Tench occupied a curious space in my brain while I was reading it, a space that makes it extremely difficult to review. I accepted it from Pushkin Press’s superb publicist Tabitha Pelly, who has form for sending me things that are both very worthwhile and challenging to sum up. The problem, or one of the problems, is a common one: when someone asks you what you are reading, the follow-up question is usually “What’s it about?” In the case of Tench, the answer is “A paedophile”, which, understandably, tends to dampen any further conversation. And the experience of reading it is not unlike that exchange: it is a very brave, very sad book about a lonely and conflicted man with fatally weak support networks, and as such, it is not the sort of thing that one “enjoys” reading. On the other hand, Schilperoord’s grasp of emotional beats in the soul of someone trying hard to be good and do the right thing is superb, and moving. This book will cut you. That’s a recommendation, I promise.
Inge Schilperoord is a Dutch criminal psychologist, and her experience with men like her protagonist, Jonathan, goes a long way towards explaining why he is such a convincing character. As the book opens, he is being released from prison. Something happened to put him there – something involving the neighbour’s daughter Betsy, who seems to suffer from a developmental disability – but the evidence to keep him there is apparently insufficient, and so he is let go. There isn’t much for him to return to: his mother is a well-meaning provincial naif who suffers from asthma and needs Jonathan’s care and attention almost every hour of the day. In a way, this suits Jonathan just fine. He creates a strict daily schedule for himself built around his shift at the fish gutting factory, his daily walks with the elderly family dog, Milk, and keeping house for his mother. Built into the schedule are “exercises” from his workbook, designed to help him control his own thoughts and actions.
His days are so regimented that we know from the beginning, with sinking hearts, it can’t last. Just after moving in, Jonathan meets Elke, a prepubescent girl who lives next door with her single mother. Elke is often left alone in her house, and while Jonathan’s been in prison, she’s been walking Milk for his mother. When they meet, disaster is inevitable.
Partly, Tench is an indictment of silence. Jonathan has no one to help him in his efforts to steer clear of Elke because he doesn’t tell his mother anything. He’s not even sure that she knows precisely why he went to prison: she didn’t come to his trial and he has asked his lawyer not to talk to her about the case. For her own part, his mother never tries to find out; there’s something in her son that she doesn’t understand, and though she loves him, she fears that part of him more than she can admit. So she tries to banish Elke from their house, but she doesn’t ask him anything outright, doesn’t discuss prison or the past with him, and is therefore unable to help him change his future. It’s an understandable attitude, but a useless one: pretend it’s not happening and everything will be all right. “That’s fine, son,” she says often, of his coffee-making or his omelette-flipping. These little finenesses can’t make up for the huge not-okay-ness of most of Jonathan’s life, but she tries to make it seem as if they can.
Schilperoord marshals the symbolism of the natural world to emphasise Jonathan’s constant discomfort: the story is set in a freak heat wave, and the tench of the title is a fish – thought by medieval peasants to have healing properties – which Jonathan tries to keep alive in his bedroom aquarium. It becomes the focus of his interactions with Elke, who loves animals and seems to be just as lonely as Jonathan himself, though where she is desperate for his company, he is terrified of hers. Slowly, as the care of the fish becomes their mutual concern, Jonathan’s flimsily constructed self-discipline begins to erode: first he promises himself he won’t allow the girl within a few dozen metres of him, then within five, then within two. He is constantly trying to maintain boundaries, but also constantly self-justifying.
And all the while, the relentless hot weather: humid, oppressive, and omnipresent. It’s a perfect metaphor for Jonathan’s own thoughts. His exercises tell him that these can be unlearned and rebuilt in a more acceptable image, but although he tries, it’s difficult to do the hard work on your own, without an external force holding you accountable. Schilperoord makes very sure that we see that: that we witness him trying, that we witness him backsliding not because he’s an evil kiddie-fiddler but because he’s human, in the same way that an alcoholic might try hard not to drink but end up reaching for a beer because, dammit, they’ve had a bad day.
Throughout the book, the climactic catastrophe looms. Something is bound to happen, but it’s hard to imagine how Schilperoord will engineer it without boxing herself in: either Jonathan gives in to his impulses, in which case the novel holds out no hope for individual goodness or effort at all, or he doesn’t, which, given the amount of time Tench spends destabilising Jonathan’s resolve, seems dramatically unsatisfying. The third option – the one Schilperoord finally takes – avoids these problems, but is tripped up by its sheer unlikeliness. But that, I think, is the danger inherent in writing a story with such high stakes; on one side or the other, melodrama lurks, and the fact that Schilperoord avoids it for as long as she does is impressive.
What this book most reminded me of was Ian Parkinson’s The Beginning of the End, which I reviewed about two years ago. Parkinson too writes from the perspective of an anti-hero whose lack of sympathetic qualities are due not to a Byronic, rebellious nature but to being repellent and heartbreakingly lonely. But Parkinson’s book does not hold out hope, and while Schilperoord’s book doesn’t really either, it feels by the end as though we’ve moved beyond hope. Jonathan has done nothing, but he will probably be punished. In a way, he’ll be safer back in prison – where at least a support system of psychologists and social workers exists – than out in the wide, terrifying world of flat shores and unpredictable children.
(It is also worth reading Alexandra Marzano-Lesnevich’s book The Fact of a Body in conjunction with Tench. Both give windows onto the almost insurmountable difficulties of living with paedophilia in a society where you are more likely to be reviled or ignored than offered help, and onto the painful struggle not to hurt anyone when, to you, it doesn’t even feel like hurt.)
Many thanks to Tabitha Pelly of Pushkin Press for the reading copy. Tench was published in the UK on 27 April 2017.