The advantage of breaking through via a mainstream title is that you can cross over the lines to SF and the mainstream does not think ill of you. However, that doesn’t mean the ability to write successfully for the mainstream translates to an ability to write genre fiction. In fact more often than not the reverse is true – So does Chabon pull it off?

The Yiddish Policemen’s Union is an alternative history/Chandler pastiche set in a once proposed and long forgotten haven for Jewish refuges that would have been located in Alaska. In Chabon’s version of history this proposal was successful and the city of Sitka created whilst at the same time the fledgling state of Israel is destroyed in 1948. Sixty years on Sitka is due to revert back to Alaskan control. On the cusp of reversion, the story follows Detective Meyer Landsman on his quest to solve the murder of one drug addicted former chess protégé, aided by his boss (also his ex-wife) and his partner (his cousin).

Chabon succeeds because of two crucial differences between himself and many mainstream writers: 1. He’s simply a better writer than ninety percent of the market and 2. He’s a huge genre fan. The latter being the most important because it provides Chabon with a ready arsenal of knowledge as to what works and what doesn’t. He writes this stuff because he loves it.

That love shines through the book, from the artful and joyous journey across Chandler’s simile strewn wake to the careful construction of his alternative universe. Entwined with those two central conceits is a seam of Jewish mythology that also runs through Chabon’s successful The Amazing Adventures of Kavalier & Clay.

The delicately constructed story’s central murder mystery provides a strong rhythm around which the well-drawn characters weave. The real drama – of course – is provided by the interaction of these characters and the relationships they’ve built with each other. Chabon’s skill comes from being able to mould all of these elements into a well rounded whole that few writers are able to come close to. The prose is literary without being obtuse and the pastiching of Chandler is done well without tipping into cheeserama. Indeed: it surpasses Chandler on occasion.

There is very little to fall foul of in this book, the mapping out of divergent history is discreet and logical. Similarly the plotting of the murder mystery is kept in check and not allowed to shout down everything else. Indeed, the only place I found anything that really jarred was just a single word choice, hardly worth mentioning bar for that fact its unexpected and awkward placement took me briefly out of the story. Indeed I suspect it was either just placed in there to shock – not going to work for non-American readers – or was missed by the copy editors. It just didn’t fit.

In summary: an entertaining, intelligent read that should appeal to mainstream, crime and SF readers in equal measure. Thought provoking and blessed with luscious language that begs to be read out loud – you need to read this book.

5/5