There are almost two stories at play in Mayhem – one about the chaos caused by the Ripper murders, and one about Dr. Bond. The Torso Killer simply connects the two stories with a mixture of supernatural creepiness and unbelievable factuality. Unfortunately, Ms. Pinborough spends too little time on the Ripper murders, too much time on the Torso Killer, and even more time on Bond’s afterwork activities. Just when momentum builds for either murder investigation, the action shifts to Bond’s side inquiries, something made less than exciting by the fact that they involve an obsessed cleric, a mentally unstable immigrant, and heavy reliance on a strong psychotropic drug. The dream-like quality of these portions of the story fails to complement the gruesome truth behind the other probes.
Saving Mayhem from becoming a complete disaster is Ms. Pinborough’s excellent prose. She excels at bringing to life all of the filthy, odorific elements of Victorian London. This serves to heighten the grimness of life on the streets and the challenges faced by the investigators as well as offset the flights of fancy brought about by the mysterious evil entity at work in London.
In Mayhem, the combination of fact and supernatural fantasy does not coalesce into a seamless, interesting story. There is too large a gap between the two, requiring a bit more suspension of disbelief than readers will be willing to expend. Bond is at first a sympathetic figure in all of his exhaustion but quickly turns into a tragic figure as his reliance on self-administered opium increases. So much time is spent on Bond’s visits to the opium dens that they seem to become the focal point of the narrative rather than the two murder investigations. The narrative suffers as a result, and the entire story remains a mish-mash of genres that never joins into a story that fully captures a reader’s imagination and attention.