Janus Lucky – A hermit in plain sight

Janus Lucky, a retired media consultant, is a first-time novelist with a flair for murder mysteries.

Born in Finland and having immigrated to New Zealand, Janus now plans to move to the UK.

He has spent decades working in the digital media industry as a content writer, producer, and executive.

With a keen eye for the dramatic and suspenseful, Janus presents his inaugural novel, Death is a Cabaret—Old Chum! It is currently undergoing its final edits and is anticipated to hit the shelves soon. This novel marks his thrilling entry into the world of fiction, introducing readers to a rich tapestry of intrigue and mystery.

Janus has also completed his second novel, Handful. This coming-of-age story delves deep into the backstory of his characters from Death is a Cabaret, offering readers a prequel that enriches the series' universe. Currently in the hands of beta readers, Handful promises to add another layer to his unfolding series.

Not one to rest on his laurels, Janus has already begun crafting the third instalment in the Pekka Wall series, tentatively titled Dotcom Timebomb – How To Digitalise A Murder. This upcoming work promises to fuse Janus's extensive digital media expertise with his flair for suspense, setting the stage for yet another captivating read.

Join Janus Lucky as he embarks on this new chapter of his creative journey, crafting stories that promise to enthral and entertain, keeping readers on the edge of their seats.

Interview with Janus Lucky: Emotional Honesty with wit and warmth

Jussi Luukkonen: Your novels weave in a distinct sense of humour amidst their more serious themes. Can you explain how you use humour in your storytelling?

Janus Lucky: Humour is integral to my narrative approach. It springs from a place of self-irony and a belief that we shouldn’t take ourselves too seriously. This type of humour acts like a magnifying glass, highlighting the ridiculous and absurd aspects of life to show that, in essence, we are not as unique or special as we might think. We are born naked, and naked we return in death. This perspective helps to level the playing field, reminding us of our shared human condition.

Jussi Luukkonen: How does this humorous perspective interact with the more serious elements of your novels, like the critique of cultural elitism or the exploration of personal identity?

Janus Lucky: I find that humour provides a balance. While I tackle serious themes like cultural elitism and sexual identity, humour offers a way to engage these issues without becoming preachy or overly somber. It allows readers to explore these deep and sometimes dark themes in a way that is accessible and relatable. By laughing at our collective follies, readers can confront uncomfortable truths about society and themselves more openly and reflectively.

Jussi Luukkonen: In “Death is a Cabaret – Old Chum!” and “Handful,” how does your humorous approach help to shape the reader’s understanding of your characters and their struggles?

Janus Lucky: In “Death is a Cabaret,” humour underscores the absurdity of the cultural elite’s pretensions, making their actions and attitudes more critiquable. For Pekka, humour becomes a tool to cope with and even undermine the hypocrisy he faces. In “Handful,” the lighter moments between Tuomas and Esa provide a reprieve from their internal struggles and societal pressures, helping to build a bond that resonates with authenticity and warmth. This mix of lightness within the gravity of their experiences invites readers to see that life, despite its challenges, can be met with a smile and maybe even a laugh.

Jussi Luukkonen: So would you say that humour is a way for you to render your characters and their stories more human and relatable?

Janus Lucky: Absolutely. Humour is humanity’s great equaliser. It allows us to break down barriers and connect with each other on a fundamental level. In my writing, humour is not just a stylistic choice but a narrative strategy that humanises my characters, making their stories not only more enjoyable but also more profoundly reflective of the human experience.

Jussi Luukkonen: In “Death is a Cabaret – Old Chum!”, you introduce us to a complex backstory involving Mikael Långberg and the harsh realities of the cultural elite. Could you discuss the significance of this narrative?

Janus Lucky: In “Death is a Cabaret,” I wanted to peel back the layers of what can often be a double-faced cultural elite that perpetuates cruelty under the guise of civility and sophistication. Mikael Långberg’s story is one of betrayal and exploitation by those who wield power in the cultural sectors. The protagonist, Pekka Wall, embodies my disdain for this mediocrity and hypocrisy. He sees through the veneer that many cultural decision-makers maintain, which often serves more to preserve their own agenda than to genuinely engage with or understand art and artists.

Jussi Luukkonen: That’s quite a critique. How does this perspective influence your portrayal of the art world in your writings?

Janus Lucky: I believe strongly that art should challenge and provoke, not merely reinforce the status quo. Many decision-makers in the cultural fields are, in my view, myopic. They guard their positions without fostering the true essence of creativity. I often quote Stanislaw Jerzy Lec, who said, ‘Art goes first and prison guards follow,’ and ‘From a row of zeros, you can easily build a chain of shackles.’ These quotes resonate deeply with my philosophy. Art is about breaking free, not chaining down. This theme is pivotal in “Death is a Cabaret,” where art becomes a means of liberation from societal shackles.

Jussi Luukkonen: Why did you incorporate Finnish cultural elements like the sauna into this narrative framework?

Janus Lucky: The sauna is a quintessential part of Finnish culture, a place of physical and emotional cleansing, where all social hierarchies dissolve. In both novels, the sauna scenes are pivotal; they are where characters confront their vulnerabilities and truths. It’s a space where nudity is normalised, reflecting my belief that if nudity were a sin or something shameful, we would have evolved to be born with clothes on. This natural state is a powerful equaliser, stripping away pretenses and allowing characters to interact in their most human form.

The sauna, in both of my novels, serves as a metaphorical and literal space of freedom. It’s where my characters can strip away societal labels and roles, confronting their true selves. This setting challenges the superficiality I critique in the cultural elite. The sauna scenes in “Death is a Cabaret” are moments of raw honesty, where Pekka reflects on his life and the injustices he witnesses, serving as a counterpoint to the often shallow interactions dictated by cultural gatekeepers. And the same is true with “Handful”.

Jussi Luukkonen: Your stories are intensely emotional. How important is this emotional depth in breaking down the myths of masculinity or cultural authority?

Janus Lucky: Emotional honesty is at the heart of my storytelling. I’m driven to write in a way that is unashamedly emotional to break down the myths of masculinity where men are often expected to be stoic and unfeeling. This honesty extends to critiquing cultural authority—by showing that life, with all its complexities, is indeed bigger than one’s intellect, a point often missed by those in power. These themes are interwoven through the vulnerable yet powerful emotional landscapes of my characters, from Pekka’s introspective moments in the sauna to Tuomas and Esa’s tender exchanges in “Handful.”

In this way, the sexual orientation or where you see yourself in the rainbow community or as any of the letters of the LGBTQ+ or in the world of straight does not matter – those are bubbles on the surface of being truly human. But saying that, I want to stand on the side of those who suffer and are marginalised and give them hope with my stories, whoever they are.

Jussi Luukkonen: What message do you hope your readers take away from the emotional and thematic depth of your novels?

Janus Lucky: I hope my readers are inspired to look beyond the surface and challenge the accepted narratives of power and cultural prestige. Through the lives of Pekka, Tuomas, and Esa, I want to encourage a deeper understanding of art as a true expression of human emotion and thought, free from the constraints of societal expectations and cultural elitism.

I hope they find a deeper empathy and understanding, not only for others but also for themselves. By engaging with the lives of Tuomas and Esa, or the vibrant cast in “Death is a Cabaret,” I hope readers see that beneath our surface differences, the need for acceptance, love, and expression is something that binds us all. More than anything, I want my readers to walk away with a sense of hope that despite the challenges, creativity and love do conquer all.