Posts Tagged ‘Adventure’
I’ve been a fan of the Jack Lark books since I first picked up ‘The Scalet Thief’. Paul Fraser Collard has created a character and an overall story that was fresh, new and exciting, and while it looked like it might be a ‘one hit wonder’, he has consistently proved otherwise. I have heard Jack Lark being described as ‘like Sharpe’. To some extent that’s true, but we’re just about at the point now where I would say Sharpe is like Jack Lark, for he is a far more vivid, exciting and three dimensional character than his Napoleonic comparison.
Lark has been through 5 books now. He has been in Britain, the Crimea, India and Persia. What could Collard do with him next? Where could he take him? To be honest, I had certain expectations with this book. The title evokes certain things, and before I picked it up, my mind was already loaded up with Algeria, forts, white feathers, berbers and exotic African desert scenery. I was wrong, of course. The Foreign Legion has been involved in conflicts all over the place, not just in North Africa.
Having been finally released from the military and retired under his own name, Jack returns to London, hoping to pick up where he left off a decade ago. Here we are treated to a view into his past, prior to even the first book, and a view of mid 19th century Lond that rivals any I have read. Unfortunately, he is unable to keep himself out of trouble and, when his actions inadvertantly put those about whom he cares in danger, he finds himself in an untenable position.
In the end he is given a good old ‘offer he can’t refuse’ by a former Intelligence officer he neither trusts nor likes, and finds himself shipped off to Italy on a mission to find a boy who has fled his comfortable life and joined the French Foreign Legion, and to bring him back. But things are never as easy as they seem, and the Legion are committed to war against the forces of the Austrian Empire. His mission is further complicated by the addition of the London girl he once loved and her young son to the travel group – a pair he has vowed to look after. He must now protect people while throwing himself into deadly danger to retrieve a boy who might not even want to come home.
It’s a rich plot. All Collard’s books have rich plots, but this one overtakes them all, in my opinion. Though all his novels have been good, the first (The Scarlet Thief) I had still held to be my favourite. I do believe, though, that The Last Legionnaire has overtaken it to become the best in the series, and by quite some margin at that. The exploration of Jack’s origins and his return to old haunts leads to a very complex examination of his character and motivations, which is given far more space than in previous books. Additionally, we are moving into a whole new era. The war into which Jack is heading is one of those pivotal moments where the old world meets the new. This is a time when the ancient butts up against the mechanised, (cavalry charges and railways, for instance) with spectacular results.
As always, Collard’s writing is flawless. His prose is excellent, his characterisation vivid and realistic, his description cinematic and his pace relentless. The story will enthral and fascinate you, you will learn things (I know I did), and at times you will feel the edge of heartbreak. Moreover, it is anything but predictable.
This is an absolute cracking book. Collard proving he deserves to be placed among the very best writers in the genre. HIGHLY recommended.
Caroline Lawrence is an established author of chidren’s historical tales. In fact, there are probably few to match her. She is perhaps even the 21st century’s Rosemary Sutcliffe. There are books that I consider to be children’s books, and there is another section, not quite this whole Young Adult thing, but clearly above the true children’s band. It is an interesting world, where the writing must still be aimed at young readers, but the content and themes can be more adult. Lawrence is the mistress of this style, for me.
I read QOTSA to my kids over a number of nights, and we all enjoyed it. They are a little young in truth for the book, but both mature enought to handle everything within. Callie enjoyed it for the tales of the heroic princesses. Marcus enjoyed it for the battles. I enjoyed it for the history.
QOTSA is a fascinating book. Firstly, though, a word about content. As with most great tales of the classical era, it is filled with a number of darker moments. Death in battle, the killing of animals, parental abandonment and so on. If your son or daughter is old enough to understand these things and not be adversely affected, then this book is pure gold. As I said, mine are still quite young, but we have finished the book without them being troubled by anything. In fact, I laud Caroline for tackling the more adult themes in a sympathetic and readable manner.
But what is Queen of the Silver Arrow, you say? Well, it is one of Lawrence’s current series of reworked classics. Like her other book in the series – The Night Raid – this is a retelling of a tale from Virgil’s Aeneid. This is the tale of the Trojans arriving in Italy and the native peoples rising to meet them, especially the young huntress Camilla, beloved of the Goddess Diana, who with her few companions will attempt to turn the tide against the invader only to learn harsh and unexpected truths in the end.
The final chapter, something of an epilogue, was really quite impressively emotional.
All in all, a great tale, challenging, yet interesting for kids, fascinating and strong for adults too.
I suspect Ruso was my favourite investigator of crimes by the time I’d finished the first book in Ruth Downie’s Medicus series. The second book expanded this world to include darker themes and the wild north. And by the time Ruso went home to Gaul in the third book he was not only my favourite investigator, but one of my favourite characters in any book series. Left with something of an uncertain future at the end of that book, I wasn’t sure what to expect from the fourth book, other than being sure it would be highly entertaining.
Caveat Emptor takes us back to Britain, where Ruso and Tilla (now man and wife) find themselves dragged into problems galore. Tilla becomes a friend and helper to a native woman who has got herself into disastrous trouble, her man the tax collector having disappeared with the money. Ruso finds himself appointed by the province’s assistant procurator to investigate the disappearance of the tax collector and his money.
What follows is a complex and thoroughly engrossing investigation taking us from the docksides of Londinium (London) to the finance offices of Verulamium (St Albans). A plot that involves a fascinating and shady cast of characters from lurking town guards to power-hungry councillors to weaselly clerks to half-blind noblemen and so on. A plot that, I might add, while I grasped parts of the solution half way through, parts kept me guessing to the end. A plot that is not all it seems at any given point.
But once more, the major wins of the book are the main characters and Ruth’s writing. Having met Ruth now, and discovered what a truly nice lady she is, it amazes me how she seems to be able to get into the mindset of hen-pecked males or vicious mysogenists or the like so well that they read as truly authentic. Ruso is at times hapless, at times heroic, mostly beleaguered and often confused. He is a man who tries to do the right thing, even though at times he’d like nothing more than to do the wrong one. Tilla is no barbarian, nor is she a Roman matron. She is not a charicature but a person, with all the complexity that implies. And as always with Ruth’s writing, the threads of gentle quirky humour that run throughout add counterpoint to the seriousness of the situations in which they find themselves and make the books something special and a delight to read.
As a last treat, here’s just a taster of the sort of writing that makes me love Ruth’s work:
As the ostler had promised, the ginger mare was keen to go – but not necessarily forward. After winning the argument over which of them was steering, Ruso urged it out under the archway and onto the wide expanse of the North road.
If that kind of writing doesn’t make you want to read, then I reckon nothing will.
Caveat Emptor. A beautifully constructed mystery. And now I go on to read the next book – Semper Fidelis.
I used to sit, cocooned in my own little Roman world, reading Roman books and not straying beyond that. In fairness, there’s so much good Roman fiction out there you can actually do that. But then new names, books and series pop up here and there and make me leave my comfort zone. Recently I’ve been rather getting into my historical mysteries, everything from Roman to cold war and the whole gamut of eras in between. I was surprised at how immersive I found Robin Blake’s mysteries set in 1740s Preston. In fact, I loved them so much that when the publishers offered me a new title set in the 1660s I simply had to say yes. I’m very glad that I did.
I’d not previously been aware of L.C. Tyler and assumed that he was a new writer. Boy was I wrong. Turns out this is the third in a series, and the author has many other mysteries out besides. In fact, he’s the chair of the Crime Writers Association, which gives you some idea of his pedigree.
Excited at the prospect, I opened the cover and began. I almost put it down straight away. The book is written in first person, present tense, a tense that I find hard work and has put me off numerous novels in the past. I persevered. It took only a page and I got over it. I still don’t like that tense in books, but Tyler’s easy style completely negates any issues I ever have with it.
Then I hit the second of my two snags. The protagonist is a lawyer in plague-struck London, 1665. He is propositioned by a powerful politician and drawn into a mission to retrieve a stolen document. At first the hook for the character seemed to me rather spurious. Why a lawyer would get himself involved in such things seemed unlikely. But once again, I was taking things at face value. You see, this is, as I said, the third volume in a series, and so I have clearly missed out on much character development (something I will be going back to remedy, by the way, as soon as I have time.) And as I ignored my problem with the hook (the maguffin if you will), and read on, the reasons gradually became clear as I came to understand the history of the various people involved.
So that’s my intro. Two reasons I should have stopped reading by my usual standards. And yet I didn’t. Why? Well, for four reasons, I think.
Firstly, there’s Tyler’s prose. It is a mark of just how good he is that I not only overcame my almost pathological dislike of that writing tense and even came to enjoy it! That’s a first. The style is easy while being elegant, direct and pacy without undue brevity, descriptive without being cumbersome. This is clearly the skill of an author who has long since honed his craft.
Secondly, there’s the setting. I know a little about the restoration period, the plague and the great fire, but not a great deal, so exploring this world through the eyes of a clearly very knowledgeable man was new and fascinating.
Thirdly, there’s the plot. In some ways this is a murder mystery, but it is so much more. It includes political shenanigans with far-reaching, country-threatening effects. It reminds me a little of ‘The Four Musketeers’, or possibly a restoration ‘Where Eagles Dare’. Complex and elegant.
But for me very much the biggest win is the protagonist. He has a dry wit in very much the manner that I particularly enjoy. There are moments when John Grey is talking that he is so satisfyingly, hilariously cutting that even Edmund Blackadder would be cursing and wishing he’d thought of saying that. He has shot up the list to become one of my very favourite characters. There are many great lines in the books, but here’s a nice example:
“There are good lies and bad lies. We told some good lies to rescue you. This will be a good lie too. And it will be a very small one. Not big enough to go to Hell for. Just big enough to go to Salisbury.”
I wont immediately say ‘go and buy this book’ despite the fact that it’s published on the 6th. And I’m reviewing it early for a very good reason. Because what I am saying is that this book makes it worth reading the first two volumes in the series, and now you’ve got chance to get them and read them before this one comes out.
John Grey is a new hero of mine. He will be for you too. Check out the series and do it soon.
(Also released as Ruso and the Root of all Evils)
I have a growing fondness for historical mysteries rather than the straightforward military novels or sagas or character biographies. Over the past year or two I have discovered Robin Blake, William Ryan, Luke McCallin, D.E. Meredith and others. But my favourite series is still Ruth Downie’s Ruso books. I read the first two a while back, but have simply not found the time to catch up with the series. Well last week I decided to change that since for once I did not have anything to read to a deadline.
The first of Ruth’s books (Medicus AKA Ruso and the Disappearing Dancing Girls) introduced us to the Roman doctor Gaius Petreius Ruso, as well as to his friend Valens and the headstrong native British woman Tilla. It was set in Chester (Deva) in the reign of Hadrian and immediately hooked me with its clever mix of intricate plot, believable characters, well-dressed setting and gentle humour. The second novel (Terra Incognita/Ruso and the Demented Doctor) was somewhat darker to my mind, following the escapades of our favourite pair in the north, among the forts on the Stanegate where the emperor’s wall will soon take shape. Involved with a native uprising and brutal murders, there was much development in particular of Tilla’s character.
This third installment is so far very much my favourite. Why? Because it has everything that swept me away in the first book, and so much more. Summoned back to his family’s farm in southern Gaul by a mysterious note and with a medical furlough from the army with a wounded foot, Ruso and Tilla hurry back to their lands near Nemausus to find out what has happened.
Cue a beautifully involved plot involving a poisoning, a ship lost at sea, bankrupcy, double-dealing, misdirection and business deals gone horribly wrong. I won’t spoil the plot, but my minor spoiler would be that when the man visits Ruso to discuss his debts and then drops dead in front of him, I almost laughed aloud, realising what this would mean with regards to the suspicions of murder.
It is simply beautifully executed, but with a new added facet: Ruso’s family. An overbearing stepmother, a brother with his head in the sand, an enthusiastic sister-in-law, demanding and disobedient sisters, a worrying ex-wife, a disapproving ex father-in-law and a pack of small children. And more… the cast goes on, and yet each is lovingly treated. The interactions between the characters are what truly make these novels for me.
Yes the plot is excellent, this history faultless, the prose graceful and the atmosphere absorbing, but the icing on the cake is the dialogue. Ruth is plainly the mistress of dialogue.I annoyed my wife yesterday by chortling reapeatedly and interrupting her to read her the choicest snippets. Because Ruth’s dialogue never fails to raise a smile from me. It is often wonderfully light-hearted and engaging, and yet at no point is it in any way unrealistic.
Quite simply, along with one or two other authors (G.G. Kay and Prue Batten leap to mind) Ruth Downie’s writing makes me feel like a talentless hack when I go back over my own.#
I shall not leave it so long this time before I move on to book 4. If you’ve not ready Ruth’s books, do yourself a favour and start…
One of the best ways, in my experience, to guage the quality of fiction is how easy it is to read. Yes, there is some crap out there that is an easy read, and yes, there are great reads out there that require concentration and work. But more often than not a book that just grabs your attention and drags you along from beginning to end is a success. I find Anthony Riches’ books to be like that. They hook you in the first few pages, relieve you of sleep, food and work and occupy your waking moments until you reach the end and close the book with a smile. Case in point: Empire IX – Altar of Blood. Started it one morning. Finished it the next afternoon. Couldn’t stop reading it.
Part of it now has become the familiarity with the characters, the setting and the writing style. By the ninth book in a series, readers know they’re going to get what they want. They’re on a safe bet. But kudos is due any author who makes it to book 9 in a series and isn’t simply rehashing old stuff. I pick up Riches’ books and I know I’m in for a treat, though. And even this far into a series, I know I’m in for new twists and fresh discoveries.
Riches, you see, is unpredictable. He cannot be counted on to give us happily ever after, to give us tested formula for all my comments about familiarity. Riches might kill off someone important any moment. He will take us to new places and may even turn the tables so that previous friends are enemies and previous enemies friends. Such keeps things fresh.
With the ninth in the empire series, there is a new feel to the start. Altar of Blood begins with viciousness and eye-watering brutality, and then settles down into an opening tale of tragedy. Then gradually, as our hero is put through the emotional mill yet again, the true tale of the book comes out. We are re-introduced not only to the usual characters but also to the wicked emperor and the snake Cleander. And then our heroes are sent off on a dreadfully dangerous secret mission into barbarian lands, following a brief ‘Dirty dozen’ recruitment session. Interestingly, where the previous books have focused primarily on our friend Corvus/Aquila with interludes carried by his friends, this book is almost entirely narrated around characters that were formerly supporting cast, with Aquila only occasionally coming to the fore.
There follows a tale of subterfuge and double dealing, insurgency and counter insurgency, chases, battles in deep forest and swamp, catharsis and healing, treachery and betrayal and heroism in unexpected places. The tale owes something in form to ‘Heart of Darkness’ or ‘Apocalypse Now’, but one thing is certain: with Riches’ own blend of adventure, action, violence, harsh language and reality born of understanding the military mind, he is becoming something of a Tarantino of historical fiction. Fresh, unpredictable, fascinating and exciting.
And Husam! Oh, Husam, you are sooooo cool.
Altar of Blood is out in paperback today. Have you read the series? No. Then get started, as you’ve a treat ahead of you. If you have, then rest assured, volume nine is far from disappointing. Go buy it now.
I’ve had this book in my reading pile for some time, but didn’t want to read it until I’d finished writing my section of the coming collaboration on the Trojan War (A Song of War) because I didn’t want to directly influence my own telling. Now that my work on that tale is done, I allowed myself to read Iliffe’s book. And by happy coincidence, the author has agreed to write the foreword for our collaboration, so boy am I glad that I liked his book, else this could have been awkward! 😉
Fortunately, The Oracles of Troy is an excellent piece of writing. It tackles the end of the Trojan war only, long after Achilles’ death and the events of the Iliad. It deals with the fall of Troy and the end of the war, telling a tale that is rarely covered. In fact, early Greece is rarely touched by authors at all, so it is very much virgin territory, so this should be of great interest to all readers of ancient historical fiction.
One thing that stood out for me is the legendary feel of the tale. While in our own work we tried to pare out the myth and work with a prosaic, real-world Troy, Iliffe has given the world of Greek myth full reign in his story, which makes it a whole different beast, and a fascinating one at that. In this era the lines between history and fantasy blur a great deal, as any student of Homer will know, and so we discover mystic visions, monsters, magical weapons and invulnerable heroes here in very much the mould of Homer himself. That adds a certain level of adventure to the story beyond straight history and pushes it into the world of myth. The result? Magnificent. And a book that should appeal to readers of fantasy as well as those of history. And at no point does the use of this legendary mythic aspect interfere with the readability or flow of the story. In fact, it is such an inherent thread that the tale would be comparatively dull without it.
Beyond that, the characters deserve mention. This tale is told principally from the point of view of Odysseus (being part of the chronicles of that most wonderful hero.) But his is not the only view we are treated to. Sometimes we see through Diomedes’ eyes. Often through those of Helen herself. But most of all we are treated to a fictional character’s view – a man called Eperitus with a complex history, who travels as Odysseus’ closest friend and helper. And though Eperitus is Iliffe’s own creation, he syncs so well with the extant cast of Greeks and Trojans that any reader not fully conversant with Homer would never know it. The whole nature of Eperitus is so well constructed that I have to applaud the author on this most stunning piece of plotting.
So grab a copy of the Oracles of Troy and set sail with Odysseus as he investigates ancient tombs, fights monsters, builds horses, sneaks into cities, becomes a master of disguise and brings about the downfall of the greatest city in the world.
Highly recommended, folks.