What We Learn About Robin: A Defence

Spoilers! Please do not read on if you haven’t read Career of Evil. 

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Throughout the three Cormoran Strike books, we’ve been learning steadily more about Robin Ellacott, his golden-haired secretary. In A Cuckoo’s Calling, she is a fairly bland character. A nice girl, with a nice house, nice family, and a boring fiancée. Working as a temp, she wanders into Strike’s office and stays.

In The Silkworm, Robin grows as a character a little bit more. We see layers that we didn’t know were there, and that she had forgotten about completely. She turns out to be a naturally good investigator, an adept driver, amateur psychologist…slowly, Strike comes to give more of his work over to Robin, until she steadily becomes his partner. We find out that Robin was studying at university, with dreams of working for the police, before mysteriously dropping out. The tensions between her and her accountant fiancée, Matthew, become greater as Robin grows away from him and spends more and more time at the office. 

Matthew’s theory is that Robin is in love with Strike. The hours spent at work, the new light in her eyes…We, the reader, don’t see an affair. We see that Robin is simply in love with her job. And, by Career of Evil, she is taking on cases as well as, if not better than, her boss.

Ah, yes. Career of Evil.

Midway through the book, there is a ‘revelation’: a ‘revelation’ that seeks to explain Robin’s claustrophobic relationship with Matthew, why she left university, why such an intelligent, driven woman is working as a temp…

We find out that she was raped as a teenager.

This leaves an extremely unpleasant taste in the mouth.

Almost certainly Rowling’s intention. Career of Evil is intentionally a darker book than its predecessors. We go beyond cartoonish violence into seeing the impact of crime on real life: fair enough that it should involve our main characters.

But with that said, sexual violence has become a cliche in detective fiction: a cheap, easy, gratuitous way to make a story dark or adult.  As we are repeatedly told by Strike’s internal narration, it makes Robin into someone whose life has been defined by those twenty minutes.

What Rowling is doing is admirable, but some of the implications are a bit unsavoury.

But, leaving all of this aside, there is an alternative explanation.

We are far from the sunlit, uncomplicated days of Poirot and Marple. To be a detective nowadays, you need some kind of backstory, some kind of motivating trauma. It’s probably quicker to name those who don’t have this, but to give a flavour:

Adam Dagliesh, Tony Hill, Thomas Lynley, Quirke, John RebusLisbeth Salander, Scott and Bailey, Vera Stanhope, Kurt Wallander….Strike himself has his father, his mother, his leg and Charlotte.

When we met Robin originally, she was an archetype: the nice girl with the nice job and boring fiancée, who discovers another, more exciting life and runs headlong into it. The nearest parallel in popular culture is probably a Dr Who companion: it’s a typical ‘gate to another world’ story, except that the world Robin discovers exists (sort of) in real life. The cliche of past trauma actually gives Robin more independence, because it takes her away from the archetype and back to one character, with one story, making one specific set of decisions.

Which mirrors, quite nicely, Robin’s transition from secretary to detective. In the first book, we know nothing about her character; she mainly makes the tea. In the second, as she goes out investigating we learn more about her life with Matthew. It is in the third, when she finally gets a full backstory, that we see her following up her own leads and detecting in her own right.

The increasing emphasis on Robin’s character, her family woes and her multi-layered backstory come as Robin grows from secretary to detective. The fashion is for our investigators to come with a traumatic past and family trouble. Robin-as-secretary had none of these things, Robin-as-detective does.

It’s a subtle point: perhaps a kinder interpretation than that Rowling is dwelling on something that perhaps should have been mentioned and then let alone. But ours not to judge.

 

 

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