Fiction
'The Shadow of the Wind' by Carlos Ruiz Zafón
This is the first part of Ruiz Zafón's renowned tetralogy. It is set in Barcelona, 1945-56. It is a little magic realism, with most elements quite realistic, if Gothic in tone. The Cemetery of Forgotten Books which the protagonist is taken to as a boy and is the home to books that would otherwise be lost has a fantastical element. However, other aspects such as the role of the secret police under the Francoist regime, established right across Spain in 1939, is realistic. Daniel is allowed to pick one book from the cemetery and selects 'The Shadow of the Wind' by Julian Carax an unsuccessful published author from Barcelona who spent much of his life in the inter-war years in Paris. Daniel sets out to discover the story of Carax, especially his subsequent death in Barcelona, and those who knew him that remain. This involves a lot of investigating among deserted buildings of the city and avoiding various nasty characters including the man intent on burning all Carax's work. It is also a coming of age story and Daniel's challenges with the young women he falls for, in part mirror Carax's own.
This book has been immensely successful. It was published in 2001 and translated into English in 2004. I am not sure why I had not come across it before, though possibly as given my reading patterns I typically reach books some 15-20 years after they have been successful and they are common in charity shops. I was interested in the setting, having read quite a lot on the Spanish Civil War, but much less on the period afterwards. The Gothic atmosphere is well rendered. The investigation and the sense of jeopardy were handled effectively. I did feel that it went too far in trying to be twisty in its narrative and its revelations and that my patience with how many times it might loop around or parallels be drawn, was probably exhausted by the three-quarter mark, though I continued to the end. Perhaps the petty, and at times violent, nastiness of characters especially towards their children, becomes tiresome after a while.
I have the second book, in the sequence, 'The Angel's Game' (2008) which is a prequel to read. While it was a labour to finish the first book, I did admire the imagination of the author and his portrayal of the settings so will not abandon reading the second one in due course.
'A Question of Blood' by Ian Rankin
I actually listened to the audio book version of this back in August 2018: https://rooksmoor.blogspot.com/2018/08/books-i-listened-toread-in-august.html Interestingly, this time round, reading it, I felt that it was actually tighter than I felt back then listening to it. There is some travelling about, but compared to some of Rankin's books I have read in recent months, this felt to be necessary. The fact that Rebus and DS Clarke work together rather than separately for much of the book, may be one reason why aspects do not feel superfluous. The story does move on briskly and as I noted before, not being a standard murder mystery in that the killer is known from the outset, does not undermine the investigation and it is interesting that some of the 'red herrings' are put in intentionally by people working to their own agendas. Thus, overall, I was glad I came back to this book as I was much more satisfied with reading this particular entry in the series, the 14th, then I was listening to it five years ago.
'Breakfast in the Ruins' by Michael Moorcock
While I have read a lot of Michael Moorcock books down the years, this was one, published in 1971, that I had not come across before. It is a short novel (174 pages in my edition) which see the protagonist Karl Glogauer dropping into various versions of himself, usually as a boy in various locations from 1871 to 1990. He is projected into these roles, it appears, through having homosexual sex with an unnamed Nigerian man who he meets in the roof garden cafe of the Derry & Tom's department store, a location regularly turning up in many of Moorcock's books.
Aside from the mode of 'transport' and a vignette set in 1990, there is not much science fiction or fantasy, rather they are quick portrayals of different historical settings including Paris under the Commune, 19th Century Brunswick, Capetown, Havana at the time of the Spanish-American War, the east end of London, (German) Alsace during the First World War, Kiev during the Russian Civil War (a popular context for Moorcock), New York at the time of Wall Street Crash, Shanghai during the 28th January Incident of 1932 (rather than the Japanese invasion of 1937), Berlin in 1935, Auschwitz in 1944, Tel Aviv in 1947 at the end of British mandate, Budapest in 1956, Kenya in 1959 during the Mau Mau Emergency, with US troops in Vietnam in 1968 and the west end of London (notably Ladbroke Grove another venue Moorcock likes to use) with a prediction of rioting and unemployment in the 1980s which was a reasonably accurate prediction. As you can tell all the settings are grim; often violent.
Also in common with his style, Moorcock mixes in excerpts from newspapers and non-fiction books of various periods. He also presents a moral dilemma at the end of each chapter. In many ways he was the precursor of a lot of what goes on in terms of social media these days. At the time the book must have appeared like a lot of his work, as a challenging text in terms of the incidents it focused on, its very format and the engagement with topics such as homosexuality and abuse. Now such are commonplace features on TV and in books thought non-linear, multi-perspective structures are unpopular with readers even if they do feature in movies and TV series. Consequently what a reader in 2023 is likely to pick up on is the quality of the descriptions of the contexts and in one case quite an engaging short story. Aside from that, it does feel at times as if Moorcock was showing off his ability to be non-traditional in his approach which would have jarred/challenged readers in 1971 much, much more than it does 52 years later.
'Walking on Glass' by Iain Banks
I believed that I had not read this book, though given I get through about 50 per year, perhaps it is to be expected that I forget some from a decade or two ago. This was published in 1985 so I would have had ample time to read it in the past 38 years. It was not as if I was entirely familiar with the book and I did not know the ending. It consists of three strands that we move between in turn. Two of them are about men living in London in 1983/84: Graham Park, an art student and Steven Grout, a man who maybe neuro-diverse or mentally disabled. For much of the novel we see them moving around on a particular day, one in which Graham is going to visit a woman called Sara who he is in love with but has been rather toying with his affections and Steven loses his job as a roadworker. I did not recall either of these stories.
I did recall the third strand which features a man called Quiss and a woman called Ajayi who come from opposing sides of a war on a different planet or time. They are confined to a vast castle in a bleak landscape and have to play out almost impossible games such as one-dimensional chess, open-plan Go, spotless dominoes, Chinese Scrabble and Tunnel. Working out how to play and completing a game allows them one chance to answer the riddle and be released from the castle. In the depths of the castle are rooms in which other prisoners can insert themselves into the lives of others as a distraction from their imprisonment.
This was Banks's second 'contemporary' book and like 'The Wasp Factory' (1984) combines the mundane with the rather outré aspects. It also points to his other stream of writing as Iain M. Banks, as a science fiction author. Overall the book, rather like its predecessor, shows different personal Hells. It shows how we can construct or at least contribute to constructing contexts which distress us mentally and then fall victim to these; often unable to break out of them even if in (large) part we have built them up in the first place. This does say something about neuro-diversity and mental health, explored less sensitively in the 1980s than now. Unfortunately Banks's 'solution' seems to be simply to seek oblivion, whether that is through self-destruction, suffering a severe injury or simply abandoning even our best work. Added to that it makes a strong message that we should never hope and ultimately the nastiest people in our world will always come out best off.
While it might not be perceived this way, as with 'The Wasp Factory' this novel is effectively a low-key horror story and should be approached in that way. It is an unhelpful musing on the mental worlds we construct and its overall message is that anyone finding themselves in such situations should simply give up, whether on their efforts or indeed life itself. As you can imagine, I did not enjoy this book. It is engaging as it goes along but in all three strands ends up being utterly bleak.
Non-Fiction
'The Weimar Republic' by Eberhard Kolb
This was a good book to read after Wehler's 'The German Empire' (1985) which I read in August: https://rooksmoor.blogspot.com/2023/08/books-i-readlistened-to-in-august.html Like Wehler, Kolb provides a brisk but focused analysis of the next period in German history, which eschews being dogmatic down any of the lines which became very ensconced in German history in the 1960s-80s. The first part of the book is an account, which really cuts through the confusion and draws attention to aspects which are overlooked. He makes the notable point that the state's democracy had died by 1930, almost three years before Hitler came to power. Kolb dismisses many of the 'easy' answers that have been put forward for the failure of the Weimar Republic and indeed misconceptions, perhaps even myths, that for so long persisted, regarding the rise of the Nazis. The second half of the book looks at research into different themes of the period as it was when this edition, the first in English was published in 1988. The bibliography was updated from the German first edition four years earlier; there is a 2004 edition in English available too. Thus, this book provides a valuable insight into a period of history which retains interest (e.g. 'Babylon Berlin' TV series, which began in 2017 is still running with a 5th season planned) and a good counter to many of the lazy answers that people continue to wheel out about how the republic fell.
Audio Books
'Prince' by Rory Clements; read by Peter Wickham
Set in 1593, this is the third in Clements's series of spy thrillers featuring John Shakespeare, brother to the more famous William. It is very well done with aspects of what you might expect from a modern spy thriller but clearly set in the late Elizabethan period with rich descriptions of all the sights, sounds and smells of the time. Shakespeare works for Robert Cecil, effectively spymaster for Elizabeth I in the last decade or so of her reign. While his father Cecil acted as her Secretary of State, 1590-96, Robert despite being disabled, carried out a growing part of his work before taking on the position 1596-1612.
John is initially set to investigate terrorist incidents using gunpowder against Dutch refugees from the Eighty Years War who have settled in London. There is much tension around these immigrants though it is soon apparent it is being exploited for a range of purposes. John is later sent to find out about the possibility of an unknown Catholic child of Mary, Queen of Scots who it is believed the Spanish fighting against the Dutch and hostile to Britain, are aiming to set on the Scottish and perhaps the English throne too. Between them John and his assistant Boltfoot Cooper investigate around London and especially into Essex for the conspirators.
Clements handles the story well. There is rivalry between John and his fellow agents which adds interesting points of tension and dynamics to the plot. Clements does not hold off from brutality of the times, with regular reference to tortures and violence even to
John's loved ones. There are vain people and brutal people involved, so the jeopardy feels genuine and there are blind alleys which John goes down. He is capable but not all-seeing, which allows us to feel an affinity with him. Some of the conspirators are rather larger than life, but throughout Clements does ground them with genuine motives and behaviours appropriate for the late 16th Century. There is an epic climax which is built up to well and does not feel ahistorical.
Overall, there is a lot going on in this book, but it maintained my interest without losing me, right throughout. It runs to almost 13 hours on audio, unabridged. Wickham is called on to do a lot of voices from France, Spain, Scotland and the Netherlands, and most of these are handled well, including the female voices. The only gripe is one of his Dutchmen sounds more Polish, though that only brought home how many parallels there can be felt to be between xenophobia of the the Englands of both Queens Elizabeth. This is part of an 8-book series and I would certainly buy more that I come across whether printed or in audio format.
'End in Tears' by Ruth Rendell; read by Christopher Ravenscroft
I have never read any of Ruth Rendell's novels, though I have seen TV dramatisations of 'A Fatal Inversion' (1987; broadcast on TV 1992) and 'Gallowglass' (1990; broadcast 1992) novels she wrote under the pseudonym Barbara Vine. This novel is the 20th in the Chief Inspector Wexford series and was published in 2005, so after the 48-episode 'The Ruth Rendell Mysteries' TV series (broadcast 1987-2000), which I never saw but was aware on.
The novel is a classic contemporary-set British police procedural novel set in Sussex. A killing of a woman by a lump of concrete being dropped on the car she was travelling in is soon followed by the murder with a brick of a young single mother. This brings Wexford into a complex investigation despite the small range of suspects and it is soon tied up with inheritance, surrogacy and the guardianship of children, with echoes in Wexford's own life. Aside from fewer people having internet access and a lingering discomfort over homosexuality, this book could be set now and Rendell does well in combining modern concerns with a classic crime genre with some tropes, notably the brothers, that would have fitted in earlier decades. It jogs along quite well and the conclusion comes across as believable though perhaps unexpected.
Ravenscroft does reasonably well with the voices, especially as there are a lot of women of differing ages to cover. His Wexford ironically is perhaps his weakest voice and I think this is because he was seeking to emulate the actor George Baker's portrayal of Wexford in the long-running TV series, but at times the deep West County accent wobbles. It would probably have been better for him to deliver his own take on the character's voice.
'Tomorrow Never Dies' by Raymond Benson; read by Simon Vane
As regular readers of this blog will know about five years ago I listened to all of the original Ian Fleming James Bond books in audio format. Since I read 'James Bond, The Spy Who Loved Me' (1979) by Christopher Wood, when it came out, I have not read any of the novelisations of the movies until I came across this one. Apparently it is based on an unused version of the movie script. However, in common with what I understand is usual with these novelisations, coming to the book does add quite a lot to the movie. There are back stories to Elliot Carver, Paris, Mr. Stamper and so on which develop these characters. In particular through showing their flaws and their physical traits, the characters especially of Carver and Stamper that we see in the movie, make more sense. There is a whole extra character, a non-binary heir to the Chinese throne who does not even turn up in the movie.
Wai Lin gets more detail too and we see 'behind the scenes' before she encounters Bond. She is, however, portrayed as being 28 (which does seem young to be a Colonel in the Chinese Ministry of State Security) and petite whereas Michelle Yeoh who portrayed her in the movie was 35 at the time and 1.63m (5'4") but shot so she looks little shorter than Pierce Brosnan at 1.86m.
The action scenes are well handled, influenced by the movie, clearly, though in some cases much more practically portrayed and factors such as the need for decompression when coming up from the sunk ship are addressed rather than skipped over as in the movie. Bond also has to use more initiative when aboard the stealth ship than being fully kitted out as he is in the movie. Rather scary is a scene which does not feature in the movie in which Carver outlines the wars he intends to start in the coming years, including a vicious Arab-Israeli conflict, the Russian invasion of Ukraine and an American civil war. Benson, or whoever wrote the script back in 1997, had pretty decent insight into the likely conflicts of a quarter of a century into the future.
Simon Vane does well on the accents, just avoiding sounding too stereotypical with the German and Chinese ones. He is clearly influenced by the movie portrayals and captures Jonathan Pryce's Carver well and indeed even Judi Dench's M decently. I would certainly be interested to see other novelisations of the movies though this is rated to be one of the best. The two I have read/heard do add depth to what is shown in the movies; the background stories and the grittier elements do feel to bring them closer to the Fleming books than mainstream movies probably permit.
'A Murder of Quality' by John Le Carré [David Cornwell]; read by John Le Carré
I read the novel of this some time in the past but had forgotten the plot. It is a murder mystery set at a public school. Le Carré was educated at Sherbourne and taught at Eton. Like George Smiley, the protagonist of the novel, Le Carré had been a spy working for both MI5 and MI6 at different times before becoming a novelist. This novel is set in the 1950s with the overhang of the war not too distant. However, a lot of the attitudes and behaviour shown would be no different if you set it, as many authors do, in a British public school of the 21st Century. I suppose this makes it ironically more accessible to readers (even though only a small minority would ever attend such as school) than if it had been set in a grammar school or a secondary modern school of the time.
The wife of schoolmaster is beaten to death with a coaxial cable. Thus reminding us though the context of the public school is a supposedly genteel setting, in fact the brutality of the war and the cheapness of life continued to impact on the attitudes of many in the following years - you sometimes often spot this in Agatha Christie novels of the time and I instantly think of 'A Murder Is Announced' (1950). This novel has a similar element in that Smiley is drawn in after the victim has sent a message predicting her murder.
The novel is brisk but conjures up a range of characters in this constrained setting, which perhaps while they have become stereotypes in the years since, seem to be nuanced when portrayed by Le Carré. He is particularly adept at showing us characters and then completely undermining our perception of them. Some readers might be riled by this, but the author does remind us that even his protagonist's view of people may be far from perfect and especially coming fresh to the locus, largely judges them through what people say about them.
I can see why this novel has retained its appeal as it is almost an exemplar of writing a 20th Century English murder mystery and you feel that Le Carré did it to put himself into that context and show what he could do in that genre rather than spy fiction. It is not common to have the author read their book on audio. This is only the third book I have listened to where that has been the case. It does take Le Carré a little time to get into his performance, perhaps because it was not something he did habitually. However, he is soon well underway and coming from the class and background he is portraying he proves very capable of portraying characters of both genders from that context well. At just 2 hours 30 minutes in total, this is certainly one to listen to (or indeed read) if you have exhausted your collection of Christie, Marsh and Sayers, but want something clever set in a context they would recognise.
