Book review: Whiteout, by Ragnar Jónasson

16 11 2017

Ragnar Jónasson is an Icelandic lawyer, university lecturer, TV journalist and crime fiction writer with eight books to his name, five of which (the ‘Dark Iceland’ series featuring young police officer Ari Thór Arason) have been translated into English. I’ve previously reviewed two of these: Snowblind and Nightblind.


Whiteout (Andköf, 2013, translated by Quentin Bates) is the fourth of the Ari Thór novels (albeit presented in English translation only after the fifth novel, Nightblind). It starts with the fatal cliffside fall of Ásta, a young woman whose mother Seiunn and younger sister Tinna also perished, a couple of decades earlier, at the same Kálfshamarvík cliff. It’s a few days before Christmas; the rocks on the point are slippery; there’s nothing intrinsically suspicious about Ásta’s death, in isolation. But the family history of near-identical tragedies leads the police to believe an investigation is warranted, and Ari Thór’s erstwhile commanding officer Tómas is despatched from Reykjavík to head up the investigation. Faced with personnel shortages in the lead-up to the holidays, Tómas calls on Ari Thór to assist him. The timing’s doubly poor for Ari Thór: not only does the investigation impinge on his upcoming holidays, but he and girlfriend Kristín are imminently expecting their first child. And hopes of a rapid resolution to the case are dashed when clear traces of foul play are unearthed …

There’s a sparseness at the core of Whiteout which is, I think, quintessentially Icelandic. (It is, at least in tone, strongly reminiscent of the work of fellow Icelandic crime novelist Arnaldur Indridason, whose writing often has a similar ‘pared-back’ feel to it.) The setting is isolated and somewhat bleak, the suspect list is short, comprising only elderly brother and sister Óskar and Thóra, wealthy landowner and businessman Reynir, and neighbouring farmer Arnór, the detectives’ methods of inquiry fairly rudimentary. It’s also sufficiently slow that it takes a good long time to get its hooks into the reader. But Ragnar is skilled at evoking personality in characters who are often intrinsically very taciturn and insular, and the setup of three similar deaths, decades apart, becomes steadily more intriguing as the story progresses and as various family skeletons are unearthed. All up, it’s another understated but effective procedural in a very impressive and stylish series.









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