London -- fiction
London Below is a dangerous, magical place. In Neil Gaiman’s Neverwhere, Scotsman Richard Mayhew had just settled in with the upwardly-mobile routines of London Above. He had an office job that might be going places and a stunning if toffee-nosed girlfriend who was perhaps rather too keen on gallery-hopping for his taste. His lovely Jessica had plans for Richard’s life that did not include helping the bloody and broken young lady who lay across their path.
It’s not her fault they call her Bloody Jack. Well, not exactly, though I suppose in her way she earned it. ‘Twasn’t always like that, though. She came from a nice if poor family in London, Mary did, before the pestilence came and took their lives, and horrible Muck came with his wheelbarrow for their bodies to give to the doctors to cut up. Set out on the curb, crying as a small girl will, old Muck tried to cheer Mary by assuring he’d be back for her before too long.
British author F.R. Tallis has always been fascinated with electronic voice phenomena, also known as EVPs. Through these recordings, it is believed that one can pick up otherwise unheard spirit voices, a method long popular yet controversial with paranormal researchers. Sometimes EVPs seem to pick up vital information on the subjects’ past, revealing disturbing events that could have led to their demises. At other times, the recordings have proven to be completely useless and false. The fascination continues, however, as Tallis says on his website, “A ghost that has been objectified by technology is altogether more convincing and subsequently a great deal more frightening.”
In Tallis’ recent novel, The Voices, Christopher Norton, his wife Laura, and their young daughter Faye move into a beautiful Victorian house in London during the stifling summer of 1976. Norton discovers that the size and location of the home is perfect for his career as a film score writer. He finally has the opportunity to build his own sound recording studio. But as the hot summer nights wear on, Laura begins to hear slight knocking sounds on Faye’s baby monitor. Then come the mysterious, unearthly voices that crackle through the speakers.
Charles Maddox’s client turned out his daughter years ago for having “fallen,” in the way that Victorian women were said to do. She disappeared into one of London’s many workhouses and by the time her father wanted her back, there was no trace of either her or the child she bore for an unknown father. Lynn Shepherd’s The Solitary House leads readers on a tour of the sights, sounds, and smells of old London’s worst and best neighborhoods—places that often lay cheek by jowl to one another, as Charles struggles to find the missing girl.
She’s Leaving Home is William Shaw’s debut novel. Set in 1960s London, a young woman’s body is found on a residential street, near the Beatles’ recording studio on Abbey Road. Detective Cahal Breen needs to solve this case to prove he is still up to the task of being a detective, following what appears to have been an act of cowardice. Teaming up with Helen Tozer, a new policewoman, Breen begins to focus on the many young fans who congregate outside the Beatles’ studio.
There are graphic novels that literally paint then print images onto the page. The Brother Athelstan books are another kind of graphic novel. They have a very visual feel to them, only it’s done with words. Some medieval mysteries are as stuffy as a centuries-old cupboard. P.C. Doherty’s The Nightingale Gallery isn’t like that. Its characters breathe and move and love and murder with a striking vivacity.
Eel’s early morning spent scavenging on the Thames River as a “mud-lark” brought a few things to the surface. There was a nice piece of copper, but he had to give that over to one of the stronger mud-larkers, a kindly blacksmith turned to this low way of making a living. But he did come away with two valuable things—or at least valuable to him. One was a half-drowned cat, thrown into the river by a bully boy. The other was a word of warning from the old blacksmith. Fish-Eye Bill was looking for him again, he said. A year Eel had spent in an easier life, getting his schooling, working two jobs and staying away from places he might be seen by Bill’s crew. It sounded like the makings for serious danger. Though in Deborah Hopkinson’s The Great Trouble, Eel’s problems are only beginning.
“Ye Toads and Vipers!”
Meggy Swann has reason to be angry. Her mother had finally succeeded in getting rid of her, having her dumped miles and miles from home at her father’s tiny house in London. She’s never met him before, and he clearly doesn’t want her. It’s not like she can run away somewhere else though. An accident at birth has left her legs crooked, and she is in constant pain.
Only able to walk with the help of two sticks, the world of 1573 can be an especially cruel place for such a one, but she has angrily adapted. Alchemy and Meggy Swann, by Karen Cushman, tells her story from the time she is dumped like a sack on her father’s narrow doorstep, frightened and seemingly helpless, to the brave things she must do to protect herself and others she has come to love.
Tessa Harris’ The Anatomist’s Apprentice plunges the reader into the viscera of 18th-century English culture and crime.
The English Monster, by Lloyd Shepherd, blends two stories of horror—one short, sharp, and bloody while the other is a slow unraveling of a man’s conscience.
October, 1564: A handsome young man, just married and very much in love, travels a dangerous path to the port of Plymouth, England, where he hopes to find a berth on a ship bound for adventure, but more importantly, riches to make their new life together secure. It is try and succeed or fail and never return for William Ablass. His letter of introduction earns him a place on board Captain Hawkins’ vessel where he becomes shipmates and friends with Francis Drake, later “El Draco,” the terror of the Spanish fleet. Their adventures succeed in turning a golden profit but at a very dark cost.