THUNDER POINT - Book review

 

Jack Higgins’s thriller Thunder Point was published in 1993 and is a credible page-turner.

It concerns serious incriminating documents from 1945 locked away in a metal Nazi briefcase located in a sunken U-boat in the Caribbean.

The U-boat is discovered by accident in 1992 but when the diver learns of the contents inaccessibly locked in a watertight compartment he consults friends in London. This escalates, ultimately involving Brigadier Ferguson who runs a clandestine unit only answerable to the PM. Ferguson inveigles Sean Dillon, Irish assassin and hard man to penetrate the submarine and recover the briefcase.

Other people learn of this and want the contents either to be destroyed or for potential leverage in a political power-game.

It’s colourful, well-researched and the reader becomes invested in the characters.

A first-rate fast-paced Higgins thriller.

Editorial comment:

In most cases my comments are not criticisms but hints about writing.

There are a couple of contrived episodes involving imprisonment in Yugoslavia and a nun outside Paris, the latter of no real relevance; nothing to spoil the reading experience, however,

This section is from Dillon’s POV:

‘... He recognised Algaro at once... and then Santiago came out of the wheelhouse. “Who’s the guy in the blazer and cap?” Dillon enquired.

“That’s Max Santiago, the owner...”’

Instead of ‘Santiago came out...’ it should have read ‘a man in a blazer and cap came out’. (p179)

Several characters sit or lie and ‘think about things’...

Dillon’s favourite handgun – Walther PPK with a Carswell silencer...

Fact:

The skeletal remains of Martin Bormann were discovered in the 1960s and identified in the 1970s, though not conclusively until 1998 following genetic testing.

GRANTCHESTER-1 - Book review

James Runcie’s first collection of Grantchester short stories feature in this tome: Sydney Chambers and the Shadow of Death, published in 2012. Besides this tale the others included comprise A Question of Trust, First Do No Harm, A Matter of Time, The Lost Holbein, and Honourable Men. These stories span the period 1953-1954.

The stories formed the basis of the popular ITV series Grantchester.

Sydney is in his early 30s and is partial to whisky – ‘favourite tipple... only kept for medicinal purposes’ (p4) – rather than sherry. He fought in the War with the Scots Guards and ruminates on the survivors of the conflict: ‘... rest of their lives lived in the shadow of death’ (p24),

After a funeral that Sydney officiated at mourner Pamela Morton informs him that the reported suicide of a solicitor, Stephen Staunton, was actually murder. The local detective, Inspector Geordie Keating is Sydney’s regular drinking pal and reluctantly goes along with Sydney investigating. Staunton’s widow is German, Hildegard, at a time when memories of the war were still bitter.

The characterisation of all involved in these stories is well done, and the descriptions evoke the place and the feel of the period. ‘As the leaves fell the landscape revealed itself, like a painting being cleaned or a building being renewed’ (p55). This allusion to a painting pre-echoes a later tale, The Lost Holbein.

Sydney is invited to Nigel and Juliette Thompson’s New Year dinner party; it ends in chaos and mystery when an engagement ring goes missing. By now Sydney is worrying about how his life is being affected: ‘... to be suspicious, to think less of less of everybody, suspect his or her motives and trust no one. It was not the Christian way’ (p113). Almost all those gathered at the dinner table are suspects.

In A Matter of Time Runcie cleverly begins with thoughts on four minutes – the time to boil an egg, run a mile, etc – and concludes reflecting on those four minutes.

‘Singing is the sound of the soul’ (p80). Sydney loves jazz and, in the hope that he can convert the inspector, he takes his pal Geordie to see an American jazz singer, Gloria Dee – ‘Ain’t got no husband. You don’t keep the carton once you’ve smoked the cigarettes’. Sadly, there is a murder. ‘He looked like a man who was stuck in a dream of falling from a high building; someone who knew that he would go on falling for the rest of his life...’ (p231).

Sydney has a girl-friend Amanda – it’s platonic though he’d like it to be more – and while helping him she manages to get into a dangerous situation while investigating a missing Holbein painting.

To go into detail about any story would spoil the enjoyment. Suffice it to say that the writing is very good and involving. Sydney and Geordie come alive, as do others. There’s poignancy and light humour and irony on display, too. ‘Let me take your cloak. I always think they make priests look like vampires’ (p113). The main characters in the TV series are all introduced by the end of these stories.

Editorial comment:

The first story begins: ‘Canon Sydney Chambers had never intended to become a detective. Indeed, it came about quite by chance, after a funeral, when a handsome woman of indeterminate age voiced her suspicion that a recent death of a Cambridge solicitor was not suicide, as had been widely reported, but murder.’

This paragraph effectively makes the first few pages superfluous as it tells us what is going to be revealed in those pages. The hook would still work if it merely began with: ‘Canon Sydney Chambers had never intended to become a detective. Indeed, it came about quite by chance.’

‘thought to myself’ (p8). Oh, dear: ‘to myself’ is not necessary.

‘... take a holiday in France, he wondered?’ The question mark should go after ‘France’.

Characters called Thompson, Templeton and Teversham – beginning with ‘T’! There are other letters in the alphabet...

Yet another character called Morton... We do get about.

THE HUNT FOR RED OCTOBER - Book review

Tom Clancy’s debut thriller The Hunt for Red October was published in 1984 and surprisingly I’ve just got round to reading it 41 years later! It’s obvious why it became a best-seller – the amassed technical and logistic and intelligence detail reeks of authenticity.

This review will be short, since it’s likely that most readers here have seen the film starring Sean Connery (1990). The story covers eighteen days from December 3.

Soviet Captain Ramius is taking the new ballistic missile submarine Red October to sea for an tactical and equipment validation exercise. By page 6 it is clear that Ramius intends to kill the political officer Putin. From that moment the suspense builds and does not let up.

Both the US monitoring ships and the Soviets in the exercise area lose all trace of Red October.

CIA Analyst Jack Ryan gleans information which leads him to the incredible conclusion that the Red October is sailing towards North America to defect.

So begins a chase, involving the real USS Dallas, HMS Invincible, other US vessels and a number of Soviet craft. Open conflict is a real threat – by accident or by design. Geopolitics are involved; obviously, if it is known that the Red October is being held by the Americans, the USSR will demand its return by international law, since neither was at war.

The various personalities on October and Dallas are drawn very well. The politics are sketched out by the President, the head of CIA and others believably. All in all, the 477 pages flew by.

THE HEART OF THE MATTER - Book review

Graham Greene’s novel The Heart of the Matter was published in 1948. It became an instant best-seller and has been reprinted many times and won awards and high praise.

In 1926 Greene was received into the Roman Catholic Church and, not surprisingly, several novels of his deal with characters bound by that faith. Major Scobie, the police chief of a flyblown West African colony during the Second World War, is one such.

Inspector Wilson is a new arrival: ‘He was like the lagging finger of the barometer, still pointing to Fair long after its companion has moved to Stormy’ (p11). Wilson shares accommodation with Harris and there’s an amusing episode where the pair start a cockroach hunt – The Cockroach Championship – to alleviate boredom (p70).

Scobie has been here for fifteen years and feels comfortably bound to the place. ‘Why, he wondered, swerving the car to avoid a dead pye-dog, do I love this place so much? Is it because here human nature hasn’t had time to disguise itself?’ (p35).

Unfortunately, his rather faded wife Louise wants to have a break, to go away on holiday. Scobie feels guilty that Louise is not happy. The bank won’t lend Scobie the money as his salary is not generous and, indeed, he has just been passed over for the post of Commissioner. In a moment of weakness, he accepts a loan from a local Syrian merchant, Yusef, who is a known black marketeer though no proof has ever been found. ‘He never reaches the freezing-point of knowing absolute failure. Only the man of goodwill carries always in his heart this capacity for damnation’ (p60).

While Louise is away in South Africa Scobie begins a clandestine affair with a refugee from a sunken transport ship, a young widow, Helen. He is aware he is committing the grave sin of adultery. He argues it is not a sin, it is love. And doomed.

There are several themes: guilt, sin, avarice, blackmail, deceit, love and trust. ‘Trust was a dead language of which he had forgotten the grammar’ (p264).

As the book blurb indicates, ‘inexorably, his conscience and his love of God lead him to disaster’.

There are too many examples of Greene’s prose imagery to note here, but the following are examples:

‘There was nothing to be read in the vacuous face, blank as a school notice-board out of term’ (p55).

These two, among many other insights in the book, suggest he drew upon his time as an Intelligence Officer in Freetown, British Sierra Leone:

‘The mosquitoes whirred steadily around them like sewing machines’ (p112). ‘... a mosquito immediately droned towards his ear. The skirring went on all the time, but when they drove to the attack they had the deeper drone of dive-bombers’ (p122).

‘Only the vultures were about – gathering round a dead chicken at the edge of the road, stooping their old men’s necks over the carrion, their wings like broken umbrellas sticking out this way and that’ (p230).

Editorial comment:

I’ve brought this up before; something that editors don’t spot: the tendency for writers to state a character thought to himself or herself. This really is tautological.  ‘He thought’ is adequate; ‘to himself/herself’ is superfluous.

‘He thought to himself, poor Louise’ (p17). Also on p53...

A PIECE OF RESISTANCE - Book review

I suspect the title of Clive Egleton’s 1970 speculative novel A Piece of Resistance is a play on words – pièce de la résistance. It concerns the Russian invasion of Britain, published ten years after Fitz Gibbon’s alternate history novel When the Kissing had to Stop. It’s a third person narrative almost entirely from the point of view of Daniel Garnett who is an escaped prisoner working under an assumed name for the Resistance. ‘Four years ago I had a wife, a small son and a house in Keynsham until a SCRAGG Missile with a ten Megaton warhead hit Bristol, and then there was no wife, no son, and no house. Maybe there are people around who can accept the Armistice, but I’m not among their number’ (p23).

The police hunt resistance members. Yet some police are informers for the Resistance. A few resistance cells resort to bank robbery to finance arms purchases. One raid goes wrong and those who get away are being hunted. The Russian authorities have taken 200 hostages as two of their soldiers were slain.

Garnett reluctantly attempts to find the culprits. He’s torn – and very probably deceived too.

There are insights into how Britain has changed.

‘We had an arsenal of terrifying weapons which we couldn’t and didn’t dare to use. But they did. Just the one, to show us that it was all over, and that’s the way our world ended, not with a whimper but with a bang’ (p81).

‘A car for every Russian made in Birmingham. They’ll have all of us walking before long. My car’s been off the road for three weeks waiting for two new tyres, and I’m supposed to have priority’ (p33).

Egleton was a leading thriller writer for forty years with inside knowledge of Intelligence and Counter-Intelligence. His style is very readable and quite thrilling.

‘For a few paces his stride remained unchecked even though the blood was spurting from the hole in his throat, and then, quite suddenly, he collapsed like a rag doll’ (p47).

This is the first Garnett book in a trilogy; the others are Last Post for a Partisan and The Judas Mandate.

Clive Egleton died in 2006, aged 79. His novel Seven Days to a Killing was filmed as The Black Windmill starring Michael Caine. 

DEMIAN - Book review

 

Hermann Hesse’s first person narrative Demian was published in 1919 (although the Prologue was only added in 1960). Hesse died in 1962.

Emil Sinclair belongs to a respectable middle class family. He idolises his two sisters, mother and father – to begin with. But as he questions himself and his part in life, he is drawn to rebel. ‘... the frightened heart flees timidly back to the charmed valleys of childish virtues; unable to believe that this break too must be made, this bond also be severed’ (p116). He was encouraged in this break from his family by a school friend Kromer who then begins to bully and blackmail him. Emil is ultimately protected by an older boy, Max Demian, who becomes Emil’s mentor. In his quest to discover his self, Emil latches on to several individuals who help him on his journey of self-realisation and who have mentoring tendencies.

Instead of living his life, Emil is inclined to dwell unhealthily upon ‘self’ and ‘purpose’. As this is Hesse, there are inferences from Jung, Gnosticism, Leonardo da Vinci, and the psychological and moral growth of the main character. ‘There was only one true vocation for everybody – to find the way to himself’ (p120).

Demian is a mysterious young man. ‘I often try out an art which is known as thought-reading (p37): a technique that impels someone under scrutiny – the power of the stare – to do something unplanned, perhaps.  Demian questioned God as the supreme being: ‘it threatened the solid beliefs in me to which I felt I must cling’ (p58).

Eva is Demian’s very attractive mother, her visage haunting Emil. ‘If she could only be a mother to me, a lover, a goddess – if she could just be here! (p132).

Interesting insights. Too much me-me, perhaps; there’s a beautiful world out there that needs no psychoanalysis, just appreciation. Deep.

CONCLAVE - Book review

Robert Harris’s novel Conclave was published in 2016 and became a ‘major motion picture’ in 2024. 

I haven’t seen the film yet but certainly enjoyed the book. Harris has a writing style which draws the reader in, no matter what the subject – and, let’s be honest his subjects have been remarkably varied over many novels.

When not employing the omniscient viewpoint we get 75-year-old Cardinal Jacopo Lomeli’s. He’s the Dean of the College of Cardinals in the Vatican and is responsible for organising the upcoming conclave following the recent death of the Pope.

There are 118 cardinals allowed to vote – that is, those who are under eighty years of age.  As is the case today following the demise of Pope Francis, there is a handful of front-runners who are likely to figure in the final voting.

Besides the concerns for the imminent conclave, there were worries about the reporting of the Holy Father’s death. ‘Once, God explained all mysteries. Now He has been usurped by conspiracy theorists. They are the heretics of the age.’ (p16).

Lomeli’s ‘guilty recreation was detective fiction.’ (p40). Certainly there are mysteries for Lomeli to tackle before the final vote and the white smoke is released to announce a new Holy Father has been selected. Lomeli is feeling his age, too. ‘Once, in his youth, Lomeli had enjoyed a modest fame for the richness of his baritone. But it had become thin with age, like a fine wine left too long.’ (p115).

The cardinals are locked in during the day to cast their votes. After which they are transported to accommodation where they can eat and sleep, abiding by the injunction not to discuss the vote in the hearing of outsiders such as drivers. The food is served by nuns. ‘If anything forces this Conclave to a swift conclusion, thought Lomeli, it will be the food’ (p100).

The Sistine Chapel is taken over for the Conclave.  ‘The freshly laid carpet smelled sweet, like barley in a threshing room.’ (p32).

Lomeli does not wish to be Pope yet he appears to be a good contender. ‘Once we succumb to “the dictatorship of relativism” as it has been properly called, and attempt to survive by accommodating ourselves to every passing sect and fad of modernism, our ship is lost. We do not need a Church that will move with the world but a Church that will move the world.’ (p152).

(I always use a bookmark when reading and in this case it proved useful. At a glance I could see the tabulated vote score for a half-dozen cardinals on the page but before actually reading it I covered it up with the bookmark until reaching that point in the narrative.)

There is a poignant interlude when a nun is holding a precious photograph of a boy: ‘The creases where she had folded and refolded it over the past quarter-century had cracked the glossy surface so deeply it looked as if he were staring out from behind a latticework of bars.’ (p218).

As certain revelations surface, the voting alters and it is obvious that it will take several days to reach a ‘winner’. ‘If it drags on much longer, I wonder what the actuarial odds are that one of us will die before we find a new Pope’ (p237).

Inevitably, there is intrigue and squabbling and a few skeletons emerge from the past. The final vote does indeed come as a surprise.

Dan Brown’s thriller Angels & Demons (2000) relates some of the aspects of a conclave; however, Harris goes much further – and depicts it more accurately. On the face of it, writing a mystery/suspense novel about the selection of a pope shouldn’t be riveting, and yet it proves to be so.

If you’ve seen the film then I suspect that the surprise ending (if it’s the same!) won’t work; however, the narration itself is a pleasure and doubtless the reader can superimpose the actors on characters while reading.

Recommended.

DOWNTON ABBEY - THE COMPLETE SCRIPTS - SEASON THREE - Book review

Julian Fellowes script for Season Three of Downton Abbey was published in 2014.  The ITV series was broadcast in 2012. There are eight episodes plus the controversial Christmas Special. Dotted lines alongside the script text indicate sections of text that were cut or partially cut from the original script to make the final edited version; however, in some cases it appears that some ‘cut’ scenes did make it into the DVD version.

The format follows that of the first two season books, with many pages containing illuminating and interesting footnotes on the scene, the characters or the reasoning behind the text; sometimes with humorous asides and personal anecdotes. There are eight pages of black-and-white photos from this season, and lists of cast and crew.

Episode one begins with Robert losing a lot of money on an investment in the Grand Canadian Trunk Line railway, a real event. Sadly, the genius behind the line died on the Titanic – a disaster which neatly creates fresh repercussions for Lord Grantham, echoing episode one of the first season.

Alfred, a new Downton footman, was 6ft6ins tall. Apparently, before the period of the drama, footmen were paid by height; the tall six-footers commanding a higher salary; essentially status symbols (p21).

Besides a great deal of social commentary and history (including ‘the Troubles’ in Ireland), there are insights on constructing the drama – which apply to fiction-writing in general. Mr Fellowes makes a comment about avoiding repeating information the viewer (or reader) already knows. ‘You structure a scene so that it finishes just as they’re about to get the information you already know, or you start the scene when they’ve just got it. Sometimes you can’t avoid a slight repeat, but you do work against it’ (p56).

There’s an interesting and even topical aside when Bates is in prison, accused of murder. ‘If you want a country to accept the end of the death penalty (which I am sure is right), then people need to feel confident that a murderer in cold blood is going to have a very tough time of it. The more who come out after six years and then immediately murder someone else, the more damage is done. One of the main arguments against the death penalty used to be that there was a risk of wrongful conviction, but the trouble is, far more innocent people have died at the hands of released murderers than were ever hanged wrongly, so it doesn’t really hold water. The point being that too many today do not have faith in the legal system’ (p209/210).

I wasn’t aware of the fact that unlike in America (and elsewhere) an English agent will not allow a client to sign for more than three years for anything (p254). This explains why at least three main characters had to be written out at some stage. Sometimes, it may be some way through the season before an actor or actress announces they don’t wish to go on further. This creates problems for the script writer: for instance the first five episodes of this season had been written and cast before Dan Stevens made his intentions known.

Throughout the series there are cases of ‘moments of bonding: Carson and Robert, Carson and Mary, Mary and Anna, and so on. (Showing) a chance of birth that has made Anna work for Mary and not the other way round, and these scenes underline that’ (p311).

The travails of Thomas are thoughtfully presented. ‘I’m always against judging anyone according to a type. It doesn’t matter if it is something positive. All type judgements are worthless, because they generalise the individual. Here, what happens to Carson is that eventually, although he doesn’t approve, he comes to see that it is not Thomas’s fault’ (p405). Mr Fellowes also mentions a relative Constance Lloyd who actually married Oscar Wilde. When the scandal broke and Wilde was imprisoned for ‘the love that dare not speak its name’ apparently Constance was ostracised by all who knew her. She changed her name and wandered through Europe until her early death aged 40.  

There are many reasons why some scenes/text had to be shortened or removed. One amusing excision is this:

ROBERT: Someone should invent a new kind of telegram, so you could send a whole document at once. Just like that.

ISOBEL: And if a document, why not a person? Like H.G. Wells’s Time Machine. You’d just get in, press the button, and step out in Deauville.

VIOLET: Would we be allowed to take a maid? (p423).

Certainly, Maggie Smith (Violet) tends to get most of the best lines:

EDITH: How tiny the glens make one feel.

VIOLET: That is the thing about nature. There’s so much of it. (p516).

What is impressive that the ensemble cast – about eighteen – all have a part to play and a story to tell. The casting is perfect, even when newcomers appear for one or two episodes. On reading the scripts I can hear the actors’ voices. There’s emotion, laughter, tragedy, plotting, villainy; in fact all human nature is here – what we’ve come to expect.

To date, this appears to be the last book of scripts. Certainly Mr Fellowes has been busy since, apart from three Downton films after the end of the series. He’s a workaholic, despite his uncontrollable neurological condition, essential tremor.

Minor pedantic gripe about the TV credits: it states Written and created by Julian Fellowes. However, surely it was created and then written?

THE PARADOX MEN - Book review

Charles L. Harness’s classic novel The Paradox Men was first published as a short story in 1949 and then in novel form in 1953. There’s an Introduction by Brian Aldiss – I read this after I’d finished the book.

We’re in the future – 2177 – (as viewed from the late 1940s), after the Third War. Now, there are small settlements on the Moon, Mercury and solarion stations that hover over the sun’s hot spots, the latter stations  harvesting invaluable muirium. Of the original 27 solarions only 16 now remain; ‘the average life of a station was about a year’ (p114).

It begins with a sort of prologue: ‘He had not the faintest idea who he was’ (p10). At this point we don’t know either. Then we’re straight into the action with a superior thief in the Society of Thieves, Alar, who is burgling Count Shey’s demesne. Shey is future Earth’s Imperial Psychologist. Alar is discovered but escapes. Alar is protected by a plastic invisible shell that makes him impervious to gunfire; however, sword and knife blades can penetrate the carapace. Swords and duelling have made a comeback!

Meanwhile, the Chancellor of America Imperial, Bern Haze-Gaunt is at loggerheads with his female partner, Keiris who used to be married to Kennicot Muir, who had created the Society of Thieves which was dedicated to rob from the rich and buy the freedom of slaves. Keiris is not quite what she appears.

Haze-Gaunt employs a disfigured man, the Microfilm Mind – ‘he functions on a subconscious level and uses the sum total of human knowledge on every problem given him’ (p29). In effect, he scans thousands of books and documents in order to formulate responses – much like AI today.

Imperial Police seem to be everywhere. This is a police state, after all.

There are debates and observations on time and space and gravity which threaten to be mind-boggling, and yet they’re carried off convincingly.

Alar joined the Society of Thieves five years ago and has no recollection of his life before that... So this is a quest for his identity, but also an attempt to overthrow the present administration. In his journey Alar begins to discover certain abilities he was not aware he possessed. His relationship with Keiris develops: there is a devastating revelation in Chapter 14 following an unpleasant torture...

The ending is probably not the ending but most likely the beginning...

Editorial comment:

Uses IP’s for Imperial Police; it shouldn’t have an apostrophe: IPs would do.

They travel to the Galastarium (p88) and yet on the same page it’s spelled Galactarium!

RADIGAN - Book review

Louis L’Amour’s novel Radigan was first published in 1958.

Tom Radigan has worked on his land at Vache Creek in New Mexico for five years with the help of half-breed John Child. He’s taken aback when a Texan woman, Angelina Foley, comes into the nearby town claiming the land is hers, not Tom’s. She backs up the claim with a Spanish grant and about thirty men, mostly hardcase gunfighters, and several hundred of cattle.

Told in third person omniscient point-of-view, the story moves along fast with L’Amour’s inimitable wry viewpoint.

Radigan’s gaze was ‘disconcertingly direct in times of trouble, and men who faced him at such times found that gaze unnerving and upsetting to sudden action. At least such reports had come from three men... two others had been in no condition to volunteer any information’ (p5).

Radigan and Child are joined by the latter’s adopted daughter, eighteen-year-old Gretchen; he traded four horses for her from the Comanche Indians.

Convinced that the Foley claim is bogus, Radigan is determined to fight for what is rightfully his.

Like many L’Amour westerns, you cross a well-described land, knowing that the author has trod and ridden here and he is familiar with the whole terrain. And there's a map of the relevant area. The various characters are neatly drawn with a few brush-strokes. The descriptions are at many times visual, so that you’re there:

‘Raindrop felt his cheeks with blind, questing fingers... the black trunks of the trees were like iron bars against the grey of gathering pools’ (p12).

‘The stage rolled to a stop and the cloud of dust that had pursued it now caught up and drifted over it, settling on the horses and around them’ (p57).

‘Firelight flickered on the flanks of the horses and reflected from polished saddle leather’ (p82).

There is a fist-fight or two, a gunfight, all leavened with suspense and action, and not forgetting humour:

‘he was thinking, working around the herd of his thoughts trying to get a rope on the one he needed...’ (p120)

‘Loma Coyote was not much as towns went, and as towns went, Loma Coyote would someday go’ (p155).

‘My name is Will Haftowate. And that’s what you’ll have to do’ (p161).

A satisfying quick read.

SHAKESPEARE'S PLANET - Book review

Clifford D. Simak’s novel Shakespeare’s Planet was published in 1976. After a thousand years in space, The Ship lands on a planet. Unfortunately, three of the four humans have died due to a malfunction in the cryogenic system, so when Horton is revived, he is alone – apart from the robot Nicodemus. Ship comprises the minds of three – a monk, a grande dame and a scientist. ‘It was only when the three were one, a one unconscious of the three, that the melding of three brains and of three personalities approached the purpose of their being’ (p1). It seems there’s a Biblical allusion here: ‘As the centuries went on, they were collectively convinced they would become, in all truth, the Ship and nothing but the Ship’ (p2). The three minds frequently ‘converse’, explaining how they became The Ship.

Horton and Nicodemus encounter a strange rather vicious creature that is named Carnivore. Not so long ago, Carnivore had shared the planet with a human who called himself Shakespeare, who was a bit of philosopher: ‘The emergence of intelligence, I am convinced, tends to unbalance the ecology. In other words, intelligence is the great polluter. It is not until a creature begins to manage its environment that nature is thrown into disorder’ (p119).

Sometimes Carnivore has an inverted way of expressing himself, much like Yoda in Star Wars: ‘You mean fix it you cannot?’ (p124).

Nicodemus is an interesting character in his own right. He is a basic robot though he can turn his hand to all manner of skills thanks to a number of transmogs that he can plug into – essentially computer apps.

Horton perceives a number of most puzzling aspects to this new planet, including the strange phenomenon of ‘the god-hour’, ancient derelict cities, a potentially sinister black pond, the mysterious arrival of the human female Elayne, and a wormhole that is blocked. ‘Just when you feel that you are ready to grasp some meaning of it, then it is all gone’ (p136).

There is not a lot of action, but there is plenty of mystery. Some of the best bits involve Nicodemus’s humour.

An imaginative excursion. 

THE FACE OF A STRANGER - Book review

 

Anne Perry’s Victorian crime novel The Face of a Stranger was published in 1990. This is the first William Monk book – there were 24 altogether. However, Perry had already had published nine books featuring her team of Thomas and Charlotte Pitt (there are 32 in this series). At the time of her death in 2023, aged 84, she’d had 102 books published.

At the end of July, 1856, William Monk regains consciousness in hospital. He’d forgotten his name and all of his past up to the accident three weeks earlier. He soon learns that he is Peeler, a Metropolitan Police Detective Inspector. An envelope in his belongings tells him his home address – 27 Grafton Street – where for the first time he looks in a mirror. ‘It was not that it displeased him especially, but it was the face of a stranger, and not one easy to know’ (p20).

Briefly, he visits his sister (knowledge gleaned from his desk) in Northumberland where he recuperates. When he returns to work, his boss Runcorn gives him a difficult six-week-old murder case to solve. Major the Honourable Joscelin Grey, a Crimean war hero and a popular man about town has been killed in his rooms. He’s teamed up with a novice, John Evan.

Monk’s problems are mounting. He can barely remember how to behave as a detective, though happily he has his wits about him and conceals his memory loss, not wanting to lose his job. From what he can discover, he had not been particularly liked by his fellow policemen. Piecing together his past was going to be no easy task: ‘...learn to know himself, and he would grow firmer memories in reality. His sanity would come back; he would have a past to root himself in, other emotions, and people’ (p67).

Runcorn suspects a member of the House of Lords but has no proof. Monk has to tread carefully – again at risk of losing his job. During his investigation, Monk meets a number of gentry as well as a nurse recently returned from the Crimea, Hester Latterly. ‘Hester was abrasive, contemptuous of hypocrisy and impatient of dithering or incompetence and disinclined to suffer foolishness with any grace at all. She was also fonder of reading and study than was attractive in a woman, and not free of the intellectual arrogance of one to whom thought comes easily’ (p174). Hester is indeed a worthy foil for Monk.

The Crimean War figures in the story through traumatic memories, and includes snippets about Alan Russell, the brave war correspondent and Rebecca Box, a heroic nurse. The terrible slums of the London rookeries are depicted well. It is not all grim; there is humour and some enjoyable verbal fencing.

Perry’s grasp of the Victorian period brings the story to life. There is one moment that brought to mind Michael Dibden’s The Last Sherlock Holmes Story (1978); however, as the tale went on I was happily disabused of that thought entirely. If I had one criticism it would be Perry resorting to dialect for a few minor characters.

An excellent historical mystery novel.