Shuttlecock - book review

I’ve come late to Graham Swift’s 1981 novel Shuttlecock. I’d bought it on paperback release when I was studying psychology with the Open University, as it was labelled ‘a psychological thriller’; but I never got round to reading it then.

 

The book is narrated in the first person by Prentiss who works as a senior clerk in the ‘dead crimes’ department of the police archives.

There’s a Kafkaesque tone to it, a dreamlike quality that lingers even after the last page is turned.

We’re not exactly sure of the narrator’s reliability regarding his observations and conclusions.

His boss is Quinn, who remains aloof and has a tendency to psychologically and verbally bully the office staff. Then Prentiss begins to realise that some files once requested by Quinn are never returned, while others are tampered with.

Prentiss is a bit of a bully himself, domineering towards his wife and hypercritical of his two sons, Martin and Peter. It is possible that this is relevant to his childhood. He makes twice weekly visits to his father in a mental institution, following the old man’s breakdown. Prentiss is obsessed about his father’s wartime memoir, Shuttlecock, about his spying exploits in France for SOE and his subsequent capture and torture. Gradually, Prentiss questions his father’s alleged bravery, perhaps recognising that he himself is a coward. But he finally plucks up the courage to confront Quinn about the missing files.

The narrative is riveting, despite the unappealing nature of Prentiss, and offers insightful parallels about father and son relationships. It is not all grim; there is humour to be found, notably his references to his sexual antics with his wife Marian, though nothing graphic. An editor might have pointed out the possible reader confusion of using two female character names beginning with the same letter, Marian (his wife with pert breasts) and Maureen (she with big breasts from the typing pool), but that’s of no real consequence. 

This is not a thriller, but that dubious description is no fault of Swift but rather the publisher. Certainly it is suspenseful and continually intriguing with countless behavioural observations.