(a phrase that is explained within this novel's pages)
Louie Knight's latest case is a strange one, even by his own somewhat unusual standards. In the midst of his home town's Great Heatwave, a man wearing the uniform of a Russian museum curator and calling himself Uncle Vanya walks into Louie's office and asks him to find his long lost daughter. What this has to do with the 30-year old mystery of the disappearance of Gethsemane Walters, troll brides, the murder of a young woman, Clip the sheepdog's role in the Space Race, games teachers and the dubious wonders of Sospan's Fish Milt Ice Cream Louie and his sidekick Calamity have yet to discover. Worse yet, they will have to make a journey to Hughesovka, a replica Welsh town in the depths of Russia, to find out the full story.
Pryce's last Aberystwyth book, '
Don't Cry for Me Aberystwyth', was a much darker and more sombre affair than the previous three had been. This time the tone is once again a little lighter, though still reflective in places and as always contains the wonderful juxtaposition of the quotidian and the absurd that make his books a joy to read. Perhaps some of this is due to the fact that, as Pryce recounts in the acknowledgements for this work, he struggled with illness during its writing. In any event the writing in this book is remarkably Welsh, full of dense wordplay and heart-on-sleeve lyricism. The style, though still bearing some of the hallmarks of a particular type of detective fiction, has now firmly established its own identity. In this sense it is rather like the transition between Terry Pratchett's early Discworld books, rooted in fantasy parody, and the style which became his own about four or five books in. Pryce's Cambrian universe is now entirely self-contained and runs to its own rules now; it's all the better for it.
There are numerous moments of laugh-out-loud humour, including an almost gratuitous visit to the Transylvanian home of a descendant of Vlad The Impaler, resulting in in a lucky escape for Louie and Calamity. Mixed in with them are several moments of great tenderness. One of these is an acutely moving and beautiful vignette of the atheist Louie meeting (and talking to) God, who shares his surprising and deep love of horses and the importance of rock. Even for someone as skilled as Pryce at melding wit and pathos this particular passage is a stand-out and connects to a couple of small but satisfying little pay-offs at the end of proceedings.
If you haven't read the Aberystwyth series yet, then I suggest you buy and read them all immediately. If you have, this addition will not disappoint. Heartily recommended.