Birds of a Feather

Leave no black plume as a token of that lie thy soul hath spoken! 

 Leave my loneliness unbroken!—quit the bust above my door! 

Take thy beak from out my heart, and take thy form from off my door!” 

Quoth the Raven “Nevermore.”

"The Raven"

So the title of this books refers to crows and not ravens as we start with a scene of a murder of crows (and ravens usually move in pairs). The same kanji character is also used in Soanoshiro/Soanojo, a location in Maya Yutaka's first novel and the title of Kyoto University Mystery Club's annual publication, but there the same kanji refers to a raven...

Wanting to learn the reason why his younger brother got himself murdered, Kain travels deep in the mountains to locate a small, isolated village without a name and not indicated on any maps. Abel disappeared soon after Kain got married, but returned half a year ago, but soon met his death. Abel had been living in this village for some time, and Kain suspects the reason for Abel's demise may lie in his stay here. Kain eventually manages to make his way to the hidden village, but barely: on the way, he's nearly killed by a murder of crows, pecking viciously at him and even making him pass out as he tried to flee from the attack. When he awakens, he finds himself being taken care of in the village, as Senbon Kashiragi found him lying heavily injured in the outskirts of the village. Kashiragi is a kind man, and lets Kain stay in his home and Kain also meets his wife Fuyuhi, son Kazura and daughter Semiko. Kain keeps the true reason for his arrival at the village a secret for now, but he soon learns the peculiarities of the village where Abel spent some months living. The village is completely isolated from the outside world, with about 1000 inhabitants of whom most are of course farmers. A river seperates the village in an east and west side, and the two sides don't mingle too much, and there's even a bit of a power struggle going on between the two sides. But there's an absolute authority that stands even above these sides: in the north of the village stands the palace of Ookagami, the god of flesh and blood who reigns over the village. The whole village worships Ookagami, who watches over them. His authority is absolute, which is one of the reasons why the village is so isolated: while there is no rule saying villagers can't leave the village, the mountains are considered holy territory belonging to Ookagami, and save for sanctioned hunters, nobody is allowed to enter the mountains, and it just happens the whole village is surrounded by mountains. 

The village has developed for generations without real contact with the outside world, though they are aware of it existing, and in the past some "Outsiders" have made their way to the villages just like Kain and Abel. While the village is usually not very welcoming to outsiders, some have managed to settle in the village. Abel too himself had become a well-respected member of the community and even became a Guardsman to Ookagami, one of the most respected functions in the village. Pretending to be interested in other Outsiders in the village, Kain asks more about Abel's life here, and learns that he suddenly left the village about half a year ago, even though he was a Guardsman and quite beloved by people on both sides of the river. Kain starts suspecting Abel being a Guardsman might be the reason why he got killed, though he can't understand why. Meanwhile, Kain himself isn't really making himself popular in the village by him poking around and while the Senbons are glad to have him, many are not shy to tell him to leave. When one man, who had a rivalry with Abel, is found murdered in the village, people naturally start to look suspiciously at Kain, but on the other hand, they also are fairly sure he didn't do it. Why? Because if someone murders someone else in this village, a mark will appear on the hand of the murderer. It is the will of Ookagami, and while Ookagami will not judge upon the murderer, everyone else will be able to identify the murderer because the appearance of the mark is fact and nobody dares to murder someone else in this village. But is that really so? As Kain tries to figure out Abel's death and his connections to the village, he finds the village perhaps far more dangerous than he first suspected in Maya Yutaka's Karasu ("The Crows", 1997).

Karasu is the fifth novel in the Maya's Mercator Ayu series. The last Mercator novel (not short story collection) I read was the second one, Natsu to Fuyu no Sonata ("A Sonata for Summer and Winter" AKA "Parzival" 1993), which was a fever-dream-esque catastrophic deconstruction of the closed circle murder mystery on an island. It was for me, the "books you don't to read but do want to have read"-type of book. Karasu shares some themes with Natsu to Fuyu no Sonata, but in a much more subdued way, being closer to a conventional detective story, without ever forgetting the deconstructive modes Maya specializes in. The result is a book that is perhaps not as powerful and memorable as Natsu to Fuyu no Sonata, but probably a lot more enjoyable as a conventional detective story.

The most memorable part of this book is definitely the village: it is a creepy, isolated community which has human aspects to it, but also horribly, cold sides as one would perhaps expect from such a introverted community hidden in the mountains. There is a distinct, almost fantasy-like atmosphere, which is certainly not idyllic or pictoresque, but it feels very detached from our reality, and yet very real in how feudal the whole village dynamics work. It is a very different mood compared to more (fever-)dream-like atmosphere of Natsu to Fuyu no Sonata, but this "detached from reality" feeling is certainly one reason why I was very much reminded of that book.  But with the story also focusing a lot on the political power struggles between the various chieftains in the village, you are quickly reminded of the Kindaichi novels, or a village where Toujou Genya would do his folklore research. Indeed, the latter is the series I was reminded of the most, as the absolute belief in Ookagami and his rules are what make this village so unique. Indeed, a lot of the mystery arises from the fact the rules are considered absolute in this village, which in turn influence the (possible) actions of the suspects. How could someone have killed Abel after he had left the village and returned to the outside world, if nobody is allowed to set foot in the mountains and everyone believes in that rule and does not violate it? Why would anyone risk killing someone else, if they know a mark will appear on their hand, branding them a murderer? These are elements that usually are not at play in a normal detective story, but this is not a normal setting, and these religious rules thus create a very interesting and original setting for a mystery.

Due to the slow pace of the book and the focus on depicting the village in such detail, it does mean the reader has to be patient if they want to focus on the mystery. It takes a lot of time for the murders to occur, so the first half or so, we're just exploring the village, its beliefs, customs and rites and meeting some of the important faces here. Even after the murders have occured, it's not like Kain can play detective openly all the time, as a lot of people suspect him, as the Outsider, to be the murderer, so it's definitely not an investigation-focused detective, and at times, I was even reminded of Yatsu Haka Mura (The Village of Eight Graves), which felt similar with Tatsuya appearing in an isolated village, murders happening and him slowly turning into the main suspect. Only this book is still more mystery-focused compared to the more adventure-focused Yatsu Haka Mura. There is a secondary plotline which follows a young boy living in the village also trying to learn more about the deaths in the village, which adds a bit more suspense and adds a nice different view on the events, working very well as a contrast to Kain's POV.

I already mentioned this is a Mercator book by the way, and Mercator Ayu's appearance in this story was quite surprising. He appears roaming around in the village, even though it appears only Kain has seen him, and of course, Mercator is still wearing his tuxedo and tophat in this village. His appearances are very sparse, though still more substantial than the extremely short appearance in Natsu to Fuyu no Sonata, and he's not very actively involved with solving the mystery, though again, more than in Natsu to Fuyu no Sonata. We also learn via him that there's a very interesting connection between this book and the first Mercator novel, Tsubasa aru Yami ("Darkness with Wings") and people who have read that book thus might want to check this one out too.

When it comes to the actual mystery plot, I'd say the books has some really interesting ideas, some of them very ambitious even, and even though I don't think every element works as good as another or is executed perfectly, I'd still say this was a book worth reading and incredibly fun. After the first murder, other dead bodies pop up, but there is also the matter of a supposed suicide half a year earlier, which happened in a house surrounded by untrodden snow when the body was discovered, meaning a murder would have been impossible as the murderer couldn't have escaped without leaving footprints. The underlying motive behind these murders is a very ambitious one. I love the idea, as it turns a somewhat cliched idea from mystery fiction and turns it completely inside out. It is actually hinted at quite fairly: some of the hints were perhaps even a bit too "in broad daylight" as I kinda started suspecting it'd involve that trope one way or another, but some of the other clues were better hidden, and in hindsight quite clever. I do wish the underlying reason for the motive was explained in more detail as to why it was so important to be like that, but still, I love the audacious idea to use that one trope in such a daring manner. Other parts similarly had both good, and less impressive elements to them. I for example didn't really like the parts involving Abel's involvement in the mystery, though I think there are things done with that, that are executed quite cleverly, and even in a way that ties very impressively back to the greater story. And while Maya's basically also deconstructing classical puzzler mysteries, he usually does rely on Queen-esque set-ups for his stories, so here too we are treated to false solutions with deductions based on physical evidence, the state of the crime scenes and the actions a murderer took, and it works very well with the main idea behind this book. There are certainly parts where I think Maya should have worked some elements out in greater detail, but on the whole, this was very enjoyable. The ending also reminds of the catastrophic climax of Natsu to Fuyu no Sonata, though leaving more room for some catharsis. We basically witness a complete breakdown of both the setting and our main protagonist and like always, Maya leaves you with an undescribable feeling even after "solving" the mystery.

So I really did enjoy Karasu. In a way, it felt to me as a more "traditional mystery" take on themes Maya also tackled in Natsu to Fuyu no Sonata, but I feel infinitely more comfortable recommending Karasu as a mystery novel than that one. The book has fantastic atmosphere and while the execution is not completely perfect, it genuinely has some interesting ideas and tricks to play mystery-wise, so on the whole, I can safely recommend this as a good Maya mystery.

Original Japanese title(s): 麻耶雄嵩『鴉』