What is more important, that Cesear is assassinated or that he is assassinated by his intimate friends? … ‘That,’ Frederick said, ‘is where the tragedy is.’
After years in prison, inmate Oliver Marks is released on parole. Detective Colborne, the man in charge of the crime that put Oliver behind bars, is no longer in active duty. Lingering questions over the case has him approaching Oliver for the truth of what happened all those years ago. Being the Shakespearean thespian he and his friends are, he recounts the tale in all its detail and subtlety.
At Dellecher, an elite arts college, Oliver and his friends are in their fourth year of theater studies, where they perform endless Shakespearean plays. The friend group is very close-knit, and each of them play their respective roles dutifully on stage, and off. But things are changing, and after a strangely intense performance, one of them ends up dead.
The students in this theater program are dedicated to their craft, most certainly to a fault. They read deep into the verse, and quote it, frankly, constantly. I’ve never wanted to do a deep-dive into Shakespeare’s cannon more than I did while reading this book, and perhaps those with more background on the plays in question would have understood the deeper levels of meaning I’m convinced were there for a more astute reader. As it was, Oliver as the narrator did a good job of explaining enough that even a novice reader like me was able to follow the subtext of the scenes presented well enough. But these kids sure have a way with language, and as the author, M.L. Rio impressed me with such an expansive, luxurious writing style. It made me feel smarter and vastly ignorant all at once (ha).
One thing I’m sure Colborne will never understand is that I need language to live, like food-lexemes and morphemes and morsels of meaning nourish me with the knowledge that, yes, there is a word for this. Someone else has felt it before.
Oliver is a great supporting actor, and his place in the friend group mirrors that role. It is a great POV from which to experience the story. He sees the others for who they are without his own ego getting in the way, and is profoundly loyal to them, and is entirely too trusting of them, as it turns out. His character did not have a front row seat to the tragedy, and has to piece together what happened himself as the cracks in the story begin to show.
Did you love Donna Tartt’s The Secret History? Did you like it but wished it had less Latin & philosophy and more Shakespearean verse? Then this was written for you. The gist of the story was very similar, with mirrored themes and pacing in both plot and language. To me, this is essentially a re-telling of The Secret History, although having read it doesn’t give anything away of this one. But if you loved it, you’ll love this, and vice versa.
This Gothic mystery is not for the casual reader. The prose is dense and poetic and requires concentration and patience to get through (listening to it as an audiobook might help if you’re finding it too tedious). But if you’re a seasonal reader and like to lean into the vibes of autumn, this is a perfect companion to the chilly, snow-crusted, dim evenings of October.
Details
Title:: If We Were Villains
Author:: M.L. Rio
Genre:: Mystery/Thriller
Publisher:: Flatiron Books
Length:: 354 pages
Audio Length:: 12h 50m
Audiobook Narrator:: Robert Petkoff
Audiobook Publisher:: Macmillan Audio
Published:: April 11th, 2017
The Litertarian Rating:: 3-Stars
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