http://www.thehindu.com/todays-paper/tp-features/tp-literaryreview/crime-born-of-passion/article4373936.ece

But the book’s lingering quality — its ability to stay under a reader’s skin long after its secrets had been disclosed — hinged on its portrayal of two characters who match wits: one a brilliant physicist-sleuth named Yukawa (also known as Detective Galileo) and the other a criminal with almost unfathomable, monk-like reserves of personal dedication and forbearance.

When it is revealed, a reader’s instinctive response might be to snort and say “Impossible” (which is what the detectives listening to Yukawa do). I even felt a little cheated at first, as if the author had blindsided me by stepping outside the permissible limits of the genre. But further reflection shifted my perception of what was possible and what wasn’t; I began to see the peculiar internal logic of the denouement in light of the personalities and the lifestyles involved, and the crime no longer appeared unfeasible.

The actual writing has some of the functional woodenness that you find in most commercial fiction of this sort — too many references to a character’s eyes “widening in surprise”, for example, or hands gripping a phone tightly when unexpected news is received — but these are tics of the genre, easy enough to ignore up to a point. (Besides, as has often been observed, when Japanese is translated into English, the results can seem a little stilted and over-formal, especially when the reader is from a culture that doesn’t understand why a detective might remove his shoes outside a house before going in to question a murder suspect.)

This book is about a crime born of very deep passion, but with no sudden bursts of action, no explicit violence or dramatic confrontations, it is unnerving in ways that more conventional thrillers are not. And despite the fact that the setting is a homogenous modern city and the characters are in some ways indistinguishable from upper-middle-class people living anywhere in the world, there is something distinctly Japanese about it, something of the deceptive placidity of the filmmaker Ozu or the novelist Ishiguro. There is a sense of a neat and ordered contemporary world with mystical rumblings beneath its surface, reminiscent of the Sheep Man in Haruki Murakami’s novels, hidden in a forgotten corner of a glass-and-steel skyscraper, or a videotape being employed by supernatural forces in Koji Suzuki’s Ring series. Higashino’s book is set in a world of tidy kitchens with coffee-makers and bottled mineral water, of sophisticated dinners and dating parties, but beneath it all is something more primal. The image one is left with at the end is the indelible one of a predatory spider watching quietly, patiently over her web.