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The Somnambulist

by Jonathan Barnes (Goodreads Author)

3.23 of 5 stars 3.23 · rating details · 2,736 ratings · 587 reviews

Be warned. This book has no literary merit whatsoever. Needless to say, I doubt you'll believe a word of it.

Once the toast of good society in Victoria's England, the extraordinary conjurer Edward Moon no longer commands the respect or inspires the awe that he did in earlier times. Despite having previously unraveled more than sixty perplexing criminal puzzles (to the delight of a grateful London constabulary), he is considered something of an embarrassment these days. Still, each night without fail, he returns to the stage of his theatre to amaze his devoted, albeit dwindling audience with the same old astonishments—aided by his partner, the silent, hairless, hulking, surprisingly placid giant who, when stabbed, does not bleed . . . and who goes by but one appellation:

The Somnambulist

On a night of roiling mists and long shadows, in a corner of the city where only the most foolhardy will deign to tread, a rather disreputable actor meets his end in a most bizarre and terrible fashion. Baffled, the police turn once again in the direction of Edward Moon—who will always welcome such assignments as an escape from ennui. And, in fact, he leads the officers to a murderer rather quickly. Perhaps too quickly. For these are strange, strange times in England, with the strangest of sorts prowling London's dank underbelly: sinister circus performers, freakishly deformed prostitutes, sadistic grown killers in schoolboy attire, a human fly, a man who lives backwards. And nothing is precisely as it seems.

Which should be no surprise to Moon, whose life and livelihood consists entirely of the illusionary, the unexpected, the seemingly impossible. Yet what is to follow will shatter his increasingly tenuous grasp on reality—as death follows death follows death in the dastardly pursuit of poetry, freedom, utopia . . . and Love, Love, Love, and Love.

Remember the name Jonathan Barnes, for, with The Somnambulist, he has burst upon the literary scene with a breathtaking and brilliant, frightening and hilarious, dark invention that recalls Neil Gaiman, Susanna Clarke, and Clive Barker at their grimly fantastical best . . . with more than a pinch of Carl Hiaasen–esque outrageousness stirred into the demonically delicious brew.

Read on . . . and be astonished!(less)

Hardcover, 353 pages

Published February 5th 2008 by William Morrow (first published January 22nd 2007)

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Best Steampunk Books

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The Crimson Petal and the White by Michel Faber

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39th out of 142 books — 294 voters

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May 06, 2008 Jason Pettus rated it 4 of 5 stars

(Reprinted from the Chicago Center for Literature and Photography [cclapcenter.com]. I am the original author of this essay, as well as the owner of CCLaP; it is not being reprinted here illegally.)

Regular readers know that I am a big fan of the unique subgenre known as "steampunk," but might not know what exactly steampunk is; and similarly, regular readers also know that one of the issues often tackled here at CCLaP is the difference between so-called "genre" projects and so-called "mainstream...more

14 likes · like · see review

Nov 14, 2007 Peggy rated it 4 of 5 stars · review of another edition

I’ve been a reader all my life. I majored in English in college and grad school, and I’ve worked in bookstores since 1992, most of that as a buyer. I’m surrounded by books at home and work and I see new ones every day. It’s sometimes difficult to quantify why certain books speak to us; why we pick up this book, but not that one.

Other times, it’s not difficult at all:

Be warned. This book has no literary merit whatsoever. It is a lurid piece of nonsense, convoluted, implausible, peopled by unconvi...more I’ve been a reader all my life. I majored in English in college and grad school, and I’ve worked in bookstores since 1992, most of that as a buyer. I’m surrounded by books at home and work and I see new ones every day. It’s sometimes difficult to quantify why certain books speak to us; why we pick up this book, but not that one.

Other times, it’s not difficult at all:

Be warned. This book has no literary merit whatsoever. It is a lurid piece of nonsense, convoluted, implausible, peopled by unconvincing characters, written in drearily pedestrian prose, frequently ridiculous and willfully bizarre. Needless to say, I doubt you’ll believe a word of it.

I don’t know about you, but I’m in love.

With an opening like that, how can I not climb on board for the ride? Sure, I understand that this kind of narrator turns some people off (well, I know that; I don’t really understand it). But for me, it’s the sign of an author who wants to play--who wants me as the reader to take a more active role in the story, and I love that. It’s both clever and witty (and neatly kneecaps disgruntled reviewers: I told you it was implausible people, so no complaints!) and nicely sets the tone for the tale to come.

The story itself is everything the narrator promises (with the exception of pedestrian prose—I really liked the writing). You’ve got Edward Moon, stage magician and detective, and his silent partner in both endeavors, the Somnambulist, a giant of a man who never speaks and holds many secrets. You’ve got warm-hearted housekeepers, sybaritic layabouts, spiritualists, gung-ho police inspectors, and freakshow prostitutes. You’ve got grizzly murders, mysterious disappearances, secret societies, shadowy government organizations, the poetry of Samuel Taylor Coleridge, and the shadow of past mistakes.

It’s a generous, sprawling, maddeningly convoluted story. I just finished it, and I’m still not sure exactly what happened. I can’t wait to read it again and find out, though.(less)

21 likes · like · see review

Dec 17, 2010 Brad rated it 4 of 5 stars

Shelves: adventure, doing-the-dishes, exceeded-my-expectations, sci-fantasy, steampunk, impulsive-bookstore-pick

I should never read the plaudits plastered on the cover of a book, nor those that litter the first few pages. I am invariably annoyed by what I find and occasionally even led astray. Luckily with John Barnes’ The Somnambulist, I was mostly faced with the former brand of upset.

According to the book company, Barnes’ style is a mix of Neil Gaiman, Clive Barker, Susannah Clarke and a little bit of Carl Hiassen. And maybe there is something to these comparisons, but mostly I think these names are laz...more I should never read the plaudits plastered on the cover of a book, nor those that litter the first few pages. I am invariably annoyed by what I find and occasionally even led astray. Luckily with John Barnes’ The Somnambulist, I was mostly faced with the former brand of upset.

According to the book company, Barnes’ style is a mix of Neil Gaiman, Clive Barker, Susannah Clarke and a little bit of Carl Hiassen. And maybe there is something to these comparisons, but mostly I think these names are lazy choices of a marketing department, choices that will sell more books rather than giving the reader a clear view of what they’re in for. I saw a whole lot more of Tim Powers in Barnes’ writing than anyone else, and was pleasantly surprised because of that.

I could just be lazy at this point and leave it at: “ I saw a whole lot more of Tim Powers in Barnes’ writing,” but I am sure someone would call me on it so here are the connections to Powers:

1. Romantic Poets Make an Appearance: Samuel Taylor Coleridge, or some semblance of him, takes part in Reverend Dr. Tan’s attempt to bring Pantisocracy to London with a bloody insurrection, and he’s joined by the left hand of Robert Southey, “several toes ... donated by Charles Lamb,” and some random organs from William Wordsworth.

2. Fantastical Magic and Unexplained Phenomenon:The Somnambulist is full of Powers-esque moments of craziness, from a nine foot giant who inexplicably survives multiple impalings and loves his milk, to a pair of Angus Young-like uber-assassins who enter the fray at the behest of a nasty Albino. There is no explaining it, but then who would want to?

3. Steampunk Sci-Fi and Victorianism: There’s a touch of Frankenstein in the animation of Coleridge, and then a whole pile of the usual trappings of Steampunk: pseudo-science, Victorian gadgets, cops, robbers, government conspiracies, and all things Tim Powers. There are underground societies, far-seers who are forced to flee for their lives, and a pair of Holmesian puzzle solvers, a sort of Victorian Penn and Teller, at the heart of the bizarre mystery.

So you see, it owes more to Tim Powers than his comrades-in-pens. And thank Jabber for that.(less)

10 likes · like · see review

Jan 28, 2009 Colleen rated it 2 of 5 stars

Shelves: historical-fantasy, whodunit-supernatural, weird

2 1/2

Overall my impression of this book was 'meh'. It wasn't great... it wasn't horrible. It was just sort of there...

I had high hopes for this story, being a fan of stories set in Victoriana, of Poe's and Doyle's mysteries, and of the strange and outre - but I just couldn't find myself caring all that much about this story.

For one thing I don't recall ever wondering, when I read those other mystery stories, how the detective of the story got the reputation for being so great. Edward Moon seeme...more 2 1/2

Overall my impression of this book was 'meh'. It wasn't great... it wasn't horrible. It was just sort of there...

I had high hopes for this story, being a fan of stories set in Victoriana, of Poe's and Doyle's mysteries, and of the strange and outre - but I just couldn't find myself caring all that much about this story.

For one thing I don't recall ever wondering, when I read those other mystery stories, how the detective of the story got the reputation for being so great. Edward Moon seemed rather useless, unable to deduct anything. He was constantly being given clues and lead by the nose in one direction of the other by various other characters - such as Cribb and The Fiend. He was constantly, and rather petulantly, demanding answers since he found none himself, and seemed rather unable to do anything about anything. I imagine, on some level, this was the point - since he was past his prime and all that. But, mostly, I just found it annoying.

I rather enjoyed the voice of the narrator until we found out who it was. It wasn't because of who it was, but rather because he become so smug and annoying once it was announced...

All of this was kind of mild, actually. It was annoying in a sort of passive way, but not enough to make me hate the book. The only thing that really stood out as annoying was the way the supernatural elements felt sort of forced and tacked on. As a point of reference, I quite like supernatural elements in stories and read, almost exclusively, fantasy and other speculative fictions... but it just didn't come naturally in this story, and that's why it stuck out so badly for me.

Oddly enough I can't think of anything really good to say about the book, but I didn't hate it. I suppose part of the reason is because it's easier for me to critique than to praise... but also because nothing of note really stood out.

Oh - I did like the Prefects. They were fun. :> Sad about their price, but also rather predictable, silly man. But ah well...

One final note, which has less to do with the story itself and more to do with genre. I, personally, feel this book is more 'Gaslight Romance' which "focuses nostalgically on icons from the late years of that century and the early years of the 20th century—on Dracula, Jekyll and Hyde, Jack the Ripper, Sherlock Holmes and even Tarzan—and can normally be understood as combining supernatural fiction and recursive fantasy, though some gaslight romances can be read as fantasies of history" and less Steampunk. It doesn't really have any focus on the machines or science which, to me, is the essential requirement of Steampunk. It's a minor quibble and, as I said, not really relevant to the story itself - but may be important if you go in expecting something quite more Steampunkish than this is, and ending up disappointed... (less)

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May 01, 2008 Tara rated it 4 of 5 stars Recommends it for: mystery and fantasy lovers

Shelves: fromthelibrary, wishlist, adult-fiction

I dare you to read the first two pages and not want to finish the rest of the book.

Part Victorian murder mystery, part fantastical alternate history with a liberal dash of lexigraphical acrobatics The Somnambulist combines a labyrinthine plot with haunting characters and an unreliable narrator which coalesces into an unexpected crescendo no one could anticipate.

The Somnambulist is a bald, mute giant of man who when pierced with swords does not bleed. His almost constant companion is Edward Moon,...more

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Jan 31, 2008 Rick rated it 5 of 5 stars

Shelves: horror

Jonathan Barnes' brilliant debut novel, The Somnambulist, chronicles the late Victorian-era adventures of a legendary magician-cum-detective Edward Moon and his mute, hulking, hairless sidekick, known only as the Somnambulist. The two investigate a series of bizarre murders, meet a cadre of eccentrics, and involve themselves in several strange incidents that culminate in a plot to destroy and remake London.

The unreliable, unnamed narrator, who frequently raves like a madman, issues a warning in...more Jonathan Barnes' brilliant debut novel, The Somnambulist, chronicles the late Victorian-era adventures of a legendary magician-cum-detective Edward Moon and his mute, hulking, hairless sidekick, known only as the Somnambulist. The two investigate a series of bizarre murders, meet a cadre of eccentrics, and involve themselves in several strange incidents that culminate in a plot to destroy and remake London.

The unreliable, unnamed narrator, who frequently raves like a madman, issues a warning in the very first chapter: "This book has no literary merit whatsoever. It is a lurid piece of nonsense, convoluted, implausible, peopled by unconvincing characters, written in drearily pedestrian prose, frequently ridiculous and wilfully bizarre. Needless to say, I doubt you'll believe a word of it." The preamble is true but for the "pedestrian prose." Barnes crafts one of the finest first novels of the young century, creating an exciting, memorable book peopled with cultists, prostitutes, circus freaks, the undead, albinos, poets, time travelers, assassins, Lovecraftian creatures, and almost every Victorian-type nefarious nasty conceived. The title figure offers an enigmatic yet sympathetic figure who communicates through (poorly spelled) words scribbled on a small chalkboard, does not bleed or feel pain, and displays an intense, inexplicable loyalty to Moon. Truly surprising plot twists and red herrings abound. Through character actions, scene descriptions, and the mention of a scant few historical facts, Barnes successfully conjures the period without divulging dates. Until the final act when the narrator cleverly reveals himself, the author presents one of the finest occult thrillers ever. After veering dangerously close to the absurd, the story ultimately concludes with a lyrically obtuse ending that creates confusion rather than clarity.

Even with that flaw, the engaging ride of The Somnambulist offers enough thrills to distract from the ending. Or perhaps, just as Jonathan Barnes' narrator deceives in the narrative, this reviewer misdirects as well? Read The Somnambulist and decide for yourself.

This review originally appeared in The Austin Chronicle, February 1, 2008.(less)

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Sep 20, 2008 Juushika rated it 2 of 5 stars

Shelves: status-borrowed

In Victorian London, aging magician and detective Edward Moon, accompanied by his assistant, a giant known only as the Somnambulist, are called in to investigate the most bizarre of murders. As Moon's investigation continues, he uncovers a plot against the statea plot which, after long preparation and much waiting, is now only days from being put into action. The Somnambulist is set in a world not quite like our own, colored by steampunk and fantasy and populated by a cast of bizarre, slightly...more In Victorian London, aging magician and detective Edward Moon, accompanied by his assistant, a giant known only as the Somnambulist, are called in to investigate the most bizarre of murders. As Moon's investigation continues, he uncovers a plot against the statea plot which, after long preparation and much waiting, is now only days from being put into action. The Somnambulist is set in a world not quite like our own, colored by steampunk and fantasy and populated by a cast of bizarre, slightly inhuman characters. Although it has a decisive conclusion, the plot often feels as confused as the setting. Barnes waits too long before he decides what he wants The Somnambulist to be, and with its busy and unfocused confusion and abrupt and strange conclusion, the novel fails its potential and remains entirely mediocre. Not recommended.

The premise of The Somnambulist is particularly intriguing, largely because of its mystery. The little differences that separate the setting from our world, the inhuman traits and perceptions of some characters, the shrouded unknown of the plot: all of these aspects are perceived through a mist, intriguing the reader and urging him to delve into it that he may discover more. The book's failing is that for too long this mist is impenetrable, and when it finally parts what it reveals is downright bizarre. As Moon begins to suspect an underlying sinister plot against the state, the narrator compares his perception to a microscopic view of one strand of a spiderweb: he can see the details of his the fragment he sees, but cannot perceive the shape of the whole. So it is for the reader for the majority of the book, and this narrow view makes the events of the plot seem random and give the reader nothing identify and care about. To avoid spoiling the plot, I obviously can't talk about the final reveal, but without a shroud of mystery, the plot is just plain strange: a combination of random factors, some literary, some steampunk, some fantasy, some religious, the ending is bizarre to an extreme. It's not the sort of stangeness that broadens the reader's mind, but rather the sort that makes the reader wonder where Barnes got these ideas and why he decided to combine them in one story. The plot does have a decisive, even action-packed conclusion, but it is so strange that it's hard to appreciate.

On the whole, due to decent writing and the ongoing mystery, the book is readable. Barnes's prose is likewise quite strange, filled with dry humor and delivered by a narrator that often speaks directly to the reader (and by breaking the fourth wall, destroys any attempt to suspend disbelief). However, the omniscient narrator drops hints about the slowly developing mystery, keeping the reader looking ahead to the next potential development. But even if the book is readable, it is not good. Aside from the flawed mystery and the bizarre plot are a dozen other weaknesses: The narrator's identity is a contrived and unconvincing plot twist. By dancing on the edges of steampunk and fantasy without embracing either, the steampunk influences appear amateur and the fantastic elements are unbelievable. The most promising characters disappear, the main characters are unlikable, and the titular character remains an unexplored sideplot. And so forththe book is littered with faults.

When I put down this book I was wondering why I ever picked it up in the first place. The premise is certainly intriguing, but it is the best that the book has to offer. Barnes's hovers on the edge of an interesting book, setting up the atmosphere and characters to support it, but hovers for too long and then only at the last moment delves into the strangest of novels. Don't let the concept of this book or its constant hints towards greatness pull you in, because the result is disappointing. The book is readable, but by the end it becomes a frustrating practice in mediocrity and unfulfilled potential. I would love to see a better novel built upon this same premise, but I do not recommend The Somnambulist.(less)

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Mar 17, 2008 Kit rated it 2 of 5 stars

This review has been hidden because it contains spoilers. To view it, click here. this actually came at recommendation from one of the blogs i frequent for book reviews, and so also motivated by the library due date, i had to finish this one before all others. the writing was actually decent throughout, and i found i wasn't very confused, for the most part, about the narrator and point of view. something that does confuse me is the character thomas cribb--i could never understand exactly why he does what he does, especially in the beginning of the story, after what happens at...more this actually came at recommendation from one of the blogs i frequent for book reviews, and so also motivated by the library due date, i had to finish this one before all others. the writing was actually decent throughout, and i found i wasn't very confused, for the most part, about the narrator and point of view. something that does confuse me is the character thomas cribb--i could never understand exactly why he does what he does, especially in the beginning of the story, after what happens at the end. that's more confusing than i care to analyze completely, and if the book was a bit more enjoyable, maybe i would flip back and reread, but as it is, this book isn't worth rereading for me. there were scenes near the end that repulsed me, but that i can credit to realistic writing. the title also struck me as potent with meaning, both in the literal and figurative sense, so some applause to that. but i have to admit what really drew me was the cover. i am a shallow girl at heart and i just can NOT refuse a pretty cover. so bravo to the marketing team too.

i only wish that the conflict was more completely resolved. what's that with the boys in school uniforms? any clue to their identities? maybe they're the collective evil of the city? the villain's talk of his evil plans make no cohesive sense. you have the sense to plot out something that big based on a concept that weak? and edward moon, this supposed smartass of his generation, doesn't understand anything, even when the clues were in his face. most of what he gets credited for are done for him by other people. another case in point--i still have no idea what "powers" edward moon has--he supposedly read someone's mind from the audience. why is he such a blumbering idiot throughout the course of the events here then? it seems that the author is so preoccupied in building up the mystery of the villain's sinister plans that when the villain and the protagonist actually clash on the subject, the best thing the villain does is show him a corpse and a lot of liquid. and that this is what supposedly converted a lot of followers for him. no explanation as to how, no clues as to the significance of this.. it just is. and when the entire plot is pivotal on this single event, i'm left wondering how in the world any of these characters find any of these things plausible. and if maybe they live in a world with a completely different set of the laws of physics.

i think for a good book, this is a pass. for decent entertainment when you're THAT bored and at risk of becoming bald from your own ministrations, and this just happens to be lying around with an overdue library deadline, worth checking out.

P.S. - there's certainly a reference to that video released by the iraqis a couple of years ago, the one of them sawing off the soldier's head as a form of execution? makes me wonder if this is any significance as to what the author's political allegience is, if he feels compelled to include that little tidbit in his book. or maybe that specific event just stuck in his head, who knows. i had to wonder.(less)

2 likes · like · see review

Dec 17, 2007 Jenne rated it 4 of 5 stars · review of another edition

Shelves: arc

So, imagine that a magician/private detective, a time-traveler, a medium, a medium-debunker, a Scotland Yard inspector, a housekeeper, a bearded-lady of the evening, a shadowy government organization, a company called Love, a sinister "Oriental", a sideshow freak, a corpulent prisoner, a corrupt gaoler, two schoolboy hit-men, two vengeful mothers, the animated corpse of a famous poet, and a mysterious mute giant with a milk-drinking habit all run into each other in post-Victorian London, and the...more

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Feb 11, 2009 Rachel rated it 1 of 5 stars

Shelves: crap

A couple of rip-off Croup and Vandemar wannabes and the mention (i refuse to say allusion, because that would imply that it somehow honors or preserves the integrity of the original) of Samuel Taylor Coolridge doth not a similarity to Neil Gaiman make. The preposterous suggestion that this book was "a fantastic journey in the spirit of Neverwhere" duped me into buying this block of bound-together toilet tissue. I finished it out of a combination of devastating idleness (I was job-searching at th...more A couple of rip-off Croup and Vandemar wannabes and the mention (i refuse to say allusion, because that would imply that it somehow honors or preserves the integrity of the original) of Samuel Taylor Coolridge doth not a similarity to Neil Gaiman make. The preposterous suggestion that this book was "a fantastic journey in the spirit of Neverwhere" duped me into buying this block of bound-together toilet tissue. I finished it out of a combination of devastating idleness (I was job-searching at the time) and total disbelief. How could anyone, even a publicist, sleep at night after comparing Barnes and Gaiman? Egads, that's like comparing Janis Joplin's Take Another Little Piece of My Heart with Faith Hill's cover. No, worse; at least Hill and Joplin are both singing. I've said some nasty things about certain books lately. The Time Traveller's Wife, Heavy Liquid, You Suck, and even The Meaning of Night, I apologize to all of you. Remembering the dreadful experience of reading this book, I realize that I should have been grateful for your mere badness.

The Somnambulist was, as the title implies, dull, and the Coolridge cameo supports my hope that the author was just writing through a crippling drug haze. It was also dazzlingly incoherent, without point, theme, motivation, or explanation. Not only is there no reason for any of the book's many silly twists and turns, there's no excuse for them. If the London Barnes sketches had been in any way convincing, if his characters were at all fleshed out, if his narrative devices were not missing a few parts, the plot of this book would still be extraordinarily stupid. Sarah Palin could give the author lessons in sentence construction. The book didn't rightfully even have a protagonist, although, somewhat pitifully, it tried to-- every single nominee from the job was flat and unsympathetic. Perhaps that's why it took me so long to review this excreable hack-job; my attention slid right off it like water from a duck's back. I didn't even think about it long enough to hate it until I bought Neil Gaiman's latest book, and recalled the taking of his name in vain.(less)

11 likes · like · see review

Mar 27, 2009 Stefan rated it 4 of 5 stars · review of another edition

Shelves: fantasy, library-loan

I finished this novel a couple of days ago and haven't written anything about it so far because, honestly, I can't think of anything relevant that hasn't been written before in other reviews. It's a very good novel, somewhere between historical fantasy and horror, with a dark, witty sense of humor and an interesting narrative style. It's set in Victorian London, but the city in the book falls somewhere between China Mieville's New Crobuzon and Neal Gaiman's "Neverwhere". (Although, come to think...more

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Nov 14, 2008 John Buckler rated it 1 of 5 stars Recommends it for: Nobody

I wanted to like this book so much, but I just couldn't do it. It had an interesting story about the city of London, and the world in general during the the late 1800's, yet it wasn't written very well. I tried so hard to enjoy it, but then I realized that I was pretty much just trying to finish it, as I was curious to how it ended. I liken it to watching a terrible movie at 3 in the morning. You pretty much now how it's going to end, and you know you should just turn it off and go to sleep, yet...more

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May 12, 2008 Mark rated it 5 of 5 stars

Edward Moon, this book’s main protagonist, is a has-been stage magician and, until a bad bit of luck several years earlier that sullied his reputation, a renowned amateur detective whose skills and methods have an uncanny resemblance to Sherlock Holmes. The story is even set in Victorian England. The Somnambulist, for whom this book is named, actually has little to do with its overall plot. He is Moon’s assistant and friend, and an unusual fellow to say the least. Hairless, huge, strong, and mut...more

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Apr 03, 2009 Donna rated it 3 of 5 stars

I have to admit I kept reading this just out of curiosity of how it would all end. I mean, any book that has a bearded lady prostitute, a giant who can have swords driven right thru him without bleeding or even be hurt, is one that rouses my curiosity. The characters are definitely unlike any I had read about before, which also kept me going. I was disappointed in the main character, though. Edward Moon is supposedly a legend in his own time, renowned for solving murders. I know his prime was su...more

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Apr 11, 2008 Cherie rated it 4 of 5 stars

The Somnambulist is a dark fantasy sort of mystery that takes place in turn-of-the-century Victorian England. It follow the adventures of Edward Moon, stage magician and part-time detective, and his loyal sidekick the Somnambulist. When a series of bizarre murders and strange disappearances starts taking place throughout London, the Directorate turns to Moon to help them figure out what's going on. But as the investigation proceeds, and the cryptic messages from medium Madame Innocenti start to...more

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Feb 17, 2008 Brooke rated it 4 of 5 stars · review of another edition

Shelves: 2008, fantasy

When I read the "If you liked these , you will love The Somnambulist" list that Borders put together, I decided that Jonathan Barnes' debut would have to land on my "favorites" list. It was compared to The League of Extraordinary Gentlemen, Neverwhere, Jonathan Strange & Mr. Norrell, and The Prestige, some of my most favorite things ever. It was probably a mistake going into it with such high expectations, because although it was an excellent book, I felt disappointed after I turned the last...more When I read the "If you liked these , you will love The Somnambulist" list that Borders put together, I decided that Jonathan Barnes' debut would have to land on my "favorites" list. It was compared to The League of Extraordinary Gentlemen, Neverwhere, Jonathan Strange & Mr. Norrell, and The Prestige, some of my most favorite things ever. It was probably a mistake going into it with such high expectations, because although it was an excellent book, I felt disappointed after I turned the last page.

This Victorian-era book is about a stage magician who also solves crimes for the police. He is a sort of Sherlock Holmes type, using his powers of ratiocination to untangle the threads that the police stumble over. The title refers to his assistant (both on stage and in his crime solving), a giant who doesn't speak. They start off investigating the deaths of two men, and uncover an entire plot against the city of London. It's slightly satirical of other books in the genre, in a very subtle way. And it's bizarre. It just gets weirder and weirder and it ends on an ambiguous note that left me wondering if I was satisfied or not. It was certainly an awesomely fun ride, but was it a great book? I can't decide.

Its ambiguity was a plus for it, in some ways. Barnes did a very good job of not spelling everything out, and instead left some things to the imagination. The main character had some tragic incident in the last case he took on, and although it's referred to many times, it's never explained what happened. He never explains where the Somnambulist came from (he just showed up at the main character's door one night), or why he doesn't speak. There's a shadowy government group involved that never gets a full explanation. It lends an extra air of mystery to the already-mysterious plot.

One thing I didn't understand was the title - both the reason for naming the character and for naming the book after him. There's only one throw-away line that mentions that he sleepwalks, and his sleepwalking never plays any part in the plot. It's a cool name, sure, but it doesn't serve any purpose.

I'd probably feel better about it if I hadn't expected it to be my newest favorite book. I certainly recommend it to people looking for something fun to read.(less)

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Jan 31, 2008 Stephanie Griffin rated it 4 of 5 stars

This is Jonathan Barnes’ first novel. Set in Victorian London, the story centers around a man named Edward Moon, a has-been conjurer. He has a mute side-kick named The Somnambulist. The mystery of the story is why two unrelated men have each fallen to their deaths.

In the course of the story we are introduced to a wide array of vivid characters, each with their own quirkiness. I will never forget some, such as the Prefects! :-)

I don’t understand why the book is titled “The Somnambulist”. It is o...more

1 like · like · see review

Apr 06, 2008 Amy rated it 3 of 5 stars Recommends it for: mary

Shelves: 2008, magical, mystery-and-suspense

Today I finally finished The Somnabulist by Jonathan Barnes. If you liked The Amazing Adventures of Cavalier and Clay by Michael Chabon or Carter Beats the Devil by Glen David Gold (which I think is the slightly better of the two novels reminiscent of one another), you would like this. It takes place in Victorian London and has many fantasy/ mystery elements (including time travel and assassins with names like "The Mongoose"). The book is exciting, sometimes a little tedious and best read when y...more

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Apr 30, 2008 Eijomio23 rated it 1 of 5 stars

Ugh. Utter crap.

The opening 100 pages or so a great, lots of intriguing characters, mysteries, supernatural goings-ons. But then, as the story progresses, it becomes more and more of a (if I may apply a literary term) clusterfuck. It's just a mess of idiocy, none of it particularly interesting. By the end, the main characters become lost in a crowd of Johnny-Come-Latelys that exert way too much influence over the story.

And what do we call them, boys and girls? Deus ex machinas!
That's right. A...more

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Mar 04, 2009 Jake Zavracky rated it 5 of 5 stars

Astonishing. It's almost like an adult Alice in Wonderland in which you follow the protagonist through a dream world of grotesque characters. Completely engrossing; it reads fast but it's still written with an eloquence you might not be used to in a fantasy novel (for lack of a better description; it's very hard to fit into a genre).

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Jun 06, 2008 Elizabeth rated it 2 of 5 stars

After reading a review (in the Times, I think), I was excited to pick up this book, since Victorian crime novels--whether written in that time or simply set in that time--are my favorite mind-candy. I was disappointed in this book, which unravelled quickly, and was very predictable. I could see the connections between characters and events coming a mile away, and was not seduced enough by the language to keep my head in the game. If you love London, get this out from the library and read it on a...more

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Dec 10, 2008 Margaret rated it 2 of 5 stars

Shelves: borders-original-voices

A frustrating book in that it started strongly and then dissolved into a muddle about a third of the way through. The plot loosely hangs together, but (a) emphasis on "loosely," and (b) with no real underpinnings in logic or why we should care. Even fantasy (this book reads like a fantastic mystery or a mysterious fantasy - take your pick) needs logical, thought through in some detail and depth, underpinnings. Here, the plot and "purpose for being" of the book and the solution to the opening mur...more

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May 30, 2013 Kit rated it 4 of 5 stars

Shelves: own

Overall Rating: Intriguing
The plot of the story is rather predictable at times, but also delightfully opaque at others. I enjoyed the steampunk feel and the unusual cast of characters that Barnes creates. He does a fairly decent job with characterization, though there are times where it leaves me in wont. I particularly enjoyed the twist with the narrator, that was very clever, but more importantly it adds to the symbolic meaning of the work. At face value, this book is a good read, equipped wit...more

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Feb 06, 2013 Mark rated it 4 of 5 stars

An interesting book, marketed as a mystery, but that's not quite it. Instead it is about an aging stage magician, who occasionally moonlights as a detective, his sidekick, the mute hairless giant of the title, and his last case, a conspiracy involving the utopian dreams of a long-dead poet. And it all takes place at that nicely in-between time when the 19th century became the 20th. It's not quite a mystery though, so much as a study in atmosphere. So what did I like about this book? First I love...more

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Feb 02, 2013 Inga rated it 2 of 5 stars · review of another edition

Jonathas Barnes' Buch Das Albtraumreich des Edward Moon ist eine Genre-Mischung sondergleichen. Es ist nicht zu entscheiden, ob es nun Fantasy, Krimi oder Gothic Novel sein will.
Edward Moon ist Zauberkünstler und Detektiv in einem, allerdings hat er den Zenit des Erfolgs bereits überschritten, soll nun aber in einem sehr sonderbaren Fall ermitteln, bei dem die Polizei nicht weiterkommt. Begleitet wird er von dem Schlafwandler (englischer Titel des Buches The Somnambulist), einem stummen Hünen, d...more

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Sep 24, 2012 Martin rated it 3 of 5 stars · review of another edition

Shelves: historical, fiction, fantasy, victorian

If a novel or any other text begins with: "You will be highly disappointed with the quality of this work", then two things happen tend to happen. First of all you will most likely be disappointed with the quality of the work and second you will start to doubt the confidence of the author in his own writing skills. The intended effect 'the book is so amazing that adding this sentence will make it even more wondrous' will not happen since all the reader remembers is 'you will be highly disappointe...more If a novel or any other text begins with: "You will be highly disappointed with the quality of this work", then two things happen tend to happen. First of all you will most likely be disappointed with the quality of the work and second you will start to doubt the confidence of the author in his own writing skills. The intended effect 'the book is so amazing that adding this sentence will make it even more wondrous' will not happen since all the reader remembers is 'you will be highly disappointed'. The novel The Somnambulist does just this and more. As a reader you are immediately told that the narrator will tell a lie at least once in the coming chapters. Does this truly setup a novel well? Or is it a plot device intended to make sure the big plot twist was already announced and the author can go: see, told you so. Readers usually have no problem gauging the confidence and abilities of an author, we do not have to be explicitly told. Usually mechanisms like the ones discussed here are used by those who are not sure their intended effect will come over and they add insurance in case it doesn't. Why then is this author so unsure about this novel's effect? Surely he has plenty of knowledge and experience, he is after all an Oxford graduate, which we know by reading the back flap of the hardcover edition. A critical piece of information I'm sure.

We follow the adventures of a dubious protagonist by the name of Edward Moon who owns and runs an cabinet of curiosities theater in which he works as an illusionist together with a strange man known to the readers for most of the book as 'The Somnambulist'. Immediately in the beginning of the novel the author draws a parallel with Sherlock Holmes, since in the past Edward Moon, the main character, has solved many complicated criminal cases. Conan Doyle who wrote the Holmes novels understood readers very well, he wasn't unsure about his prose, something we can't say about Jonathan Barnes the author. Doyle used Dr. Watson as an instrument of narration. We saw the world through his eyes, which made the eccentric behavior of Holmes digestible, understandable and most of all entertaining. Edward Moon has the Somnambulist, who in a lot of ways plays the same role, except he doesn't speak. Perhaps a joke on Doyle by Barnes?

If we forgive this misplaced sense of literary humor, we are still left with some very bad character decisions, some major plot holes and a story that is so full of itself that it makes for some difficult reading at times. Holmes would frequently analyze a situation, clarify deep mysteries and most of the time baffle us with amazing feats of detection and deduction. Edward Moon does this just once and feebly at best. Moon later on seems to have lost all his deduction abilities to such extend that he doesn't even recognize his own sister who is sitting next to him in a disguise. Hard to believe for someone who used to be a celebrated sleuth. Any of this odd behavior can not be explained by a later major plot twist which I will not reveal here for those still interested in reading the book. Needless to say from reader's perspective after the twist, the behavior of Moon would still seem suspect to say the least. Even if we take into account that the narrator already told us he would lie. Why?

Three quarters through the book the perspective of the reader changes and we're now reading the story first person perspective through the eyes of Moon's nemesis. Think Moriarty, except less brilliant and not as interesting. If one wants to paint oneself a master of criminal achievements, wouldn't it make sense to make the enemy you just defeated the best there ever lived? Wouldn't you want to ensure that you did not portray your nemesis as an incompetent bungler? Instead, Moon is depicted as someone who bungles from one disaster into another. Through one adventure after another Moon follows a trail of hints and suggestions instead of clues and signs, a character trait that can not be explained by either Moon's nemesis' opinion or the fact that Moon has lost his powers of criminal deduction at his present age.

Besides the many strange decisions in storytelling, the author takes odd liberal allowances for tone of voice. I'm not by any means an expert in Victorian historical fiction, but I'm fairly certain the people living on the streets of 19th century London did not use words like 'prolly', which is better placed in good contemporary chick-lit.

Most reviews I've read state something like "I kept reading for some reason but didn't really like the book, but I could not explain why". I hope to have explained some of the uneasiness readers might have. The novel has some interesting descriptions of people and places, but not enough to give it a good rating.(less)

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Sep 14, 2012 Zagadka added it

It was a while ago now that I read this, but here goes...

Very rarely do I hate books, but this one pushed hate buttons I didn't know I had. And I don't mean that I hated characters that were villains doing evil things or some such. I actually tend toward liking a book that makes me have strong feelings about characters, plot, setting, etc. I mean that I hated the BOOK, in total. Masses of useless information, boring and pointless character eccentricities, things that are developed as though they...more It was a while ago now that I read this, but here goes...

Very rarely do I hate books, but this one pushed hate buttons I didn't know I had. And I don't mean that I hated characters that were villains doing evil things or some such. I actually tend toward liking a book that makes me have strong feelings about characters, plot, setting, etc. I mean that I hated the BOOK, in total. Masses of useless information, boring and pointless character eccentricities, things that are developed as though they are crucial having no reason given for their existence AND don't matter to the story (try as I might to force that to happen.)

Ultimately, this book represents to me the flaw in the 'kitchen sink' approach to story telling. If I still had the book I'd consider trying to enumerate all the things that were simply a waste of time. Here's a few - some spoilers to follow:

Main character Edward Moon is hyped to be Sherlockianly smart but he gets nearly everything wrong, knows hardly a thing about his sidekick (with whom he lives,) has to rely on a fairly disgusting convict to clue him in on what's happening in the world around him (ironic since the con's locked up and still manages to know things), and by the end has completely missed the mark about who's behind it all while simultaneously failing to prevent the master plan. Oh, it's turned back eventually, but in a fairly weak way that did not grant him lynch-pin status. Maybe if he spent more time on the problem and less in circus freak brothels (apparently a surrogate for what seems to be inappropriate and blessedly unreciprocated appetites toward his sister) he might have made some headway.

That was just one character description. None of the others are any better.

A pointless, enigmatic, notably ugly, time-traveling king of an ancient civilization. A psychic that may/may not be the real deal who runs away and is not seen again and has no bearing on the story. An enormous saccharine scene meant to pull the heart-strings that's all about a rat of a man that you are not supposed to like, the punchline of which is that the scene never happened. Glowing Frankenstein-style zombie-poet that decides he'd rather be dead... And a narrator that literally tells you, the reader, that you are an idiot, which can't help but feel like the opinion is not coming from the 'narrator', but the author. Not the way to win over your paying audience.

That's off the top of my head.

Now, to play advocate for a moment. I think many people might like this story. If you have ADDH, in particular. If you don't mind, or are entertained by, details and sidebars that mean nothing to the overall story, it might be a good pick. If you like the disjointed sense that comes from not knowing what to pay attention to for the glut of possibilities. I find myself thinking that if this is meant to be the first in a series I might not judge it as harshly. The idea that a ton of things are being introduced in this book that are meant to feed future installments could even be appealing if they are handled well. It could happen.

For me, I was left with no interest in future books and a heap of anger about this one. Normally I'd have taken it to a used book store or library. The Somnambulist irked to the extent that my copy ended up in the recycling bin. Still, it makes me wonder about what others might have gotten out of it that I didn't. (less)

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Aug 05, 2012 Kristen rated it 3 of 5 stars

This is one of the most bizarre books I've ever read. That's not to say bad, because I did find it held my interest and it was unquestionably a good story, but I don't think anything I could say in a review would be helpful to allow others to decide if it's for them or not.

The book is nearly 300 pages long, and I honestly did not have a single clue about what the heck was going on until about the last 25 pages or so.

The story starts out as a murder investigation, with a celebrated London detect...more

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Jul 03, 2012 David Sproat rated it 1 of 5 stars

Shelves: fantasy

"Be warned. This book has no literary merit whatsoever."

I could not have put it better myself,

Alright, perhaps that is a bit of an extreme statement, but to believe it would not be a stretch to far for the imagination. When browsing the book shop i would have been well advised to follow the old adage "Don't judge a book by it's cover." But alas i was taken in by the fancy cover and, all too familiar critical recommendation on the reverse.

Before i come to the reason i ended up disliking the book...more "Be warned. This book has no literary merit whatsoever."

I could not have put it better myself,

Alright, perhaps that is a bit of an extreme statement, but to believe it would not be a stretch to far for the imagination. When browsing the book shop i would have been well advised to follow the old adage "Don't judge a book by it's cover." But alas i was taken in by the fancy cover and, all too familiar critical recommendation on the reverse.

Before i come to the reason i ended up disliking the book so much i will give credit where it is due. I felt that Barnes did a decent job of creating a satisfying atmosphere of old victorian London. The discriptions of locations infused a thick smoggy picture into my mind that fitted the mood of the book well, and in some ways the city itself became the better of the books "neither here nor there" characters. (Here comes the criticism)

In particular "The Sleeper" is left largely undeveloped, despite frequent passages concerning him, which all end up reiterating the same thing (he sleeps a lot and is going to wake up and start some s**t.) To me this fails to give life to a character that according to the story, is an individual of great significance, and by the time comes in the tale for "The Sleeper" to wake up and have his moment in the spotlight, I unfortunately had drifted off.

Normally i try to give an authors debut novel the benefit of the doubt, as sometimes they are still finding their feet. Nor would i generally condem a book based on one or two flaws which can be overlooked in the grand scheme of the story, however, for the sake of clarity on why i gave this book such a poor rating, i will lay may cards on the table.

I cannot stand a book with a poor ending, and as far as they go, this is one of the worst I've ever encountered. The finale of the book was lack luster the say the least, as though, by the final chapters, the author had ran out of the creative steam that had kept me contently turning the previous 200 or so pages. It felt rushed, as though Barnes had lost interest in his own work or his grant form the publisher had ran out and he needed something to hand in before recieving an advance, i don't know the reason, but whatever it was I ended up being thoroughly ticked off that i had invested as much time as i did reading.

The early story had the potential to be quite thrilling but whatever reason the ending just was not there. All in all, i would not recommend this book, and to anyone considering the purchase i say "put this down and pick up one of Arthur Conan Doyle's Sherlock Holmes novels" The money will be better spent.
(less)

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Apr 02, 2012 Jazzmyn rated it 4 of 5 stars

my cousin handed me this book randomly while we were searching the shelves at the library. I decided, after a moments hesitation, to be adventurous and give the book a try. I was very glad that i did. The Somnambulist is an incredibly quirky piece of writing, and i thoroughly enjoyed every moment spent reading this book. Jonathon Barnes has beautiful voice and an elegant vocabulary to describe the perverted, disgustingly ugly side of mankind. The characters are described in a very unflattering m...more

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About Jonathan Barnes

Jonathan Barnes is the author of two novels, The Somnambulist and The Domino Men. He contributes regularly to the Times Literary Supplement and the Literary Review and is the author of several scripts for Big Finish Productions. He is currently writer-in-residence at Kingston University.

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Sherlock Holmes: The Adventure of the Perfidious Mariner

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Quotes from The Somnambulist

“I have long believed the city, the country, indeed the world at large to be run by precisely the wrong kind of people. From the government to the great financial institutions, the peerage to the police force, our lives are controlled without exception by the stupid and greedy, the venal, the rapacious and the undeservedly rich. How much more comfortable would it be if the rulers of the world were not the cognoscenti of the bank balance, the ballot box, the offshore account, but were drawn instead from the ranks of the everyday - honest, kind, stout-hearted, commonplace folk.” — 4 people liked it

“The city defeated him. It refused to be bent into shape; it stayed a willful, sprawling, sinful place. It even told him as much. When he walked through the gutted wreck of old Saint Paul's, he tripped and fell over a piece of rubble -- a tombstone. When he got to his feet and dusted himself down he saw that it read, in Latin, 'Resurgam' -- 'I Will Rise Again.” — 2 people liked it

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