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Court of Broken Knives

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I am an on-off reader of fantasy, partially due to the lack of time I have for reading, which means I really have to focus my decisions to the currently relevant. My fantasy reading has recently been limited to Guy Gavriel Kay (because he has always been my favourite writer) and Miles Cameron, because I know the man, and he is a DUDE! Thus I might have let this one slip by had I not bumped into the author at a convention in Scarborough the year before its publication and thought ‘that sounds interesting. I’ll have to give that a read.’

I will start by saying that it’s perhaps not the easiest read. If you are looking for Pratchett or Eddings or the like, keep looking. But to clarify, I find there are two types of novel into which I can generally categorise everything I read. Some are easy reads. They are like a horse race, where you get caught up in the speed and excitement and dragged break-neck to the end. They are excitement and fun and glory and I love ’em (in movie terms let’s say Kingsman). Other novels can be harder to read, but perhaps have a different sort of reward, pushing you to a more cerebral experience (in movie terms I might offer Schindler’s List). I read fewer of this sort of book, but that does not mean they are not as good or have less to offer. Quite the contrary, in fact. Court of Broken Knives for me fits into that second category. I have pushed myself in its reading, but it has paid off in interesting ways.

I had no preconceptions going into the novel. Plot, I will deal with first. And I will be careful. You know I hate spoilers. The opening plot is simple enough. A party of mercenaries on their way to a foreign city to kill a bunch of people. And those who hired them in the city maneuvering politically throughout. Seems reasonable. A good plot, in fact. Then at maybe 40-50% of the book, everything changes. The plot takes a side alley, zig-zags to lose any anticipated ideas, does a few loop the loops and comes out the other side leaving you rubbing your eyes and wondering if Machiavelli’s line is strong and running in London bloodlines. Other than this I am not going to touch on plot. Just… experience it.

There are two strengths to this novel that stand out for me.

One is the writing itself. Smith-Spark’s prose is far from your standard fare. It is often jagged, broken, staccato. It sometimes flounces and flows into the brain, but often comes at you like knives (quite appropriately, I suppose). In doing so it manages to convey something that is lost in a more commonplace style. There is utter, raw emotion in the prose. Some is first person, some third, some past tense, some present, and the point of view leaps between a number of principle characters. The language is sometimes beautiful and haunting, sometimes sharp and horrifying. But in this manner, it is always refreshing, and I have enjoyed it. It is a style of writing I will long remember and appreciate.

The other is character. Let me say from the outset that this novel is full of utter bastards. There are few people in it who I would give the time of day, and those who are good and sympathetic are so riddled with doubt and demons that they are morally bankrupt anyway. This is a novel FULL of anti-heroes. And you find yourself supporting one against another. Because something about Smith Spark’s characterisation carries the genius of making the irredeemably wicked and unpleasant oddly lovable. I cared about characters I had no right caring about and should really have been rooting for the demise of. Oh, and there’s plenty of that, too. Anthony Riches and myself both have something of a rep for brutally offing important characters. Smith-Spark is no slacker in that department.

In short, prepare yourself for a Machiavellian bloodbath of epic proportions, full of lovably loathsome characters. Settle in, light the fire, pour a fine scotch, and marvel at this new fantasy world.

The Court of Broken Knives is an oddly fascinating gem.

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Written by SJAT

September 21, 2017 at 10:15 pm

Dark Asylum review and Q&A

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I am a devotee of novels set in the ancient world and much of my reading centres around that period, though over the past few years I have strayed more and more outside my comfort zone. I have found myself becoming increasingly fascinated with the darker side of the 18th and 19th centuries, and with that I’ve found a resurgence of my old love of mysteries and whodunnits. Action and adventure novels set in the Victorian era have to be truly exceptional to attract me, but I am becoming a sucker for a good 19th century mystery. D. E. Meredith, Essie Fox and Robin Blake are some recent highlights.

How nice to have discovered another author who knows how to weave an enthralling mystery in such a dark and fascinating world. Dark Asylum is actually Thomson’s second novel and, while I have not read the first, I will now have to remedy that. I’m sure I’m in for a treat.

Thomson conjures up a dark and chilling world full of vivid and memorable characters all bound up in a (in this case certainly) complex plot that kept me guessing right to the end. Actually, I thought I had it pinned down twice and was wrong both times, which is nice to experience. And despite the darkness of the setting and the subject matter, Thomson manages to interject just enough quirky humour to keep the book a hearty read that drew me back in every spare minute. In fact, while there are moments in the book that made me squirm a little, there were also moments that made me chuckle out loud and note down the page number to repeat a humorous passage to my wife.

Dark Asylum takes us on a voyage through the world of Victorian madness, its diagnosis and treatment, the institutions that dealt with it and the world from which it sprang. There are doctors here both likeable and dreadful, who are experimenting with phrenology, drugs, lobotomies, therapeutic treatments and so much more. It is a world of medical upheaval and change, and not all of that change is pleasant or tasteful. One thing worthy particularly of note is the characters. They are both vivid and interesting, and they are each memorable and individual, which is not always the case in such a genre.

It is not until about 1/4 of the way through the book that we begin the true mystery, though the lead up to this point, introducing the characters and their world, is made all the more relevant by a side-tale running throughout, telling the backstory of our villain. That information is slowly released throughout, and never too early. Best of all, the unveiling of the truth towards the end is another corkscrew of twists and surprises.

This is, quite simply, a cracking book and deserves to be read. Go get yourself a copy. And as an extra treat, I have been in contact with the publisher and E. S. Thomson agreed to answer a few questions for me, so if the review alone has not tempted you to delve into Jem Flockhart’s adventures, have a little peek into the mind behind them…

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Are the locations in Dark Asylum based on real buildings either extant or now-vanished? Do you visit buildings of the period to flesh out your vision in preparation for describing them?

In this case no, I didn’t. I made everything up or used books of the period that described places.  The apothecary, the asylum, the convict transport ship are all out of my own head but based on what I read. I have been in a Victorian asylum building – I used to work in one (Craighouse, in Edinburgh) – and very grand it was too.  But it was built in the 1870s, and Angel Meadow was an old asylum, from before the asylum building programmes of the 1870s and 1880s.  Most of these sorts of places – smaller asylums – no longer exist. 


Dark Asylum is set in a harsh and very dark world. The Victorian London of which you write is a Gothic masterpiece of gloom, misery and wickedness. Given both this and the grisly subject of which you were writing, how do you attempt (and clearly succeed) in lightening the tone with moments of humour? It must be something of a balancing act.

Actually, I find I do get tired of the gloom and darkness. And at those points, just when it seems too much, I put in some humour – mainly to give the reader a rest.  I think that people are often absurd, even when they try not to be.  Dr Mothersole and his curious ideas for treating the mad, or Mrs Roseplucker, the brothel-keeper who turned to writing Penny Dreadfuls, were very easy to do.  As you say, the difficult bit is knowing when do do it, for how long, and when to stop.  Did I succeed?  I’ll let others be the judge

I was interested to see how far you pushed the boundaries in this novel in places. Is there anything about the era or setting that you are tempted to write out, or are uneasy about describing?

I suppose it depends where you think those boundaries are. I’m  uneasy about describing child prostitution – which is probably why I had the child who was pimped by her mother leap out of the bed and beat her would-be rapist to death with a poker before he had chance to do anything to her.

You have some truly colourful characters in Dark Asylum, a number of which I loved. Do you find it difficult to create characters who stand out so when the setting of your books is an era of conformity and often drab uniformity?

No I don’t find it difficult. I think there were more eccentric people in this period than people realise.  What is difficult is finding roles for women that are not boring or completely anachronistic.  I got round this by having a cross-dressing main character.  But if you want feisty women in your novel (and I do), this is not as straightforward as it is when writing a novel set in the present.

Jem is an interesting character and I found myself often wondering how she gets by without accidentally revealing her true gender. Clearly there are moments in the book where people have an inkling, but presumably you are limited in the situations you can describe (for instance having to share a room/bathroom with someone?)

Jem is based on James Barry, who spent her life dressed as a man, and practiced medicine as such in the British Army for her whole working life.  Barry graduated in medicine from Edinburgh university some 40 or so years before women were permitted to study medicine. Clearly, if she could live her life disguised as a man in such a male environment then I can manage it for Jem in a novel.  She doesn’t share a room, so that’s never a problem.  Some people seem to guess than Jem is disguised – but no one ever comes out with it and says “you are a woman!” – so you never really know whether they have worked it out or not.

Your first Jem Flockfart novel was set in the same locale as this, and I note from the back matter of the book that your next is also set in London. Are you not tempted to set a novel somewhere more familiar to you (Lancashire or Lothian for example?) Edinburgh clearly has rich pickings in the Victorian era

I left Lancashire 30 years ago, so it is not familiar to me at all anymore.  As for Edinburgh, in fact, almost all of the medical history details in the books are Scottish – mainly because I know about it thanks to my PhD, and also because Scottish medicine and medical education were surprisingly dominant in this period. Scotland punches well above its weight in the history of medicine.  So in fact i am using a lot of Scottish detail.  However,  I set the books in London because I wanted a large anonymous city, much of which has been rebuilt since the 1850s, rather than the smaller more intimate locations of Edinburgh, where everyone knows everyone else’s business.  I based the location of the first Jem story on St Thomas’s hospital in London, which was indeed knocked down to make way for a railway in the late 1840s.  Yes, I know Edinburgh intimately – I’ve been here for 30 years, but I didn’t want so distinctive a place to have a central part in the novel.  London in this period was massive, stinking, sprawling – and undergoing great change.  I wanted all this in my novel. Besides, Edinburgh is currently very well represented by historical novelists.  As a result, I don’t think the pickings are as rich as you might think.

A frivolous one to finish: what do you like to read for leisure.

Crime fiction mostly – Sherlock Holmes is an old favouite.  At the moment I’m reading Chris Brookmyre.

* * * *

Thank you, Elaine, for your time. There you go, folks. Buy Dark Asylum and immerse yourself in a great read.

Written by SJAT

March 13, 2017 at 1:18 pm

The Centurions 1: Betrayal

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I’m sure if you’re reading my blog you’ll already be familiar with Riches’ work, in the form of his late 2nd century ‘Empire’ series. It came as something of a surprise to me last year to learn that while he is still continuing that series, Riches had sidestepped into a slightly earlier era with a trilogy project based on the Batavian Revolt.

For the record, I’m a huge fan of Riches’ Empire series, which has everything I look for in rollicking historical mayhem. But Betrayal is a different beast entirely. It feels considerably more grown-up than the Empire series (which sounds like an insult to Empire, but is not meant as such.) There is just something altogether more serious, thoughtful and… well, grown up… about this series. There’s no other way to put it.

Set during the Year of the Four Emperors, despite my love of Riches’ work, I approached Betrayal nervously. It is an era that has already been plumbed thoroughly by a number of very good writers, and the whole subject has become a little bit stale for me recently, the last good treatment I read being Doug Jackson’s. I needn’t have been concerned. Riches has done himself proud by looking at this oft-viewed piece of history from a new angle and a new point of view, which is impressive.

In fact, the general direction of the book reminded me of Ben Kane’s seemingly preferred angle, taking on a critical event in Roman history from a non-Roman point of view. In this case, it is largely told from the point of view of Civilis, a Batavian officer, with additional angles provided by a number of centurions on different sides of the conflict. And for anyone not familiar with the Year of the Four Emperors, there are most definitely more than two sides to look at.

Initially, I was a little perturbed by the number of angles and viewpoints, to be honest. Be aware that there are a lot of characters and units to familiarise yourself with, and that can require a lot of memory and concentration. But the same could be said with his Empire series, which involves a good number of important supporting characters, and yet that did not take me long to get the hang of. The same is the case here. It did not take too long to start grasping who was who and what was going on.

This is not a straightforward military romp. It is not a ‘swords and sandals adventure’. This is a deeply complex novel and, while it revolves around military units, the first book revolves more around the political machinations of powerful men, tribal politics and the strengths and failings of a number of imperial personas. In fact, battle scenes are rare for a Riches novel, with good in-your-face combat early and late in the story, sandwiching a knotty plot that is treated with respect and intelligence.

And the win for me? It gave me a new respect for the Batavians and their place in Roman history. Made me appreciate and consider the part they played in the early empire and the individuality of a people I had always rather lumped in as ‘one of those tribes.’

This is a superb book, and the start of what promises to be a cracking trilogy, given how this builds, and how it ends. The book is out on March 9th, and I suggest you pre-order it now or set a reminder to buy it in a fortnight!

Hunting The Eagles

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It’s been a year or two since I last journeyed with Tullus and his companions in Eagles At War. And in some way, I feel that has improved my approach to the book rather than having launched into it on its release, because as this story opens 5 years have passed since the dreadful massacre in the Teutoborg forest where 3 legions were obliterated, a few straggling survivors limping back beaten and dejected to Roman lands.

Tullus is determined to revenge himself in Arminius and the Germans who destroyed his legion and handed the survivors dishonour by taking their eagle. Back in Rome where the new emperor Tiberius is being hailed, Tullus learns that the nobke general Germanicus is planning a campaign to chastise the Germans and recover the eagles. Sidestepping the rules, he signs on with this new army and makes his way back to Germania to have his revenge.

But Arminius has not been idle, and is stirring up trouble again, and so the two peoples – age old enemies – are lining up for a set-to of immense proportions. In this novel we are treated to our familiar heroes of both sides from book 1 facing endless trouble (rebellious legions, uncooperative tribes, burned-earth tactics, immense brutality and more.) Oh and my favourite scene rescuing endangered Germanic family members before Germanicus’ army rolls over them.

As always with Kane’s books, the characters are well-drawn, the scene perfectly set, the descriptive deep and powerful, the plot pacy and strong, the writing effusive and consuming. But the thing at which Kane excels for me, and which makes his books some of the darker and more powerful in the genre, is the level of reality the reader is made to feel. Every scene is so intricately woven with the yarns of human fact, deep emotion, historical detail and raw strength that Kane’s books can leave you needing to rest and recover before pressing on. His is a rare talent in provoking such a response, and it can often feel that you are experiencing the story far more than any other way other than actually being there.

Hunting the Eagles is one of Kane’s finest tales and builds on the first in the series, covering slightly less familiar events than that first military disaster. I shall be fascinated to see what he does with the last book of the trilogy.

Buy it. Read it. Experience it.

 

Strategos: Island in the Storm

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Three years ago I reviewed the second book in Gordon’s Strategos trilogy, which I loved as much as the first. It goes to show how busy I am and how many books there are in my reading pile that it’s taken me 3 years to get to the final volume in a series I love. But here we are. I’ve been back with Mr Doherty’s golden prose once more and loving it.

For me, Strategos III (Island in the Storm) is a win on two levels.

Firstly, I have come to love the setting and characters. I am fascinated by late Rome and Byzantium but am less familiar with the medieval era of that world than the classical. Yet the first Strategos book opened my eyes to it and I drank it in. It’s a testament to a good series and excellent characters when you can step out for 3 years then pick up again and the whole thing is instantly familiar and all the personalities in it come flooding straight back. That’s what happened for me. The tale of Apion’s life is at the same time heroic and glorious and makes the blood surge, but also sad and heartbreaking and thought-provoking. It is a rich tale with depth and a great deal of care put into every detail. And the fact that I knew this was the last book in the trilogy meant that I knew everything had to be tied up and come to an end. This was a masterful drawing together of threads, particularly given that anyone familiar with the events covered in the book knows that things cannot end well. That being the case, reaching an end that satisfies the reader is impressive.

Secondly, the book revolves largely around the Battle of Manzikert. Even not being overly-familiar with the era, I know of that battle. It’s one of those that should go down in history with Alesia, Adrianople, Hastings, Agincourt, Waterloo etc. A world-changing battle. But while I knew the basics (the sides in the battle, the outcome and the rough location) that was all. So this book was educational as well as entertaining. Because I have since finishing it read up a little on Manzikert, and Doherty had clearly done his research. And while reading a non-fiction account of a battle is educational, for me it can’t quite beat an ‘author’s eye view’. Because a good historical author does adequate research to produce as accurate a portrayal of the fight as it is possible to create, and in putting the reader into the action, seeing it through the eyes of those present, the writer makes the reader experience the battle rather than just learning about it. That is the second value to me of this. It made me understand Manzikert and just how important it was.

Doherty is one of the finest historical writers out there at the moment and for me pretty much leads the pack in the Indie book world (myself included.) Don’t read this book if you don’t know the series. Read them all. Buy the Strategos trilogy. You can get the lot on kindle for £10. That’s the price of a pub meal which will last you 15 minutes, while these will give you many hours of pleasure. Surely that’s a no-brainer?

Written by SJAT

December 15, 2016 at 10:30 am

Blood and Blade

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I had the opportunity to read an advance copy of Matthew’s new Bernicia Chronicles novel a few weeks back, which pleased me immensely, as his work had been on my radar for some time and I’d been meaning to find time to fit in his first book.

I’ll say at the outset that Dark Age, Anglo-Saxon Britain is not my era of choice and an author has to work hard to draw and keep my attention. I have discarded a dozen Dark Age novels unfinished. Kudos to Harffy then that I stayed riveted to Blood and Blade right to the end, especially given that this is the third book in his series and I had been dropped in the deep end, unfamiliar with the characters and the ongoing story arc.

One of the strengths of the novel is the characters. The lead, a little like Cornwell’s Uhtred, is a little straightforward for my taste, but that works well in the book, as he becomes the linchpin around which the fascinating cast of supporting characters work, and some of those secondary cast really did intrigue and delight me.

The tale ranges across the length of England, from Northumberland down to Essex and Wessex, then back up to the north and beyond into the wilds of southern Scotland where it reaches a breakneck, action-packed conclusion, resolving a long-term thread that has clearly been developing in earlier books.

The pace is good, the characterisation excellent, the writing absorbing. All in all a very good read.

Written by SJAT

December 1, 2016 at 11:14 am

Last Legionnaire

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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.

Written by SJAT

November 24, 2016 at 9:55 pm