As those of you who read these reviews will know, one of my pet peeves is the overuse of the coincidence. You can’t avoid them in any of the media. There are two or three tracks in the narrative that look completely separate until it turns out they are all different aspects of the same case. Or our protagonist just happens to be in the right place at the right time to meet the key witness who saw the villain doing something suspicious. And so on. In most cases, this is just too convenient to be even remotely credible unless the writer is using coincidence as a deliberate literary device, e.g. “Of all the gin joints, in all the towns, in all the world, she walks into mine.” as said by Rick in Casablanca (1942) or the point of the plot is to generate humour as in a farce.
So when a writer sets off to put a plot together, there’s going to be an order of events required to get to the end with the right outcome. In the best books, this careful construction feels natural. There’s an organic sequence with one event leading to another. The problem comes when the ending too obviously dictates what has to happen, i.e. the writer is playing the role of capricious fate. The more contrived, the less credible. So, for example, Bram Stoker has Dracula arrive in Whitby which just happens to be where Mina Murray, Jonathan Harker’s fiancée, happens to be on holiday. Or in a large number of thrillers, two key characters may be separated by circumstances in a big city but, when one is required to save the other, they just happen to be within shouting distance of each other.
The Wrong Girl by Hank Phillippi Ryan (Forge, 2013) is the second book to feature journalist Jane Ryland and Detective Jake Brogan. She’s trying to rebuild her career in print after losing her job as a television reporter. Because of the ethical rules, neither side of the potential relationship is supposed to fraternise with the other. But fate naturally throws them together and, despite the rules, they find themselves increasingly of the opinion they ought to “do something about their mutual feelings”. The book therefore balances this romance against the investigations the “couple” are engaged in. Now comes the bad news. Almost every aspect of this plot is affected to a greater or lesser extent by coincidences. Jane is persuaded to help an ex-colleague look into a possible problem with an adoption agency. Her editor asks her to pick up a story involving the way in which the local Department of Family Services deals with children who are innocent victims of crime, e.g. where their parents are killed. And Jake picks up two cases. . . Yes you guessed it. He finds two young children at the scene of a homicide who will have to go through the foster care system, and is later allocated a suspicious death involving a member of staff at the adoption agency. It all goes steadily down hill from then on, with virtually every twist and turn in the plot depending on someone seeing something or finding something or being related to someone or not being related (hence the title of the book).
And do you know what? I really couldn’t care a fig! Yes, that’s right. This is a disgraceful exercise in how to abuse the coincidence but it’s written with such wit and style that I forgave the author. Our heroine may commit every cliché in the thriller canon (even being prepared to run into a burning building to rescue a source to demonstrate her status as hero) while Jake turns out to be wonderfully self-critical and continuously beats himself up for not doing better. Yet, when it comes to the crunch, he’s able to talk his way out of trouble or, if that fails, he can shoot with unerring accuracy. So The Wrong Girl turns out to be the exception that proves the rule. If you can write with the right level of panache, the reader’s enjoyment converts the dross into gold. And, as if it was necessary for me to tender evidence in support of my assessment, the book has been nominated for the Agatha for Best Contemporary Novel and the Left Coast Crime Award for Best Mystery.
A copy of this book was sent to me for review.
Long Live the Queen by Kate Locke (one of the several pseudonyms of the suitably anonymous Kathryn Smith) (http://www.orbitbooks.net/, 2013) is the third and final in The Immortal Empire series which bills itself as dark fantasy. So, fearing nothing, I step into the life of Xandra Vardan. She’s the sixteen-year-old slip of a girl who thought she was just an ordinary kid and then discovered not only that she was a rather special supernatural being but, perhaps more importantly, the heir apparent to the Goblin throne. Yes, not only does she have to adjust her understanding of how the world works, but also learn to wear the crown. For all this to work, we have a fantasy alternate version of London. Queen Victoria is one of these rather long-lived vampires, there are werewolves and, of course, the goblins live underground in tunnels next to the London Underground. All this might have been harmonious except for the group of humans who seem to think all supernatural beasties are an abomination. They act like terrorists, killing those who can be killed, blowing up stuff and generally making a nuisance of themselves. Indeed, with the news media somewhat on the fence, there’s a risk of the majority human population rising up and attempting their version of a final solution.
Rather like Blade (1998), our heroine has an important mutation which enables her to walk in daylight — it seems crossbreeds can develop useful attributes. Indeed, there are secret laboratories experimenting on the supernatural creatures and also looking for a variety of the Plague that might spread fast through the human community. Think of the “one ring to rule them all” and you’ll get the idea as to what the labs are actually trying to produce. Because this is a covert romance, there’s a lively relationship between our Goblin Queen and Vex, the alpha male of the werewolves. And, supposedly to add a little spice to proceedings, the catalyst for this book’s action is the escape of one of the lab creatures. In the last book, Xandra was briefly held by one of these labs and they harvested some of her eggs. Now we have the product of artificial reproduction out of the streets looking not unlike our heroine when she chooses to (yes, a shape shifter with facial recognition software built in). It’s a not uninteresting idea that our heroine should have to relate to and occasionally fight an enhanced version of herself.
First the strange feature. This is a book written by a Canadian set in London. As you might expect, this requires a certain scattering of Britishisms to give the idea the setting might actually have something to do with Britain as one of the language centres of the world. Because the setting is somewhat ambiguous in terms of technology — genetic manipulation, cloning and other advanced techniques mixed in with occasional steampunk elements — the colloquialisms are “old”. For example, I haven’t heard anyone refer to another as His Nibs for more than fifty years. But here’s the thing. I was not at all surprised to see our heroine frequently curse by using the phrase, “Fang me!” (she’s dating a werewolf and her father is a vampre so fangs run in the family). Amongst themselves, we British folk can get quite salty if the mood takes us. Yet I then discovered most of the characters curse and swear like navvies. There may be marginally more fangs than fucks in all its grammatical forms, but it’s the presence of other Anglo Saxon expletives that intrigue me. Shag, knob and the other less obvious words appear quite regularly, but it’s relatively unusual to find a cunt (or two) in a book with romantic overtones presumably aimed at the delicate fair sex. Not that I care one way or the other. It’s language you hear everyday on the streets. I was just faintly surprised to see it in a book like this.
The second oddity is what’s presented to us as the mystery plot. Just who is behind this fiendish plot with the laboratories? Why has this mastermind created this heroine lookalike? What is this new plague? Well, the answers to these question are remarkably obvious. I may not have read the two earlier volumes but, if you actually care, there’s really only one person it can be.
So there you have it: a thin plot stretched to tedious length to comply with modern publishing standards. A few decades ago, this would have been a satisfactory half to an Ace Double. As it is, Long Live the Queen overstays its welcome as dark fantasy (it’s not that dark), as urban fantasy (too much real sex in both language and deed), as steampunk (only the names of modern devices are changed to make them sound Victorian), as mystery (which it isn’t), or anything else you might care to throw into the genre mix.
A copy of this book was sent to me for review.
A while back, I read one of these conspiracy theory books reconstructing the history surrounding the JFK assassination. Although I thought the writing good, I found the reading experience somewhat frustrating. As a Brit, I know little of the assassination and couldn’t distinguish between the actual history and the fictionalisation. Some might say this is a good thing. We’re not supposed to be reading a thriller based on a true story so we can just have the true story retold. The author must be going to add something and, in theory, it must be high praise if I can’t tell where the line is drawn between the fact and the fiction. Except I found I couldn’t care less which bits were true. Nevertheless, I decided it was distinctly unfair of me to judge the author on one book, particularly one coming so late in a series about a subject which left me cold. So here’s me picking up Supreme Justice by Max Allan Collins (Thomas & Mercer, 2014).
The hero of this political thriller is the usual candidate. Meet Joseph Reeder. He’s a former Secret Service agent who took a bullet for the standing president (Agent Frank Horrigan in In the Line of Fire (1993) has comparable demons in his past). Since Reeder didn’t really like the president or his politics, and was not as shy as he should have been about saying so, he took early retirement and now runs his own security business. To equip him as a top-class investigator, he’s a long-time user of kinesics: the art of interpreting body language and drawing appropriate deductions. A homicide detective with whom he’s friendly asks for his opinion when Supreme Court Justice Henry Venter is gunned down in a robbery. He and his clerk were in a high-class restaurant when two gunmen came in with drawn guns. The initial impression is a robbery gone bad but, when Reeder reviews the surveillance records, he classifies this as a hit. As soon as this is reported to the FBI, Gabe Sloan, a longtime friend and godfather to his daughter, insists Reeder joins the task force to investigate. This leads to Reeder being partnered with Patti Rogers, a youngish but experienced agent. Together, they begin to piece together what may have happened but they are quickly distracted when a second Supreme Court Justice is shot down in his back yard. Since both the justices were on the conservative wing and the current president is a democrat, this suggests the killers have an agenda to rebalance the political complexion of the Supreme Court — assuming the president will play ball and appoint two very liberal judges to the bench as replacements. Now the challenge is to protect the surviving justices while investigating who might be orchestrating this attack on “supreme” justice or injustice depending on your political point of view.
This leads me to the first of my problems with this book. I appreciate from the news coverage of American politics that the system has become increasingly polarised. Although this is near-future fiction, it doesn’t seem as though progress has been made in defusing the conflict between the two parties. Instead, the activist conservatives on the Supreme Court have exploited their majority and dismantled several landmark “liberal” precedents. This is assumed to be provocative. All the major characters in this book have rather different shades of belief, but they all share one faintly alarming trait. Not one of these people is politically indifferent. Instead they are slightly obsessive about placing each other on the political spectrum and modifying their behaviour depending on who’s in the room. I’m not at all sure whether this is realistic for Washington folk but, if it is, this has to rank as a very depressing book.
We then come to the plot. Now I’m the last person to want realism in the books I read — I do spend many hours a week reading science fiction and fantasy. Indeed, the more realistic a book, the less exciting it tends to be. But this is a plot depending on a number of rather implausible factors. Since I prefer not to engage in spoilers, you will have to take my word for it. Suffice it to say the conspirators go through some fairly convoluted manoeuvres to set their plot in motion and then fail to tie up the loose ends in a neat pattern. People with this level of experience would not have left any chance of matters being tracked back to them. But since our hero and able sidekick have to be able to solve the case, I suppose incompetence is required. So is Supreme Justice enjoyable despite this rather weak plot? Well, the prose has that same lucidity I enjoyed first time around and, so long as you switch off your critical faculties, I suppose you might find the twists and turns of the plot surprising and exciting. Sadly, I found this all somewhat predictable and less than riveting so I can’t honestly recommend it.
For a review of another book by Max Allan Collins, see Ask Not.
A copy of this book was sent to me for review.
Another day and another epic fantasy in which the author is obviously determined to break the mould and write the ultimate bait and switch book. So let’s remind ourselves of the basic rules. The book must be titled by featuring the lead character. Since this will usually be a wizard or someone with a useful skill like a thief, the names will usually reflect this, e.g. Hoho the Great, Axelrod the Unwashed or Weasel the Lightfingered. This protagonist will usually have a sidekick and, after sinking a few mugs of the local brew, they set off on a quest that will involve fighting three-lettered creatures like orcs (except when there’s more than one of them, of course). If the fan boys are lucky, a barbarian princess with optional fighting skills may be added to the mix. And so on.
So here we go with The Leopard by K V Johansen (Pyr, 2014) (first in a new Marakand duology) which is set in the same world as Blackdog and builds on the general mythology of that world. We start off with Deyandara. Now she’s a person with an interestingly opaque lineage. All we can say for sure is that she’s a bastard and because everyone else to whom she may be related has been killed off, she’s in line to take over the throne. Except, she’s not that keen on the idea having spent her youth not very seriously training to be a bard. However, all this is rendered somewhat moot because, within minutes of her being acclaimed queen by the few nobles who happen to be around, the local goddess, Catairanach, appears to her in a vision and, before you can say, “Rumpelstiltskin is my name,” she’s whisked off into the countryside on a minor quest. Sadly this goddess is strictly temperance, so our heroine is not allowed any of the local brew. She’s also denied the right for her name to title the book. This should give you a clue as to her importance.
After a while, she finds Ahjvar. He’s an assassin with the nickname, The Leopard. “Ah ha!” you’re saying. “This is the guy who gives his name to the book (the spots help him hide in the shrubbery). Now we can get on with the story.” Better still, he’s got a sidekick called Ghu. Not surprisingly, because this is a fantasy with deities, demons and a practical system of magic in operation, Ahjvar has been cursed. The message from Catairanach is that he can be free of this inconvenience if he goes off on a quest to kill the mad prophet known as the Voice of Marakand. Actually it’s not much of a quest because the Voice is in the city of Marakand so it’s not that difficult to find her. He does get to drink, though, which is always a good sign. So after traipsing across the landscape doing their best to leave Deyandara behind, our team arrives in the city. Shortly thereafter, the assassin kills the current Voice, is captured, is converted into a soldier loyal to the reincarnated Voice and sent out of the city. Yes, that’s right. The titular assassin is not the long-running protagonist (he’s pushed out of the way so he can come back in book 2 and kick butt). Deyandara is also sent off to find whatever’s left of her kingdom. This leaves us to meet and greet a couple of characters from the first book who turn up in the city. They link up with a magician who’s been there for a while. They briefly link up with Ghu who hasn’t quite decided whether he should go off and try to rescue Ahjvar. And then there’s a lot of fighting with undead magicians being used to intimidate Marakand and its citizens. Obviously, they are quite difficult to kill, what with them being already dead. None of this zombie rubbish for them. They are pretty invincible unless they can be reminded they are already dead. That tends to break the spell animating them.
So the author is slightly playing a game with the readers, introducing new characters and then moving them into position for book 2, while characters we know something about reappear to carry us through to the evenly balanced ending where both sides need to regroup before launching off into book 2. I’m not prepared to say a great deal about the quality of the plot because it’s obviously one book divided into two parts for publication purposes. It could turn out very good. . . All I can say is that the prose is quite dense and full of reasonably interesting detail. Since we only have to wait until December to see how it all plays out, this may be worth picking up if you like epic fantasy.
For a review of the other book set in this world, see Blackdog.
The cover art from Raymond Swanland is rather pleasing.
A copy of this book was sent to me for review.
This review discusses the plot so, if you have not already watched this episode, you may wish to delay reading this.
Elementary: Season 2, Episode 21. The Man With the Twisted Lip (2014) demonstrates the strength and weakness of the formula adopted by the series producers. The early decision was made to present this show as essentially a series of standalone episodes with only the occasional linkage and minimal character development. Past experience usually means this condemns the show to death by formula. There just aren’t enough interesting plots to maintain the series over a season. More to the point, there are a number of canonical expectations the fans will have so, with common sense prevailing, the show has slowly been developing the character arcs and introducing a metanarrative. When the two elements collide as in this episode, something has to give. In this case, the balance between the murder mystery and the metanarrative left neither very satisfactory.
We start off in an AA meeting which is, to put it mildly, a very heavy-handed way of establishing the theme for this end-run of episodes. When asked to identify the greatest threat to his continued sobriety, Sherlock Holmes (Jonny Lee Miller) tells the room his uniqueness as an individual is likely to be his downfall. With characteristic arrogance, he perceives himself as literally without peer. In practical terms, he feels he’s lowering himself to relate to others (this sounds really bad so we’ll pass quickly on). He wonders how he should react to other people when he sees no value in relationships. At what point should he stop trying to maintain them? I suppose we’re to take this as an overflow from the loss of his friend Alistair in the previous episode. Having just lost one of his few friends, he’s naturally foreseeing a life of increasing loneliness. Many lie to themselves when they claim not to need others. Holmes has enough realism to see loss of human contact would leave him seeking alternative approaches to filling in the emptiness. Meanwhile, Dr Joan Watson (Lucy Liu) hears someone crying on the stairs outside the room where the AA meeting is being held. It’s one of the early regulars who’s concerned she hasn’t heard from her sister. This gives us the lead into the murder mystery which is solved but without any reference back to the sister fighting addiction. So she’s just left to deal with the grief of her sister’s loss without Watson (or Holmes) offering any kind of support. Sadly there just isn’t enough time to follow through with plot elements that don’t fit the metanarrative theme.
In the other part of the episode, we begin with a moment of madness. Yes, we get to see Mrs Hudson (Candis Cayne) and Mycroft Holmes (Rhys Ifans) again. Our devious brother has made the trip back across the Atlantic to try to break up Holmes and Watson so, to make Holmes jealous, Mycroft not only asks Watson to visit his restaurant, but also then proposes they resume their relationship. So this stays with the initial theme of the episode set in the AA meeting as we now wait to see how far Holmes will go to keep the relationship with Watson. At first, his reaction to being told of Mycroft’s proposal is to say nothing. For once, he’s showing maturity, giving her space while she crafts a reply to Mycroft. While she’s thinking, the search for the missing sister turns up two dead bodies. It seems the sister was collateral damage in a hit on the “unknown” male. When they check his wallet, they find he was working at a start-up developing drones for the military. So Holmes is implicitly respecting Watson’s privacy while dealing with a case giving surveillance capacity to the government. Except, of course, he doesn’t respect her privacy and goes to see Mycroft at the restaurant where, just by chance, he sees someone who was there the last time he visited. A photograph shows this regular customer to have an interesting provenance.
As to the murder mystery, this is another of these vaguely SFnal, near future technology episodes where we’re supposed to accept the faintly absurd notion of a microminiaturized murder weapon. I was just about onboard for the surveillance aspect (although the machine really does have the most powerful batteries since the energizer bunny first hopped into view). The use we see here is ridiculous. The larger drone version is far more credible although it would be very visible and, if actually fitted with a shotgun usually only firing two bullets, less practical. A machine gun would be more sensible. Anyway, Watson able to infiltrate the office of the suspect and open his superduper safe with a hairpin were equally silly plot devices to bring this part of the episode juddering to a halt before they had rounded up all the technicians to equip and fly these drones. This is another of these major government scandal stories that fails to spark any political intervention from any of the federal bodies. As to the metanarrative, it’s all left in a nicely balanced way with Watson kidnapped, but the build-up to it is far too cursory. This is a potentially far more interesting development and, for once, it could mean the next episode is entirely devoted to the metanarrative and has no murder for Holmes to investigate. This might also give more screen time to Captain Tobias Gregson (Aidan Quinn) and Detective Marcus Bell (Jon Michael Hill) who have been less visible recently. We can only live in hope. As it stands, Elementary: The Man With the Twisted Lip is a below average episode despite the cliffhanger ending.
For the reviews of other episodes, see:
Elementary: Season 1, Episode 1. Pilot (2012)
Elementary: Season 1, Episode 2. While You Were Sleeping (2012)
Elementary: Season 1, Episode 3. Child Predator (2012)
Elementary: Season 1, Episode 4. The Rat Race (2012)
Elementary: Season 1, Episode 5. Lesser Evils (2012)
Elementary: Season 1, Episode 6. Flight Risk (2012)
Elementary: Season 1, Episode 7. One Way to Get Off (2012)
Elementary: Season 1, Episode 8. The Long Fuse (2012)
Elementary: Season 1, Episode 9. You Do It To Yourself (2012)
Elementary: Season 1, Episode 10. The Leviathan (2012)
Elementary: Season 1, Episode 11. Dirty Laundry (2013)
Elementary: Season 1, Episode 12. M (2013)
Elementary: Season 1, Episode 13. The Red Team (2013)
Elementary: Season 1, Episode 14. The Deductionist (2013)
Elementary: Season 1, Episode 15. A Giant Gun, Filled With Drugs (2013)
Elementary: Season 1, Episode 16. Details (2013)
Elementary: Season 1, Episode 17. Possibility Two. (2013)
Elementary: Season 1, Episode 18. Déjà Vu All Over Again. (2013)
Elementary: Season 1, Episode 19. Snow Angel. (2013)
Elementary: Season 1, Episode 20. Dead Man’s Switch. (2013)
Elementary: Season 1, Episode 21. A Landmark Story. (2013)
Elementary: Season 1, Episode 22. Risk Management. (2013)
Elementary: Season 1, Episodes 23 & 24. The Woman and Heroine (2013)
Elementary: Season 2, Episode 1. Step Nine (2013)
Elementary: Season 2, Episode 2. Solve For X (2013)
Elementary: Season 2, Episode 3. We Are Everyone (2013)
Elementary: Season 2, Episode 4. Poison Pen (2013)
Elementary: Season 2, Episode 5. Ancient History (2013)
Elementary: Season 2, Episode 6. An Unnatural Arrangement (2013)
Elementary: Season 2, Episode 7. The Marchioness (2013)
Elementary: Season 2, Episode 8. Blood Is Thicker (2013)
Elementary: Season 2, Episode 9. On the Line (2013)
Elementary: Season 2, Episode 10. Tremors (2013)
Elementary: Season 2, Episode 11. Internal Audit (2013)
Elementary: Season 2, Episode 12. The Diabolical Kind (2014)
Elementary: Season 2, Episode 13. All in the Family (2014)
Elementary: Season 2, Episode 14. Dead Clade Walking (2014)
Elementary: Season 2, Episode 15. Corps de Ballet (2014)
Elementary: Season 2, Episode 16. One Percent Solution (2014)
Elementary: Season 2, Episode 17. Ears to You (2014)
Elementary: Season 2, Episode 18. The Hound of the Cancer Cells (2014)
Elementary: Season 2, Episode 19. The Many Mouths of Andrew Colville (2014)
Elementary: Season 2, Episode 20. No Lack of Void (2014)
Elementary: Season 2, Episode 22. Paint It Black (2014)
Elementary: Season 2, Episode 23. Art in the Blood (2014)
Elementary: Season 2, Episode 24. The Great Experiment (2014).
Here we find ourselves pitched into an increasingly confident area of historical mystery. The conventional mystery or thriller writer picks a time of relative calm as the setting. This leaves the history as contextual background information, with the foreground free for the hero to investigate the wrongdoing. But some authors prefer times of great conflict as the setting, and the period just before, during, and after World War II is proving a fruitful area for authors to explore. J. Robert Janes has a long-running series set in Occupied France featuring Hermann Kohler of the Gestapo and Jean-Louis St-Cyr of the French Sûreté. The interest, of course, lies in the question of whether St-Cyr is a collaborator and therefore worthy of contempt, or does he earn some latitude because he pursues wrongdoers regardless of nationality or status? Philip Kerr also has a long-running series featuring Bernie Gunther, a homicide detective. The first book starts in 1936 at the time of the Olympics, then moves forward to 1938 with him given the temporary rank of Kriminalkommissar in Heydrich’s state Security Service, and later moves into the war years and the period immediate afterwards. Luke McCallin has his second book featuring Captain Gregor Reinhardt coming out later this year and J Sydney Bounds has one book set in post-war Nuremberg, see Ruin Value.
A Dark Song of Blood by Ben Pastor (Bitter Lemon Press, 2014) is the third book in the series featuring Martin von Bora, an officer in the Wehrmacht who continues to work with Italian police inspector Sandro Guildi (in the first book, Bora is teamed with Father John Malecki, a Polish-American priest working directly for the Vatican). The consistent themes through the three books are dark and complex. First in Poland and then the two remaining books in Italy, we’re required to think about how different groups form and maintain alliances. Standing slightly outside the more conventional political power structure, there’s the overarching relationship between the Roman Catholic Church and the Third Reich. As part of the plan to deChristianise Germany, catholics had been specifically targeted which led to the increasing marginalisation of catholics during the 1930s. However, the relationship with the Papal See was complicated when Italy formally joined the Axis. As Germany began its expansion across national borders, it immediately found itself having to hold areas still deeply religious. As if invasion was not hard enough for the occupied people to stomach, it would further antagonise locals if priests were arrested and the people were prevented from worship.
Much of this book is taken up with Germany’s difficulty in reconciling its presence in Italy with the entrenched power of the Pope and his cardinals. Bora is a useful honest broker because he’s a trusted catholic whose university study was guided by a man now serving as a cardinal. This book is set in 1944 as the Allies are pressing their advance through Italy towards Rome. So the alliance with the Italian Fascists is failing as patriotic fervour dims in line with military failures. The relationship between the Wehrmacht and the SS is also strained as the practice of retaliating for German deaths by executing multiples of local citizens is encouraging the emergence of increasingly confident resistance fighters. Final efforts to deport Jews and others deemed socially undesirable are also producing real political disagreements between the different groups. It would be a serious understatement to call this a time of danger and uncertainty. And Ben Pastor does not make the mistake of leaving these events in the background. In many senses, this is a work of military fiction or a political thriller which just happens to feature an army officer who gets sucked into investigating politically sensitive deaths.
The initial hook for the investigators is the death of Magda Reiner who worked in the German Embassy as a secretary. She was found dead on the pavement outside her apartment block. It could have been suicide, but the Roman Chief of Police prefers that a political opponent be guilty of her murder. Much later there’s what may be a murder-suicide with a society lady well-known for her charitable works found dead in bed with an elderly cardinal. Obviously all three deaths are sensitive albeit for different reasons. As a serving officer, Bora is already deeply committed to defending what Germany holds in Italy. The investigations must therefore be fitted around his military duties. He’s also conscious of the fact that Germany will lose this fight and be forced out of Rome. If Guildi is positively involved in this investigation, he may be damned when the Allies take over and the locals can take their revenge against known collaborators. Independently, Guildi finds himself walking a narrow line through the infighting between the Italian factions as the Communists begin to take a more active role. In the end he will be faced with the difficult decision of whether to risk staying in Rome as the Allies arrive, or going north with the partisans.
A Dark Song of Blood is a powerful novel about lives under pressure. With every individual wondering whether he or she will be able to survive, it falls to the few with a conscience and a sense of honour to defy the prevailing power structures and do what they believe to be right. Bora has been emotionally scared and physically damaged. He’s no longer fit for active duty on the front line and so finds himself fighting a different type of war both with himself and many of those around him. As the novel progresses, he proves to be a proactive survivor, i.e. once he realises he’s falling into the pit, he decides to fall with as much force as possible and hope to produce at least one small change for the better before he dies. The outcome for Rome as a city is a matter for history. The different outcomes for Bora and Guildi are completely fascinating, making this a genuinely impressive novel.
A copy of this book was sent to me for review.