Fantastic Art: An Interview with Vincent Chong

I first became aware of the work of British fantasy artist Vincent Chong a few years ago, during the time when I was running the website and looking after the marketing side of things for PS Publishing and I've been a huge fan ever since.

The first piece of his work I encountered was the absolutely gorgeous wrap-around covers for Joe Hill's long sold-out and much sought-after debut collection Twentieth Century Ghosts (see below for front panel artwork) and ever since then, PS head honcho Pete Crowther has asked Vincent to supply a steady stream of cover images for his titles.

He's not the only publisher to have taken note, either, as Vincent's work now graces an ever-growing range of book covers from various UK and US independents, including Subterranean Press, Pendragon Press and Screaming Dreams.

For the past two years Vincent has won the British Fantasy Award for Best Artist - in the process ending a five-year run of wins by one of my other very favourite artists, Les Edwards - a clear indication of his growing stature and popularity among the UK's genre fiction fans.

The aspect of Vincent's work that has always most impressed me is his incredible use of texture and tone to create a disquieting, almost menacing mood in his pieces. As a result his work tends to be imbued with a genuinely haunting, unsettling, atmosphere that always suits the books he works with perfectly.

Take a look at these examples of his art and design work and then visit the galleries at www.vincentchong-art.co.uk for many more examples:

20th Century Ghosts (c) Vincent Chong, cover art for the Joe Hill collection, published by PS Publishing.

20th Century Ghosts, variant #1

20th Century Ghosts, variant #2 (c) Vincent Chong, cover art for the Joe Hill collection, published by PS Publishing.

20th Century Ghosts, variant #2

Fool Moon (c) Vincent Chong, cover art for the Subterranean Press edition of the Jim Butcher novel

Fool Moon

The Boys (c) Vincent Chong, cover art for 'Gunpowder' by Joe Hill, PS Publishing

The Boys

The Steel Remains (c) Vincent Chong, cover art for the Subterranean Press edition of the Richard [K] Morgan novel

The Steel Remains

I dropped Vincent a line and put a few questions to him about his work and this is what he told me:

DT: You've developed a wonderful signature style full of muted, swirling colours, shadow and darkness, that clearly draws inspiration from a wide range of sources. Who, or what, are your major influences? Who are your favourite artists, authors, film directors?

Vincent Chong: When I was younger I was really into the Amercian superhero style of comic art and Fantasy artists such as Boris Vallejo and Luis Royo, which I've now moved away from a bit. These days I'm more inspired by comic artists like Ashley Wood and Ben Templesmith, and recently I've been drawn to Mike Mignola's more graphic style. I also really loved HR Giger's nightmarish imagery and the surreal compositions of Salvador Dali. A major influence is the work of Dave McKean, whose mixed-media approach played a big part in inspiring my own style.

Aside from various artists I also draw inspiration from photography, album packaging design, music videos, movie posters, and movies themselves. The photography and music videos of Floria Sigismondi (who did some early Marilyn Manson videos) were an influence early on. My favourite film director is Jean Pierre Jeunet, the French director of Amelie and Delicatessen and I also love the work of Tim Burton and Guillermo Del Toro. All three have a very strong visual style and create fantastical worlds in their films that suck you in.

DT: What sort of production techniques do you employ? Do you have a preference for digital or analog methods? Or do you find that a blend of the two produces the most effective results?

Vincent Chong: I put together all my final artwork digitally, but typically, in the process of creating a piece of art, I employ various other methods of working as well. I use a lot of photography , but also combine it with drawn and painted elements and scanned-in found objects and created textures. Sometimes I also make sculptural elements that I then photograph and incorporate into an image.

So it's not so much having a preference for either digital or analog methods, but using a mixture of both to achieve the result I want. For me, the advantages of putting together the final image digitally, is that it gives me greater scope to experiment, as a lot of the time it's easier and quicker to change things around digitally.

DT: You've already illustrated book covers for some of the biggest names in genre fiction. But are there any authors whose work you haven't been asked to interpret yet that you'd particularly like to illustrate in the future?

Vincent Chong: I've been very fortunate that I've had the chance to illustrate the works of some great authors. I was a big fan of Stephen King's books when I was growing up and never thought that one day I'd actually be illustrating his work. But now, I think I'm more keen to have the opportunity to one day illustrate something that I've written myself. I've enjoyed interpreting the work of various authors, but I would like to be able to illustrate something entirely of my own creation. I've had the beginnings of ideas in the past, but haven't ever written anything properly, so I don't even know if this is something I could do, but I'd like to give it a try one day...

DT: You're best known as a cover artist and that's clearly keeping you very busy. But are there any other avenues that you're keen to explore? Any other media that you'd be interested in working in down the line?

Vincent Chong: I'd love to do more artwork and design for album packaging and maybe do some work for the film industry – either with movie posters or concept art. I've done a few projects creating artwork for websites - for online games and book trailers and such - which were quite interesting to do, as the artwork had to be animated which provided different challenges from doing the usual print stuff, so I wouldn't mind exploring the multimedia avenue more. I'd also like to explore photography further. I use a lot of photography in my illustration work now anyway, but I'd like to try doing some more straight-forward photography without as much digital manipulation.

I always thought it'd be cool to do get the chance to be a film-maker, but I think it's one of those ideas that sounds great in my head, but in practice I'm not sure how much I'd enjoy it, and it's not an area that I have much knowledge in at the moment, so it's not something I'm particularly focusing on right now, but in the future, who knows?

DT: How has winning the British Fantasy Award for Best Artist for the last two years affected your profile? Have any commissions come about as a direct result?

Vincent Chong: It's hard to know if any commissions have come about directly as a result of the awards wins, but I think it's definitely helped to raise my profile around the world and bring attention to my work to those who had never heard of me before. I've noticed a steady increase in the traffic to my website over the last couple of years, and I've been getting more enquiries and commissions, so it seems that there's been a growing awareness of my work, and I think the awards wins helps to establish my reputation a bit more.

DT: What do you think are going to be the major challenges facing fantasy artists in the next 5 or 10 years? And what do you think are the major opportunities?

Vincent Chong: With the current economic situation around the world, I think there's always going to be some worry about whether artists will be able to find work, especially as I think it's quite easy for publishers to turn more to cheaper alternatives, such as creating artwork in-house or using stock photography.

However, with the web and new technologies I think there are more and more opportunities for artists to exploit these days. It's getting easier for artists to get their work out there and seen by a large worldwide audience with faster internet speeds and the increasing ways to showcase work online – through blogs, online gallery and community art sites, as well as the various social networking sites. And with ever improving print-on-demand services as well, it opens up the opportunity for artists to self-publish as another avenue to get their work out there.

I also think new artists are adapting to the new technology and software available to them and it's no longer the case that, for example, an illustrator would just be creating material for print, but they may also cross over into other areas as well, such as providing content for websites or other media.

Many thanks indeed to Vincent for taking the time away from his creative work to answer those questions and for his permission to borrow some of the images from his gallery, all of which remain copyright (c) Vincent Chong, of course.

Do be sure to visit www.vincentchong-art.co.uk and check out Vincent's portfolio.

March 27, 2009 | Filed Under Fantastic Art | 1 Comment 

Joe Abercrombie on 'The Steel Remains'

Someone else has been granted an early sneak-peek at Richard Morgan's The Steel Remains. And it just so happens to be one of the authors of the sort of dark, intriguing, fantasy fiction that I was talking about in my own review, Joe Abercrombie, who concludes:

"I hesitate to say, 'if you like the works of x, y, or z, then give The Steel Remains a try,' because really it's pretty much unlike anything else, and that's why you should give it a try. You might love it, you might loathe it, but you'll certainly find it difficult to ignore..."

Read the full review over at Joe's blog.

March 14, 2008 | Filed Under Books | 2 Comments 

Highly Recommended Reading - 'The Steel Remains' by Richard Morgan

'The Steel Remains' by Richard Morgan - Click for ordering info from Amazon.co.ukSince the publication of his debut novel Altered Carbon in 2002, Richard Morgan has steadily been building a reputation for producing rather excellent, high-octane, action-fuelled sf-noir with a very hard edge and plenty of grit.

Yet for all the blood, guts and hi-tech über-violence, his books have always been driven by superb characterisation and a very eloquent writing style, two characteristics that have ensured his novels are held in the high regard - by both critics and fans alike - that they so richly deserve.

I for one have been a fan of Richard Morgan's work from day one and I most definitely sat up and paid attention when, back in September 2006, Morgan announced that he was planning a change of direction; that his next book wouldn't constitute hi-tech science fiction of any kind; that he was, in fact, going to write an epic fantasy novel (or three). Speaking as a lifelong reader of fantasy fiction and one with a distinct preference for the darker end of the epic / heroic / low-fantasy spectrum, this was a prospect that I found... tantalising, to say the least.

And so when Gollancz's Simon Spanton asked me, a couple of weeks ago, if I wanted to read a manuscript copy of Richard Morgan's first foray into the fantasy genre, I didn't so much bite his hand off as rip his arm away at the shoulder.*

I will confess that it was a slightly trepidatious prospect - seeing what sort of a fist one of my very favourite non-fantasy authors would make of one of my very favourite fantasy sub-genres - but I'm very glad to say that I really needn't have worried in the slighest: The Steel Remains is absolutely superb.

I won't go into too much plot or character detail here, because I'd hate to ruin that same sense of anticipation for anyone else by dropping spoilers, but for the sake of making this review a worthwhile exercise I will try to convey a sense of the over-arcing elements that made it so satisfying a read.

For a start, it's written with all the flair and aplomb that you'll find in any and all of Morgan's other novels; it has the same flowing, readable prose style, the same tightness of dialogue and succinctness of description. It's also possessed of an incredibly dark atmosphere - both in terms of its setting and its overall tone - and as you'd expect from Richard Morgan, the action sequences tend to be violent to the point of viciousness... brutality, even.

In fact, I'll pause there and attempt to coin the term 'brutalist fantasy' (not actually a Googlewhack, but thankfully not for the reasons you might suspect...) to describe the overall feel of of pain- and anger-drenched atmosphere that Morgan conjures up amidst the sucking swamps, stark wilderness badlands and slum-infested city-scapes of his world.

The setting for The Steel Remains is a post-war society and several of the main characters are veterans of that titanic struggle to save humanity from the invading hordes. As I mentioned in my recommended reading piece on Joe Abercrombie's Last Argument of Kings, this isn't something you get to see all that often; it's more often the banner-waving, marching off to battle, heroic standing against overwhelming odds and subsequent last-gasp Saving of Everything by the Forces of Righteousness that gets all the attention. The aftermath to such a conflict often amounts to little more than a chorus of fanfares and a medal-bestowing ceremony, or simply becomes the jumping-off point for the next great quest or battle.

The Steel Remains, on the other hand, devotes a great deal of thematic attention to the concept of aftermath, and is all the more fascinating for it. Some of the major themes of the novel include: loyalty (and its obverse, betrayal), courage, camraderie, honour, and the struggles of war veterans to come to terms with the psychological scars of the conflict.

Morgan also addresses a number of wider socio-political issues, among them: the mechanisms of political control, economic recession, forced repatriation, sexual repression, institutional bigotry and religious intolerance. Quite a number of the issues which we ourselves are made painfully aware of with every news bulletin, in fact; really not at all what you'd normally expect to find in a novel with the 'fantasy' label on the back cover.

In a recent blog post, Morgan describers the book as a "retro-dystopic vision" of a time when "people resolved their differences with bits of sharp steel ... probably not a very nice time to be alive". He also says:

"Look - it's like this: if you really, really love Tolkein with a firmly burning uncritical passion, then there's a good chance The Steel Remains is going to upset you. If you really, really love all those stories about simple, good-hearted farm-boys becoming princes or wizards, then there's a good chance The Steel Remains is going to upset you as well. And if you like your heroes masculine, muscular and morally upright, well, then you could be in serious trouble here."

I'd definitely echo that. If you pick up a copy of The Steel Remains expecting to read a traditional (which I feel is kinder than saying 'bog-standard') fantasy adventure story, then you're going to be in for a shock.

All of which raises the question: will the fantasy-fiction reading audience - a notoriously conservative one for many reasons, not least of which is the generally accepted desire of large sections of its readers and fans to escape from exactly those sort of issues - decide to embrace Morgan's almost unique take on the genre, as a bold attempt to help drag a sometimes overly cliché-ridden genre into more relevant thematic subject areas? Or will legions of avowed acolytes recoil from the lack of familiar, safe reference-points, picking on the one or two more obviously controversial elements of the novel as a convenient scapegoat to justify a rejection of the novel which masks their own lack of willingness to explore?

'Controversial elements'? Oh, aye. Just a couple. In fact, I'd go as far as to predict that The Steel Remains is a book that will split the fantasy reading audience right in two, straight down the middle: love it or hate it. Because it's also a very provocative novel: politically, socially, sexually and psychologically; a genuinely challenging read all round. And there are certain scenes in the book - I won't say what they are, but you'll definitely know them when you get to them - that will make more conservatively-inclined readers very uncomfortable indeed.

Which raises another question: how much of the more overtly provocative (in a genre-standard sense) material in The Steel Remains is there as a result of Morgan wondering just how far he could push the envelope; just how much he could get away with? It's tempting to imagine him sitting there, working out what you almost never see in fantasy fiction and then making sure he throws plenty of that in, along with a bit more of this on top for good measure.

As it turns out though, the question is possibly an unfair one. In a follow-up chat, Simon Spanton assured me that Morgan hasn't actually read all that much within the fantasy genre - a suggestion borne out by the reading lists and recommended books occasionally posted to the author's website - so it's hardly a case of Morgan working out what was missing from everything else, then lumping it together and chucking it all in for maximum effect.

Instead, I was assured that the author has set out to write 'a Richard Morgan novel in a fantasy setting', rather than 'a fantasy novel by Richard Morgan'. It's a subtle distinction, but an important one, and it's one that should help to explain why there's so much in The Steel Remains that you just wouldn't expect to find in a typical example of the genre, along with quite a lot of material that readers of Morgan's earlier work will find both enjoyable and intriguing, despite the change of milieu and the very definite rooting in the fantasy genre (albeit with some intriguing hints that the world, or even the universe, could potentially be a much larger and more complex place than initially assumed).

In conclusion, then: The Steel Remains is one of the darkest, most intense epic fantasy novels I've read to-date. I also think it's a fantasy novel that doesn't so much transcend as extend the genre, into the sort of thematic territory that the majority of fantasy writers wouldn't even consider going anywhere near. As a result, it could just turn out to be one of the most important fantasy novels, epic or otherwise, to have been written in the last ten or twenty years, if only because it could provide an additional impetus for the growing number of similarly-minded writers to think even harder about how far they can actually push their own ideas.

Anyone with a hankering for the sort of intensely interesting fantasy fiction that the likes of Steven Erikson, Joe Abercrombie, Glen Cook China Miéville, Scott Lynch, Alan Campbell and co. have been writing recently, or even a glimpse of what might have been if the likes of George R.R. Martin, Paul Kearney, Greg Keyes, or even David Gemmell had teamed up with Quentin Tarantino for a novel or two, then this is definitely a story you should seriously consider reading.

But on the other hand, if you already suspect that you don't like your fantasy in the slightest bit brutalist, then I'd simply suggest this: steer clear. You won't be doing yourself any favours by daring the beast in its lair... unless you think the time has come to leave the safe and well-worn paths behind and venture a little deeper into the swamp-muck...

Author Info: www.richardkmorgan.com
Publisher Info: Gollancz (UK)
Publication Date: August 2008
Ordering: Amazon.co.uk

*I should probably point out that I do run Richard Morgan's website, which is how I ended up in so rare and privileged a position...
March 8, 2008 | Filed Under Books | 17 Comments 

New Arrivals - mid November '07

Here's the pick of the crop from my latest trip to the P.O. Box:

Swiftly by Adam Roberts (UK Proof)

'Swiftly' by Adam RobertsA rather intriguing alternate history-meets-literature premise this time out from Adam R: following Gulliver's return from his well-publicised Travels, the British Empire has grown rich on the slave labour of Lilliputians; but France has enlisted the aid of the Brobdingnagians and launched an invasion of the British Isles.

I'm still waiting on confirmation from Adam, but I think the novel is an extended riff on the 'Swiftly' tale first published on SciFiction.com in 2002, which would certainly explain why the new novel has the same title as Adam's Night Shade Books anthology, in which 'Swiftly' (the story) also appears. Confused? You might be...

Shooting War by Anthony Lappé and Dan Goldman

'Shooting War' by Anthony Lappé and Dan GoldmanI've been looking forward to seeing this graphic novel adaptation of the original webcomic ever since Joe Gordon heralded it a year ago and I was fortunate enough to be sent a copy by UK publisher Weidenfeld & Nicholson.

It's a vicious satire on America's war in the Middle East, set in 2011 and told from the point of view of a video-blogger who becomes caught up in the ongoing media frenzy after he captures the terrorist bombing of his apartment block on his blog and is catapulted to stardom as a result.

I read a couple of the early webcomic installments and thoroughly enjoyed them. Roll on a bit of free time.

Matter by Iain M. Banks (UK Proof)

'Matter' by Iain M. BanksYes, I too have been blessed with a copy of the proof that everyone's been bragging about receiving, and which I'm jolly and properly grateful for my copy of.

Matter is the new Culture novel and I didn't realise that it's the first for seven years, so no wonder it's being billed as the 'science fiction publishing event of 2008'.

All I have to do now is find a slot in the old reading schedule for 593 pages of brand new Banks. Shouldn't be too much of a chore... :)

The Red Wolf Conspiracy by Robert V.S. Redick (UK Proof)

'The Red Wolf Conspiracy by Robert V.S. RedickI was first told about this one a while back by Robert's agent, John Jarrold, who very klindly sent me over a couple of proof chapters by email, which I thought were very promising indeed. Gollancz's Simon Spanton has subsequently bought the trilogy for UK publication and now the UK proofs are out...

Judging by my earlier first impressions, this weird-ish (although it could of course get much weirder) fantasy, set on a legendary, 600-year-old sailing ship, should appeal to fans of Scott Lynch, China Miéville, Alan Campbell and co. This one's heading towards the top of the 'to-be-read' list and I'll let you know when I've had a crack.

Gorgeous cover art by Edward Miller as well, which is always a bonus.

Plus:

Black Man by Richard Morgan

The UK paperback of Richard Morgan's Black Man is definitely worth picking up if you haven't already got a copy of the hardback. Highly recommended.

Good Omens by Neil Gaiman and Terry Pratchett

Good Omens is one of my very favourite comic novels, which I must have read four or five times already. Very nice indeed to see it republished in a handsome hardback edition (and a bargain at only £9.99 - less on Amazon.co.uk, of course...)

November 21, 2007 | Filed Under Books | 4 Comments 

New client, new(-ish) website: RichardKMorgan.com

I've recently taken on the management of Richard (K) Morgan's website, which I'm very pleased indeed to be involved with, seeing as I'm a bit of a fan and all...

I was going to start by just transferring the old site onto a new server, but... well, I couldn't resist having a bit of a tinker (as you do), so we've actually ended up with an interim revamp. It's still fairly close to the look of the original site, but I've broken the pages out of the frameset to improve Google spider access, added a bit more info about Richard's books to the homepage and so forth.

There will be a fully re-designed site going live later in the year, with a design that reflects the re-design work that publisher Gollancz have unveiled for the full range of paperback editions of Richard's books, and plenty more bibliographical information etc. Watch this space. And in the meantime, here's a quick shot of the interim site:

Interim version of www.richardkmorgan.com
July 17, 2007 | Filed Under Freelance Work | 4 Comments 

Highly Recommended Reading: Black Man by Richard Morgan

I finished the latest novel from British writer Richard Morgan at about 11.30 last night. To say it was a gripping finalé would be understating things by just a tad; I've been absolutely hooked by this book since I started reading it a couple of weeks ago; if I'd had an uninterrupted slice of reading time then I reckon I would have finished it inside of a single sitting, no problem.

'Black Man' by Richard Morgan - Click for ordering info from Amazon.co.ukBlack Man is set in the same milieu - as far as I can tell - as Morgan's various Takeshi Kovacs novels, albeit a good few centuries earlier; about a hundred years into our own future, in fact. Much of our own society is still recognisably extant in Morgan's vision of the future, but there are the three major changes that drive a great deal of the novel's back-story.

The first is that Mars has been colonised - and successfully atmospherically terraformed - by the Western Nations Colony Initiative (COLIN), a supra-governmental corporation with almost unlimited powers of jurisdiction and action. The second is the break-up of the United States of America into three areas: the UN-dominated North-Eastern states, the secessionist Pacific Rim, and the hard-core, ultra-conservative south and bible-belt, or 'Jesusland'.

And the third major change is that genetic engineering has been advanced to the stage where, for a number of years before the period in which the novel is set, governments and corporations have been experimenting with creating a number of human variants; such as the pliant, submissive, male-fantasy 'bonobo' sex-specials, and the regressive, aggressive, lone-wolf uber-warriors; the 'variant thirteens'.

Protagonist Carl Marsalis - the eponymous 'Black Man' - is one such 'thirteen'. Exiled to Mars along with a large number of his brethren, he won the return-ticket lottery and came back to Earth, where he was granted special dispensation as long as he agreeing to work as a bounty hunter for the UNGLA, tracking down rogue thirteens for execution or internment in the tracts; wilderness buffer zones on the fringes of civilised society.

At the start of the book he runs into some trouble with the authorities down in Jesusland, and it takes some COLIN influence to set him free, providing of course that he helps them out with some trouble they're having with a rogue thirteen who's made an unorthodox return from Mars of his own, and who has embarked on a seemingly-random killing spree across the North American continent since splashing down off the Rim States coast.

And that's pretty much where the first 150 pages or so takes us. From there the novel develops into a captivating mix of the sort of adrenaline-fuelled, high-octane action action sequences we've come to expect from Morgan - an author who's shown time and time again that he's never keen on pulling his punches - and some intense, detailed and incredibly effective characterisation.

One of the central premises of the book is that, in this future society, racism - on the basis of skin-colour, at least - has finally become a thing of the past just about everywhere, with the notable exception of the still-benighted and culturally retarded Jesusland territories, of course.

Instead, a new xenophobia has arisen that's based on genetic make-up: the bonobo's are despised as much as they are desired, and the world lives in abject terror of the thirteens. Their anti-social, hunter-gatherer, seemingly conscience-less genetic make-up means they are perfect killers, but at the same time their base-level inability to respect and obey the laws and strictures of civilised authority, or to follow any order that conflicts too highly with their own deeply-inbred instinct for survival, renders them far too dangerous to employ as soldiers; hence their extradition to Mars; hence the potential for panic should the rogue become public knowledge; hence the need to call in Carl Marsalis to finish him as quickly as possible.

Marsalis' ongoing investigation, in the company of COLIN operatives Sergi Ertekin and Tom Norton - both of whom have key roles to play in the unfolding of the Black Man's story - is a study in nature vs nurture, as Marsalis' instincts lead him in one direction, while his COLIN partners' civilised sciences and socially refined behavioural models suggest entirely different avenues of approach. It's a study that mirrors the conflict within Marsalis, as he constantly battles to keep his violent tendencies in check, partly because he has to in order to operate in human society, partly because he doesn't want to hand the victory in the battle for his soul to the scientists and governments that created him as a weapon and then discarded him when public opinion turned against such a weapon's use.

And throughout the novel we're given a great deal of insight into the past histories and psychological make-up of all the main characters, plus the supporting cast with whom they come into contact, and even the villains of the piece. These tend to take the form of - sometimes lengthy - anecdotal interludes which, whilst at times they may make you wish the author would hurry up and get on with the next gun battle or Tanindo fight sequence, are ultimately highly rewarding.

The result of all this character exposition and background detail is a novel whose themes go far deeper than those of the standard secret agent / near-future sf thriller. Morgan paints an entirely convincing and well-structured portrait of the world a century hence; one that takes on added significance in terms of his own over-arcing narrative if it does indeed demonstrate the building blocks of Takeshi Kovacs' environment (I'm sending over a few questions for a UKSFBN piece in a moment. I'll ask him...)

He also peoples that world with characters with whom you can't help but strike up a sense of empathy, whatever their genetic background. Even a stone-cold killer like Marsalis is portrayed as ultimately human (albeit throughout holding himself to be an entirely different species from the mass herd of 'socially feminised' humanity that surrounds him) with concerns and motivations that go back to the very roots of evolved civilisation. You can understand him, identify with him, even as he murders and massacres his way through an existence that the vast majority of us will never experience for ourselves.

And after all, isn't that the whole point of good fiction, whatever the variant?

Very highly recommended indeed.

March 7, 2007 | Filed Under Books | 2 Comments 

New Arrivals / Recommended Reading - late Jan '07

No fewer than four must-read new titles came in at the back end of last month, which threatened to throw my to-be-read list into fresh disarray. As it happens though, I've already finished one of 'em(The Intruders - highly recommended!) and started another. Hmmm. So, perhaps not so much 'disarray' as 'temporary abeyance'...

'The Intruders' by Michael MarshallThe Intruders by Michael Marshall

Michael Marshall (Smith) fans are going to love this one. It's a classic MM(S) tale: the protagonist, Jack Whalen, is basically an ordinary guy with a background in taking care of himself - in this case he's an ex L.A. cop - who finds himself flung into having to deal with an extraordinary situation, and with little idea of how big a situation he's landed in, or how deep the trouble goes.

In this case events are triggered by the disappearance of his wife, Amy, with whom he's very much in love, and the re-appearance of an old high school acquaintance, Gary Fisher; the golden jock who went off the rails following a suicide by a secret admirer and has since wound up practising law, and who is now dealing with a rather odd-feeling last will and testament.

But of course, nothing is ever quite as it seems in an MM(S) novel, and The Intruders is no exception. I'll say no more, to avoid spoilerage - although speaking of which, if you're planning on reading The Intruders, then do not read the blurb on the back of the book as it contains a moderate spoiler that could damage the narrative tension of a particular segment - but suffice to say it's full of all the MM(S) hallmarks: rich prose, great characterisation and an absolutely wonderful observational eye. No other writer I've encountered to-date is quite as good at summing up the intricacies of human relationships in so few words. And dammit, he writes a damn good shoot-out as well...

'Black Man' by Richard MorganBlack Man by Richard Morgan

And, having finished a contemporary conspiracy-plot thriller, I've launched myself straight into a high-tech, futuristic techno-thriller by another of my very favourite authors: Richard Morgan. Black Man is, as far as I can ascertain so far, set in the same milieu as Morgan's earlier Takeshi Kovacs novels, although I think it might be set in a much earlier time-frame; I'd have to check back with the earlier books to find out for sure.

I'm only a few chapters in so far, but already the book has the classic Morgan hallmarks; special agents running more or less amok, hard-pressed police detectives having to deal with far out-of-the-ordinary cases (in this case a downed spacecraft that crashes in the Pacific Ocean en-route from Mars) and a dark, gritty atmosphere that you can taste in the back of your mouth.

I'm looking forward to losing myself in this one over the next couple of weeks and I'll let you know how I get on, of course...

'Ysabel' by Guy Gavriel KayYsabel by Guy Gavriel Kay

For years now, I haven't met a Guy Gavriel Kay novel that I haven't instantly liked; well, not since his debut trilogy outing, The Fionavar Trilogy, which frankly I wasn't too keen on at all (the author and I have exchanged emails on the subject at some point, and apparently I'm not alone in the hate/love thing... although he did explain that there's a fair bit more to the series than I first read into it... but I was only 17 or so at the time, so we can blame the callowness of youth...)

Anyhow, Ysabel is a rare outing for Kay, in that it's set in a contemporary environment, albeit one in which the mythical past seems to be magically impinging. In his last few novels he's established an alternative version of our own world's Iron Age and Medieval histories and has written about various time periods within this new timeline. I'm intrigued to find out whether this new novel represents a blurring of the boundaries between our own world and this alternate universe, or whether the 'contemporary' setting of Ysabel actually turns out to be the modern-day equivalent in that world all along... if you follow me.

I'll be reading this one before too long, I expect, so again, I'll report back as and when.

'The Terror' by Dan Simmons title=The Terror by Dan Simmons

Now, this one looked highly intriguing when it turned up, but I have to confess to being somewhat worried by the daunting 784 page-count. Plus, whilst I enjoyed the artistry of Ilium - Simmons' re-mix of The Iliad - I probably didn't get as much out of it as I should have, given the rave reviews it received elsewhere. So, my initial reaction to The Terror was coloured by the worry that I might suffer the same fate here - and at a considerable investment in precious time as well.

Then I had a coffee with the esteemed John Berlyne, proprietor of The Works of Tim Powers and UK reviews editor for SFRevu, and he said that it was an absolutely wonderful book. In fact, he went as far as to say that it's one of the best three books he's ever read... and this from the guy who's one of the world's leading authorities on Tim Powers (you can read his review on SFRevu).

So now I'm really going to have to read it. Although I might wait until the end of October and take it away on my hols to read by the pool. A chilling tale of terror set in the Arctic ice fields might be just the antidote to all that Maltese sunshine I'm planning on soaking up...

February 15, 2007 | Filed Under Books | 3 Comments 



Technorati


Technorati Authority:

View blog authority

Add to Technorati Favorites

Miscellania


British Blog Directory. Blog Flux Directory