The book begins with suicide. Carella tries to prevent one and Cotton Hawes gets an apparent love pact suicide that just doesn't ring true. This one isn't one of the stronger titles in the series. McBain opens up with his now familiar turning of the seasons line - this time Spring gets characterised as a rather lively lady. It's a line he's used before. McBain doesn't really explore the theme of suicide either. He doesn't seem interested. Finding the absence of suicide is all that matters and Mcbain is mostly interested in the crime just like his detectives. Hawes has been absent from the series for a few titles which made me think he'd been written out but I think the real explanation might be due to McBain going through a period of publishing some of his previously abandoned or delayed material. It's a side effect of being such a prolific writer. McBain through Carella rather pooh-poohs the importance of first discovering motive to solve a crime. I don't know whether he believed that or whether it was just the frustration with the difficulties of maintaining mystery in a story when clear motives are detectable. Mayer and Parker lend a hand when needed as does Bert Kling. Kling has not moved on from the loss of his girl. He's being eaten up by the tragic event. Hawes has settled down more and seems happy with his long time relationship. Gone are the days of him falling in love every thirty pages. Although the mystery isn't the best it does show the precinct at work due to the investigation stalling so early resulting in other business getting priority.
Jack Wenlock is a Railway Gosling. Imprinted at birth with the image of a railway locomotive as their mothers a young group of detectives are nurtured during the era of the great wars. Years later with all his Gosling compatriots either missing, mad, dead or, worst of all, in possession of a blotted copybook Jack is all that is left of the experimental group. He's counting out the days that remain of his entire world; the Great Western Railway, which is soon to be privatised. His last case begins as a young woman with a Veronica Lake hairstyle walks into his office.
Malcolm Pryce distils a sometimes dream-like surreal England from a multitude of influences spanning the gamut of popular culture and the mythical golden haze of nostalgia. It's awash with imagery, language and attitude drawn from the Boys Own magazines, Pathe film reels, radio adventure serials like Dick Barton, a wash of films often with railway settings; Brief Encounter, The Lady Vanishes, King Kong and adaptations of Agatha Christie like the 4.50 from Paddington.
Jack Wenlock is an engaging mix of almost child-like naivety and steely resolve. He looks at the world through that Boys Own filter of fair play, Englishness and manliness, good chaps giving bounders a bloody nose, venerating his beloved railway the GWR with such love and devotion that getting him talking about it in public risks a 'When Harry Met Sally' moment of embarrassing decibels. Oh and he carries a lump of Formica in his jacket pocket - oh the wonders of modern technology.
Chapters are preceded by extracts from Vol. 7 of the Railway Goslings Annual 1931 featuring Railway Gosling Cadbury Holt in search of the missing nuns plus the answers to reader's questions.
Pryce writes well, delighting in the language and the skewed view of the world presented by Jack in an era full of propaganda and exaggerated recollection. The book is fun, funny, sad, poignant, nostalgic and romantic. Noir with knobs on.
Robert Silverberg and I have had a fairly scatological association for
the best part of four decades. My childhood in the 70s and early 80s was
full of little encounters when I'd bump into him in small shops with
the odd revolving book rack or amongst the slim volumes brought home
from jumble sales. Some of the slim volumes would get read or filed for a
rainy day (the rainy day being anything from six weeks to thirty plus
years down the line). His output in the latter half of the 80s received
more organised attention from me as his name became a library sci-fi
staple. Starman's Quest was written in the 1950s when he was
nineteen during his junior year at Columbia. It was his second book and
as he admits in his preface he's written better since. The imagination
is all there but plotting and story progression certainly have their
fair share of problems. The Starman's Quest is the unlikely ambition of a
young spacer (a Starman) to solve the drawbacks of interstellar space
travel at near the speed of light. Time dilation and relativity are hard
science that's fuelled the imaginations of speculative sci-fi writers
like Silverberg for most of the last century. Shoving the problems with
the plot mechanics aside Silverberg's actual narrative is quite fun and
thoughtful. The dismay of our young protagonist being separated from
his twin by first space and later age is very well done as is his deep
culture shock when he jumps ship and tries to find his brother on the
harsh consumerism driven overcrowded Earth. A talking sentient rat
accompanies him but Silverberg doesn't really need an extra voice in the
narrative so ends up almost completely forgetting he's there. Flawed
but enjoyable and far beyond what a nineteen year old should be able to
accomplish - just like our young Starman.
With the first five seasons of 'Justified' currently available on demand
to Sky subscribers I was tempted into watching this show from the
start. I soon got hooked and became curious about the original books
featuring sharp shooting US Marshall Raylan Givens by Elmore Leonard.
Being a beast with a very methodical nature I grabbed me a copy of book 1
and got started, 'Pronto' isn't really a book about Raylan though. He
starts out as a supporting character in what turns out to be a character
piece. The main player of the piece is a Miami Beach bookie called
Harry Arno who becomes a pawn in an attempt by the police to bring
charges to bear on a local mob boss. Arno soon has a price on his head
and decides to escape to Italy and a little place he'd long planned to
retire to. The story is a simple one no mistake. There's a lot
rumination over nostalgia and the difference between folks perceived
self and reality and man does Harry have a thing for Ezra Pound. The author writes some great dialogue. Raylan makes
the book though.
He's a slightly different character than his screen
version with a slightly different back story but essentially they occupy
the same space both being sharp shooters, masters of the
psychological edge that all gunmen need to stay in the game and of course there's the hat. His role as a US Marshall also makes a refreshing change from all the detectives mooching about detecting things. His job normally involves guarding folk. dealing with fugitives and escorting prisoners. Timothy Olyphant really makes the character his own in the tv series, exuding quirky old school charm that hides just how lethal he is. Some scenes and dialogue made it onto the screen in the first episode and a less globe trotting version of Harry's story can be found in episode 4 "Long in the Tooth" which includes the back roads confrontation between Raylan and two mob gunmen. Usually my idea of a box set binge is one episode a week because I like to savour the good stuff but I actually watched two episodes last week. I know... the shame. Anyhow I'll be getting all the books and the short stories but I think I'll pass on the hat.
Oh I so wish this had been the audio collection I'd chosen for my Christmas listening this year. instead of the woeful "Dark Holidays."
"Classic Tales of Ghosts and Vampires," is a quality collection that gets off to a cracking start with "The Upper Berth," by F. Marion Crawford. It's not the first time I've tried to cross the pond in cabin 105 but it remains a creepy voyage nonetheless. Guy de Maupassant's "Was it a Dream," isn't quite a horror story, being more another of Maupassant's journeys into the darker corners of the human psyche. There is some pretty creepy graveside imagery though. It's over thirty years since I first took the hard drop in Ambrose Bierce's American Civil War chiller "An Occurrence at Owl Creek Bridge." I recognise it straight away. Sometimes a story just stays with you.... forever. Mary E. Wilkins Freeman delivers both chills and real sadness with her excellent tragic tale "The lost Ghost." E. Nesbit's stories have kept her name alive for more than a century, with children's favourites like "Five Children and It," and "The Railway Children," still delighting kids today as they did then. "Man-Size in Marble," is perhaps suitably ponderous in delivering its stony dénouement considering the nature of the spooks on offer. Amelia B. Edwards "The Phantom Coach," is exactly what you'd expect. It's not the strongest story but still pretty creepy. Ambrose Bierce is back with a second offering of chills. "The Moonlit Road," recounts a ghostly encounter from three perspectives. Not one for sleepy heads but once all the accounts are assembled this tale delivers from both sides of the veil. "The Signalman," was born out of Dickens' own dice with death when he survived the Staplehurst rail crash. One of the best. E. Nesbit gets another chance to provide some scares in her carefully staged "The Shadow." Very chilling. She demonstrates how leaving things unexplained adds to the impact of the story and its power to unsettle and disturb. The third Ambrose Bierce story "The Damned Thing," is another great piece of writing but in my estimation is closer to Science Fiction than a ghost story unless you equate 'ghost' with something that can't be seen by human eyes. Robert Louis Stevenson's "The Body Snatcher," draws heavily from the Burke and Hare murders. It's a good story but as a ghost story it takes too long to admit to itself that it is one. The supernatural ending seems tacked on. A Victorian example of marketing perhaps? We finish off with Lovecraft's "The Statement of Randolph Carter," which should serve as a horrific warning to seekers of occult forbidden knowledge. Recurring character Carter appears here for the first time. In amongst that lot were sprinkled four vampire stories, the pick of which is Stoker's "Dracula's Guest," a prequel, false start, whatever... to his most famous work. Great choice of stories and the voice talent for the narration is very good. I'm booking Vol. 2 for next Christmas.
The penultimate book in the series tones it down a bit, cutting back on the swinging from the roof fittings and other Errol Flynn style shenanigans. Instead Enola relies on her usual considerable talent for disguise, sketch making, cryptology and of course her endless supply of pluck.
In her hunt to recover her kidnapped landlady she is forced to consult Florence Nightingale, which, teachers take note, means the Crimean War is a part of the story. This series is fun for kids and if the spark of interest in history is fanned then so much the better. Barring casting Florence as a spy the author respects the historical accuracy of the historical figure.
One of the better additions to the series.
This collection contains four short stories that drop in on Walt during or leading up to the Christmas holidays. Don't expect cosy scenes of fireside cheer though. The first story kicks off with Walt being mistaken for both a tramp and Jesus. It's set not long after his wife's death and he's caught up in grief and depression. He's at work in his dressing gown, smells something bad and there are foreign objects in his beard. But he still has his dry wit and the hint that things can get better. The other stories are further along in Walt's timeline. The stories here use that peculiar quality of Christmas that focuses and gathers memories of family in our minds. For some of a certain age it can be a difficult time of the year. What we have lost comes to the fore of our minds. But these short Longmire stories aren't ultimately sad. There is hope, dignity, warmth and humour to soften the poignancy.