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Few writers in history, possibly none, have given as many readers as much happiness as J.K. Rowling has. That made it easy to accept the flaws in her first adult novel, last years The Casual Vacancy — truthful but leaden satire has always been her weakest mode — and to accept as well that she might spend some time experimenting with books more interesting to her than her public.
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But now, more quickly than we had any right to expect, comes good news: The master is back.
In The Cuckoos Calling, a detective novel that Rowling published under the pseudonym of Robert Galbraith, she returns to the strengths that made Harry Potter great — the beautiful sense of pacing, the deep but illusionless love for her characters — without sacrificing the expanded range of The Casual Vacancy. In doing so, shes written one of the books of the year.
Rowlings hero is Cormoran Strike, a shaggy, oversized private detective with a brilliant mind and a disintegrating personal life. (Readers who seek a resemblance may spot in Strike a hybrid of Rubeus Hagrid and Remus Lupin.) His task is to investigate the death, seemingly a suicide, of a Kate Moss-like model, Lula Landry. A galaxy of suspects — a boyfriend, a rapper, a neighbor — might have wished Lula dead. As the novel races to its finish, the truth materializes in a series of excellent twists.
No book is perfect. The Cuckoos Calling presses too hard on the theme of fame in the tabloid era — not an unworthy subject, but stale by now and without fresh treatment here.
Still, that barely seems to matter when the characters are so full and when Rowling has never written more nuanced, considered prose. At a low moment, for instance, Strike says of London, The indefatigable permanence of her aged buildings, softened by the street lights, became strangely reassuring.
In both its broad strokes and in dozens of flairs of perception like this one, The Cuckoos Calling shows that all great fiction — even if it only concerns our workaday world — has its own kind of magic.