Andrew Wilson is the author of a highly renowned biography of Patricia Highsmith and THE LYING TONGUE is his début novel. In an interesting move the author starts his first novel with the comment "This is not the book I wanted to write. This is not how it was supposed to be at all." All I can say is if he writes what he wants to write and it turns out as good as this one, then bring on the next novel.
Adam Woods is a young man with a degree in Art History and a vague desire to write a novel. With a decidedly dodgy romantic history, Woods heads off to Venice to take up a job as a companion to a young boy. When that post doesn't eventuate he finds himself as live in companion and carer for the reclusive, elderly novelist Gordon Crace. Gordon wrote one of "the" great English novels and promptly disappeared from general sight - never writing another novel. Crace is obsessive, insular, scared of the outside, unable to be left alone, alternatively clinging and moody, and Woods becomes increasingly obsessed with his employer's past. When he discovers that there has been talk of a biography that Crace, seemingly, has rejected out of hand, Woods can't help himself - he cannot stop himself from pursuing the truth behind Crace's past, the story of his famous novel and why he has ended up so reclusive, so timid.
Nothing, absolutely nothing is as it first seems in THE LYING TONGUE. For most of this novel you're struggling to keep track of who is the good guy, who is the bad guy, and exactly what is going on - and all of this with effectively two main characters. There's just this general feeling of claustrophobia, corruption, seduction, manipulation and ruthlessness.
You have to wonder about the influence of movies such as Sleuth (Michael Caine and Sir Laurence Olivier). Reading THE LYING TONGUE bought back thoughts of that movie time and time again - the storylines are nothing like each other of course, but there's something about the intensity of the two characters, their interactions, the menace, that for some reason triggered the memory.
Amazingly there's very little guilt in either of the main characters in THE LYING TONGUE and that, along with the way that both of them seem to be more than happy to manipulate any circumstance to suit their own requirements, makes the whole novel almost breathtakingly ruthless. Mind you, the number of times that you're just flat out deceived by the twists and turns of the truth of these characters makes you get to the end of the novel wondering if you've actually read what you thought you read.