But Mr Cooke knows what has happened to his daughter. It has happened before out there, in those fields. Girls and women attacked and no one caught. He thought, his wife thought, that women should not be out at that time. He thought and his wife said, they must be peculiar kinds of women to be out there at that time, in a field with a man. They didn’t think these things because they were nasty people, or spiteful or uncaring. They thought these things so that they were not terrified all the time. Otherwise they would never have allowed their Isabella out of the door.
—Denise Mina, The Long Drop
Mina’s entire book is written in the present tense except for this paragraph, which serves as a kind of aside to the reader: this is the way things were, the way that my book describes, I want you, dear Reader, to understand how things differed from the present day.
The entire book, set in a coaldusted postwar Glasgow has a sheen of unreality, abetted by the use of the present tense throughout. As I’ve been realizing lately, the way people think in books is not necessarily the way I think in real life. Mina has intuited this also and tossed the contemporary reader this bone; I read this parenthetical remark and not only the critical distance between the book’s 1950s and the contemporary day but an appreciation of Mina’s reverence for the milieu came into focus.