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Michael Marshall

#CarrieAt40: Bringing the Weird Home by MICHAEL MARSHALL SMITH

We Are Here - MMS MICHAEL MARSHALL SMITH

On the web: www.michaelmarshallsmith.com

On Twitter: @ememess

There’s no doubt that horror fiction — and commercial fiction in general — would have been very different without the novel Carrie. Of course there were writers who’d blazed the trail — Richard Matheson and Ira Levin are two obvious examples — but in terms of bringing the weird home to where real people live, into recognisable places and spaces, King has been a game-changer with no equal. Carrie managed a double cultural whammy, too, as Brian de Palma’s engagingly flashy movie version was a striking encapsulation of the times, and the iconic image of the ethereal Sissy Spacek drenched in blood is hard to forget.

Carrie was actually nothing like the first King I read (I joined at The Talisman, and then worked back) but without its runaway success it’s unlikely he’d have written those later works — and without them, I very likely wouldn’t be a writer. One of the truly scary things about life is how your own can be wholly turned around by things outside your control…

Michael Marshall Smith is a novelist and screenwriter, and the only writer ever to win the British Fantasy Award for Best Short Story four times. His novel The Intruders is currently in production as a TV series with BBC America, starring John Simm and Mira Sorvino. He lives in Santa Cruz, California, with his wife and son.

WE ARE HERE by Michael Marshall

WE ARE HERE - Michael Marshall WE ARE HERE

Michael Marshall (www.michaelmarshallsmith.com)

Orion Books (www.orionbooks.co.uk)

£16.99

On a visit to New York to meet his publisher, David bumps into a man on the street – the sort of innocent collision that happens all the time on busy city pavements – who follows him back to Penn Station and confronts him. He utters two words, part question, part command, before disappearing again: “Remember me”. When John Henderson’s girlfriend introduces him to Catherine Warren, it is because she believes he can help her. Catherine is being stalked, and when John investigates he discovers that it’s not quite as straightforward as an ex-lover or shunned suitor. As David and John become entangled in this strange new world, a man named Reinhart is rallying troops for a push that could ultimately lead to death and destruction on an epic scale.

There is something comforting, despite the subject matter, about cracking open a new Michael Marshall novel. Perhaps it’s the sense that you’re in a safe pair of hands, or maybe it’s just the knowledge that you have no way of anticipating what’s in store next from one of the most original storytellers of recent years. Like his previous novels, We Are Here straddles the boundary between straight crime/thriller and straight horror as Marshall introduces us to a world that exists just on the periphery of our own, a group of people who live in the shadows and who are largely forgotten, or ignored, by the people around them.

In much the same way that Die Hard 2 is a sequel to Die Hard (the same central character finding himself in yet another, unrelated, but equally dangerous situation), We Are Here is a sequel to Marshall’s 2009 novel, Bad Things. John Henderson, who we last saw in the wilds of Washington state has moved to New York with Kristina and is now living and working in the East Village. Beyond that, there are no other major connections between the two novels, though long-time readers will have a better understanding of John’s background than people using We Are Here as a jumping-on point (if you haven’t read Marshall before, though, you should by no means allow this to deter you from starting here). In a move that now seems to be traditional for the author, Henderson’s sections are told in the first person, while the rest of the characters get chapters of their own, narrated in a third-person voice.

The voice itself is engaging and down-to-earth, and much of the story is told in a conversational tone that is sometimes at odds with what’s actually going on. Contrary to what you might expect, this works very well, and serves to tie the different elements of the story (often off-the-wall) neatly together into a coherent whole.

They made their way toward the platform via which they’d arrived at the station that morning. This turned out not to be where the train was departing from, however, and all at once they were in a hurry and lost and oh-my-god-we’re-screwed. David figured out where they were supposed to be and pointed at Dawn to lead the way. She forged the way with the brio of someone having a fine old time in the city, emboldened by a bucketful of wine, clattering down the steps to the platform and starting to trot when she saw their train in preparation for departure.

The nature of these shadowy people referenced by the novel’s title is never fully explained. A number of theories are presented to the reader, in the form of theories held by various characters (are they imaginary friends long since forgotten by the people who dreamed them up? Are they ghosts? Are they something else entirely?), and the reader is left to decide for themselves which they prefer, or which makes the most sense. Regardless of which theory is correct, Marshall has created a complex societal structure and set of rules which govern the actions of the group, giving these people some substance and background that is woven neatly into the fabric of the story.

The return of John Henderson gives us a sense of familiarity and I, for one, enjoy the various interconnections between his books that define the strange world that Marshall began creating with his Straw Men novels. We Are Here also introduces a huge cast of new characters, which is a departure from the small, controlled groups of central characters that we’re used to seeing in the author’s works. With Marshall’s deft touch, though, each stands out as an individual and it is easy to keep track as the story progresses. In Reinhart, Marshall has created one of the most sinister and evil characters you’re likely to encounter in a piece of fiction. Despite the fact that he spends much of the story lurking in the background, his brief appearances are memorable and shiver-inducing.

Another winner from a master of his game, We Are Here is a welcome addition to Michael Marshall’s growing catalogue. Part crime, part horror, part urban fantasy, it should appeal to new and old readers alike with its mixture of dark comedy, horror, mystery and abrupt violence. Fast-paced, tightly-plotted and beautifully-written, We Are Here packs thrills and chills into an intelligent story that, despite its fantastical elements, never loses its plausibility or sense of realism. If you’re already a fan of Michael Marshall then you’ll know what to expect. If you haven’t read the man’s books before, then We Are Here is an excellent place to start. Either way, you’re in for a treat.

The 2011 Round-Up

As the end of the year approaches, I have decided to break from the straightforward review posts that have populated Reader Dad to date, to do a brief round-up of the year’s reading, including my Top 10 of 2011 and my Most Disappointing of 2011.

THE ROUND-UP

If you have checked out my newly-added Reading List section, you will know that I have been recording everything I’ve read since 2003. My reading year runs from Christmas Day to Christmas Eve, because I like to have the decks cleared in time to enjoy the influx of new books that Christmas typically brings for the avid reader. By the end of this reading year, I will have read 62 books, which is my best year “since records began” (my current read, Stephen King’s 11.22.63 is likely to take me the rest of the week to complete). Of those, eight are 2011 debut novels for the authors in question. A further two are the first novels by established foreign authors to be translated into English. Twenty-two others are the first books I have read by their respective authors, and the rest are a mixture of favourites both old and new.

The focus of my reading this year has been on crime fiction, with over half of the books read falling into that genre, or one of its many sub-genres (including those books I have been categorising as “thrillers” for want of a better description). Holocaust/war fiction, science fiction, horror and westerns have all featured, and the list even includes a non-fiction title.

There is only one criteria for the lists below: for the book to be on the list, its first official publication date must have been between 1 January and 31 December 2011. For this reason, a couple of my favourite books of the year haven’t made it on to the list, but deserve honourable mentions nonetheless. Stephen King’s Full Dark, No Stars is a collection of four beautiful novellas to rival his earlier Different Seasons, which gave us “Rita Hayworth and Shawshank Redemption” (source of Frank Darabont’s The Shawshank Redemption), “Apt Pupil” (and the film of the same name) and “The Body” (upon which Rob Reiner’s Stand By Me is based). Thaisa Frank’s beautiful Heidegger’s Glasses tells the tale of an underground compound filled with scribes whose sole purpose is to respond to letters addressed to people who have been killed in the Third Reich’s concentration camps. Using original letters, and with a cast of sympathetic characters, it’s an excellent and extremely touching novel. Hans Keilson’s Comedy in a Minor Key, which was reissued by Hesperus late in 2010 is a must-read for anyone that enjoys to read. Simon Lelic’s third novel, The Child Who, won’t be published until early January, so you can expect to see it on my 2012 list.

The following lists are in reading order, as I can’t imagine how I would be able to rate them against each other. And, chances are, an extra one or two have snuck in. Hyperlinks will take you directly to my review (where it exists).

MATT’S TOP 10 OF 2011

SANCTUS-Simon ToyneSANCTUS by Simon Toyne (HarperCollins)

Once you start, you’ll just have to keep going until you reach the end, and this book gave me more late nights than I care to remember, always with the mantra “just one more chapter” on my lips.

A stunning debut, a dark and terrifying crime/horror/dark fantasy novel that will appeal to a broad spectrum of readers, and a book that cements Simon Toyne firmly in my own personal must-read list. On April 14th, make sure you get your hands on a copy; you won’t regret it.

 

 

 

 

 

untitledTHE DEMI-MONDE: WINTER by Rod Rees (Quercus)

The Demi-Monde is a well thought-out and fully realised steampunk universe, with echoes of Neal Stephenson’s THE DIAMOND AGE and Tad Williams’ OTHERLAND series. The novel, like most of Stephenson’s work, is huge in scope and contains a vast cast of characters, many of whom are plucked directly from the history books.

If author and publisher can maintain this standard for the rest of the series, THE DEMI-MONDE should become the cornerstone of a steampunk revival.

 

 

 

 

 

PLUGGED_HB_21_02.inddPLUGGED by Eoin Colfer (Headline)

Colfer has produced the perfect rollicking mystery. In tone, it’s probably closest to Jeff Lindsay’s Dexter novels or Scott Phillips’ The Ice Harvest, and I would recommend it to fans of both. There is comedy gold here – and Irish readers in particular will find more than their fair share of inside jokes – but the book is also plenty dark, and you’re never quite sure what’s waiting around the next corner.

It strikes me as a brave move for a man famous for his young adult fiction to branch out in a direction that is completely inappropriate for his usual audience, but with Plugged that move has paid off for Eoin Colfer.

 

 

 

 

OUTPOST-AdamBakerOUTPOST by Adam Baker (Hodder & Stoughton)

In all, Outpost is an assured debut, and a welcome addition to a fine sub-genre of horror. Fast-paced, dark and unpredictable – Baker’s not afraid to put his characters through the mill, or kill them off for that matter – it’s exactly what I expect from a good horror novel. There is plenty of stiff competition in this area of fiction – Stephen King’s The Stand and Robert McCammon’s Swan Song being two of the best – but Outpost is a worthy comer that will have no trouble standing up with such fine company.

 

 

 

 

 

beauty-and-the-infernoBEAUTY AND THE INFERNO by Roberto Saviano (MacLehose Press)

Let’s not forget: this is a man who has given up any chance of a normal life – he is surrounded by bodyguards twenty-four hours a day – to let people know what is happening to his country. Anger is the most prevalent emotion here, but this is far from the rant that it could well have been.

Beauty and the Inferno is a tough read, but an important book that deserves an audience; Saviano has sacrificed too much for this book not to be read. It’s a good thing for him, and for the English-speaking world, that publishers like MacLehose Press exist and thrive, and bring such important literature to a wider audience.

 

 

 

 

KILLER MOVE - Michael MarshallKILLER MOVE by Michael Marshall (Orion)

Killer Move is an unconventional thriller, like the rest of the Marshall back catalogue. Darkly funny at times and disturbing and graphic at others, it treads a fine line between straight crime and straight horror, while never actually fitting exactly into either genre. Bill Moore begins life as a despicable human being, self-centred and worried only about how everyone else views him. But as his story progresses, and we watch his life fall apart, we’re suddenly in his corner, fighting his fight. It’s because the scenario Marshall outlines is so plausible and so topical: what if someone got hold of your various ecommerce and social network passwords and started to change peoples’ perceptions of who you are? Would we even notice before it was too late to do anything about it? The Internet in general and social networking in particular has made the world a very small place. But it is arguably – in Marshall’s mind at least – a darker and much more dangerous place: we never really know exactly who it is we’re talking to or why they might be interested in us.

 

 

THE SISTERS BROTHERS - Patrick deWittTHE SISTERS BROTHERS by Patrick deWitt (Granta)

Hidden behind Dan Stiles’ beautiful and striking cover is a surprising and wonderful piece of fiction. At times hilarious, at others grim and noirish, The Sisters Brothers is the perfect novel for people who like great fiction, regardless of genre – don’t let the fact that this is a Western put you off, if your preconceptions of that genre are coloured badly by those old John Wayne films. Living, breathing characters and a razor-sharp plot make this an instant classic up there with Lonesome Dove and Deadwood. It’s also one of the best books I’ve read this year.

 

 

 

 

 

REAMDE - Neal StephensonREAMDE by Neal Stephenson (Atlantic Books)

Thriller is certainly a good description, but it’s much more than that, and so much more intelligent than what immediately springs to most peoples’ minds when the word is mentioned. It’s surprisingly fact-paced for a book its size, and Stephenson manages to maintain the reader’s interest for the duration – an astounding feat in itself. My first thought was that a book about Islamic terrorists was a strange topic for Stephenson to tackle, but it’s no stranger than anything else he has chosen to write about in the past. His work is definitely an acquired taste but, in this reviewer’s humble opinion, it’s a taste worth acquiring. A thousand pages is a big commitment to make in this fast-moving world, but Reamde is worth every second. This one is, hands down, my book of the year.

 

 

 

 

HOUSE OF SILK by Anthony HorowitzTHE HOUSE OF SILK by Anthony Horowitz (Orion)

Horowitz does a fantastic job of keeping all the proverbial balls in the air, creating a perfectly-plotted set of mysteries, and a more-than-satisfactory set of solutions, while all the time maintaining the spirit of the original stories.

The House of Silk is a must for all fans of Sherlock Holmes. Pitch-perfect characterisation combined with a complex and involving plot leave the reader in no doubt that Holmes – and the spirit of Sir Arthur Conan Doyle – are alive and well in the form of Anthony Horowitz. For anyone who has never read Holmes, this not a bad place to start; there is nothing here that requires previous knowledge of the characters, although those who have read the Holmes stories will surely come away with a much richer experience.

 

 

 

JULIA - Otto de KatJULIA by Otto de Kat (MacLehose Press)

In the end, love does not conquer all and nobody lives happily ever after. Julia is a bleak and oppressive love story, mirroring the environment in which the love was born. It’s a beautifully-constructed mystery disguised as a literary novel which uses the oldest trick in the book – the unreliable voice – to catch the reader off-guard and take his breath away. In a wonderful translation by Ina Rilke and the usual high-quality packaging that we have come to expect from MacLehose Press, Julia is not to be missed.

 

 

 

 

11-22-63 - Stephen King11.22.63 by Stephen King (Hodder & Stoughton)

IT may seem premature to include a book that I have yet to finish in my list of the best of the year but, at over halfway through I’m completely captivated by the story, and loving being transported once more into the world of Stephen King. The tips of the hat to King’s earlier classic, It, have only helped to cement this, for me, as a brilliant novel.

 

 

 

 

 

 

AND THE MOST DISAPPOINTING OF 2011

Because there was some talk on Twitter early in the month about balancing the “best of the year” with the “most disappointing” or “worst” of the year, I’ve decided to do just that. Anyone reading through the posts on Reader Dad will most likely spot immediately which book didn’t quite hit the mark for me. I’m being kind and calling it my “most disappointing”:

OBELISK - Howard GordonTHE OBELISK by Howard Gordon (Simon & Schuster)

A great start leading to an ultimately poor debut for a man from whom I expected so much more. It’s an equally disappointing show from Simon & Schuster who could have improved it immensely if they’d only read it and provided feedback. If you’re tempted, save your money and pick up an 24  box set, where you’ll see Howard Gordon at his best.

 

 

 

 

 

 

COMING SOON…

In the coming weeks, look out for my review of Stephen King’s 11.22.63 to see if it warrants its position on the Top 10 *ahem*. Reader Dad’s first interview will also be appearing around the turn of the New Year, so check back to see my chat with one of my favourite authors. I will also be posting reviews for a slew of novels due for publication early in the New Year, so will be kept busy reading over the Christmas break.

It just remains for me to thank my regular reader, and everyone that pops in from time to time, for your support over the past ten months. I’d like to thank the wonderful publishers and publicists who have taken a punt on a newbie and provided me with some excellent review material. And I’d like to wish you all a very Merry Christmas and a Happy and Prosperous 2012.

KILLER MOVE by Michael Marshall

KILLER MOVE - Michael Marshall KILLER MOVE

Michael Marshall (michaelmarshallsmith.com)

Orion (www.orionbooks.co.uk)

£12.99

Michael Marshall is something of a cult writer. His first three novels, as well as the vast majority of his short stories, were published under the name Michael Marshall Smith and were mainly classified as science fiction (the novels) and horror (the stories). In 2002 he dropped the “Smith” and published his first piece of “crime fiction” in the form of The Straw Men.

Nine years later, “Marshall” has produced six novels (of which Killer Move is the latest), while “Smith” continues to produce a steady stream of short stories (you’ll go a long way before you’ll find a more disturbing short story than “More Tomorrow”, but that’s another discussion for another day).

Killer Move tells the story of Bill Moore, a Florida-based realtor who has an almost-perfect life: a great job, good standing in his community, a beautiful home in an exclusive gated community, and a perfect marriage to a woman he loves. If there is one blot on this idyllic life, it is that he is currently six and a half years into his five-year plan with no chance of achieving his goals under the current status quo. Moore is a techno-geek: he starts his day by reading positivity blogs, updates his Facebook, Tumblr, Twitter and whatever other social networks he happens upon. He’s all about the “Bill Moore brand”, the image of himself that he has built up as the way he wants to be viewed by other people. In short, he’s a bit of an asshole, but a harmless one who most people actually seem to like.

When a small black card with the single word MODIFIED inscribed upon it appears on his desk – and its twin appears later at his house – he pays it very little attention. But then things start happening, things that affect his brand, and make him slightly uneasy: a book of fetish photography arrives from Amazon; an off-colour joke is sent from his email account to a group of friends and acquaintances. Things really take a turn for the worst when his wife discovers on his laptop a set of photographs of his female colleague – naked – taken with a telephoto lens. It doesn’t take long for things to turn violent, and Bill finds himself in the middle of a situation over which he has no control, and which he does not understand.

As with all of Marshall’s crime novels, there is a parallel storyline: the story of John Hunter, a man just released from prison after serving sixteen years for the murder of the woman he loved, a murder he did not commit. Hunter has only one goal: to find the people responsible and kill them, a goal which sets him firmly on a collision course with Bill Moore’s already unstable life. Following a well-established pattern in his books, Marshall tells the story from two viewpoints: Hunter’s story is told in the third person while Moore narrates in first-person for the sections where he is the star.

Killer Move is an unconventional thriller, like the rest of the Marshall back catalogue. Darkly funny at times and disturbing and graphic at others, it treads a fine line between straight crime and straight horror, while never actually fitting exactly into either genre. Bill Moore begins life as a despicable human being, self-centred and worried only about how everyone else views him. But as his story progresses, and we watch his life fall apart, we’re suddenly in his corner, fighting his fight. It’s because the scenario Marshall outlines is so plausible and so topical: what if someone got hold of your various ecommerce and social network passwords and started to change peoples’ perceptions of who you are? Would we even notice before it was too late to do anything about it? The Internet in general and social networking in particular has made the world a very small place. But it is arguably – in Marshall’s mind at least – a darker and much more dangerous place: we never really know exactly who it is we’re talking to or why they might be interested in us.

Fans of Marshall’s earlier trilogy will be pleased to know, without going into any more detail, that there are loose links between those books and this one, a small bonus for long-time readers. That said, it’s a standalone novel and a good jumping-on point for anyone who has yet to read Marshall (although I would personally recommend going back and starting with The Straw Men). Funny, thrilling, violent, the story moves at a cracking pace towards a devastating conclusion that will leave this story rattling around your head – and affecting your every online moment – long after the final page.

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