Josh Malerman’s Black Mad Wheel is an excellent tale of a 1950s army band recruited to track down a mysterious musical weapon (and its equally mysterious owner) in the South African desert. The title could refer to vinyl records or the spin of reel-to-reel recording decks. It might refer to the tires of an army jeep stuck in the sand, or the ever-turning wheel of history. Or it could refer to life itself, the way we circle back, again and again, to the things that hurt and haunt us. Malerman leaves it open, and Black Mad Wheel is all the better for the ambiguity.
Protagonist Phillip Tonka should have listened to his mother when the army requested his band, The Danes, travel to South Africa to investigate a strange and potentially dangerous sound.
“Mystery,” she says, “is bad enough on its own. But mystery with the army?” She shakes her head. “Means they’re hiding something.”
Indeed, Black Mad Wheel is packed with twists, turns, betrayals, and a few moments of hold-your-breath suspense. This novel is not only set in the 1950s, it has a post-war mood that reverberates throughout the story, including a budding romance between Phillip and his nurse, Ellen.
“I’m sorry,” she says. “I suppose we’re all a bit wounded.”
They stare at one another, connected by the hospital and more.
Perhaps the most interesting twist Malerman presents is that the sound is not a weapon, but the opposite, something capable of stopping the endless cycle of war.
While the ending hits a few sour notes, this book is 95% awesome. Malerman strikes a memorable chord in the pantheon of musical fiction with Black Mad Wheel.
