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Paul Finch is a former cop and journalist, now full-time writer. Having originally written for the television series THE BILL plus children's animation and DOCTOR WHO audio dramas, he went on to write horror, but is now best known for his crime / thriller fiction.
He won the British Fantasy Award twice and the International Horror Guild Award, but since then has written two parallel series of hard-hitting crime novels, the Heck and the Lucy Clayburn novels, of which three titles have become best-sellers.
Paul lives in Wigan, Lancashire, UK with his wife and children.
I’m concentrating on Cornwall this week, and not just because that’s where I wish I was as the glorious summer of 2018 gets ever hotter and sunnier, but because the new Heck novel, KISS OF DEATH – out next month – is partially set there, and also because, as I promised back on May 16, this year I’m going to be proposing some portmanteau horror movies based on horror anthology books that I like... Read more of this blog post »
Published on July 04, 2018 01:25 • 13 views
Paul Finch Average rating: 3.97· 19,826 ratings · 1,623 reviews · 144 distinct works • Similar authors
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WARNING FOR MINOR SPOILERS
When ex-Parisian police detective and Interpol agent, Luc Callanach, transfers to Police Scotland, taking up a detective inspector post with the Major Investigations Team in Edinburgh, he isn’t completely a fish out of water WARNING FOR MINOR SPOILERS
When ex-Parisian police detective and Interpol agent, Luc Callanach, transfers to Police Scotland, taking up a detective inspector post with the Major Investigations Team in Edinburgh, he isn’t completely a fish out of water. To begin with, Callanach is half-Scottish as well as half-French. He’s also a real bloodhound of a cop, with great analytical skills and a fearless dedication to the cases he is assigned – though on first arriving, it wouldn’t be true to say that he’s completely comfortable with his new environment.
After his sun-drenched days in the Interpol office at Lyon, he finds the Scottish capital windy, wet and dour, and quickly learns that certain officers at his command – the truculent DS Lively in particular – are irritated by his presence because they perceive him to be an outsider who’s been fast-tracked into a plum job.
Moreover, Callanach doesn’t help himself, because rather than attempting to win friends and influence people, he fights back domineeringly against those who seek to undermine him.
The reason for this is simple. Even without his sudden change-of-world, Luc Callanach is a man under astonishingly intense pressure. Back home, he was accused of raping a petulant beauty called Astrid Borde, whose main objection to Callanach was that he showed no interest in her. He wasn’t even charged, never mind convicted – but of course this meant that neither was he able to clear his name, so he left France under such a cloud of suspicion that even his family have now disassociated themselves from him.
He is a good cop who focusses intensely on his job, but even now he agonises over whether he could have handled things better, and as such he is filled with self-doubt, and to a degree, self-loathing.
Ironically, because he needs to be distracted from all this, it’s the perfect time for him to be handed a particularly difficult investigation – on his very first day no less, when what appears to be the burned remnants of an eminent Edinburgh solicitor are found on a Cairngorm hillside. There isn’t much left of the unfortunate woman, but it’s sufficient to reveal who she was and that she died very violently. Callanach throws himself into the case speedily and professionally, but then another prominent local woman – a vicar, no less – is also kidnapped, her tell-tale relics duly found in a drum of chemicals in a dockside warehouse.
Callanach is a by-the-book man. He doesn’t want to look at potential patterns just yet, but it seems increasingly likely that a serial abductor and murderer is at large, his sights fixed squarely on the successful women of the city. Callanach’s methodical approach then faces a serious challenge from within, when DS Lively – badly affected by the second abduction because he knew the victim personally – takes it on himself to call in renowned profiler Edwin Harris, an expert for sure, but a man more interested in promoting his own theories than in catching the actual killer.
Callanach’s protest that this is a breach of protocol falls on deaf ears, because head of the Major Investigations Team, DCI George Begbie, though sympathetic, is currently cash-strapped and has no option but to accept Harris’s assistance as it is being privately funded.
All of this hampers Callanach massively, both in terms of the enquiry and in terms of his personal recovery. He doesn’t feel quite so isolated when his friendship grows with fellow DI, Ava Turner, who, though she is currently investigating a different case, is very open – not just to cross-enquiry consultation, but also to afterhours socialising.
Meanwhile, in a parallel thread – and it’s no spoiler to mention this because we are hit hard with this intelligence very early in the novel – a certain Reginald King is hatching a truly heinous scheme. King, a sociopathic loner who work as a lowly admin officer in the Department of Philosophy at Edinburgh University, considers that he’s been at the beck and call of Professor Natasha Forge, Head of School, for quite long enough. In short, King regards himself as a genius and feels that Forge only doesn’t recognise this because she’s a stuck-up bitch. In the long run, he’s going to punish her, but he’s also going to punish lots of other women too. Hence the kidnapping, the imprisonment, the terrible torture and of course the murders.
Problematically for Luc Callanach, Reginald King, despite his lowly status, is a genuinely clever man, whose plan does not just involve a series of revenge killings, but is much, much more wickedly ingenious and twisted than that, and in terms of cruelty, is almost off-the-scale.
There’s one other problem here too, not just for Callanach, but all those who work with him. It’s a coincidence but of course hugely advantageous to the murderer that Natasha Forge’s best friend happens to be DI Ava Turner, another strong, independent woman. So this isn’t going to be any ordinary murder investigation, which all members of the enquiry team can go home from in the evening and relax; as King steadily advances his gruesome grand-plan, things start to get very, very nasty indeed, but also very, very personal …
There are plenty of psycho-thrillers set in contemporary Scotland, and Edinburgh seems to suffer from more than its fair share of fictional serial killers. But Perfect Remains is a very different kind of novel from the norm. Perhaps its most outstanding features are how well constructed it is as a story and how well written as a piece of crime literature. I don’t mean to say that other books of this ilk are not well written, but this one is truly of an exceptional calibre.
As a former barrister, Helen Fields clearly knows her legalities and her procedures inside-out, and yet she weaves them all into this complex and lurid mystery with an effortless, non-fussy style, which informs as much as it entertains, creating a real feel of authenticity but never once cluttering the quick-fire plotline with extraneous detail. In addition to that, her quality descriptive work fully conveys both the time and the place, not to mention the people embroiled in the saga, again without sacrificing any of the novel’s pace. Take one particular scene, for example, when DI Callanach, while stressed out of his mind, finds himself in an amorous clinch with an incidental character called Penny. Penny is little more than a walk-on, and as such could easily be a stock character whom we never think about again, and yet in the space of a page and a half, Fields brings her vividly and sympathetically to life – you almost want to cry for her, she is so unfairly treated by our emotionally distraught hero.
And that was only a member of the supporting cast, so imagine how it is with the leads.
The first thing that strikes me about these more prominent characters is that they are, none of them, free of foibles.
It’s not unusual in crime fiction for our star detective to be damaged, but Luc Callanach takes this to a whole new level. We are told that he is a good-looking guy and at one time he even worked as a male model, and yet none of this info is used to win our favour. If anything, it paints a picture in the reader’s mind of a man who, perhaps back home in his beloved France – which he endlessly and pointlessly yearns for – was rather spoiled. On arrival in Scotland, his initially brusque and rather snippy attitude only adds to this. It’s also the case that what he’s actually on the run from – a rape accusation, for Heaven’s sake! – is the sort of thing that would blemish any police officer’s record for the rest of his career. And after all that, he doesn’t help himself much – at least from the reader’s POV – with a constant, dogged self-analysis which borders on self-obsessiveness. But again, what we’ve got here is a realistically flawed character who needs to work very hard to win his audience over – and, as you might expect, he eventually does so. Firstly, because he’s willing to learn from his errors in order to correct his behaviour, particularly his people skills, and secondly because he’s an excellent detective who doesn’t miss a trick – it is Callanach’s instinct, and his instinct alone, that manage to refocus the enquiry after Lively and Harris send it barking down a blind alley.
In contrast, DI Ava Turner, though another stranger in a strange land (she’s Scottish, but an English-sounding accent born of a private education puts her at a disadvantage), is much savvier in her day-to-day management style, and in the way she handles suspects. She’s an equally tough cop to Callanach, but she’s never less than even-handed: for instance, when she zealously closes down an extremist Catholic sect for brutalising the underage mothers supposedly in their care, her comment to the press that there is “nothing godly about what was happening here” indicates that it isn’t organised religion she has a problem with, but those who abuse it.
Like Callanach, Turner is also single and, under the surface, maybe a little lonely, but she’s learned to ride with the blows and during her downtime is able to relax with friends – as such, she leads a happier, more fulfilled life. That said, her bosom buddy, Natasha Forge, is perhaps not quite so generous a spirit, and this provides us with a key link in the story.
Another confident, professional woman, Forge is pleasant and companionable if she decides she likes you, but terse to the point of being discourteous with office administrator, Reginald King, and okay, while King is without doubt a tad pompous and someone whose academic credentials are at the least dubious, there are times when we as the readers feel that his boss could perhaps be a little warmer towards him.
This leads me to King himself, and what I consider to be one of the most powerful pieces of characterisation in the whole novel. For me, Reginald King is so neatly observed and multi-layered an individual that he underpins the entire narrative, and on top of that he must rate as one of the most believable psychopaths I’ve ever encountered in fiction – primarily because, like so many real-life killers, his greatest defence is his total anonymity. King is no drooling Mr. Hyde-type madman, nor is he suave and calculating like Hannibal Lecter. Yes, he is secretly and monstrously narcissistic; he is convinced he is a genius and that the only reason he hasn’t advanced further in life is because those around him are hateful and jealous, and are conspiring in his downfall. But apart from this, he is so, so ordinary. He possesses neither Hyde’s brutish physicality nor Lecter’s sparkly-eyed gaze. He is a simple everyman you could pass in a corridor without batting an eyelid. Incredible though it may sound, there is even an element of pathos in King’s makeup. Because for all the awful things he does – and at times they are truly and torturously awful (and the reader is spared almost none of it) – there are other times when we recognise what a lost soul he is, a guy who, despite attempting civility, can’t even seem to earn the most basic degree of respect from his peers.
Helen Fields has done an all-round amazing job with Perfect Remains. It’s even more remarkable when you consider that it’s her debut novel. A terrific premise is executed to full unforgiving effect in a complex yet pacy procedural, which is peopled by living, breathing characters whom you can easily empathise with (both the heroes and the villains), and which is not only adult in tone but also adult in subtext – there is far more on show here than a simple crime/actioner – but which accelerates during its final quarter to an exhilarating, slam-bang climax.
In short, this is superb stuff – not a whodunit exactly, but an intense and deeply intriguing ‘good vs evil’ thriller, which once you’ve started it is quite impossible to put down. But don’t take my word for it. Just read it. You will not be disappointed – and make a note of the author too, because Helen Fields is a name we’ll be hearing about again and again. ...more
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WARNING FOR SOME MINOR SPOILERS
The world of 1992 (or 2021 in later reprints) is a nightmare of ruined cities and desolate wildernesses. In the wake of World War Terminus, Earth has largely been depopulated. Those who weren’t killed in the conflict ha WARNING FOR SOME MINOR SPOILERS
The world of 1992 (or 2021 in later reprints) is a nightmare of ruined cities and desolate wildernesses. In the wake of World War Terminus, Earth has largely been depopulated. Those who weren’t killed in the conflict have either abandoned their homes for colonies off-world or are now slowly dying from the toxic dust that permeates the atmosphere. A parody of the human consumer lifestyle continues, those remaining working normal jobs (though very few of these are high-powered), living in apartment buildings (which otherwise are largely empty) and watching television (even though there is only one channel, run by the megalomaniac oddball, Buster Friendly). Everyone is so depressed that they need their ‘Penfield mood organs’ to try and uplift their spirits.
It is a blighted, despair-laden scene, in which the only light is ‘Mercerism’, the worship of Wilbur Mercer, a semi-mythical Christ-like figure, who when humans commune telepathically by means of their ‘empathy boxes’, they envision ascending a steep, rugged slope, at the top of which he is martyred by being stoned to death, leading all those tuned-in to reach a transcendental state.
Even the ‘specials’ and the ‘chickenheads’ find hope in Mercerism, the former because, having been sterilised by the radioactive fall-out, they are considered useless to the human race and thus are prohibited from emigrating off-world, and the latter because, having suffered brain damage, they can perform only the most menial tasks and are subsequently treated with contempt.
Rick Deckard, a bounty hunter employed by the San Francisco police, often wonders why he hasn’t left Earth by now. His wife, Iran, is more depressed than most – so much so that she can barely even rise in the morning, while Deckard himself struggles with his conscience. The police mainly use him to ‘retire andys’, which in a nutshell means hunt down and, by use of a controversial empathy test, the Voigt-Kampff, identify rogue members of the android slave race developed to aid human expansion into the off-world colonies, and then kill them.
Deckard’s problem is that the androids are in many ways like humans; they were biologically-grown rather than constructed, and though they are short-lived (designed to cease functioning after four years), they are excellent physical specimens, particularly the new, improved model, the Nexus-6. When androids go ‘rogue’ it basically means they have come to Earth, which is strictly forbidden; they don’t necessarily need to have committed a crime. Increasingly Deckard finds it difficult to retire these thinking, reasoning beings, though he does agree that they lack the all-important empathy, which means they have no concept of human kindness, even if they are increasingly adept at concealing this.
Despite his doubts, Deckard is good at his job and earns decent money. One day he hopes to be able to dispense with his pet electric sheep, and buy a real animal. Because one other aspect of the tragicomic existence mankind has descended into is that, with animals so rare, their ownership has now become a status symbol. Anyone who is anyone owns an animal of some sort, and zealously shows it off, though only at immense cost. In this regard, Deckard’s lucky day finally seems to arrive when he is summoned to police HQ and advised that a senior bounty hunter has been badly injured by a particularly dangerous group of Nexus-6 androids, who are newly arrived on Earth. Their leader is the ruthlessly intelligent Roy Baty, who, unable to stand his servile status any longer, has led a miniature rebellion on Mars, which has cost several human lives. If Deckard can retire all six, it will earn him a fortune. But it soon becomes apparent that this won’t be easy.
To start with, enquiries at the central offices of the Rosen Association in Seattle, the corporation responsible for manufacture of the androids, brings him into contact with the alluring Rachael Rosen, whom he finds incredibly attractive – only for him to apply the empathy test to her, and discover that she too is an andy, which confuses him even more with his chosen role.
Meanwhile, the fugitive Nexus-6 have been blending in on Earth. Some successfully impersonate humans, even Deckard’s fellow cops, while another becomes a beautiful opera singer and gains immediate respectability. At the same time, several of those Deckard has targeted, Roy Baty included, are given refuge by the deluded chickenhead, John Isidore, who is both in awe of their perfection and terrified of their heartlessness.
If this doesn’t make it difficult enough for Deckard, he is further hampered by Rachael, who, in a mysterious gesture (though she seems to be genuinely attracted to the lonely, world-weary bounty hunter), offers to help him catch the renegade band. Despite being one herself, Rachael expresses a conviction that there is no place for the Nexus-6 on Earth. But Deckard has been an investigator for a long time, and even though he eventually falls into bed with her – because she is the ultimate femme fatale! – he is never sure that he can trust her …
Almost everyone thinks they know the story of Do Androids Dream of Electric Sheep? because they have seen the epic movie version, Blade Runner, made by Ridley Scott in 1983. In truth, there are significant differences between the two narratives, though overall, the subtexts themselves are not hugely dissimilar.
But first things first; the book.
The late Philip K. Dick, while never a great literary stylist, was regarded throughout his life as one of sci-fi’s great visionaries. Famous for his obsessions with decaying worlds at the mercy of dictatorships and corporations, for the human metaphysical experience, for altered states, theology, drug abuse and insanity, the post-apocalyptic hell-scape he creates in Do Androids Dream of Electric Sheep? is really one of the most vivid and terrifying ever envisaged simply because it is literally a land without hope. Everything alive is slowly dying; everything that isn’t alive is turning to ‘kipple’ (rubbish). Even off-world in the colonies, we are told that things are only marginally better.
For all these reasons, this book is a hard read. There are moments of wild comedy, for instance Deckard’s burning aspiration to ascend to a level in society wherein he can actually be the proud owner of a goat. But the tone is always bitter-sweet, and ultimately that’s the atmosphere all the way through. Do Androids Dream of Electric Sheep? is a tale of loss rather than a cop-thriller. Fans of the movie who have never read the book may be expecting a neo-noir, with the weary, overcoated Deckard working his way along the seamy streets like a latter-day Philip Marlowe, and indulging in regular, furious gun-battles with his bear-invincible foes. There is a touch of that, particularly towards the end of the novel, but it isn’t a keystone of the story; for example, at no stage in the book do we encounter the term ‘Blade Runner police’.
Even the androids, who are never referred to as ‘replicants’ or ‘skinjobs’ are nowhere near as deadly as they were in the film. They are not a military caste. Roy Baty, the most dangerous of them, trained as a chemist while on Mars. Though this isn’t to say the menace isn’t present. It very much is, particularly as we approach the climax of the novel – especially when the seductive and intriguing Rachael Rosen injects herself more fully into the story – but again, it was never Dick’s overarching purpose to create an actioner.
Throughout the book, he is more interested in examining issues of individuality, self-perception and what it actually means to be empathetic. For example, the remnants of humanity we encounter all value their individuality, but though it eases their misery, the more they commune with Wilbur Mercer (and each other of course), the less individual they become; they even use technology to impose fake emotions on themselves. At the same time, it doesn’t escape Deckard’s notice that, by the end of the novel, the supposedly soulless androids are empathising with each other, and that he himself has begun to empathise with one of them.
Other issues, which back in 1968 were certainly relevant but must also have seemed like pure science-fiction, are now glaringly current in the 21st century: two examples being Man’s irrational stewardship of the Earth – it’s a deep irony that the bounty hunters are hired to kill relentlessly in a time and place when the real problem is that everything is already dying; and then the whole argument surrounding artificial life, its purpose and development, and the moral (not to mention potentially real-world) ramifications of enslaving it.
While it’s no great piece of literature, this deluge of thought-provoking ideas means that Do Androids Dream of Electric Sheep? is these days regarded as a sci-fi masterwork. Some of its essential ingredients are visible in the movie of course, but anyone picking this book up and looking for a ‘novelisation of the film’ is likely to be disappointed. ...more
Oct 21, 2017 03:18AM · like · see review · preview book
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WARNING FOR MINOR SPOILERS ...
In the mid-16th century, Prince Vladimir Dracul of Transylvania, son of the vain and greedy king, Xantho, commences his rise to prominence as ‘the Impaler’ and in due course as ‘Dracula the Vampire’, through a series of WARNING FOR MINOR SPOILERS ...
In the mid-16th century, Prince Vladimir Dracul of Transylvania, son of the vain and greedy king, Xantho, commences his rise to prominence as ‘the Impaler’ and in due course as ‘Dracula the Vampire’, through a series of violent, hair-raising adventures, an intense love affair and a succession of bizarre supernatural events.
All of this is observed and related to us in diary form by the German scholar, Doctor Martin Bellorious, who at the start of this book, along with his companions, sly alchemist-in-training Matthew Verney and good-natured dwarf, Razendoringer, flees the University of Wittenberg before a heresy charge can be levelled, and heads east through ever more dangerous territories.
It is already difficult to say much more about this astonishing narrative, because almost from the word-go, amazing, delightful and crucially important plot-developments occur – and continue to occur at a rate of at least one a chapter. Suffice to say that this is Europe of the 1570s, a vast, desolate, largely lawless land, where bandits haunt the highways, wolves fill the forests, armies wage endless internecine warfare, noblemen rule as crazy despots, black magic is very real and, when night falls, all kinds of evil supernatural beings walk abroad.
Even before Bellorious and his friends reach the ‘safety’ of Castle Dracula, they have several hair-raising escapades in this torturous land of far beyond, narrowly avoiding nasty fates at the hands of various antagonists, including, among several others, two ogre-like cannibals and Rudolph, the unhinged ruler of Bohemia. And when the dauntless band makes it to Transylvania and then into Castle Dracula, they find themselves immersed in the cutthroat politics of Xantho’s Machiavellian court.
For example, despite a straightforward appointment to school rival princes Vlad and Mircea, Bellorious soon earns the enmity of the ambitious chamberlain, Alexander of Glem, who constantly puts dangers and difficulties in his path, he learns unsavoury things about Queen Eupraxia – things which could easily get him killed, he discovers that Xantho is more interested in acquiring wealth and in mocking his gibbering courtiers than he is in organising matters of state, and he struggles to educate Prince Mircea, whose main interests are guzzling wine and ravishing servant girls.
At the same time, there are countless weird and wonderful things in Castle Dracula. From complete absurdities – like a mechanical eating machine which Xantho forces upon one of his boyar flatterers; to the highly distasteful – like the deranged courtier who lives on a diet of spiders, cockroaches and other vermin; to the truly terrifying – like the vampiristic ghost said to roam the Old Queen’s apartments and the tribe of madmen living in the deepest parts of castle.
Unfortunately for Bellorious, he doesn’t have much time to explore properly in order to assess these curiosities. Because all the time this is happening, the legions of Murad III, Sultan of the immense Ottoman Empire, are massing on the border under the super-efficient leadership of the ferocious Turkish warrior, Grand Vizier Sokolly. Despite the warnings of Ragul, Xantho’s illegitimate son and commander-in-chief of his armed forces, Xantho is strangely unconcerned about any this, so when the attack finally arrives it does so with overwhelming force. By this time, Bellorious has enlightened Prince Vlad sufficiently for him to realise that his homeland is in very serious trouble, and the noble youth participates in the following campaign with reckless courage. But both he and his teacher are aware from an early stage that victory, ultimately, is going to elude them, even if it is wrested away from them by skillful negotiation rather than bloody conflict.
Only God knows – or maybe the Devil – what will happen to them after that …
It’s often said of Reggie Oliver that he is genre fiction’s best-kept secret. I have two immediate thoughts on that. First of all, it’s probably true. Secondly, if it is true it’s an absolute crime.
Oliver, who already had a successful career as an actor, theatre director, playwright and biographer before his writing took a distinctly darker turn in the early 2000s, is by far one of the most talented practitioners of spookiness currently working in the English language. It’s probably true to say that he first came to the literary horror world’s attention with a series of searingly frightening and at the same time very eloquent short stories – ghost stories on the surface, though often much deeper and more complex than that, strongly reminiscent of both M.R. James and Robert Aickman (if you can imagine such a thing!), and embracing every kind of nightmare in the weird fiction spectrum: from the restless dead to the demonic, from the spirits of myth to the often even worse aberrations of the human psyche, and invariably wrapping it all up in succinct, readable, and poetic prose.
Of course, not every expert in the short form is able to expand his skill into the much broader realm of the novel; the two disciplines don’t necessarily overlap. However, it was a joy (and somehow no surprise at all) to discover that this does not apply to Reggie Oliver, whose first novel, The Dracula Papers, is just as elegantly written, just as thought-provoking, just as shudder-inducing and just as much a pleasure and an entertainment as any of his short stories.
The first volume in a proposed trilogy studying the origins of Count Dracula the vampire, this is already a phenomenal feat of strange literature and though only one of three, a completely satisfying novel in its own right.
To begin with, The Dracula Papers isn’t specifically a horror novel, though there is much horror on show here: spine-chilling horror of the traditional ghost story variety on one hand, and sensual, shocking horror on the other – nothing explicit, though of such a lurid and Gothic tone that some of it wouldn’t be out of place in the old Dracula movies of the Hammer era. But in addition to all that, the book is written with such an air of authority, delving so deeply and fascinatingly into the culture of the time and place, touching on the many beliefs and philosophies prevalent in that age – everything from long-held superstitions, to late-medieval romances, to the intellectual chaos wrought by changing religion and advancing science – that it reeks of scholarship in its own right.
On top of that, it’s an historical saga on a grand but brutal scale. We see brandings, beheadings and impalements galore, a truly memorable scene wherein an avalanche of severed heads is launched over the walls of Castle Dracula by the besieging Turkish army, and one enormous battle which becomes a literal slaughterhouse.
Again, none of this is graphic or titillating, but it’s all there on the page – which only adds to the vivid portrayal of a terrible world now thankfully lost in time. And yet this itself is a kind of irony, because Oliver, rather bravely, makes no real effort to depict true historical events.
The Dracula Papers owes as much to folklore as it does to genuine history, and not a little amount to fiction. For example, the real Vlad Tepes and his brother, Mircea, lived in the 15th century not the 16th, there was no actual kingdom of Transylvania in this era, rather it was a principality of the kingdom of Hungary, while the lofty position the real Vlad aspired to was not as a king but as Prince of Wallachia, and Elizabeth Bathory (later known as ‘Countess Dracula’) who appears here renamed Nyela and as a deceased but murderess noblewoman of earlier decades, was not even born in 1477, when the real Vlad the Impaler died.
But none of this matters. In fact, it adds to the joy. Because what we’ve got here, rather than a textbook, is a richly-woven fabric of adult-themed fairy tales. For example, not even the well-educated and clear-minded Martin Bellorious thinks it odd that a local village is terrorised by a ‘murony’; in fact it is he who takes it on himself to dispose of the evil sprite. Rumours of the terrifying Black Cathedral – a secret university dedicated to the dark arts – are believed with absolute certainty. When Bellorious encounters Issachar, a vagrant claiming to be the Wandering Jew of apocryphal legend, he is honoured rather than doubtful. Likewise, when the Turkish sorcerer, Zushad, displays necromantic powers, Bellorious is only one of many fascinated witnesses to the dramatic and nightmarish outcome.
But this is not just a story about myths coming true. Oliver also presents us with the real, functioning and yet terribly unjust world of the Reformation, where the peasantry struggles annually for survival, monarchs seek only to enrich themselves, and seats of intellectualism like colleges and guilds are too busy arguing about heresy to care about everyday affairs. He also concerns himself with military matters. Eastern Europe is now under threat from the Ottomans, the gunpowder-capable armies of the Early Modern Age constantly redrawing the map as they manoeuvre around each other, feinting and sallying, and occasionally clashing full-on to spectacularly bloody effect. At the same time, courtly intrigue is everywhere, both in the magnificent Ottoman capital of Istanbul – ‘Stamboul’, as it is referred to here – but also in the Spartan confines of Castle Dracula.
This brings me onto the characters, which – even those who only make a fleeting appearance – are constructed by Oliver swiftly and yet in full, complex fashion.
Even though we’re immersed in the world of angels and demons, there are few individuals here who are all good and all bad. Bellorious himself makes a fine lead, though he’s very human. Despite his status, he is only in his late 20s, and yet throughout the narrative displays wisdom, probity and empathy – he only takes lives when he has to, and though he’s a scholar and in many ways an ascetic, his lustful yearning for the beautiful slave-girl, Inanna, is almost painful.
Dracula himself – Vlad in this preliminary volume – though he starts off a wide-eyed youth and an eager student, soon gives hints that he has a darker side: he is petty, he sulks and he will kill in battle with what can only be described as gusto. In addition, he is instantly recognisable as the scion of a noble house, for though he is brave, handsome and dashing, he is also self-centred to an alarming degree.
Other characters are equally colourful, if more briefly handled. Matthew Verney is untrustworthy from the outset, but Oliver paints him slowly and with immense skill, transforming him from ambiguity to villainy with a pace so subtle that it consciously takes up the length of the novel. Others meanwhile are more bound by their stations in life: rival sovereigns, Murad and Xantho, and the latter’s son and heir, Mircea, are unimpressive men, undeserving of the life-and-death control they exert, and yet so bored by it all that they often neglect their responsibilities, allowing ambitious underlings like Sokolly and Alexander of Glem to grow in power. Meanwhile, below them, better people are eternally doomed by their subservient status: Commander Ragul takes his job seriously, but knows that ultimately he will fail because he lacks the support of his king, a failure that he himself will pay for; star-crossed lovers Razendoringer and dwarf lady-in-waiting Dolabella, though spirited individuals of many talents, will always be servants and/or buffoons because they are dwarfs; while Inanna, the saddest character of all, has accepted her life as a sex-slave to the point where she will trade the abuse of her body to get better deals for her friends.
Despite these melancholic moments, The Dracula Papers, what we have so far seen of it, is a richly textured, meticulously-researched piece of fiction, but also a rolling, comedic, action-packed yarn, filled with magic, mystery and mayhem, romantic and sexual love, wild violence and chilling horror, and dosed throughout with the author’s trademark scholarly asides and scathing humour.
A bona fide treat of a novel that will leave no-one disappointed. ...more
May 16, 2017 04:10AM · like · see review · preview book
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Preview — The Dracula Papers, Book I by Reggie Oliver
WARNING FOR MINOR SPOILERS ...
Liverpool in the depths of December. Christmas is approaching, but there is little joy to be had in the Sefton Park district of the wintry city.
DCI Eve Clay and her team of experienced homicide investigators are baffled WARNING FOR MINOR SPOILERS ...
Liverpool in the depths of December. Christmas is approaching, but there is little joy to be had in the Sefton Park district of the wintry city.
DCI Eve Clay and her team of experienced homicide investigators are baffled and horrified when they are called to the murder of retired octogenarian college professor, Leonard Lawson, an expert in medieval art. To make the case even more disturbing, Lawson, who was ritually slaughtered inside his own home and then fastened to a stake in the fashion of a game-animal, was discovered by his daughter, Louise, an ageing and rather fragile lady herself, who is so shocked by the incident that she can barely even discuss it.
This resolute silence, whether it’s a natural reaction to the horror of the incident, or something more sinister – and Clay is undecided either way – impedes the police, who are keen to delve into the victim’s past, not to mention his current circle of acquaintances, to try and work out who might harbour such a grudge that they would inflict such sadistic violence on him.
At least Clay can call upon a considerable amount of expertise. DS Bill Hendricks is her strong right-arm, and a no-nonsense but deep-thinking copper who knows his job inside out. DS Gina Riley is the softer face of the job, another experienced detective but a gentle soul when she wants to be, and very intuitive. Meanwhile, DS’s Karl Stone and Terry Mason are each formidable in their own way, as are the various other support staff the charismatic DCI can call upon.
With such power and knowledge in her corner, it isn’t long before Clay is making progress, a matter of hours in fact, though the mystery steadily deepens, leading her first to a care home for mentally disabled men (including the likeable, innocent Abey), and yet run by the non-too-pleasant Adam Miller and his attractive if weary wife, Danielle (who may or may not be more than just a colleague to the young, modern-minded carer, Gideon Stephens).
Yes, it seems as if there are mysteries within mysteries to be uncovered during this investigation. However, Clay and her crew continue to make ground, finally becoming interested in Gabriel Huddersfield, a disturbed loner who haunts the park and makes strange and even menacing religious speeches, and being drawn irresistibly towards three curious if time-honoured paintings: The Last Judgement by Hieronymous Bosch, and The Tower of Babel and The Triumph of Death by Pieter Bruegel.
These garish Renaissance masterpieces were all regarded at the time, and by modern scholars, as instructions for the benefit of mankind, giving warnings about his fate should he stray from the path of righteousness, each one incorporating terrifying and brutal imagery in order to deliver its fearsome message.
But even though these objects inform the case, and Clay and her team soon develop suspects, the enquiry continues to widen. What role, for example, does the rather strange character who was the late Professor Noone have to play in all this, and what exactly was the so-called ‘English Experiment’? All we know about it initially is that it wasn’t very ethical and that it somehow involved children.
Clay herself becomes emotionally attached to the case, its quasi-religious undertones affecting her more and more, because, as a childhood orphan, she was raised by Catholic nuns, though in her case – and this makes a welcome change in a work of modern fiction – it wasn’t all negative; Clay owes her empathetic nature to the love and affection she received from her guardian, Sister Philomena, while the tough but kindly Father Murphy recognised and nurtured the spark of leonine determination that would go on to gird her greatly for the challenging paths ahead.
But all this will be rendered null and void of course if the Selfton Park murderer is not apprehended quickly. Because, almost inevitably, he now strikes again, committing two more equally horrific ritualistic slayings.
Clay and her team find themselves racing against time to end this ghastliness, a race that takes them into and around some very notable Liverpool landmarks, the city’s two great cathedrals for example, and all along the snowy, slushy banks of the Mersey (all of which are generously mapped out for us). And all the while, they become ever more aware that this is no ordinary level of depravity they are dealing with. Nor is it necessarily the work of a single killer. Who, for example, is ‘the First Born’, and who is the ‘Angel of Destruction’? Whoever these ememies of society actually are, however many they number, and whatever their crazed, fervour-driven motives, it soon becomes apparent that they are just as likely to be a threat to the police hunting them as they were to those victims they have already butchered …
Dead Silent is the second Eve Clay novel from Mark Roberts, and a pretty intriguing follow-up to the original outing, Blood Mist.
From the outset, the chilly urban setting is excellently realised. You totally get the feeling that you’re in a wintry Liverpool, the bitter cold all but emanating from its pages, the age-old monolithic structures of the city’s great cathedrals standing stark and timeless against this dreary backdrop, the gloomy greyness of which is more than matched by the mood; the murder detectives certainly have no time for the impending fun of Christmas as they work doggedly through what is basically a single high-intensity shift, pursuing a pair of truly malign and murderous opponents.
And that’s another vital point to make. Dead Silent is another of those oft-quoted ‘page-turners’, but in this case it’s the real deal – because it practically takes place in real time.
The enquiry commences at 2.38am on a freezing December morning, and finishes at 8.04pm that night, the chapters, each one of which opens helpfully with a time-clock, often arriving within a few minutes of each other. This is a clever device, which really does keep you reading, especially as almost every new chapter brings another key development in the multi-stranded tale.
If this sounds as though Dead Silent is exclusively about the enquiry, and skimps on any additional drama or character development, then that would be incorrect. It is about the enquiry – this is a murder investigation, commencing with a report that an apparently injured party is walking the streets in a daze, and finishing with a major result for the local murder team (and a twist in the tale from Hell, a shocker of an ending that literally hits you like a hammer-blow!), with very few events occurring in between that aren’t connected to it. However, the rapid unfolding of this bewildering mystery, and the warm but intensely professional interplay between the various detectives keeps everything rattling along.
Because this is a highly experienced and very well-oiled investigation unit, each member slotting comfortably and proficiently into his or her place, attacking the case on several fronts at once, and yet at the same time operating as a super-efficient whole, of which DCI Eve Clay is the central hub.
Of course, this kind of arrangement is replicated in big city police departments across the world, and is usually the reason why mystifying murders are reported on the lunchtime news, only for the arrest of a suspect to be announced by teatime. As an ex-copper, it gave me a real pang of pleasure to see one of the main offenders here, a cruel narcissist and Pound Shop megalomaniac, expressing dismay and disbelief when he learns how quickly he is being closed down.
And yet, Mark Roberts doesn’t just rush us through the case. He also gives himself lots of time to do some great character work.
As previously stated, Eve Clay is the keystone, the intellectual and organisational force behind the team’s progress, but at the same time, while a mother back at home, also a mother to her troops, someone they can confide in when they have problems, but also someone they have implicit faith will lead them from one success to the next. What is really fascinating about Clay, though, is the way her difficult childhood in a Catholic orphanage has strengthened her emotionally and gifted her with a warmth the likes of which I’ve rarely seen in fictional detectives (and which, at times, is genuinely touching). She makes a fine if unusual hero.
To avoid giving away too many spoilers, I must, by necessity, avoid discussing the civilian characters in the book, except to say that Mark Roberts takes a cynical but perceptive view of the kind of people police officers meet when investigating serious crime.
Ultimately, all those involved in this case, even if only on the periphery, are abnormal in one way or another, while those at the heart of it … well, suffice to say that some kind of insanity is at work here. Because surely only insanity, or pure evil, or a combination of both, can lie at the root of murders like these. Roberts investigates this wickedness to a full and satisfying degree, completely explaining – if not excusing – the terrible acts that are depicted, and yet at the same time using them to underscore the dour tone of the book. Because there is nothing particularly extravagant or outlandish about the villains in Dead Silent, even if they do commit horrific and sadistic murders. They may be depraved, but there is still an air of the kitchen sink about them, of the mundane, of the self-absorbed losers that so many violent sexual criminals are in real life – again, this adds a welcome flavour of the authentic.
To finish on a personal note, I also loved the arcane, artistic elements in the tale. Again, I won’t go into this in too much detail, but I’ve long been awe-stricken by messianic later-medieval painters like Hieronymus Bosch and Pieter Bruegel. Though replete with multiple meanings, their lurid visions of Hell and damnation, of a world gone mad (or maybe a world born mad!), are among the most memorable and disturbing ever committed to canvas. It’s distressing to consider that such horror derived from men of artistry and intellect, but then to see these ancient atrocities interwoven with latter-day insanities like the English Experiment (which again has emerged from men with talent and education!), is fascinating, and gives this novel a richness of aura and depth of atmosphere that I’ve rarely encountered in crime fiction.
Read Dead Silent. It’s a class act. ...more
WARNING FOR MINOR SPOILERS ...
Bristol wife and mother, Jo Blackmore, is struggling desperately with her nerves. Bereaved of her first child, Kevin, when he was still a baby, she struggles constantly with depression, and even though she now has anothe WARNING FOR MINOR SPOILERS ...
Bristol wife and mother, Jo Blackmore, is struggling desperately with her nerves. Bereaved of her first child, Kevin, when he was still a baby, she struggles constantly with depression, and even though she now has another youngster, two-year-old Elise – a happy and healthy child – she is anxious, paranoid and increasingly suffers from agoraphobia.
In this regard, her once-loving husband, Max, is neither use nor ornament. A successful investigative reporter, he’s long felt that his job needs more attention than his family does, and despite Jo’s ailing mental condition, increasingly displays annoyance and frustration with her rather than affection. The twosome are certainly growing apart, but it finally comes to a head when Jo is one day fooled into giving a ride to a blonde-haired woman known only as Paula, who, once she’s in the car, demonstrates an in-depth knowledge of the Blackmores’ personal lives and makes vicious threats.
Jo and Elise emerge unscathed from the incident, but Jo is terrified, and so when Max responds with near indifference, the rift between them widens dramatically … especially as the mysterious Paula now upgrades her campaign of harassment, menacing the fragile Jo at every opportunity. Even when Paula finally reveals that this is all about Max, who apparently owes her something he plainly won’t give, he is blasé about the problem, dismissing the blonde tormentor as a fantasist or mental case, and refusing to entertain the possibility that she may be someone from his past.
Furious to be getting no support from her husband at a time when she needs it more than ever, Jo decides to leave, and starts making secret plans to take Elise to her parents’ home in Cheshire. But this decision, though it affords Jo some relief from her turmoil, and to all intents and purposes has been made in complete privacy, now seems to trigger a whole new wave of ever-more frightening events, which involve, among other things, house-breaking and violent assault.
And at no stage is Jo able to draw reassurance from law-enforcement, because no-one actually believes that she is being persecuted, the Social Services, who have been craftily and nastily manipulated, wondering if Jo, with her history of mental instability, might not be a fit and proper person to look after the one light in her life, Elise. Max, who now feels openly betrayed by his wife, continues to be as unhelpful as possible, prompting Jo to wonder if he too has some kind of agenda.
Eventually, with scarcely a friend in the world to turn to, and growing threats on all sides, the embattled young mother opts to put her child in the car and simply go on the run. It seems unlikely that she’ll find any refuge in the UK, so she heads overseas to the land of her mother’s birth, Ireland.
But even over there, things are not all they may be. Despite the picturesque surroundings of Clogherhead in County Louth, the ever beady-eyed landlady, Mary Byrne, is also a woman with secrets, while the mere fact that Jo’s family originated around here seems to arouse some latent hostility.
Meanwhile, the danger that Jo felt creeping up on her in the UK hasn’t gone away, and it isn’t long before it crosses the Irish Sea in pursuit of her …
C.L. Taylor is fast emerging as the queen of British domestic noir. With such tales of homespun terror as The Missing and The Accident already under her belt, she now hits us with another one, and in her own inimitable style, manages to make even the seemingly safest of places – leafy Middle England – into a suburban minefield.
I should say from the outset that there are no extremes of horror in this book. We’re not dealing with massacres, rape or rampant child-abuse. But in many ways, The Escape is more subtly harrowing than any of those. Because the enemies here, at least for a good part of the novel, are the very institutions that are supposed to be there to help – they are especially supposed to help people like Jo Blackmore, a woman of good character but emotionally distraught to the point where many aspects of ordinary life are too much for her.
This is brave writing by Taylor. So often in thriller fiction, as in real life in fact, the police, the social services (even the nursery school establishment, for Heaven’s sake!), are firmly with the good guys, but so cleverly constructed is this story, and at the same time so skewed is the reality of things when viewed through the prism of mild mental illness, that they are here projected in a very different light. Jo Blackmore wants nothing more than to be able to live her life and raise her daughter, with or without her self-centred husband – which part of it is very much up to him. Yet there are so many implacable forces ganging up against her; and who the hell do they think they are, anyway, to interfere in the way she conducts her own affairs and raises her own little girl!
I should hastily add that the caring establishment is not the arch-enemy here, but it does present Jo with a wall of faceless and frightening bureaucracy, which not only must she somehow get over in order to find her freedom, but which is also doing a very effective job of shielding the real villains, though needless to say – and what a surprise this isn’t! – it doesn’t prove very effective in preventing them from striking at her.
I don’t think I’ve ever read another book in which the innocent were so up against it as Jo Blackmore is here. There is very little brutality in The Escape, the unfairness Jo faces in this tale is a monster in itself – not that this stops you wondering from time to time if maybe, just maybe, she has finally succumbed to her demons and the fault may lie with her after all. But that’s a question you can only find an answer to by reading the book. And this is another aspect of C.L. Taylor’s thrillers for which she is rightly lauded: the psychological questions she poses. From the very start, we are informed that Jo Blackmore is battling with post-natal depression. But just how far has it actually gone? Could it be that she is seriously mentally ill? How do we know what is real and what isn’t?
This delightful twisty element, which is masterfully blended into the narrative, gives The Escape a real Hitchockian aura, which when you consider that it’s a consciously low-key mystery-thriller – as I say, a ‘domestic noir’ – shows how effectively written it is.
A big book, but a quick read. Another of those famous page-turners. You won’t be disappointed. ...more
Paul Finch rated a book really liked it
WARNING FOR MINOR SPOILERS ...
It is 1960 and the start of summer in the Illinois farming town of Elm Haven. For a bunch of local school-leavers, a tightknit group of adventurous 11-year-olds self-defined as the ‘Bike Patrol’, long months of vacation WARNING FOR MINOR SPOILERS ...
It is 1960 and the start of summer in the Illinois farming town of Elm Haven. For a bunch of local school-leavers, a tightknit group of adventurous 11-year-olds self-defined as the ‘Bike Patrol’, long months of vacation lie ahead. The sun is high, the corn ripening in the encircling fields, and while the adults have their own issues to deal with – the new decade is already presenting different political challenges! – for the youngsters it’s just another extended playtime.
But then something goes wrong. One of their former classmates, a hillbilly kid called Tubby Cooke, disappears, and the Patrol – level-headed leader Dale Stewart and his younger brother, Lawrence, brave and good-hearted Mike O’Rourke, troublesome roughneck Jim Harlen, super-intelligent Duane McBride and loyal team-player Kevin Grumbacher – take it on themselves to investigate.
And very soon, they wish they hadn’t.
At the heart of Elm Haven stands Old Central, the large, ornate and crumbling schoolhouse they’ve just left, which is now condemned and will shortly be torn down. The guys can’t help but feel there was always something wrong about Old Central – not just the school itself, but its staff too, who behaved increasingly oddly as the end of the semester approached. The kids especially become suspicious when they learn that Tubby was last seen alive in the school toilets.
But it’s a hot summer and there is lots of other fun to be had, and so the investigation is undertaken half-heartedly. Surely there was nothing really wrong with their old school?, and none of them much liked Tubby Cooke anyway, nor his oddball sister, Cortie. Within a few days, the whole thing is put to bed … but now it seems their inquisitiveness has aroused a latent hostile force, which they’d never previously noticed in Elm Haven.
The Rendering Truck, a ramshackle vehicle full of rotting animal carcasses, takes to following them around town and trying to run them off the road, while a weird WWI era soldier begins popping up in their peripheral vision and even chases them when he catches them out in the fields.
Something weird is indeed going on here, and Old Central seems to lie at the heart of it.
However, it is only when Duane researches the history of the school and learns that as well as a legacy to the town from the wealthy and mysterious Ashley family, it was also used to house an arcane artefact shipped over to the States from Europe and associated throughout its long history with sorcery and devil-worship, that Hell is really unleashed.
Nightmare faces appear at the boys’ windows, shadow shapes emerge from under their beds, axe-wielding figures attack their tents, and horrible things stir in the corn.
Amid many other distractions that the Bike Patrol never anticipated this summer – sexual awakenings and the like – they now must battle for their lives against this dark and intangible foe, which can assume a multitude of forms and soon seems to infest every corner of Elm Haven …
So many US horror writers appear to owe it to themselves to at some point produce at least one novel steeped in the Americana of their small-town youth. This furrow has been successfully ploughed by such major names in the genre as Ray Bradbury, Stephen King and Robert McCammon – to name but a few, so it was no surprise to learn that Dan Simmons had done it too, producing in Summer of Night a semi-autobiographical account of his boyhood in the agricultural Midwest, recollecting it as a fun romp for the most-part, but at the same time striving to capture the complexity of that last summer of childhood, that confusing moment in life when we willingly or unwillingly trade everything that went before, even the good stuff, for a completely different mode of existence (and so often find it a raw deal), and then pumping the adventure levels up dramatically with lashings of supernatural terror.
In the hands of all these great writers, this has proved a potent mix, an unashamed juxtaposing of that cosy age of boy-scout camps and Mickey Mantle baseball cards with the looming subliminal fear of something monstrous and unexplainable. Psychoanalysts would no doubt have a field-day, talking about the remorseless approach of adulthood, the end of play and the commencement of work, and maybe even, with the advantage of hindsight, the transition of that relatively comfortable post-WWII era in America to the more unstable 1960s with its social discord and the horrors of Vietnam.
There is probably something in that, though I suspect it’s actually a lot simpler. Summer of Night is clearly a very personal work for Dan Simmons, but its greatest strength lies in the rollicking and hair-raising tale it tells, and its straightforward pitting of good against evil in such easily understandable fashion that it wouldn’t be out of place on the YA shelves were it not for the juicy language and its frank discussion of adolescent sexuality.
It is certainly a lively and worthy addition to the small-town horror cycle. Many familiar motifs are here: the non-too-perfect lives of some of the kids (who even in the midst of cheerful innocence must cope with ill-health at home, low incomes, drunken or absent fathers, etc), the roaming bands of bullies, the grim and rotting building at the heart of town, the aristocratic founding-family now elevated to semi-mythical status, the existence of something ancient and cruel which only was hinted at prior to this book, the adults who stubbornly refuse to believe in it, and of course the endless, sun-soaked landscapes of youthful reminiscence.
One criticism often levelled at Summer of Night is that it’s too similar in tone to Stephen King’s own nostalgic masterpiece, It. I see that, but I don’t consider it a weakness – the two novels are cousins for sure but Summer is in no sense a rip-off, as the narratives diverge noticeably. However, I do think Dan Simmons’s book suffers a little by comparison.
Whereas It bounces back and forth between childhood and adulthood, Summer of Night anchors us in 1960, and to see the whole thing through the eyes of a bunch of 11-year-olds becomes a bit of a strain when you’re hundreds of pages in and yearning for some adult interaction. It also means that you must suspend belief considerably. Even for a supernatural tale, some of the solutions our youthful heroes adopt feel as if they’d be a little beyond the average bunch of youngsters – their proficiency and ruthlessness with firearms for example, their ability to pick clues from distant history, and their overall maturity in the face of a horrific crisis (when at the same time some of them are too frightened of the dark to turn their bedroom lights off, and others are content to step out of the battle to attend birthday parties and dig for bootlegger treasure!!!).
But these are the only real brickbats. The rest of this novel is a whole load of fun.
Typically for Dan Simmons, it’s a lengthy tale, but it’s sweetly written and totally engrossing. Living, breathing characters populate a richly detailed community. An air of the authentic early ’60s sits vividly on the page, and yet the lurking menace, which, while vague in the early stages, never feels out of place – in fact these are the best parts of the book for me: the slow-dawning awareness that something terrible, only glimpsed at first, is coming on apace, threatening to sweep away this idyllic little enclave in a turbulent world.
And of course, when the book finally fires – it fires on all cylinders.
As you’d expect, there is a grand climax at the end, but well before then – throughout most of the second half of the novel – Simmons hits us a with a series of spectacular action set-pieces, each one scarier and more explosive than the one before it. And don’t be lulled into complacency by the extreme youth of our main protagonists – not all these chilling encounters end well for them (though to say any more on that would really spoil things).
Summer of Night is what people used to refer to as an ‘airport novel’ – in other words it’s a big, fat volume, so big that you’d happily buy it on the first day of your holidays and expect it to see you right the way through. That’s most likely what would have happened; at over 500 pages, it’s an absolute whopper. But though reading habits have changed a little since the 1990s, I still recommend this exciting and enjoyable tome. It may transport you back to your own past, it may provide no more than an amusing diversion for an hour each day, but once you get into the meat of it I guarantee you’ll stick with it right to the end. ...more
WARNING FOR MINOR SPOILERS ...
After a high-risk assignment in Afghanistan’s poppy-growing region, on the trail of a terrorist network, energetic investigative-journalist, Olivia Wolfe – who is no stranger to danger, but even by her normal rip-roaring WARNING FOR MINOR SPOILERS ...
After a high-risk assignment in Afghanistan’s poppy-growing region, on the trail of a terrorist network, energetic investigative-journalist, Olivia Wolfe – who is no stranger to danger, but even by her normal rip-roaring standards only just returns from this trip with her life and limbs intact – is dispatched by her demanding editor, Moz Cohen, to the even more perilous realm of western Antarctica.
At first, she isn’t keen. It doesn’t sound like her normal field: a team from the British Antarctic Survey drilling down through fathoms of concrete-hard ice in a quest to discover samples of prehistoric life that may still be lurking in subglacial Lake Ellsworth … until she learns that her real mission is to investigate the various ‘accidents’ that are befalling the BAS crew at their research station, including an unexplained and rather horrible death, which more than likely was murder.
This is more up Wolfe’s street, but the situation is complicated by an unseen but menacing presence at home, a mysterious stalker, pursuing her both in reality and online, who barely leaves a trace of himself but is always undeniably there. Who this person is, and why he/she may have a beef with Wolfe is a complex thing to ascertain: there are plenty of people with reason to punish a journalist who has uncovered their dirty dealings in the past. At the same time, of course, Wolfe has to head down to the bottom of the world, to find out whatever she can about the problems facing the BAS.
This, in itself, is no picnic. The difficult conditions of the Antarctic and an engineering/scientific team who, though on the surface they seem quite normal, soon start to reveal stresses and strains among their ranks, combine to make Wolfe’s job a real challenge. While team-leader Professor Michael Heatherton is a time-served professional, dedicated to his cause and with no apparent interests other than a pursuit of knowledge, other members of the group are more secretive, in particular the intense and rather introverted Scottish scientist, Toby Sinclair.
On top of that, she learns that a rival Russian expedition to nearby Lake Vostok, whose mission failed when the lake was polluted by inadequate drilling processes, are now trying to bribe and bully their way into the British effort, which, in Wolfe’s eyes, puts them high on the suspect list – not least the most menacing member of the Russian party, Sergey Grankin, who is almost certainly a government agent. It also raises questions, particularly among the rest of the British team, about naturalised Brit but Russian-born engineer, Vitaly Rushkov; he is one of their own colleagues, at least superficially, but though Wolfe finds him attractive, he also frustrates her because he won’t reveal enough about himself to win her trust.
The tension is ramped up even more – to breakneck pace in fact, when the British team succeed in their quest, breaking through into the subterranean lake – an incredible three kilometres below the ice – and discovering something that hasn’t seen the light of day for millions upon millions of years; something so appalling that it has the potential to completely destroy modern society.
Needless to say, in the time-honoured fashion of greedy world-powers both fictional and real, it isn’t long before various shady forces are competing for control of this monstrous thing.
Even from this relatively early stage of the novel, it is difficult to reveal any more of the actual synopsis for fear of giving away spoilers, but suffice to say that, even when Wolfe returns to London, she finds herself in the midst of a deadly conflict, with numerous vying interests turning the city into a war-zone, and even the little she has already discovered making her into a prime target. Wolfe has developed lots of good contacts in her time, but even two of the best on her home turf – former top cop, Jerry Butcher, something of a father to her, and the infinitely shadier DCI Dan Casburn – are of minimal help; they may even be a hindrance as she tries to battle her way through a tangled web of confusing lies and life-threatening deceit, only to uncover a shocking and terrifying truth …
If you like your thrillers to have an international scope, then this one is definitely for you. Devour is a wide-ranging, continent-spanning adventure played out in tough, no-nonsense fashion against a latter-day Cold War-type atmosphere. But don’t make the mistake of thinking we’re in 007 territory here. There is a high-tech dimension to Devour for sure, but there is also an aura of realism. We’re not talking ridiculous gadgetry, improbable skills and mind-boggling schemes for world-domination. New heroine, Olivia Wolfe, though she herself is a more than competent globe-trotter and thoroughly au fait with all the latest communications devices, is also very human, which is her most appealing aspect.
In fact, Devour’s greatest strength for me – considering that it’s painted on such an immense canvas – is that it’s all very plausible.
I’d go as far as to say that it’s terrifyingly plausible.
To start with, there is a real sense of danger in this book, and I don’t just mean the horrific force lurking in the sub-Antarctic depths (more about that later), but also from our heroine’s various antagonists. Whoever’s on your tail in Devour, whether they be opium lords, terrorists or security service personnel gone rogue (or even not gone rogue – just doing their government’s dirty work at full throttle!) – you soon get to learn that they are experts at what they do; it’ll only ever be a page or so before they catch up with you. It also becomes plain at an early stage that none of these heinous individuals are playing by the rules of chivalry.
Oh yes, there is some real brutality on show here. Everything about Devour is harsh, gritty and real. Its central characters spend much of it in a state of fear, particularly the civilian scientists who never imagined that their ground-breaking research could have caused such chaos, not to mention Wolfe herself, who soon learns that even if she emerges from this adventure unscathed, her life as she knew it will be over. Several times there are references to people who simply disappear, or run the risk of disappearing – in L.A. Larkin’s world, the niceties of international law just don’t apply when such threats as this endanger the planet, and I, for one, am more than prepared to believe that could be true.
Even routine activities, such as travelling, are given a rugged makeover. We’re talking long plane journeys, soulless waystations, the extreme geophysical conditions of the Arctic, not to mention a drab and wintry London which itself has the potential to endanger life – for example, in one scene, Wolfe gets soaking wet and as it’s December, it isn’t long before she’s struggling with hypothermia. At the same time, death means death; during an early sojourn to Afghanistan, she witnesses the shooting of a young woman, and it haunts her afterwards; she sees it playing through her head again and again.
These are the uber-realistic touches that we simply don’t get in run-of-the-mill thrillers, and Larkin hits us with them repeatedly, as if saying: “This is what it means, this is how it would actually be if you were to genuinely participate in this world”.
And I totally loved it, almost as much as I loved the central character.
Olivia Wolfe is an excellent heroine. She may not be the sort who can take waves of bad guys apart with her bare hands, or jump from plane to train to motorbike and still make it to her favourite restaurant in time for dinner. She may be a martial artist of sorts, but she gets battered, she gets hurt, she gets frightened. However, her main asset is that she is a skilled and highly driven investigative journalist. She hasn’t just got a nose for a great story, no matter how far afield it may lie, she has the determination and wherewithal to get there in time to cover it. But she has a survival instinct too. In anticipation of the dangers she will face, she is technically proficient, and perhaps more importantly, an exceptional judge of character, knowing instinctively who to trust and who to suspect.
In some ways, this may make her a tad unsympathetic. All the way through, she has an on/off romantic relationship with the Russian engineer, Yushkov, and yet she maintains an antipathy towards him too because … well, mainly because he’s Russian, and in this book the Russians are generally up to no good. It reaches a stage where as a reader it almost becomes tiresome, and yet that’s the point. Olivia Wolfe has survived as long as she has because she’s smarter than we are. She has really played this game, whereas we haven’t.
If I’m giving the impression that this is an edgier-than-usual book, that’s probably accurate. It’s no romp, that’s for sure. But this slap-in-the-face factor serves two purposes: it makes you believe it absolutely, and it keeps you glued to the pages – as, of course, does the overarching, and vaguely monstrous – concept.
On that subject, it would be easy, if you’d only read the blurbs, to think that what you’ve got here is something akin to John W. Campbell’s Who Goes There? (filmed as The Thing from Another World). And why not? Something nasty is lurking under the polar ice, a bunch of well-meaning scientists discover it and thaw it out, only to find that it’s a force beyond Man’s experience, which imperils the Earth as a result. And if it sounds like science fiction, there may be an element of that, though I draw your attention to the real attempt by British scientists to drill down to Lake Ellsworth in 2012, which failed (maybe fortuitously, or maybe it was halted – who can say?). But it’s all still incredibly plausible. I’m not going to give out any spoilers concerning the nature of the thing, but it’s truly horrifying because, even if surprises you – which it did me – you can very quickly envisage the colossal destruction that would result.
In addition, the novel is underlined with in-depth research – no B-movie stuff, this. LA Larkin, an Antarctic explorer in her own right, handles the biological and engineering complexities of the mission to the South Pole and the follow-up investigations with the same authority and conviction that she does the political intrigue and secret service chicanery, and yet weaves it all seamlessly into the narrative and the dialogue so that at no point do we feel we’re being hit by a cut-and-paste from Wikipedia.
It all makes for a totally believable and completely enthralling techno/eco thriller, perhaps with a few dollops of psycho horror mixed in for good measure (because let’s not forget that there’s an equally formless, equally dangerous threat to Olivia Wolfe lurking at home).
An all-round, superbly-crafted reading experience, which just screams for your attention. ...more
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