thing after another and another until she cannot stop. She is miserable from doing these things, yet she cannot stop. This is due to her naivete, selfishness, her lack of education and her greed. The other characters including Ben her accomplice and her Achilles heel, are all guilty or less guilty.
Such a thing as a ‘good character’ is impossible to find in Thérèse Raquin as in Heart of Glass; there are just evil and less evil characters. In Thérèse Raquin, all characters are accomplices in some way or another of the murder of Camille, even Camille himself. As in Heart of Glass, all the characters are only concerned about themselves, their own interests. This leads them to cause crazy and intolerable situations in an endless chain of guilt-ridden activities. Survival is the main objective for each character. In Thérèse Raquin, death freed Thérèse and Laurent of their crime, and futile remorse after months of mutual hate and misbehaviour. In Heart of Glass, Paolo’s true love and forgiveness save Li-an and freed her from her obsessive and unreasonable behaviour. Camille, Madame Raquin, Thérèse and Laurent are all victims and guilty; even secondary characters can be accused of selfishness looking just for self-satisfaction.
Emile Zola is one the finest voices in literature and one of my heroes: “I have simply done on two living bodies the kind of analysis that surgeons do on dead bodies.” He aims to strip away the usual literary polite nonsense of describing people to get at the truth of “the human mechanism”. Hence Zola writes about brutality without judgement, without contempt. As a writer what I have written about in Heart of Glass has no sermon, no moral code. The clue is in the title. Warning label: Heart of Glass may shock.
I am not attempting to pass judgement or inflict my own values. The human problem is not of God and morality. It is of the psychological condition. The reader will be coming along for the ride to experience the horrors and the brutality as my characters and I experience them. The reader is trapped inside a world of despair and desperation of the bad character, the human beast. The idea is to explore the beastly character who gets worse and worse until her heart changes what it desires.
Which brings me to the final point: is there redemption in crime noir or crime writing? What if there is none? What if there is no solution to evil, no Jesus, no Buddha, no saints in this story, only sinners?
Painting: Sobbing Woman in Bed by Edward Munch.