It Doesn't Have To Be Right…

… it just has to sound plausible


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Barrayar, Lois McMaster Bujold

I’m reading this series in order of internal chronology rather than publication order, which no doubt affects my responses to the books. Although the seventh book published in the Vorkosigan series, Barryar (1991, USA) follows on directly from Bujold’s debut novel, Shards of Honor (1986, USA). I read both in the omnibus Cordelia’s Honor (1996, USA; it also includes a short story, ‘Aftermath’). I was impressed Bujold had picked up a narrative from five years previously and continued it so seamlessly… until I read the afterword in Cordelia’s Honor and learnt Shards of Honor and Barrayar were originally written as a single novel, and then split. And now I wonder why it took five years for the second part to appear…

In Shards of Honor, Cordelia Naismith, a Survey captain from Beta Colony, encounters Aral Vorkosigan, a military officer and aristocrat from the Russian-derived martial world of Barrayar. His reputation is not good but, of course, (mostly) undeserved. After various ups and downs – war, invasion, torture, that sort of thing – they marry. Barrayar opens with Cordelia trying to adjust to life on the titular planet with her new husband.

Vorkosigan retired from his military career but is asked to become regent for the five-year-old grandson of the emperor when the mortally-ill emperor dies. He accepts. He is not a popular choice. To make matters worse, Cordelia is pregnant but the foetus is damaged by an assassination attempt using a poisonous gas grenade. She persuades the Barrayans to implant the foetus into a Betan “uterine replicator” in order to better manage its development, but this causes a rift with her father-in-law.

Civil war kicks off, one faction supporting Vorkosigan, the other supposedly acting in the interests of the dead emperor’s daughter. The latter get hold of the uterine replicator, and Cordelia sets off on a rescue mission, without her husband’s knowledge. She succeeds, partly through luck, but mostly because she does not behave as Barrayarans expect women to behave – something she demonstrates throughout the novel. Which brings to mind, yes, the shopping scene…

I’m almost one hundred percent sure I’ve never read Barrayar before, but the shopping scene felt like I was rereading it. Perhaps an excerpt appeared in an anthology or magazine. All the same, it was fun.

There’s a big difference between Shards of Honor and Barrayar, even if there’s almost none in story terms. The latter is so much more polished: the backgrounds, especially Barrayar, are better grounded, and while you have to wonder why it took an additional five years for Barrayar to see print, it was clearly worth the wait. The story focus in Barrayar is also much clearer. While it’s effectively an origin story for Miles Vorkosigan, chief protagonist of much of the series, the novel is about Barrayar, about a woman who not only does not fit the mould when it comes to women on Barrayar but also breaks it wide open, and about her response to her new life and the trials it throws at her. It’s about women in Bujold’s space opera universe.

Of course, both books were originally published in the late 1980s/early 1990s, and space opera – US space opera – has changed a lot since then. At that time, New British Space Opera was still, well, British, and had not been appropriated and distorted by US science fiction. The Vorkosigan series, for much of its length, was in a mode of US science fiction that was often identified as either space opera or military sf, as the two subgenres were often indistinguishable in US science fictions. Barrayar does in fact read like military sf – much of the plot is set during a civil war, after all – but it’s only one instalment in a series containing over twenty books. And an early instalment, too. Certainly, Barrayar strengthens my resolve to read the full series, when the two books preceding it did not.


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The End of Eternity, Isaac Asimov

(Another review from Facebook, posted before I unshuttered this blog.)

I read The End of Eternity (1955, USA) because it was nominated for the Hugo Award in 1956, and I’ve been trying a few of the old Hugo nominees. It’s also one of the few Asimov novels I managed to miss reading back in my very early teens.

Normally, of course, I avoid his books like the plague – I think he was a terrible writer, who managed a couple of ideas per book but everything else was just 1950s USA with a thin wash of paint. He’s the exemplar of Men in Hats sf. Asimov was 35 when The End of Eternity was published, but much of it reads like it was written by a much younger man – even though he didn’t even start it until 1953.

The invention of time travel has led to the creation of Eternity, a series of stations outside of time, with access to every year from their creation to the distant future, which are staffed by an all-male (for reasons that probably were unexceptional in the 1950s) corps who make carefully calculated changes to history in order to prevent future rough patches.

One such staff member, a Technician, Andrew Harlan, born in the 95th Century, despite the resolutely 20th Century US name, falls in love with a young woman from the 575th Century, and jeopardises his career, and Eternity, in order to have a relationship with her. This also includes jeopardising the plan in which he is unwittingly instrumental – sending a technician back to the 24th Century to invent time travel. No time travel, no Eternity, no Andrew Harlan, no nookie.

Everything goes entirely as expected, even the plot twists. The prose is anodyne and the level of invention low – one mission involves sabotaging a clutch on a vehicle in the 223rd century because of course they would still have cars with gearboxes 20,000 years from now; although I was… bemused by “her long legs shimmered in faintly luminescent foamite”, which is a really tone-deaf neologism and likely doesn’t evoke the image Asimov intended.

The End of Eternity lost the Hugo to Heinlein’s Double Star (1955, USA), although Leigh Brackett’s The Long Tomorrow (1955, USA) would have been a better winner.


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Mountolive, Lawrence Durrell

Back in the 1990s, I borrowed the omnibus edition of The Alexandria Quartet (1957-1960, UK) by Lawrence Durrell from the Daly Community Library, the subscription library I’d joined within six months of arriving in Abu Dhabi. I was aware of the quartet, although I forget where I first came across mention of it. However, for some reason I never got around to starting it, and took it back unread. A few months later, I was in Dubai and I came across the Penguin US boxed paperback editions of all four books in, I think, a book shop in the Dubai Mall. I bought it. I read the books. And was so impressed, I began hunting down everything by Durrell I could find. I now have an extensive collection of first editions and limited edition chapbooks by Durrell, including first editions of his first two novels, Pied Piper of Lovers (1935, UK) and Panic Spring (1937, UK; as by Charles Norden).

I’ve been meaning to reread the Alexandria Quartet for years, but never got around to it until recently. I read Justine (1957, UK) and Balthazar (1958, UK) last year, but was not reviewing the books I read at the time. I was, however, just as taken with the two books as I had been all those years ago – more so, perhaps. It had not struck me before how cleverly plotted the Alexandria Quartet is. Everyone remembers the lush prose, the setting, the cast of expatriates, and the various relationships, especially that of the opening novel between Darley and Justine… but there’s much more to the quartet than initially seems, and it’s in Mountolive (1958, UK) that it comes into focus.

The title character is a member of the Foreign Office, assigned to Egypt, where he makes friends with the Hosnani family. He has an affair with Leila Hosnani, the mother of Nessim and Narouz (Nessim is the husband of Justine). Mountolive is moved on to other postings, gradually rising up the ranks, until he finally returns to Egypt as ambassador, shortly before the events described in Justine and annotated in Balthazar. In the years since, Leila has survived a bout of smallpox and is now disfigured and a complete recluse. 

Meanwhile, Pursewarden has had a disagreement with Maskelyne, the head of intelligence at the embassy, particularly over the role of the Hosnanis in Egyptian, and Middle Eastern, politics. Maskelyne is sent to Palestine. Later, Pursewarden discovers Maskelyne was right, and commits suicide.

Mountolive is the pivot around which the story of the Alexandria Quartet revolves. It is the actions of the Hosnani family, and their secret project, and the clues regarding it uncovered by Darley, Clea and others, which explains the actions of the characters in the preceding two books. It all slots together like a piece of precision engineering. The lush writing is still there, and there are some eye-opening sequences in Mountolive. The commentary on Egyptian politics is all you would expect of a Brit who lived in the country during WWII. There is an invented figure who reads like a parody of the venal, corrupt Middle Eastern politician.

The last time I read the quartet, I seem to remember Mountolive being something of a disappointment after Justine and Balthazar. It’s written in the third-person, unlike the other two, and Mountolive is far more reserved than the rest of the cast. But this time I liked it more, more even than Justine and Balthazar, perhaps because its wider view made Egypt, and especially Alexandria, more of a character than in the earlier novels. They were filtered through Darley’s point-of-view, and here Durrell is writing about Egypt.

One more book to go, Clea (1960, UK), which is set six years after the events of the first three novels. I’m looking forward to rereading it.


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Carry On, Jeeves, PG Wodehouse

The collection Carry On, Jeeves (1925, UK) is the third book in the second volume of the Jeeves Omnibuses, and contains stories published between 1916 and 1925. Some of the plots were later used in novels. I say “plots”, but there’s pretty much just the one Wodehouse uses.

Interestingly, the opening story, ‘Jeeves Takes Charge’, describes Bertie hiring Jeeves. Around half of the stories take place in New York. They all follow the usual pattern: a friend approaches Bertie, or sometimes Jeeves directly, for help with a small problem, usually involving a fiancée or a relative, it all goes horribly wrong, but Jeeves has not only foreseen this, he has carefully engineered events to produce the desired ending. It’s all very clever, but it does wear a bit thin over the course of ten stories. There are some characters familiar from other stories, or novels, some here introduced for the first time.

The stories were mostly originally published in Strand in the UK and the Saturday Evening Post in the US. Some of the contents are rewritten versions of stories that appeared in an earlier collection, My Man Jeeves (1919, UK). So it’s not just plots Wodehouse re-uses, sometimes it’s the stories themselves. Still, they are amusing, and Wodehouse can throw a neat turn of phrase, even if it gets a little formulaic in places. The names here are not as absurd as in later stories, although I expect they would still seem absurd to any reader who is not, well, English. I should probably rephrase that: it’s not that the names do not seem absurd to English readers, they do; it’s just that they also seem entirely plausible for the upper classes.

Wodehouse’s depiction of the upper classes endures for the English. He’s not the only chronicler of the aristocracy’s inbred idiosyncrasies and depredations, and his stories only really hold true for a relatively short period in recent UK history; but then all the stories written about the English aristocracy only really hold true for the time during which the stories take place. In the twenty-first century, they’re an anachronism. Like, well, royalty.


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The Stars Undying, Emery Robin

(This is another review I posted to Facebook before I unshuttered this blog.)

The blurb and publicity for The Stars Undying (2022, USA) make a lot of the fact it’s Cleopatra in Spaaaace. Or rather, Julius Caesar and Cleopatra; followed by Mark Antony and Cleopatra. In a space opera setting. But subtly changed so it’s not obvious– No, of course it’s not subtle. The book makes a nine-course banquet of its inspiration. Which is no bad thing, and not uncommon in science fiction, from Asimov butchering Gibbon’s The History of the Decline and Fall of the Roman Empire (1776-1789, UK) and calling it Foundation (1951, USA), Blish doing the same to Spengler with his Cities in Flight (1955-1962, USA; see my review here) quartet, and, more recently and more pertinently, Kate Elliott space-operaficating Alexander the Great in Unconquerable Sun (2020, USA)…

In The Stars Undying, “Alexander the Great” dies but his memories are uploaded into an AI, and that becomes Alekso Undying, a god, and advisor to the rulers, of the people of Szayet, the latest queen of which is AltaGracia (Gracia). Gracia’s sister seized power after the death of their father, but Gracia won it back. With the help of Ceirran, the commander of the Ceiao military, and de facto ruler of the Ceiao empire. The two fall in love. Gracia follows Ceirran back to Ceiao (too many goddamn vowels), where she either charms or disgusts the locals. Because Ceiao is atheist, does not like the concept of Alekso Undying, and is a bit iffy with the idea of Ceirran, Gracia’s lover, controlling everything anyway. Gracia offers Ceirran immortality in the same form as Alekso – an AI running on uploaded memories in a “pearl” (a magical supercomputer substrate type thing), but this eventually proves Ceirran’s undoing. Et tu, Brute, and all that.

Unfortunately, Robin seems to have no sense of scale, and there’s no real sense the story is set in an interstellar empire. Cities are treated as if they’re worlds. Distances are farcical – 24,000 light years to fetch some cheese, as one memorable sentence mentions. Ceirran’s campaign, to conquer a distant world, doesn’t depart until the river that runs by the capital of the Ceiao, also called Ceiao, thaws. They’re going to another planet, what does the local weather matter?

It matters because this is a story told in a limited geographic area – southern Europe and North Africa – and all events and actions are predicated on that. It’s supposed to be a space opera, set in a galaxy, with thousands of planetary systems and worlds. And yet every place mentioned reads like it’s no further away from Rome than southern Spain or northern France.

It doesn’t help that Robin’s inspirations are so thinly-disguised, so it’s ridiculously easy to guess who is who, and what will happen. Admittedly, my knowledge of the period is limited to reading Robert Harris’s excellent trilogy about Cicero (yes, he’s there in The Stars Undying), but even so I had no problem identifying the people involved. From my reading, I also thought Robin’s characterisation of Caesar was far too kind. I know nothing about Cleopatra, and am more than willing to take her, er, take on Cleopatra. But, seriously, Caesar was not a nice guy, and Robin makes him into a romantic hero.

She also gender-flips Mark Antony, which arguably makes him more interesting than his inspiration. But does make her seem a little like, well, Starbuck from BSG (the reboot, of course).

The Stars Undying could have been an interesting space opera, but I think Robin made too many bad creative decisions. The sense of scale makes no sense, and actually detracts from the story. The worldbuilding is good in places, but poor in others (there’s no sense the book’s setting is interstellar). A big thing is made of Gracia lying about how she came to power, but when she reveals the truth it’s frankly hard to care.

An interesting idea, implemented in a way that undermines its source material and its purported setting. I won’t be reading the sequel.


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Time Out of Joint, Philip K Dick

I’ve never really understood why Dick’s novels are held in such high regard. He appears multiple times in the SF Masterworks series, more so than any other author. To me, his novels seem slapdash, written at speed and with very little idea of what they were supposed to be about. Some of his short fiction is excellent: ‘A Little Something for Us Tempunauts’ has been a favourite sf story for many years. But his novels – well, the only reason I’m reading them is because they’re in the SF Masterworks series, and once I’ve read those I’ll likely never go near a novel by him again.

Time Out of Joint (1959, USA) is a Wizard of Oz story, specifically the bit where Dorothy pulls away the curtain and reveals the truth about the Wizard. And, as in that situation, the truth behind the story of Time Out of Joint proves disappointing. Ragle Gumm is a WWII veteran in a small midwest town in the 1950s. Each day, he submits an answer to a newspaper competition, Where Will the Green Man Land Next. He spends the day researching, then fills in his answer on a map grid, and submits it by post. He always wins. He’s become something of a celebrity because of his winning streak.

But something weird is going on in the town. Gumm’s brother-in-law (he lives with his sister, her husband and their son) has a vivid memory of entering the bathroom and pulling a light-cord – but their bathroom has no light-cord. Gumm himself has memories of things that never happened. The son builds a crystal radio set, and they pick up weird conversations. In the Ruins, a derelict section of town, Gumm finds some magazines which feature celebrities such as Marilyn Monroe – they know she’s a film star, but on the other hand they’ve never heard of her.

Gumm’s world is beginning to unravel – a common Dickian trope. He plots an escape, but is brought back with his memory of his escape erased. So he tries a second time, this time with the help of his brother-in-law. They steal one of the trucks that delivers produce to the brother-in-law’s supermarket. And they make it out into the wider world…

It’s not the 1950s, it’s the 1990s. And Earth is at war with a small colony on the Moon. Gumm has a talent for predicting the targets of the nuclear missiles from the Moon. But he had a breakdown, so they created an artificial 1950s town, erased his memory, and use the competition as a cover for his predictions.

And, er, that’s it.

Gumm’s breakdown was triggered by a defection to the Moon’s side and a desire to emigrate. Once he uncovers the truth about himself and the competition, he contacts the “lunatics” in order to join them.

The first half of the book is the sort of stuff Dick does really well. All is not as it seems, but is it the protagonist or the world that is wrong? Dick keeps the details light, and focuses on a handful of characters and locales – which makes you wonder what’s happening in the rest of the town. His 1998 is less convincing. There is a world state called One Happy World, and people talk a particularly tin-eared creole. Time Out of Joint then jumps straight into exposition, and ends on a hopeful note.

Time Out of Joint was No 55 in the original SF Masterworks series, the tenth book of fourteen by Dick in the 73 books of the series. No other author appears as often. Personally, I’d keep No 20 A Scanner Darkly (1977, USA) and No 73 The Man in the High Castle (1962, USA), but ditch the rest. 

But then there are plenty of other books in the original SF Masterworks series I don’t think belong in it.


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A World Out of Time, Larry Niven

I’m still not entirely sure why I’m continuing to read, or reread, Niven’s novels. He was never a favourite of mine when I was reading science fiction back in the early 1980s, although Ringworld (1970, USA) does continue to hold some fascination. A World Out of Time (1976, USA), which is not part of Niven’s Known Space universe, was a reread – at least, I used to own a copy of the book (the 1982 Futura edition with the Peter Andrew Jones cover art) and I’m pretty sure I read it… But reading the book this year, none of it was familiar. And I’m usually pretty good at remembering books I’ve read, no matter how long ago.

Anyway, A World Out of Time is a Larry Niven novel. Corbell is dying of cancer, so he has himself frozen. And wakes in 2190, in the body of another man. Criminals in the worldwide State of 2190 have their personalities wiped. And the personalities of people who had themselves frozen in earlier centuries are then decanted into the criminals’ bodies (the process destroys the frozen body). The State which runs the world is mostly fascist, although Niven wants to present it as near-utopian. But people such as Corbell are considered less than human, and are employed in the sort of professions that would otherwise be occupied by slaves and, well, inmates in present-day US corporate-run prisons.

Corbell seems best-suited to become the pilot of a “rammer”, which is a single-person Bussard ramjet-powered spaceship which carries “biological package probes” used to terraform planets that are almost Earth-like. He is trained in his new role by being injected with RNA (not how it works, but never mind). Eventually, he is launched in his ship on a mission planned to take some 200 years at near lightspeed, returning him to Earth 300 years later. He’d spend most of the trip in cold sleep. But Corbell rebels, and aims his spaceship at the galactic core, intending to return to Earth 70,000 years later (not how it works, but never mind).

He judges it likely the State will still exist 70,000 years in the future, because it is a “water empire” but has no external enemies to bring it down (not how it works, but never mind; in fact, the concept of water empires has long since been debunked). Unfortunately, his watchdog back on Earth manages to upload his personality into the spaceship’s computer and it sabotages Corbell’s plan. So Corbell actually returns to Earth three millions years after he left.

Unsurprisingly, a lot has changed since 2190. Not least of which is that the Sun is now a red giant (which it won’t be three million years from now), and Earth has been moved into orbit about Jupiter. The State has long since vanished – eventually brought low by its own colonies. The secret of immortality was discovered, but only a select few, the Dictator class, were privy to it. But then an alternative process arrested development at the age of eleven, resulting in warring civilisations of immortal Boys and Girls.

On landing on Earth, which is now mostly inhospitable desert, Corbell is taken prisoner by the pilot of a Bussard ramjet spaceship who left centuries after him, and returned millennia before him. She had been kept in a “zero-time prison”, but later escaped. She is now old, but repeatedly mentions how beautiful she used to be (you can probably guess where that leads). She wants the secret of immortality for herself. Corbell escapes, and flees to Antarctica, which is temperate, and where some surviving Boys live in the ruins of one of their cities.

Nothing in A World Out of Time is even remotely believable, even for a science fiction novel. The trip through the galactic core manages to make a hash of everything from cosmology to physics. The Earth of three million years hence is just far too familiar – cars might fly, but cities have subways (and matter transmission booths, huh) and hospitals and police stations. The characterisation of the female antagonist is mostly offensive; Niven struggles to show the Boys are as super-intelligent as he tells us they are. The politics are everything you would expect of a white American male author who lives a life of unearned wealth and privilege.

A World Out of Time is actually a fix-up of three earlier stories, and the State apparently makes an appearance in two later novels, The Integral Trees (1984, USA) and The Smoke Ring (1987, USA).


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Grunts!, Mary Gentle

(Before I unshuttered this blog in April 2025, I posted some book reviews on Facebook. I’m going to repost a few of them here. Starting with this one.)

Grunts! (1992, UK) was a reread, although to be honest I remembered little of my original read back in the early 1990s. It’s not typical of her oeuvre as it’s a comic fantasy, although some of her short stories, particularly those written for the Midnight Rose anthologies, are similar. Back in the 1980s and 1990s, there was no comic fantasy market for writers in the UK, there was only a Terry Pratchett market. Having said that, Grunts! is not a novel Pratchett would have written.

A group of orcs discover a dragon’s hoard of weapons beneath a mountain. The dragon is dead, and the weapons appear to come from many different worlds, including our own. The hoard is cursed, however: whoever uses the weapons becomes like those from whom the weapons were stolen. In this case, the orcs arm themselves with guns and equipment used by the US Marines, and so slowly become US Marines.

The forces of Dark lose the final battle – despite the orcs with assault rifles – but the orcs are keen to show their continuing usefulness. So they go into the arms business. With the help of a halfling duchess of questionable morals, they manufacture and sell advanced weaponry to all the other nations. Then the Dark Lord returns from his defeat, but decides this time he can’t be bothered with a long war and a final battle. Instead, he wants an election. Meanwhile, a horde of space Bugs, a cross between giant biomechanical scorpions and the xenomorphs from the Alien franchise, have invaded…

Gentle pastiches pretty much every fantasy trope going, and every movie that features US Marines (and lots more besides). A lot of the fun in reading Grunts! is spotting the references. I’d definitely forgotten how bad some of the jokes were. For example:

“And now,” the small orc cried, “a song I’ve dedicated to Quartermaster Zaruk. He tells me he’s been getting lots of requests from you orcs for those camouflage cloth squares you can roll up and tie around your head. Unfortunately there aren’t any left in the stores”… “Yes, we have no bandannas…”

A lot of the orc characters are pastiches of stock characters from war films. There’s a covert operations undead orc squad, a mad genius inventor orc, and a squad of butch female orc Marines. The fantasy characters, on the other hand… they’re jokes, but they don’t come across as send-ups of stock fantasy characters.

Grunts! is a fun read – except for some of those jokes – more visceral than is usual for high fantasy (but that’s a Gentle thing), and despite being a comic fantasy filled with really bad jokes makes a number of serious points. Not Gentle’s best book by a long shot, and readers looking for something like Pratchett might be a little disappointed. But still a fun read.


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The Saint of Bright Doors, Vajra Chandrasekera

I wouldn’t say this was recommended by a friend so much as it was a friend asking me several times if I’d read the book and what I thought to it. Since I tend to have strong opinions on books, and if someone wants to know what that opinion is, then the book in question is either good enough, or bad enough, for me to invest an opinion in it. And what I knew about The Saint of Bright Doors (2023, Sri Lanka) wasn’t really in its favour: nominated for the Hugo and won the Nebula, two awards whose shortlists rarely align with my taste in genre fiction, and a modern fantasy in which magic sits alongside mobile phones, television, and so on…

And yet…:The Saint of Bright Doors is very good indeed. 

Mixing fantasy and mimetic fiction, as this novel does, is difficult and usually done badly (unless it’s a portal fantasy, which this isn’t). Chandrasekera pulls it off. That alone makes it a notable twenty-first century fantasy novel.

Fetter is the son of a god, the Perfect and Kind, but he lives with his mother, Mother-of-Glory, who raises him as an assassin, with the eventual plan of killing his father. By the time he hits his early twenties, Fetter is no longer an assassin and has moved to Luriat. The city is known for its “bright doors”. Doors which remain closed for a period of time become one-sided: door on one side, blank wall on the other. They cannot be opened and are painted in bright colours. To prevent this occurring, most doors have a glass or see-through panel.

Fetter masquerades as a student studying the bright doors, and gets involved with some revolutionary groups. He provides help to recent immigrants. But then his mother gets back in touch with him, and tells him of her past. How his father turned their island home into a peninsula, and then recreated the past so he had existed for thousands of years. Unfortunately, his followers have schismed, and one has become a brutal cult used by the authorities in Luriat.

Fetter is arrested and sent to an internment camp which seems to be much bigger on the inside than the outside (this reminded me of another novel, but I couldn’t think which). His father visits Luriat, and Fetter is brought out of the camp to see him. He refuses to bow to his father’s will. There is a pogrom, then a plague. Fetter fights against his father.

There’s a lot more crammed in there than just the above. There are books in which the author isn’t really sure where their story lies and so fills their story with far too many things. In parts, The Saint of Bright Doors feels a little like that, but somehow or other it all hangs together. Like the mix of magic and present-day technology, which shouldn’t work, but does.


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Scarpetta 24: Chaos, Patricia D Cornwell

This follows directly on from the previous book, Depraved Heart (2015, USA), and I have to wonder if the books in this series can be read independently anymore. Certainly I didn’t read the first few books of the Scarpetta series in order originally, much as I didn’t for both Sue Grafton’s Alphabet series (despite the titles; yes, I know) or Sara Paretsky’s VI Warsawski novels – both of which, incidentally, I recommend more than I do Cornwell’s Scarpetta series. My point being the early Scarpetta novels were pretty much self-contained, but now they form trilogies and short series within the larger series, and Chaos (2016, USA) is definitely a sequel to Depraved Heart, which itself continues on from Flesh and Blood (2014, USA). Chaos at least seems to be the end of it as psycho-genius Carrie Grethen is captured and committed to a secure psychiatric hospital by the end of the novel. And if that constitutes a spoiler, you’ve not been reading this series very long…

The road from chapter one to the end in Chaos is not all that different to the preceding books in this series within a series. There were, however, a couple of changes I hadn’t seen coming (and which may have been spoiled by the recent TV adaptation). Once again, the novel is structured around a murder which presents contradictory evidence. A young woman, whom Scarpetta had spoken to earlier that day, is found dead on a path in a park by the Harvard campus. She was on her bike, but has been thrown from it, and the cause of death is almost impossible to determine.

Meanwhile, Benson and Lucy are aware of events happening elsewhere in Boston, but keep Scarpetta in the dark. Scarpetta’s sister, Dorothy, the flaky children’s author, is flying up for a visit, and it seems she and Marino became “very good friends” in Miami during the events of Flesh and Blood. Most of Chaos takes place at the murder crime scene – the location, and the heat wave affecting Boston, have complicated the investigation.

Of course, Grethen is the murderer, and Scarpetta spends much of Chaos speculating how she might be involved, despite being entirely off-stage for the entire narrative. Benson’s and Lucy’s secretiveness seems less justified here than in earlier novels, and in places it feels like Cornwell was more interested in describing how uncomfortable Scarpetta finds the heatwave than in actually solving a murder.

Chaos is a quick read, and feels somewhat unsatisfying. The murder is solved, and further horrors are avoided, but it all seems weirdly secondhand, given that Grethen never makes an actual appearance. On the one hand, I like that Cornwell is focusing on Scarpetta much more intensely; on the other, keeping her in the dark for much of the novel is getting a little wearying. There’s third-person omniscient POV, and there’s tightly-coupled first-person POV, but having other members of the cast expressly not reveal information to the narrator for plot reasons…

Five books to go – assuming Cornwell doesn’t publish another before I reach the end, and she probably will. The next book in the series is Autopsy (2021, USA), which was adapted for the contemporary narrative strand in the recent TV series. It will be interesting to see what changed with the move to the screen.