An oblique and confusing YA murder mystery (is it? Is that what this?) set in a remote Australian town looks at issues of identity, heritage and injustice through an Aboriginal lens.
16 year-old Beth Teller is dead but that doesn’t stop her helping her white father, a detective, who is the only person who can see her. He is investigating a fire in a children’s home which has left one dead (adult) body and a mysterious Aboriginal witness, Isobel Catching. When I was a lot younger, I was very fond of a British TV show called Randall and Hopkirk (Deceased), about a pair of detectives, one of whom was dead. I thought this was where this novel was going. I was wrong.
Though not initially, as Beth’s narration follows her father’s investigation in a relatively straightforward, just the facts, sort of way. But added into that, she witnesses his grief at her death in a car crash and his refusal to make peace with her mother’s Aboriginal family.
Then we get to Catching. Her evidence is given in the form of abtruse and symbol-filled free verse. I found it somewhat incomprehensible, but Beth’s dad starts picking out connections to the fire and to the history of the children’s home.
When Beth died, she had a glimpse of “what comes next” but believes she has to stay with her father until he can accept and move on from her death, and this somehow becomes wrapped up in solving the mystery; in the meantime she is “trapped between two different sides to the world” and this somehow becomes wrapped up in Catching.
In an authors’ note, the Aboriginal brother and sister team gives some background on the history and culture of their people, before and after brutal colonization, as well as explaining some of the stories that inform Catching’s narrative.
Though this short novel switches uneasily between a police procedural and an ambiguous fantasy, it brings welcome new voices to American YA literature.