16 January 2021

#Review - The Lost and the Damned by Olivier Norek

The Lost and the Damned (The Banlieues Trilogy, 1)
Olivier Norek (trans Nick Caistor)
Maclehose Press (Quercus), 12 November 2020
Available as: HB, 304pp, e
Source: Advance e copy via Netgalley
ISBN: 9780857059628

I'm grateful to the publisher for an advance e-copy of The Lost and the Damned via NetGalley to consider for review.

Content warning: this book does depict some very unpleasant events, both instances of torture and sexual assault. I don't describe these in my review below.

The Lost and the Damned is an explosive police procedural/ thriller, set in Seine-Saint-Denis, one of the scuzzy northern outskirts of Paris. The place is all tower blocks, dereliction and the camps of refugees and outcasts. It's not a tourist district or a smart shopping quarter. 

Here, Capitaine Victor Coste is about to lose one of his most experienced officers, fleeing the city for a quieter life in the country, and to gain a new recruit in his place. This happens just as a perplexing series of murders begins - murders with a hint of the supernatural, murders that seem staged, with the Press informed of every detail. At the same time, Coste starts to receive anonymous letters, pointing to something rotten in his own department.

I loved this book - the characters, the seedy atmosphere, the air of cynicism. Coste is an honest cop, as these things go, but he's living in a very dirty world and it's impossible to pretend that all is well. Sometimes corners have to be cut. But we know - Norek uses several viewpoints in this book - that Coste and his team are crossing paths with monsters whose depravity would astound even him, world-weary detective or not. Stumbling around in the same maze are a crusading journalist and a hard-bitten PI. Each has fragments of the story, but very different interests.

It's an enjoyable book on several levels. 

There is the unfolding of the devilish events - events Norek takes his own good time to trace to their roots. There is the depiction of Coste and his team (in which I include pathologist Dr Léa Marquant, who clearly fancies the pants off him only he doesn't realise). They are real characters with foibles and a true sense of a shared history. Introducing them through the arrival of Johanna, the new member, gives us an outsider's view of the squad on which Norek then builds with deeper insights.

Also vividly portrayed is Seine-Saint-Denis - almost a character in its own right, lovingly (if that is the world - it's a grim place) described and explored. The cop's-eye view (Norek is a former police officer) is unsentimental, but still manages to be both empathetic to the the plight of those who wash up there and knowing of the political shenanigans that make that plight worse.

Re-reading that last paragraph you might doubt my use of the word "enjoyable". This isn't, as I have said, "nice" Paris, "tourist" Paris, "smart" Paris. But it feels real, it tells a truly gripping story and it makes you care about the people there.

Nick Caistor's translation is open, readable and strikes a good balance, I think, between retaining the sense (for an English reader) that this is a book about a foreign and different place and making the text familiar and readable. 

I'm very glad this is the start of a trilogy, I am looking forward to meeting Capitaine Victor Coste and his team again.

For more information about The Lost and the Damned, see the Quercus website here.

14 January 2021

#Review - The Stranger Times by CK McDonnell

The Stranger Times
CK McDonnell
Bantam Press, 14 January 2021
Available as: HB, 432pp, e, audio
Source: Advance e-copy via NetGalley
ISBN: 9781787633353

I'm grateful to the publisher for an advance e-copy of The Stranger Times via NetGalley. (I also have my copy on order from the local bookshop, because I need this one on my shelves!)

Is there a subgenre called "cosy urban fantasy"? If not, there ought to be. Not that The Stranger Times pulls its punches, oh no, we see some gruesome deaths here and evil is decidedly on the march, but still, there is that same combination - a strong sense of place, well defined characters and that slight twist of the absurd which I enjoy in cosy crime, an assurance perhaps that while there's a mystery to be solved and a real threat, other things are also important, or more important: office banter, for example, getting the latest edition of The Stranger Times to press, pursuing a good story for the lead. The characters need I think to be at home in some sense - to have found where they belong.

Before you can belong, though, you need to arrive and so for Hannah there's the little matter of a job interview... as this book opens, she is desperate for a job. Accustomed to a life of upper middle class luxury, she's alone, in unfamiliar Manchester, without money or friends, for the first time and desperate enough - just - to seek employment with the eponymous paper. We will find out what Hannah has done, and what's been done to her, in good time. First, she has to learn about The Stranger Times itself and the oddballs who staff it. 

The paper glories in the weirder side of life: UFOs, hauntings, conspiracy theories and the like. ('Nessie is the Father of my Child'). Presided over by Vincent Banecroft, a former hotshot Fleet Street editor fallen on hard times who now looks like 'his own corpse waiting to happen', The Stranger Times may have seen better days, but it has ethics of a sort: they don't make stuff up, they don't judge, instead they report what people claim they saw or what they claim happened. The claims may rather outré, but the obvious liars and sensationalist are weeded out and there's an integrity in the way that it recognises and reports things that are being claimed to have happened. 

Nobody expects to wade into a supernatural crisis though, and indeed for a considerable time they don't realise that the bodies in the morgue with strange wounds, and the disappearance of a down-and-out man, have anything to do with each other. McDonnell allows the setting and personnel of the paper plenty of time to establish themselves. The staff - Hannah, Grace, Reggie, Ox, Stella and of course Manny, who prints the thing (he prefers to wear no clothes) are actually stranger than anything it reports. The grotesquerie at The Stranger Times was really entertaining and I enjoyed seeing the interplay between, for example, Grace, the fiercely Christian receptionist and drunken, foul-mouthed Banecroft. In parallel, we are told about a couple of villains who reflect the darker side of things and are clearly Up To Something. During this first third most of the action is with those villains, but what they are up to is still obscure. When things really begin to move along, and the team from the paper are fully in the firing line, they are well established and we really care what happens to them.

I won't say too much about the background that then reveals itself, except that The Stranger Times does (to a degree) follow the template of there being a "hidden" paranormal world that lives in tension with the mundane one - there's a balance that has to be kept and it is, of course, in danger of being upset. McDonnell does, however, bring a real freshness to the concept. The Stranger Times isn't about rivalries between clans of monsters or (much) about humans being drawn into their worlds, rather its's about individual motivations, greed, ambition, survival and the willingness to exploit others in pursuit of those things. As well as about the importance of getting the paper to press, come werewolves, police or rogue sorcerers. 

Oh, and about integrity - whether in that mission to report what is being said, in the desire of DI Sturgess to give the dead their due by investigating every case meticulously, even the hopeless ones or in Grace's fierce love for tearaway Stella who broke into the paper's offices one night and has stayed ever since. 

The group at the heart of the novel are eccentric, bickering and plain odd, but they have a fierce loyalty to one another which gives this novel real heart and soul. Combined with sharp writing ('Mason himself seemed oblivious to his own halitoxicity', 'Coppers often dealt with people who were having the worst days of their lives. That deserved somebody's best'), a strong plot and a good sense of place - the place being rainy Manchester ('predicting it was beyond the capacity of meteorological science') - that makes for a thoroughly readable and completely enjoyable story.

Here's hoping we meet Hannah, Vincent and company again and soon.

For more information about The Stranger Times, see the publisher's website here.


9 January 2021

#Review - The Sunken Land Begins to Rise Again by M John Harrison

Design by Micaela Alcaino
The Sunken Land Begins to Rise Again
M John Harrison
Gollancz, 25 June 2020
Available as: HB, 254pp, e, audio
Source: HB bought from Wallingford Bookshop
ISBN: 9780575096356

The Sunken Land Begins to Rise Again is another 2020 book that I put aside till less hectic times and eventually read over Christmas. It was a glorious read for me, but I have to say I find my reviewing skills rather lacking in describing exactly why.

The book follows two protagonists. Shaw is a middle aged man living in West London ('south and west of Hammersmith Bridge in a quiet suburban badlands between East Sheen and the Thames, bounded by Little Chelsea on one side and Sheen Lane on the other') who is just coming out of a 'rough patch' which he doesn't remember well. he frequently visits his mother in a care home (oh, pre Covid writing!). Victoria, the daughter of a doctor who claims to have seen her first corpse at 13, now lives in a Midlands town on the river Severn. At the start of the book they are, or have recently been, together, and throughout they email, telephone and occasionally meet - indeed, parts of the story are told in these emails, although it may be they are never actually sent.

So Victoria and Shaw are apart, facing ostensibly different circumstances but there are parallels in their lives which become more obvious as time goes on (although I would still be hard put to explain exactly what is happening to them). These range from locations (the descriptions of Shaw's lodgings and the building which Victoria visits to find Pearl) to passing references (tourist trap villages which claimed to have hosted a parliament in the 14th century) to relationships with other characters - each is engaged with a more-knowing set, focussed, in different ways, on local waters and pools (the rivers of West London for Shaw, the Severn and field-pools for Victoria). 

In a sense, each is I think investigating the same mystery, and if they had sat down together at any point and shared all of what they knew, both might have made more progress. (As they might if they had read the copies of Charles Kingsley's The Water Babies that keep being pressed on them - a book I remember trying to read as a child and giving up in bafflement).

Shaw works for Tim, who has contacts in turn with a medium and with a chain of businesses to whom he sells - what exactly? I was never sure - across the country, landing Shaw with many rail journeys to run down towns. There is also a mystery around Shaw's boarding house and the unseen occupant of the room next to his.

Victoria has moved into her dead mother's house in the Midlands town and is having it renovated. She makes friends with Pearl, who runs a local café. Names are shifty here - we get different versions of Victoria's surname at different times, at first this looks as though it's meant to be due to Shaw's confusion or memory but in fact I think she's introduced differently by the narrator at different times. Similarly, sometimes Victoria refers to her friend Pearl as such, sometimes as "the waitress". Pearl is knowing of the locals, speaking to Victoria of groups and localities, rivalries and factions. In both strands of the story there seems to be a struggle, though between whom, and over what, is obscure. Eventually, Pearl vanishes, having apparently walked into a shallow pond, and the final part of Victoria's story focusses on her attempt to find the waitress, leading her to (perhaps) a closer knowledge and understanding of her mother.

That is about as clear as I can be over the "story" in this book. It's not meant, I think, to be obvious, it may not even be meant to be "there" in the sense of complete, coherent and self-consistent. Rather it is "there" in the sense of being present, glimpsed, seen differently at different times because it has evolved and developed, or is being seen form different viewpoints.

The themes are clearer, I think - layers of the past rising to interact with the present. This is sometimes a geological metaphor (note, though, that while the implication in the title is on some kind of buried land, what most often seems to be happening is the effect of rising, or shifting, waters - Harrison emphasises how the diverted River Severn, flowing South rather than North after the ice age, carved a gorge which exposed deposits of easily won and useful minerals - fireclay, coal, tars, limestone - to kickstart the Industrial Revolution). It is sometimes a genetic metaphor, with Tim and his sister, the medium (who seem at odds in some way - Time has Shaw spy on her) involved in some kind of online group which seems to centre around alternate human ancestry.

Actually, that doesn't make the themes seen clearer, does it? This is a very knotty, rich and evocative book which I think perhaps can only really be grasped by reading it, not be reading anything about it. To get the most from it, it needs to be read, and taken in, slowly. I don't mean by that, "read in a solemn and po-faced manner". The atmosphere of this story is simply gorgeous, Harrison deftly sketching the workings of a provincial town, the miasma-y nights of the creeks and backyards in West London, or the almost alien shouts and boasts to be heard on city streets late at night. The effect is cumulative, and unsettling, but also revealing: it's like stepping into an Edward Hopper picture, but on a night when the power has gone down.

In short, I'm a fan of this book, but I know I can't easily, or well, explain why. Do read it, if you like this kind of thing you will REALLY like The Sunken Land Begins to Rise Again.

For more information about The Sunken Land Begins to Rise Again, see the publisher's website here.


7 January 2021

#Review - The Last Thing to Burn by Will Dean

The Last Thing to Burn
Will Dean
Hodder & Stoughton, 7 January 2021
Available as: HB, 256pp, e, audio
Source: Advance e-copy via NetGalley
ISBN: 9781529307054

I'm grateful to the publisher for an advance e-copy of The Last Thing to Burn via NetGalley.

Gosh.

This is a scorching, claustrophobic and intense thriller that you'll want to read from behind the sofa, if that makes sense. Its protagonist, a woman everyone calls "Jane" ('My name isn't Jane') is in a desperate situation, robbed of her identify, her family and (almost) all agency yet possessing a steely determination to survive - for her own sake, for her parents' and above all for her sister, who will suffer if Jane ('My name isn't Jane') despairs and finds a way to die.

Thanh Dao - her real name - is from Vietnam. She and her sister were trafficked to the UK in a shipping container with 17 others (16 survived). While her sister works off the cost of her passage in a Manchester nail bar, Thanh Dao has been sold on to a brutish farmer called Lenn. They live alone in his ramshackle cottage on a great flat expanse of land which Len works. Thanh Dao cooks and cleans, obeying all Lenn's wishes - what to cook on what day, exactly how brown a sausage should be fried, how to meet his needs in the bedroom. When Lenn is displeased, even over minor things, Thanh Dao is punished - one by one, her remaining possessions are burned (she has few things left, a handful of things - everything else in the book is Lenn's (his food, his bed, his willow logs in his Rayburn stove, his keys, his house, his land) or his (dead) mother's (the clothes Thanh Dao wears, the cloths she uses because he won't provide her with tampons). She's under perpetual threat that if she runs away or even if she kills herself, her sister Kim-Ly will suffer for it.

It is a cold, violent and suffocating life, the wide horizons and open fields a cruel lie as Thanh Dao, often in pain, lives from day to day, sustaining herself by reading her sister's letters and an old dog-eared copy of Of Mice and Men. Her suffering is so intense, so unrelieved that at times this book is almost painful to read. That's even before factoring in the reader's foresight - which Thanh Dao shares  - that worse is in store. She's never allowed to leave the farm, not to visit the shops, to see a doctor or to chat with a neighbour. Len has cameras around the house and reviews 'the tapes' every night (chatting about the state of the farm) before punishing any failings (Was Lenn's pie a little cold? Has Thanh Dao neglected to paint over the mould spores in his bathroom?) and unlocking his TV to watch Match of the Day or the snooker. Doors are never to be closed in his house - if Thanh Dao goes to use his bathroom at the back, she must leave the door open. On that flat farm, as Len often points out, he can see the house from anywhere. Thanh Dao can't walk out - he's seen to that - she can't call for help and, as I have said, she can't even die.

I honestly don't know when I read anything as dark as this. Often, I didn't want to know what happened next, how bad things could get. At the same time, I had to know, I had to be there with Thanh Dao as she sustains herself with memories of home, her parents, joyful meals (she offers to make Lenn proper home cooked meals, to grow vegetables, herbs and spices - but he just wants what his mother gave him: build in the bag cod, and white bread, from the Spar shop, sausages cooked right, pies). I had to be there as Thanh Dao keeps her courage, carrying out tiny acts of defiance. I had to be there as, driven to ever greater lengths of desperation - things happen that raise the stakes yet higher - Thanh Dao somehow holds onto her sense of self.

The lines are starkly drawn; Lenn is a brute and an oaf, but a clever brute and an oaf. We know early on some of what he's done, and that's bad enough, but there are hints of worse throughout the book and even late in the story, more revelations of just how bad he is. At times, Thanh Dao is surprised by what one might see as small kindnesses. At times, Lenn complacently boasts that 'It's all right, ain't it, this life... We're warm, under decent roof, full bellies, together, not all bad, is it?' Does he believe this - even as he knowingly inflicts pain? Is he parroting something he's been brought up with? Somewhere in that bleak landscape, that house of horror, there's an answer, a reason, for Lenn and the reader understand that: but he's such a monster that one draws back, at the end, from wanting to understand that darkest of mysteries.

Certainly, Thanh Dao isn't taken in by a man whose answer to her toothache is to fetch his pliers from the shed. She is a woman at full stretch, a woman whose energy, focus and resources are completely committed to one cause - survival - with nothing left over. Or so she thinks - as things get worse and worse, Thanh Dao does find space in her heart for more, in glorious scenes (From nothing more than two women willing it to happen: two women, strangers, friends, forcing their own warmth together to make a family of sorts out there')' that just had me gobsmacked at Dean's writing, his vision and his empathy.

Yes this is a dark book but it's also often uplifting, a study of courage and endurance and even love. I knew that Will Dean could write - his Tuva Moodyson crime novels are glorious - but The Last Thing to Burn is just revelatory. You want this book, you really do.

For more information about The Last Thing to Burn, see the publisher's website here.

4 January 2021

#Blogtour #Review - Bear Head by Adrian Tchaikovsky

Cover by Matt Griffin
Bear Head (Dogs of War)
Adrian Tchaikovsky
Head of Zeus, 7 January 2021
Available as: HB, 389pp, e, audio
Read as: Advance HB copy
ISBN: 9781800241572 

I'm grateful to the publisher for a free advance copy of Bear Head to consider for review - and for inviting me to take part in the book's blogtour (my first of 2021!) which opens today.

Bear Head is a sequel, of sorts, to Dogs of War, set several decades later and picking up some of the same characters but - and I'm proof of this - you absolutely don't need to have read the earlier book to enjoy Bear Head. To begin with, the situation that we confront here is new, and of itself. Tchaikovsky also gives all of the information the reader needs, and without a lot of intrusive info-dumping. 

That said, I think readers of Dogs of War will be pleased to learn about the later career of Honey, the bioengineered bear. Honey is a sentient, intelligent bear engineered as a weapon but who has graduated into a life as an activist, international trouble-shooter and a regular on the conference circuit. (She's frustrated though that she is generally invited along to speak at sessions about "[thing] and bioengineering" rather than addressing her much wider competences and insights. The one time she goes off script, she ends up being shunned because she has stepped out of her assigned box). 

We see glimpses of Honey's life in flashbacks, as well as hearing her side of things from an instance of her uploaded to Mars. Specifically, uploaded into the head of Jimmy Martin, a construction worker very definitely at the bottom of the heap in the giant building site known as Hell City where a crew of thousands (also bioengineered, to tolerate the thin air and intense cold - we're told that the only seasons on Mars are 'Winter and Very Winter') is building a habitat for future colonists. Originally an enthusiast and a hard worker, Jimmy's now sustained by regular doses of the drug Stringer, and therefore in the hands of crime boss Sugar - so in no position to refuse when Sugar offers him cash for hoisting a dodgy download. 

But she doesn't know, any more than he does, what it will contain. 

Or who...

I loved Jimmy as a character. He's not dim, he's not bad, but he is isolated from most human life, has been done over so many times, and lives in such an extreme environment, that he's very focussed on himself. As the story gradually widens its, and his, perspective, he does grow ('I re-evaluate little Jimmy, because right now he is absolutely not thinking about finding a hole to hide in. He is thinking about what it's like for other people to go through what he went though only so much worse') and find other things that he cares about - surprising things in the end. 

Jimmy's counterpart on Earth - the other main viewpoint character besides Honey - is a woman called Carole Springer. She is PA to the main baddie in this story, a monster of a man called Warner S Thompson. Thompson is easy to hate. A billionaire businessman, he is one of those sociopaths-in-a-suit we've all become familiar with over the past few years - a man with no empathy, no remorse, no scruples and yet a way with words. ('"You can't cut a deal with the man." Honey again. "I honestly don't think he has it in him to keep to an agreement the moment he gains anything from breaking it. I think that his personality went right into pathological liar and out the other side."') Tchaikovsky portrays Thompson at work quite, quite chillingly: the diction, all broken sentences designed to convince without saying anything that be can he held to, the harnessing of populist grievances with no intention of addressing the real causes, the general sense of life as a grift. It's deeply chilling, and indeed the book goes further, analysing Thompson and his ilk in terms of their being practically a parasite species, beings gifted at seeming more human than humans while in reality being much less, since they are all out for themselves. (Look for Honey's "game and metagame" discussion which is simply brilliant).

But I'm getting distracted. I was telling you about Carole. If Jimmy is the originally unwitting and totally unwilling host for Honey, then Carole is, sort of, the witting and willing host for Thompson. Not that he lives in her head, he doesn't need to. Rather he commands her life. He owns her, and she can't disobey him. Like many of those around Thompson she apparently desires and fears him, but nevertheless serves him heart and soul, anticipating his needs, facilitating them and strategising for him: 'she was just the girl who couldn't ever say no'. 

That right to say "no" is an important theme in Bear Head, with the bioengineered animals threatened by the "collar", imposed mind control to keep them in line. Tchaikovsky explores various circumstances which support or underline that right - the economics of the company store, to which Jimmy owes his soul, bribery, different types of leverage, legal restrictions and, of course, the naked threat of force. All these are things that Thompson understands well and exploits as part of his ascent to power. Carole's role is to enable him, but also, perhaps, to witness. She has learned over years how to handle him but always in the cause of his ascent - there is literally nothing she can refuse, even up to his abuse of her body when he wishes and  his violence (there are a couple of painful scenes in the book that some may wish to skip).

So if the book documents the widening of Jimmy's sympathies in dialogue with Honey, it also examines Carole's inner struggle. Her situation is in many respects worse than his - both more constrained and more vulnerable. Arguably she's more culpable too and as we see what Thompson is willing to do as events escalate, that culpability only grows. Yes she suffers appalling abuse, and Tchaikovsky is damning here: 'a woman's bruises were usually invisible in the shadow of a powerful man'. Thompson is that man, the man we've all seen, able to boast about what he can get away with, knowing that for him, the music will never stop. So even if Carole's not a good person, she's not what he is (again, the book is very good on this extra level of manipulation, of calculation).

Expect moral complexity and challenge here, but also expect gut churning action and jeopardy and a story that's very much rooted in reality, driven in part by climate change (which the rich are busily seeking to buy themselves out of in part by riding the populist wave) but more deeply, driven by human nature into which Tchaikovsky shows some devastating insights. 

Overall, a compelling and very involving (indeed, often moving) story about the best and worst of humanity (and other intelligences) which I'd strongly recommend.

For more about Bear Head, see the publisher's website here and also forthcoming posts on the tour which you can see listed in the tour poster.

You can buy the book from your local shop, if they are doing click and collect - they need your support! - or online from bookshop dot org, Hive Books, Blackwell's, Foyle's, WH Smith, Waterstones or Amazon. Signed copies are available from Goldsboro Books.




 

1 January 2021

Review - Across the Green Grass Fields by Seanan McGuire

Across the Green Grass Fields
Seanan McGuire
Tor.com, 14 January 2021
Available as: HB, 176pp, e, audio
Source: Advance e-copy via NetGalley
ISBN: 9781250213594

Seanan McGuire's Wayward Children series is one of my firm favourites, so I was pleased and honoured to have the opportunity to read Across the Green Grass Fields early via a free advance e-copy from NetGalley. 

Across the Green Grass Fields is a stand-alone book in the series, focusing on Regan Lewis, a young girl, and later woman, who is desperate to be taken as normal. There is no overt reason, to begin with, why she shouldn't be seen as 'normal' but McGuire writes as ever with real insight into young peoples' lives (yes, I know writing "young people" marks me as ancient but there we are). In this case, the insight is into that child-growing-up anxiety, bound up with being in and out of friendship groups, in which 'normal' isn't so much a state of being as a state of grace. Not to be normal is to be cast into the outermost darkness and Regan sees that happen to a friend when Laurel, queen of her little circle, excommunicates Heather. Not wanting to suffer a similar fate, Regan's development is bent towards staying in favour. Even if Regan's mother assures her that there are many valid ways of being a girl, Laurel's narrow worldview still prevails.

All of which sets Regan up for a terrible fall when she can't, in the end, stay within the boundaries that Laurel draws - sending her fleeing, as Wayward Children must, into a world that welcomes her. For Regan, a keen horsewoman, this is the Hooflands, a world of centaurs, unicorns, kelpies, hippogriffs and other equine beasts. As you'll know if you have read other books in this series, it is not, though, a safe world, it is not a world of cosy wonders. There are real dangers and challenges here and humans are seen as bringing crisis and change to the Hooflands. There must be a reason for Regan's coming, and while she bonds immediately with foal Chicory who becomes the true friend she never had among other humans, there's a sense of doom having over things from the beginning.

McGuire's writing in this series always has great heart and generosity, exposing hypocrisy and bigotry - whether in the human world or through one of those doorways - mercilessly but also respecting and celebrating friendship and love. Across the Green Grass Fields is no exception, although the message is perhaps more subtle than in some of the previous stories. Ostensibly, Regan's story is a quest - she's a sort of Dorothy, definitely not in Kansas any more - but the real journey she's on is I think more one of coming to terms with, of learning to love, herself, 'normal' be bothered. We never actually see the culmination of that once Regan has sorted out the problems of the Hooflands, but in a sense it's not needed. We are told enough, and having read the preceding books, can fill in Regan's subsequent story and see how things will go and how she will arrive at Eleanor West's school (never mentioned in the book!) without having to be told any more.

In that sense, while completely standalone, this is also a book that should be opened after, at least, reading Every Heart a Doorway, and possibly one or two of the others - not because of particular spoilers, but because these slim, beautiful and true books are all really part of the same wider story and some background will help in understanding it. It's one story that celebrates difference, loyalty and growth, and I would strongly recommend Across the Green Grass Fields (and all the series) to you.

20 December 2020

#Review - Fortune favours the Dead by Stephen Spotswood

Fortune Favours the Dead
Stephen Spotswood
Wildfire Books (Headline), 12 November 2020
Available as: HB, 322pp, audio, e
Source: Advance review copy
ISBN: 9781472274779

I'm grateful to Wildfire Books for an advance copy of Fortune Favours the Dead to consider for review.

If you're looking for your next detective series, and you want it to be smart, set in 1940s New York, to feature two women who'll take no nonsense from anyone and who are brilliantly realised and just, well, themselves - then this might be the book for you.

Fortune Favours the Dead introduces Lilian Pentecost, detective extraordinary and Willowjean Parker, her new protégé, lately of a travelling circus (where she picked up many useful skills including knife throwing, lock picking and escapology). Told in Will's voice, it ranges over three periods: the two women's first meeting late at night during the War, the notable case, a couple of years later, that is at the centre of the story, and a later perspective, the time from which Will is telling the story, allowing her to be somewhat self-critical, freighting the account with some hard-won knowledge about life, detective work and herself.

The setting Spotswood creates here is strong. Moving from the exciting world of the circus (Will acknowledges its drawbacks including both a gropy mentor and having to shovel out the tigers' cages) to Pentecost's HQ, a three storey townhouse with an archive, basement for combat practice, resident Scottish cook and a consulting room, taking in the world of the industrial elite and the clubs of queer New York where Will likes to spend her time, it has a great sense of place. The central mystery is fun - it involves both a locked room murder and a fashionable medium - but a Pentecost and Parker investigation will not allow itself to get distracted by flashy mechanics. The focus of the two women is very much on the "who" and the "why", with the "how" expected to follow so we don't get endless discussion of ingenious, but wrong, solutions to that puzzle. 

Pursuing that "who" and "why" is what leads Lilian and Will into moneyed society which - no surprise - proves to be afflicted with the same human problems as everyone else.

I really enjoyed seeing Ms Pentecost and Ms Parker set about their case here. They are very unlike physically - Lilian has MS, which tends to frustrate and then she suffers after pushing herself; Will is strong and somewhat overconfident - but Spotswood catches, or presents, the ways in which they spark off and complement each other, showing what dear friends they are without ever quite coming out and saying it. There's a vulnerability here, hinted at by others in the book, both women are outsiders in different ways and in New York the pendulum is swinging back again from a degree of tolerance required during the war to - something else. I felt both that Lilian's imposing headquarters was a refuge, ands that it was threatened. 

Overall, this book was great fun, showing how a humble "cirky girl" finds herself a new career, a home, even perhaps a family. The focus is on deepening relationships, rather than the details of crime, casting a bit of light on an era and place often seen through Hollywood and Broadway stereotypes. This will hopefully be the beginning of a fine series - I look forward to reading more!

For more details of Fortune Favours the Dead, see the publisher's website here.