I recently wrote about Jo Nesbø’s stand-alone thriller Headhunters, which beside being a notable publication for enthusiastic fans of the author’s previous thrillers starring Detective Harry Hole, also caught my attention because all of the proceeds from its publication, subsequent translations, and film adaptations will go to support Nesbø’s literacy charity, The Harry Hole Foundation. I was, nicely enough, able to snag a copy of the book to review on late notice. My review of the book is on Reviewing the Evidence (here) or the full text is below.
It bears noting that Nesbø is an author that I just keep coming back to, even though I only like his work about half of the time (maybe less, actually). I find this interesting. I was relatively unimpressed with The Redbreast (which was wildly popular) and honestly, Headhunters wasn’t up my alley, either. But I just loved The Devil’s Star. I keep coming back to Nesbø because I really love his detective: Harry Hole is a complicated and interesting creation–some one that you root for, even when you don’t like him (or, in my case, don’t particularly like the plot line of the book he’s in). Perhaps the fact that Headhunters is a stand-alone without Hole set me up to be a little less taken with this novel, but I think I’m just not the Ideal Reader for this type of thriller. At any rate, I look forward to my next visit with Hole–last time I left him, it looked like things were on an upswing for him.
Without further ado:
By Jo Nesbø, Translated by Don Bartlett
Norwegian author Jo Nesbø has made a name for himself worldwide with the success of his crime thrillers starring the down-and-out detective Harry Hole. Arguably, most of the appeal of these novels is not in the creatively gruesome crimes and criminals that Nesbø creates, but in Harry Hole, whose raging alcoholism and determined self-destruction cannot completely obstruct the fact that beneath it all, he’s really, as Nesbø himself has said, “a Decent Guy.”
Roger Brown, star of Nesbø’s standalone novel Headhunters, diverges from Hole in all essentials. An arrogant, chauvinistic, and incredibly successful corporate headhunter, Brown moonlights as an art thief in order to supplement the decadent lifestyle he and his wife maintain, often stealing valuable paintings from the corporate candidates that he interviews for prestigious directorial positions. Brown is, as he tells us frequently, “king of the heap,” the best of the best: he’s never nominated a candidate for a position who has not ultimately been hired for the job. The secret of his success? The nine-step interrogation model developed by Inbau, Reid, and Buckley for the FBI.
Brown is not a “Decent Guy.” Not even his relationship with his wife Diana, who he very nearly worships, reveals a sense of compassion or real devotion. (Women in general are given rather two-dimensional motivations and weaknesses throughout the novel—as one man gruffly remarks late in the novel: “Oestrogen makes you blind.”) There’s almost nothing likable about Brown, and in some respects, that’s okay. Meeting his match in Clas Greve, a Dutch-Norwegian CEO superstar who also happens to own a priceless painting by Peter Paul Rubens, Brown finally has to really work not only to come out on top, but to survive at all. Unable to resist such a score, Brown steals the Rubens painting, only to discover that Greve has been an actual headhunter—trained by the Dutch army to track down drug dealers relentlessly through unfamiliar jungles. Here at last, is someone who is as ruthless as Brown. The reader is left to simply sit back and watch them destroy one another.
The ensuing chase and multiple double crosses are not for the faint of stomach—Brown’s attempts to elude Greve lead to some desperate, and in many cases, disgusting measures. For some readers, these episodes will be just farcical and gross enough to be amusing, but mostly, the latter half of the novel becomes sadly tiresome. Nesbø also can’t seem to commit to writing a strictly unlikable character, and develops a flimsy backstory for Brown which is meant to provide justification for his callousness and lead him to eventually reform his ways. What transformation does occur is rather flat, though, and Brown remains a pathologically self-serving and self-justifying man.
All the same, it bears noting that Jo Nesbø himself is a Decent Guy, and with the very successful initial publication of Headhunters in Norway, he created the Harry Hole Foundation, which gives out an annual Decent Guy (or Decent Lady) prize to deserving individuals to donate to the literacy-based charities of their choice. All domestic and international proceeds from Headhunters—including those from the film version that was made in Norway— will go directly to the Harry Hole Foundation, to continue to support literacy projects in developing countries.