Author: Werner Lind

Zrada, by Lance Charnes

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Literary rating: ★★★★
Kick-butt quotient: ☆☆☆

Lance Charnes and I are Goodreads friends, and I’ve read and liked two of his earlier novels; so he offered me a free review copy of this newly-published book. (There wasn’t any guarantee that I’d also like this one, but he does know my tastes pretty well.) The opener for a projected new series, this tale spins off from the author’s DeWitt Agency Files, and Carson (no first name!), the protagonist here, is an important character in the opener for the first series, The Collection. (This review avoids spoilers for Zrada, but might have some for the former novel.)

The DeWitt “Agency” operates on the edge (and sometimes over the edge) of legality in the world of super-expensive art objects trade, a milieu with a decidedly dark underbelly, which the author has thoroughly researched. But, besides the change from a male to a female protagonist, where I classified the original series as crime fiction, I’d classify this one more as straight action-adventure. The emphasis here isn’t on art, the mechanics of art swindles, etc.; the art in the story is more of a McGuffin, with the emphasis on action, danger, derring-do, weapons and explosions. (This book is set in 2016, the same year the original book was published, and the author establishes that the events in the latter have already happened.)

Ex-cop Carson (she’s divorced, but still uses her married name) is a complex, thoroughly round and very distinctive character, and a highly private person with her share of secrets. (We get to know her here in much more depth than we do in The Collection, though she was also well-realized there.) Abrasive, prickly, potty-mouthed and tough as nails, she works as a mercenary for Allyson DeWitt, and also hires out, albeit reluctantly, as an occasional hit woman for a Russian mob boss, in order to protect family who are under his gun –though she does draw a firm line in the sand against harming innocents. As that suggests, there’s more moral depth to her than you might at first think; she’s actually a person of very real integrity and honor. She’s got a conscience that she listens to; her word’s her bond, and she cares about people, though she doesn’t trust or make friends easily.

This time out, Carson’s mission is legally and ethically unobjectionable. Back in 2009, two valuable 15th-century paintings were stolen in a burglary at a German museum. Now, they’ve fallen into the hands of a Chechen fence, who’s wiling to return them to the legal owner –for 2 million Euros. If he made that exchange in any peaceful, law-abiding country with an honest and functional police force, he’d be arrested in minutes. So, he’s set up the meeting in the lawless, war-ravaged Donbass, Ukraine’s break-away Eastern region, and cut a cash-strapped (but well-armed) rebel militia into the deal as his partners. The DeWitt Agency is handling the swap. Our heroine’s job is to deliver the cash safely, act as bodyguard for the museum staffer who can authenticate the paintings, and bring both of the latter back intact, come hell or high water.

Besides being obviously combat-capable, she landed the assignment because she speaks both Ukrainian and Russian; though raised in Canada, she’s of Ukrainian stock (her maiden name was Tarasenko). As the book opens, she, the museum expert, and the Agency’s local “associate” and his two minions are pulling into the meeting place. Her nerves are on edge; a LOT of wealth is going to be on the table here, and she’s surrounded by hungry, desperate strangers (or people she knows to be morally dubious) for many miles around. (And readers who know Ukrainian won’t be reassured by the book title; it’s the word for “betrayal”….)

Here as in The Collection, Lance writes in the present tense; this takes a moment or two of getting used to if your mind is expecting past tense. But I’ve encountered this technique before in a number of books, so adjusted quickly; and it does create a sense of “you-are-there” immediacy. The plotting has its twists and turns, but it’s mostly quite believable; it’s also focused on one strand, though from different perspectives, and tautly compressed in time, occupying just nine days. Narration is in third-person, but in the vocabulary of whatever character is the current viewpoint one (usually Carson, if she’s present).

For me, it wasn’t a quick read; the author’s prose style is straightforward, but there are a lot of Slavic personal and place names (a character list and real-world map of the geographical setting is provided) and references to unfamiliar-to-me types of guns and military hardware to wade through, and I found myself reading more carefully to pick up details of description and action. However, it’s a very gripping, involving read which quickly engaged me emotionally. The narrative pace itself is quite fast, and while the action isn’t “non-stop” (any book in which it actually is would by definition be pretty shallow otherwise, which this one definitely isn’t!), there’s a lot of it, steadily punctuating the narrative. Vivid, realistic and well-realized action scenes are one of this author’s fortes.

An even more important one is development of nuanced characters who come to life as understandable people, on both sides of the country’s civil war. For instance, the militia characters are not cartoon villains, or necessarily “villains” at all, as such. Some characters definitely ARE villains (though not cartoonish ones), but even they may have an admixture of better qualities along with their sleaze. Fans of action heroines here will have the added plus of meeting another fighting female, ex-Ukrainian National Guard soldier Galina, who’s far from a Carson clone (she’s a developed, distinct character in her own right), but who can more than pull her weight in a combat situation.

There’s no sex here, just some passing references to past sexual activity (Carson’s trust issues and low opinion of marriage and males, which her one try at the former didn’t help, give her the ratchet towards commitment-free flings that you’d expect). A number of characters have foul mouths, often shaped by military culture (both Ukrainian and Russian have an exact parallel to the American f-word, which the author translates :-( ), but that’s realistic for the character types, and, refreshingly, not everybody does.

Despite the cruelty and greed often in evidence here, this is at its core a profoundly moral novel, whose messages (delivered by example rather than sermonizing) encourage readers to be kinder, less selfish, more honest and caring in their treatment of other people. My main quibble was with decisions by a couple of characters that, IMO, served the plot rather than being in character and/or very smart (and Carson’s not stupid!) But that doesn’t keep me from highly recommending this to action fans.

Author: Lance Charnes
Publisher: Wombat Group Media; available through Amazon, both for Kindle and as a printed book.
A version of this review previously appeared on Goodreads.

The Harlequin and the Drangue, by Liane Zane

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Literary rating: ★★★★½
Kick-butt quotient: ☆☆☆☆

Goodreads author Liane Zane is a published novelist under her real name, but has adopted this pen name for her new venture into paranormal romance, beginning with this opener for a projected series. She and I are Goodreads friends, so I accepted her offer of a free review copy, with no guarantee of a favorable one. PNR as such isn’t typically my thing (nor is “romance” in general, in the book trade sense); but both supernatural fiction and action adventure are, and I could easily approach this book in those terms. I’m also a sucker for a well-drawn action heroine who kicks butt and takes names –and here we have not just one but three such ladies.

Genesis, the first book of the Old Testament, referring to the time before Noah’s flood, states, “The Nephilim were on the earth in those days –and also afterward– when the sons of God went to the daughters of men and had children by them. They were the heroes of old, men of renown” (6:4). Biblical scholars are not agreed on exactly what the writer meant by this; but one ancient interpretation, articulated for instance in the inter-testamental Book of Enoch {which is not actually by Enoch], held that it refers to matings of rebellious angels and humans, with resulting offspring. Personally, I’m skeptical of that interpretation, but I can accept it as a fictional conceit in a novel; and it’s used as such in a number of modern novels, usually (as here) with the idea that these mixed bloodlines survived to the present day. Zane terms the descendants of these pairings the “Elioud;” her premise is that they may or may not know of their heritage and may have different amounts of angelic genes, but they inherit certain physical/mental powers, to the degree of angelic ancestry they have. Like angels and other humans, they also have free will; those who know their ancestry may ally themselves with God’s cause –or with the Adversary.

This information is the backdrop context for this novel; it’s disclosed more gradually in the book, but IMO it’s not a spoiler, and is actually helpful for the reader to know from the get-go. That understood, our setting is present-day central and eastern Europe, initially Vienna. Protagonist Olivia Markham is a young (I think her age is said to be 24) but very capable CIA agent stationed there, under the cover of graduate study and internship in international business development. But unknown to the Company, she has a side hobby: by night, she sometimes dons a Harlequin mask to take on sexual predators/rapists who use the Internet to line up victims; and she has a couple of female friends (also with backgrounds in covert intelligence) who help her.

Her latest target is a slime-ball who calls himself Asmodeus, the name of a demon in the Book of Tobit from the Apocrypha. What she doesn’t know, however, is that Asmodeus just might be his real name, and that he’s heading up a murderous cult who call themselves bogomili after a medieval Gnostic sect. (The Bogomils were an actual sect which originated in the Balkans, and which I’d read of before in various places, but the medieval Bogomils weren’t into murdering people to “liberate” their souls.) She also doesn’t know that he has another adversary watching him, a wealthy Albanian named Mihail Kastrioti, who has some friends of his own, friends who call him a drangue, which is usually translated as “dragon” in English. A drangue is a being known in actual Albanian folklore, but the concept is really pre-Christian and Zane has reinterpreted it somewhat. The plot takes off from there; and it’ll be quite a ride!

At 517 pages, this is a thick, substantial novel, but it doesn’t feel padded in the least; it flows quickly, with steady development of events, no dull moments, and a lot of action. In between, our heroines and heroes may stop to regroup and compare notes, and Zane may use the interludes to develop characters and impart information; but they’re interesting characters and information which are well worth developing and imparting, and which enhance the story. Characterization here is very adept and three-dimensional, and definitely a strong point. It’s obvious that the author also has done a lot of background research into history, Balkan culture and language (foreign-language phrases are translated for the reader where they need to be) etc.; it shows, but in a good way that masterfully evokes the setting as a seamless part of the narrative, not in the form of info-dumps or displays of erudition. She clearly has a particularly good grasp of the physical geography of Vienna and other cities where events take place. Action scenes are handled realistically and well. There’s a high body count, but no wallowing in gore for its own sake. As a whole, the story is a page-turner with a high tension and suspense factor, especially near the end.

While this is not “Christian fiction” in the commercial sense – it has a small amount of occasional profanity and obscenity, within the bounds of reasonable realism for the characters speaking – it is fiction written by a Christian. We get a picture of angels and demons, and their interaction, here which is morally and theologically consistent with what we’re told in the Bible, not a drastic reinterpretation of it in the manner of some modern writers. We’re solidly in the realm of a serious, high-stakes conflict between clearly defined good and evil, which grounds the novel and gives it substance. There’s no illicit or explicit sexual activity as such, though readers should be warned that there is one scene that could be described as “steamy”. There’s a clear closure to the immediate story arc with no cliffhanger, while the stage is clearly set for the projected sequel, which I want to read!

IMO, Olivia’s vigilante activities are unrealistic for a CIA operative. They’d be far too risky in terms of possible exposure and unwanted publicity: the Harlequin mask would hide her face, but still draw attention, and the consequences of her bosses’ wrath if they found out about it too drastic to risk. It’s also likely that the CIA’s recruiting process would have included psychological profiling which would have red-flagged vigilante tendencies; and there’s also the problem of what to do with offenders if she did catch them –just beat them up? Lethal force isn’t her default option –though she’s not squeamish about using it when she needs to– and she can’t make a citizen’s arrest and turn them in at the police station. The entire plot here unfolds in less than a fortnight, so there’s an insta-love situation with the attendant credibility challenge. If the angels mating with humans before the Flood were said to be disobedient, it renders it dubious to have similar unions going on in post-medieval times, between humans and angels in good standing. And one key aspect of the way a demon-acolyte bond magically works was a bit murky, at least to me. That kept my literary rating from a full five stars this time; but this is nonetheless a very good novel, and highly recommended!

The four-star kick-butt quotient here, for action-heroine action, draws on the activities of all three of our female spies/vigilantes. Olivia contributes her share to the body count I mentioned; but her two friends and sidekicks ably shoulder some serious action as well. My guess is that each of them are very likely to serve as protagonists in their own books in the series, which will make it at least a trilogy!

Author: Liane Zane
Publisher: Self-published; available through Amazon, both for Kindle and as a printed book.
A version of this review previously appeared on Goodreads.

The Vampire Sword, by T. L. Cerepaka

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Literary rating: ★★★
Kick-butt quotient: ☆☆

This series opener got a favorable review from one of the ladies in a Goodreads group I belong to. Since I’m interested in the vampire mythos, and especially intrigued by fiction that approaches it from a Christian standpoint, her review got my attention, though I hadn’t previously heard of either the author or the series. So, when I discovered that I could download the e-book for free, I opted to give it a try.

This is basically urban fantasy, and is clearly influenced both by the Twilight Saga and the Harry Potter series (though Meyer and Rowling are each significantly more accomplished writers than Cerepaka is). What makes it somewhat distinctive in that 24-year-old Tara is a Baptist pastor’s daughter and a Christian believer herself (she made a Christian commitment at the age of 13), who takes her faith seriously, has taught Sunday school, and is singing for her dad’s congregation in a church service when the book opens. But this Sunday proves to be atypical, when an actual vampire crashes through a sanctuary window (on the second frame of the e-book) and bites her in the neck. As in the Twilight books, those who survive a vampire bite normally become vampires themselves. But as the previously clueless Tara learns, she and her dad are Sorcerers, genetically gifted with magic powers most humans (the Powerless –think, “Muggles”) don’t have.

Vampires generally don’t bite their Sorcerer enemies; they just try to kill them. But a rare bitten Sorcerer becomes a half-vampire, with some vampire traits (including a blood thirst –though vampires don’t have to indulge that with human blood, despite the strong temptation) combined with ability to use magic, though just as in the Potter books, that takes training. Unfortunately for Tara, that not only poses theological conundrums for a good Baptist young lady; half-vampires are considered by both the Vampire Council and the Sorcerer’s Parliament as unnatural abominations that need to be killed on sight. And then there’s the added wrinkle that, as Council agent Lucius soon reveals, Tara’s assailant was working for a rogue Vampire Lord who has his own agenda –and it’s an agenda the rest of the world won’t like.

If that sounds like an interesting premise with good possibilities, it is (provided you like that sort of thing –which I do!). The execution, though, isn’t nearly good enough to fully realize the potential of the idea. Throughout my reading of the book, I found myself thinking of ways in which the literary craftsmanship could be improved; obviously, that’s never a good sign! Cerepaka’s prose is minimalist (and often awkward), telling the story straightforwardly enough, but with little description or texture to enflesh the characters and situations. Since Tara is the first-person narrator, we get inside her head; but even so, neither she or the other major characters are very well-developed; we’re never even told, for instance, what she does for a living, though she has a job.

As that would imply, the novel is much more plot-driven than character-driven, and the characters tend to be mostly two-dimensional. No sense of place is evoked; our setting is Texas, where the author lives, but we only learn that in Chapter 20 of a 29-chapter book. (Until then, the references to Greensboro and South Side had me picturing a setting in North Carolina and south-central Virginia!) In a couple of places, facts are stated in the narration and then contradicted a couple of pages later. Although romance actually isn’t a significant element here – it probably is in subsequent books – what there is of it is an unconvincing, one-sided insta-love.

So, why three stars? There are a few pluses here. This is a very fast-paced book, beginning with a bang and moving along quickly through a short time-frame: just about two days for the main story), and though the prose is undistinguished, it flows relatively easily, even despite Tara’s tendency to repeat things in places or over-explain. That makes it a quick read, and I was engaged enough with the story throughout to be anxious to keep clicking to the next frame. Once I started reading it, I finished it in four days, and for me that’s pretty good time for reading an e-book! Cerepaka does display some originality in the treatment of his vampires, and in creating story elements like the Shadow Way and the Strangers, and of course the Vampire Sword itself. Though historically it couldn’t have been forged “ten thousand years ago” –metallurgy didn’t exist then, unless we imagine Robert E. Howard’s lost Hyborean Age! I appreciated the fact that Lucius is a “Pure”, a vampire who eschews human blood, and is disposed to help rather than hurt humans; and Tara’s sincere spiritual struggle with the question of whether, as a half-vampire, she still has a soul and a relationship with God, or is beyond His grace, gave the tale a certain degree of depth.

A word about Tara’s character is worthwhile, since it’s the most developed one here, and obviously the most central. Despite the deficiencies in the portrayal, she does come across as basically likable. Yes, she’s overly concerned with the fact that Lucius is handsome, sometimes to the point of making my eyes roll. But she’s a single woman in her 20s, not a plaster statue on a pedestal. The same can be said of the fact that her Christian faith doesn’t mean she never says a swear word, nor that she’s a paragon of devotional practice. She is who she is; but the person she is has a kind heart, a caring disposition towards others, and a core of guts and resolve when the chips are down. While she’s definitely in a distress situation here, she’s far from helpless; and though she’s not into violence, she’s game to do what has to be done –a fact we learn when she takes out the vampire who bit her with a head shot from a pistol her dad dropped (the bullets were silver). Another thing that helps credibility here (and also adds some depth) is that her greatest challenges in combat situations don’t hinge on her physical fighting ability (which is largely untrained at this point!) but rather on the strength and purity of her moral will.

All in all, I liked this well enough as an entertaining read.  I wouldn’t spend much money to buy it, or the two later books – but I might pick up a used copy of the sequel if I found one at a flea market or a yard sale. :-)

Author: T. L. Cerepaka
Publisher: Self-published; available through Amazon, both for Kindle and as a printed book.
Book 1 of 3 in the Vampire Sorceress series.
A version of this review previously appeared on Goodreads.

Wildflower Bride, by Mary Connealy

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Literary rating: ★★★★★
Kick-butt quotient: ☆

Barb and I discovered evangelical Christian author Mary Connealy through her Sophie’s Daughters trilogy, partially set in Montana in the years from 1878 to 1884. Several characters who figure in her earlier Montana Marriages trilogy, of which this novel is the third, also play important roles in the later one. So we were interested in their back stories; and when I found this book in a thrift store, it was a natural purchase! (We’ve also just started reading the second installment; long story!) This means we’re reading the trilogy in reverse order; so we started with much more knowledge of the characters’ future than the original readers would have (the read was more like a visit with old friends). However, I’ll avoid spoilers in this review. (Obviously, though, it might contain “spoilers” for the earlier Montana Marriages novels.)

This tale opens in late spring/early summer, 1877, as young Wade Sawyer is awakened by gunfire as he’s sleeping in his small cabin high in the Montana Rockies. The shots come from the nearby small Indian village, which is being massacred by four masked whites. Arriving too late to prevent the deaths of most of the inhabitants, Wade manages to wound one of the fleeing murderers, and finds Glowing Sun, a young woman raised for the past dozen years by the Salish (called Flathead by the whites), ever since they found her alone at about the age of eight after disease killed her white family, still alive. (One of the killers had tried to abduct her, but she slashed his face with her knife and escaped.) Her white name, as she recalls, is Abby, and she and Wade have met previously (as recounted, apparently, earlier in the trilogy), last fall –and were in fact attracted to each other; but she had an Indian fiance at the time, through an arranged engagement. He’s now dead; and when she’s cast out by a surviving matriarch who never liked her (and who blames her for attracting the massacre, assuming that the attackers’ motive was rape), she’s left alone in the world again. Soon after, Wade’s summoned to the bedside of his estranged rancher father, injured and maybe dying; and since he won’t desert Abby, and she believes responding to the summons is his duty, she comes along with him.

Like all Connealy novels, this is a clean “romance” (in the modern-day book trade sense); but it has more going for it than romance (otherwise, I wouldn’t have read and liked it!). For one thing, it’s a perceptive exploration of cross-cultural romance, of the specific clashing cultures of whites and Indians in the late 19th-century West, and an ethically-aware indictment of the former’s treatment of the latter. (Abby doesn’t have much use for the attitudes and practices of a white culture she’s mostly long abandoned, though she hasn’t forgotten the language, and a lot of her criticisms strike home.) It’s also a hard look at the dynamics of a dysfunctional, abusive family –because Wade’s estranged from his dad for good reason!– at co-dependency and how insidious it can be, and what does (or doesn’t) contribute to familial healing. There’s also a decided helping of Western-style mystery, because there’s intrigue afoot on the Sawyer ranch. Who’s behind the outbreak of cattle rustling in the area? And who were the attackers of Abby’s village, and what was their real motive?

Connealy’s a Christian author, whose world-view influences her writing. Christian characters are common in her novels (Red Dawson, a supporting character here, is a lay preacher as well as a rancher). Wade has a sincere Christian faith, as does Abby, fostered in her case by the missionary activity of real-life Jesuit Pierre-Jean De Smet (1801-1873) and his colleagues, who really did have considerable success in their work among the Salish, and whose treatment here is very positive. (The author’s approach to Christian faith is –commendably, IMO– nondenominational, though sectarian rivalries and animosities weren’t nonexistent in the real 19th-century West.) It’s seen here as a genuine source of moral reformation, courage in adversity, and guidance and help in daily life; but though it’s referred to more here than in the later trilogy, I wouldn’t describe this one as “preachy.”

Christian ethics, with its basis in the love commands, also raises a serious issue for reflection, when it needs to be lived out in a violent environment, among people some of whom are perfectly willing to kill you, and others, to get things they want. Wade wrestles with this some, as does Abby –in fact, more so, since while Wade wears a gun and can use it, she’s considerably more combat capable than he is. (She’s also a stronger-willed personality than he is, and the more dominant partner in the relationship –okay, that word’s not a spoiler, any reader knows these two are destined for each other!– and Wade’s willing to recognize that there’s nothing wrong with that.) While she’s not into guns (though if she slugs you in the head with one, you won’t get up for awhile), she’s handy with her knife, and it doesn’t leave her person –unless she needs to throw it. Her personality could best be described as hot-tempered and fierce. The conclusion she comes to is that forcibly defending yourself and others IS morally right, but relishing the damage done isn’t; and she’s honest enough to admit that she needs to work on her attitude in that area. So when the chips are down here, the main question may not be, will our hero rescue the damsel in distress? Given their respective skill sets, it might be, will our tough damsel rescue her guy in distress? :-)

Author: Mary Connealy
Publisher: Barbour Publishing; available through Amazon, both for Kindle and as a printed book.
A version of this review previously appeared on Goodreads.

Gears of a Mad God, by Brent Nichols

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Literary rating: ★★★
Kick-butt quotient: ☆☆

Early 20th-century pulp-fiction author Howard Philips Lovecraft created a substantial corpus of writing, mainly in the short story format and mostly in the form of horrific science fiction which in many ways reads like classic supernatural fiction. The most enduring body of his work has been the novellas and stories making up what has come to be called his Cthulhu Mythos, based on the premise that the prehistoric Earth was dominated by the Great Old Ones, or Elder Gods, malevolent and repulsive, but very powerful and dangerous, alien beings who were ultimately dethroned by another alien race, and whose hidden remnants want to regain their past dominance. A number of Lovecraft works present the idea that these beings have an evil and often murderous cult of human worshipers, handed down from the dawn of mankind, who seek to further their return to power. Numerous later writers have been inspired by HPL’s example to create their own pastiches and spin-offs of the Mythos. Brent Nichols’ self-published Gears of a Mad God novella series (there are six in all), of which this book –set in Canada in May 1921, mainly on Vancouver Island– is the opener, is one of these spin-offs. One of my Goodreads friends gave this one a favorable review; and since I’m a Lovecraft fan and the novella is free for Kindle and relatively short at 98 pages, I downloaded it.

An important point to note is that, while HPL’s Mythos supplies the premise here, Nichols’ prose style is nothing like the older writer’s “purple prose;” his diction is modern, straightforward and direct, with no stylistic embellishment and a minimum of description. Another is that the focus here is exclusively on the cultists of the Great Old Ones, and the effort to counter them; the sinister objects of their devotion are strictly off-stage. (For all that we see here, the Great Old Ones could just as well be figments of the cultists’ imagination.) Also unlike Lovecraft, even though there are a couple of instances here of characters driven mad by exposure to the cult’s secrets, Nichols eschews existential pessimist sermonizing and “morals of the story,” and doesn’t harp on the idea that unvarnished exposure to reality would actually be enough to drive virtually anybody insane. Of course, our protagonist/viewpoint character here is female, something which is never found in HPL’s own work. So despite the inspiration, the effect of reading this is much different from the works of the original Cthulhu canon. The title also misuses the term “steampunk” (it features a heroine who’s mechanically oriented, but that doesn’t make it steampunk!), and the phrase “Gears of a Mad God” makes no particular sense –some machinery here has gears, but they aren’t owned by any Elder God, mad or sane, and they aren’t focal to the story.

On the positive side, the tale is fast-paced, held my interest, and is frequently exciting and suspenseful; I felt that Nichols handles action scenes well. There is a clearly-drawn moral dimension to the conflict; Colleen makes choices that involve putting protection of others before self-interest, and her moral struggles with lethal force are realistic for a young woman with no combat training or experience. She does pick up fighting skill by use, and her mechanical ability is a nice touch (though clock-making and repair actually isn’t as credible a source of physical strength and knowledge of large-scale mechanical processes as say, auto repair would have been).

The plot is linear, with no particular twists (I actually envisioned one I was sure was coming, and was quite surprised when it didn’t materialize!). On the negative side, the character development is not deep (Colleen is the best-developed character, but she’s still not very fully realized), there’s not a lot of texture, and I wouldn’t say there’s a strong sense of place either in her native Toronto or in Victoria. (I did learn that Vancouver, British Columbia is NOT on Vancouver Island –but Victoria is!) But unlike one reviewer, I didn’t find the U.S. Bureau of Investigation agents and their Canadian liaisons ineffectual; and I didn’t have a problem with squaring the arrival of characters on the island with the ferry schedule –I made the assumption that their appearance in the story was not necessarily always virtually identical to their landing time. (But I did have a quibble with the idea that the U.S. President had contacted the Canadian Prime Minister “last year” –the President in 1920 was Woodrow Wilson, who was then pretty much non-functional due to his physical and nervous breakdown.) IMO, the emphasis on the boyfriend’s “antediluvian attitude” (to quote one review) near the end was necessary to set up a significant choice by the heroine.

Overall, I liked this tale. But even though it’s obviously only the beginning of a larger story arc, and the ending, while not a cliff-hanger as such, is clearly meant to lead into further confrontation with the cult, I’m still not captivated enough by the characters or the story to invest in buying the sequels.

Note: There’s no sexual content (Colleen and her boyfriend, at one point, lay down on a bed with their clothes on and get some needed sleep, but they don’t do anything else), and no bad language beyond a d-word and two h-words.

Author: Brent Nichols
Publisher: Self-published; available through Amazon, both for Kindle (free!) and as a printed book.
Book 1 of 6 in the Gears of a Mad God Book series
A version of this review previously appeared on Goodreads.

Double Play, by Kelley Armstrong

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Literary rating: ★★★
Kick-butt quotient: ☆☆☆

Some years ago, my Goodreads friend Mary J.L. gave the original novel of the author’s Nadia Stafford trilogy a favorable review, and that put it on my radar. As a rule, I don’t read novels that are only published in electronic format (it does have a audio version, but I don’t listen to audio books either), but I do read short e-stories; electronic publishing provides a forum for those works which no longer exists in print, what with the demise of general-circulation magazines. This tale, as a novella, occupies a middle ground, but commercially novellas are in much the same boat as short stories –a single one wouldn’t sell very well in print format. So I felt it was fair to treat it the same way, and thought it would be a good way to check out the series for myself.

From reading the descriptions, and some reviews, of the novels in the original trilogy, I figured I would have enough knowledge of the characters and their situation so as not to have a problem understanding this one. That proved to be true. However, a significant caveat is that this continuation does contain spoilers in the romantic-triangle aspect of the novels and some of the denouement of the third novel, Wild Justice, so readers who would be very bothered by that should read the series in order. (And regarding the romantic triangle, probably shouldn’t read either this review or the novella description!)

Ex-cop turned guest lodge owner/manager Nadia (“Dee”) Stafford’s action qualifications aren’t in question; but some might challenge her heroine qualifications since, as the Goodreads description makes clear, her unadvertised side occupation is as a hit woman. But Nadia’s not your average amoral, anything-for-money hired killer; she’s actually a lady with a very lively conscience, a concern for justice and the protection of the innocent, and a strict code of professional ethics to govern her extra-legal line of work. Though I haven’t read much fiction with assassin protagonists, I think they can be interesting characters when they approach their work with a sense of right and wrong and ethical obligation; and Nadia qualifies in that respect. Of course, I don’t endorse her career choice (and she’d actually agree that it’s objectively wrong, even though she’s not planning to quit). But I can still like and respect her, and wish her well; and when she’s willingly putting her life on the line to help someone in trouble, as she is here, I’m not one to deny her a “heroine” accolade.

When our story opens, Nadia and her lover, fellow assassin Jack (who was introduced in the first novel) are in the process of building a house in the woods near her lodge. At the moment, though, Jack’s in his native Ireland on business, and phone communication between the two is precarious because of their security concerns. In the first chapter, she’s approached by an acquaintance from a shadowy vigilante organization she’s had contact with before, who’s looking for Quinn, one of the organization’s operatives –and Nadia’s ex-boyfriend (pre-Jack). He’s dropped out of sight, and it’s clearly not intentional; he’s been kidnapped, by parties and for purposes unknown. In their milieu, just placing a missing persons report and letting the police do their job isn’t a practical option; so Nadia’s soon off to Virginia to help with the search and (hopefully) rescue, and the action takes off. (And don’t forget Jack in Ireland….)

The 17 chapters alternate between Nadia’s first-person narration and third-person narration, but from Jack’s perspective and in his vocabulary. Some readers may find his predilection for the f-word as all-purpose adjective and adverb wince-worthy –he doesn’t say it much, being notoriously laconic, but he thinks it repeatedly. (No other character uses it to that extent, however, and Nadia, while she might occasionally let slip a cuss word or vulgarism, doesn’t use it at all.). A Byzantine plot lies behind the kidnapping, and I deducted a star for ultimately contradictory plotting: a number of details in the previous chapters, given the denouement, don’t really make sense, IMO. (And, recalling the old TV show America’s Dumbest Criminals, the villain here could qualify for star billing on a World’s Dumbest Criminals show, if there were one.)

For all that, though, the story is a page-turner, and the two lead characters are, for contract assassins, genuinely likable. Readers of the trilogy already are familiar with them; but I got to know them here in a way that’s not possible just from book descriptions. We also get glimpses of their psychological baggage –Jack’s going back to Northern Ireland’s bloody Troubles in his teens, and Nadia’s as a past rape victim. (While the two aren’t married, their love for each other is sincere and has a good effect on their lives, and the references to their lovemaking aren’t very explicit.) While I hope the novels in the trilogy are better plotted, I still liked this literary appetizer enough to plan to give the series opener a try!

Author: Kelley Armstrong
Publisher: Traverse Press; available through Amazon, currently only along with the next novella, Perfect Victim – both as e-books and in paperback.

A version of this review previously appeared on Goodreads.

Element 42, by Seeley James

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Literary rating: ★★★★½
Kick-butt quotient: ☆☆☆

Earlier this year, because he knew that I’d greatly liked the two previous Sabel Security novels, my Goodreads friend Seeley James gifted me with the e-book editions of all of the remaining five. This was just an act of friendly generosity, with no actual request for reviews; but I’m glad to treat them as review copies, and (as always) to review them fairly on their merits. This book’s merits earn it very high marks, which came as no surprise to me!

Unlike some series, this one really should be read in order; you need the background of the first two to fully understand the characters and premise, and the previous experiences that shape their situation and relationships. (My reviews of the previous books, also provide background for this review, and a lot of the earlier comments would also apply here.) Here, Pia and her team of veteran agents stumble onto a scheme that clearly involves unethical biological research on natives in the jungles of Borneo. What else it ultimately involves –well, that would be telling, but plumbing the full depth of what’s going on will have our gallant band of heroes/heroines (where gender is concerned, Seeley’s an equal-opportunity writer!) facing danger and death on three different continents, with LOTS of lives, and maybe the future of mankind, at stake.  It’s worth noting that, while Pia earns her three-star kick-butt quotient here, we have at least three action-capable ladies among our characters here (one of whom is much more lethal than Pia is), and another one who grows unto the role.

Like the previous book, this one interweaves two narrative strands, one in third person and one in the first-person voice of Sabel Security agent Jacob Stearne. Also like the previous one, its premise builds a fictional narrative on the real-life realities of actual geopolitical problems and a world ruled by elitist corporations and governments that are almost totally devoid of any ethic except self-centered utilitarianism, and in the grip of a hubris that’s willing and eager to play God. (No, we don’t have any concrete evidence that anybody’s planning a scheme like the one depicted here –but at the same time, it’s a pretty plausible guess that there are plenty of people in high places who at least contemplate it, or would if they calculated they could pull it off.) Of the three books I’ve read to date, this one has the most action, with an almost manic pace, and the highest body count. We also have some more revelation of what makes Pia tick psychologically, and a hint of more revelations to come about the murder of her birth parents when she was five years old. (She’s operating to a big extent in vigilante mode here, but for me that’s not necessarily a negative thing; the book will force readers to consider how they feel about that, and my personal opinion of it is that it can be morally justified at times.)

The plotting is complex, and the chapters tend to end on cliffhanger notes, only to switch back and forth between equally precarious narrative strands. Seeley knows a great deal about high-tech surveillance equipment, weaponry, etc., and makes liberal use of what he knows here; but the reader doesn’t have to share that knowledge –we can just accept that things work the way he says they do, and go with the flow. If one had unlimited time to read, this would be a quick read; it took me nearly two months to finish only because I read it irregularly here and there in electronic format. (I’d have blazed through it a lot faster in paper format, and would have read it in one sitting if I could have!) No spoilers, but the ending was particularly good.

My reaction to the read wasn’t without a few quibbles. Although I sometimes got lost in plot details and couldn’t remember a connection, etc., I think that was mostly because of the piecemeal way I had to read the book over a span of weeks, not due to deficiencies in the narration. Mostly, I could follow the action sequences (not always; they’d be clearer in movie format, and this would be a great subject for movie adaptation!). But on at least three occasions, characters with their hands tied behind their backs reverse that by, apparently, jumping backwards through their own arms. I don’t believe this is physically possible, no matter how athletic the person is; and even if it was, I think it would result in two dislocated shoulders. Seeley also tends to forget details from previous books. It was established in the first two books that persons shot with Sabel Security tranquilizer darts need to be injected with an antidote to prevent possible allergic reactions (if I correctly recall the explanation); that requirement disappears here. Jacob specifically mentioned in the previous book that fellow agent Carla was married; here he tells us specifically that he never knew anything about her marital status, and it’s made clear that she’s single.

Bad language is probably within the limits of realism, and there’s no explicit sex (though, Jacob being Jacob, we’re not terribly surprised in the opening scene when he’s rousted out of bed, and is sharing it with a recently-met woman). But the revelation, at one point, of past messed-up sexual escapades and inter-relationships among some of the characters (not Pia) is so off-putting it inspires eye rolling. (However, while I recently dropped another series because I discovered that the author wants us to believe his protagonist really has conversations with animals, I don’t believe Seeley really wants us to believe Jacob has actual conversations only he can hear with the Roman god Mercury. IMO, we should understand this simply as a hallucinogenic coping mechanism when he’s not on his meds, and the “warnings” from that source as really deriving from a sixth sense and highly-keen natural senses and instincts. I could be wrong, though….)

Regardless of quibbles, though, I really liked the book and continue to really like the series. I’m invested in it for the long haul, though It’ll be autumn before I’m able to get to the next book. But I’ll be champing at the bit!

Author: Seeley James
Publisher: Machined Media, available through Amazon, both for Kindle and as a printed book.
A version of this review previously appeared on Goodreads.

Pieces of Modesty, by Peter O’Donnell

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Literary rating: ★★★★½
Kick-butt quotient: ☆☆☆

The six stories in this collection of short fiction featuring iconic heroine Modesty Blaise were all originally published in the Australian publication Pix in Jan.-Feb. 1970. O’Donnell intended them to be published in book form with illustrations by Jim Holdaway, then the artist for the Modesty Blaise comic strip; but Holdaway died that year, and the book-form collection wasn’t published for another two years. (See https://en.wikipedia.org/wiki/Pieces_of_Modesty .) In the interval, however, at least one of the stories, “A Better Day to Die,” was reprinted in an American magazine (I don’t recall which one), where I read it –I think in the spring of 1970, while I was still in high school. It was my first introduction to the character, and one of very few exposures I’d had in fiction to a kick-butt heroine (they were much less numerous in my youth than they’ve since become). My teenage self was pretty awe-struck by Modesty in action; so that gave me an abiding interest in her fictional exploits, although this is still only the second book by O’Donnell that I’ve read.

While this is the sixth installment of the series, because the stories are strictly episodic and not connected to each other, and are set at various times in the 60s, they don’t really have to be read after the first five novels to be understood and appreciated. (It would probably be best to read the first novel first, just to provide a foundation.) In a couple of stories, references are made to events, and characters reappear, which are probably drawn from the novels; but any information about past events that we need to know is supplied. Five of them are written in third person; “I Had a Date with Lady Janet” is unique in that Willie narrates it in first person, which helps to develop his character more deeply. The settings are mostly British or continental European, with one tale taking place in South America. All six adventures involve Modesty in a wide variety of situations, which illustrate various aspects of her personality and abilities; that may explain the collection’s odd title. (Don’t worry –Modesty is not dismembered!)

O’Donnell writes with a very readable, professional style, and creates captivating story-lines centered around well-developed characters. His plots aren’t overly convoluted, and their various elements dovetail nicely; that doesn’t keep some of the stories from having surprise twists, which grow naturally from the soil of the tale itself, as legitimate surprises should. (I did guess the general outline of one, before the author revealed it.) This is, of course, action-adventure pulp fiction; unusual, extreme and sometimes life-threatening situations are the norm, and our main characters are larger than life. That doesn’t mean the writing lacks literary quality, nor that it’s without realism, psychological and otherwise. Neither of those are in fact lacking; and neither is moral vision, and the ability to evoke serious thought about ethical questions. The author just evokes the kind of thought about them that today’s literary-critical clerisy doesn’t welcome, because he thinks that right and wrong are real categories, and that virtues such as courage, loyalty and justice actually ARE virtues.

In commenting on individual stories, I want to avoid spoilers. I’ll say simply that “A Better Day to Die” presents a serious, balanced and fair debate between absolute pacifism and the position that violent resistance to murderous and other harmful aggression is a legitimate last resort to protect the inoffensive, including oneself. (Modesty maintains the latter, and O”Donnell clearly agrees with her, as I do –but she respects the pacifist position.) “The Giggle Wrecker,” set mainly in East Berlin in the days of the Cold War, brings back the memory of that era vividly, and to my mind refutes the claim of some that there was an absolute moral equivalency between the West and Soviet totalitarianism. Willie’s narrative and “A Perfect Night to Break Your Neck” are noteworthy for their positive portrayal of physically handicapped characters (both of whom not only pull their weight, but enjoy serious romantic relationships with partners who appreciate them as persons).

“Salamander Four” is the only selection here that indicates Modesty’s openness, on occasion, to uncommitted sex (although there’s no explicit sexual content there, or in any of the stories), but the psychology of it is understandable and she comes across to me as misguided rather than callous and selfish –it’s clear that her intention isn’t knowingly to be hurtful or exploitative. Finally, “The Soo Girl Charity” is the most disturbing of the stories, in that (though without being graphic) it provides a look into the dark reality of the exploitation of women by sexual sadists, and into the even darker reality of what pounded-in cultural brainwashing of females to accept patriarchy and male domination actually does to their psyches. (I didn’t feel that the victim here being Asian indicates racism or cultural stereotyping; I think that simply reflects a reality that, at least in the 60s, traditional rural Asian cultures still tended to promote that kind of brainwashing to a greater degree than Occidental ones –even though the sexism of our culture is bad enough.)

One quibble I had with the latter story is that I thought the premise had Modesty and Willie acting (at least, for their current post-Network situation) out of character in a couple of respects. A more important issue was with a comment about a brutal gang rape of a teen girl that occurs in one of the stories. That the incident could realistically be expected to happen, given the mentality of thugs put in a position to dominate unarmed females, I don’t deny (sadly, it would be more unrealistic if it didn’t); O’Donnell doesn’t treat it graphically and clearly disapproves of it. But afterwards he has Modesty thinking, at one point, “Just as well it had been Rosa. She was a sturdy peasant type with nerves like sisal. In a little while she might even begin to relish the cachet of having been raped by guerillas.” To be sure, the author doesn’t suggest that she relished the rape itself. But in the first place, I don’t think being raped carries any cachet, in a culture that sees virginity as a valuable commodity and sees rape victims as “damaged goods.” In the second place, I can’t imagine that this would be a reaction Rosa would ever have, nor that the idea would be one that Modesty (who was a rape victim herself in the past) would ever think. It comes across as the kind of insensitive, emotionally tone-deaf perception a male author might have who doesn’t have any real ability to imagine the actual psychology of a rape victim.

Overall, though, these caveats didn’t keep me from really liking the collection as a whole. Modesty is one of my favorite action heroines, and one whom I see as, on the whole, a pretty good role model –she has her faults, which are recognizable; but if both male and female readers pick up on emulating her virtues, they’d find a great many to aspire to. I’m glad to have spent this interlude in her fictional world, and still hope to read more of the Modesty canon eventually.

Author: Peter O”Donnell
Publisher: Souvenir Press, available through Amazon, currently only as a printed book.
A version of this review previously appeared on Goodreads.

Bring It, by Seeley James

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Literary rating: ★★★★★
Kick-butt quotient: ☆☆

It took me about six years after reading the series opener to get back to the adventures of one of my favorite action heroines, Seeley James’ Pia Sabel; but I only wish I’d done so a lot sooner! Some of my comments in my review of the preceding book, The Geneva Decision, are relevant here as well, and that review also explains something of the premise and who Pia is. In this second book, we learn significantly more of her backstory (and the revelations are corkers –but no spoilers here!).

However, I liked this book even better. Here, there were no interspersed deus ex machina revelations to jump over plot obstacles, and for the most part I could visualize the action scenes better (with only a couple of exceptions). I attribute this to the author’s increasing skill at writing. A review by a Goodreads friend had stated that Pia isn’t the main character in this novel; I also knew that Seeley had opted here for using Sabel Security agent Jacob Stearne as a first-person narrator (actually, his narrative thread only comprises part of the book), and that Pia is kidnapped early on by the baddies. Since, for me, her character is the main draw of the series, all of this was somewhat off-putting; I feared that she would be largely inactive and off-stage here.

But I needn’t have worried; I would definitely dispute the assessment that she’s not the main character, and I can categorically guarantee that she’s neither inactive nor off-stage! Although the two characters are distinct and not clones of each other, in some ways Jacob reminds me, in his personality and his relationship to Pia, of Peter O’Donnell’s Willie Garvin and his relationship to another kick-butt heroine, Modesty Blaise; both Willie and Jacob are utterly clueless in their certainty that recreational sex is a perfectly harmless pastime and that any woman they meet should be a potential partner, and both are apt to prompt some eye-rolling moments from readers who aren’t similarly clueless. (There’s no explicit sex in the book, however.)

They differ, though, in that while Willie adores Modesty, he thinks it would be an impermissible “liberty” to entertain romantic fantasies about her, but Jacob definitely has romantic fantasies about Pia. (Of course, he also has feelings for another of our old friends from the first book, his colleague Agent Tania –but that doesn’t inspire fidelity to either woman.)

Another aspect of this book that’s superior to the first is the seriousness of the theme, because here the author takes a hard fictional look at the real-life underbelly of America’s Deep State, where an out-of-control, largely unaccountable security apparatus can too often be run by sociopaths who think only in terms of “us against them” rather than right vs. wrong, see morality and law as quaint superstitions, and can and do carry out outrages (up to and including murder) against innocents, including American citizens. (Yes, the horrors of Operation Snare Drum here are fictional –but there have been documented crimes by U.S. government personnel or “contractors” that aren’t fictional.)

To his credit, Seeley doesn’t portray this as a partisan issue with just one establishment party as the bad guys, because it isn’t; it’s not a Republican vs. Democrat issue, but of decent Americans of whatever party label vs. traitors to our ideals regardless of what party label they use. (Though this was written during the Obama administration, it’s set after it, with a fictional new President of unspecified affiliation.) It’s a needed eye-opener for any American who cares about the rule of law and ethics in government –which is why I’ve recommended it as not just for genre fans!

A quick disclaimer: Seeley and I are Goodreads friends (though he’s not very active here), but I bought my copy of this novel myself, and my rating wasn’t at all affected by his “friend” status.

Author: Seeley James
Publisher: Amazon Digital Services, available through Amazon, both as a paperback and an e-book
Book 2 of 2 in the Sabel Origins series.

Pirates! by Celia Rees

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Literary rating: ★★★★★
Kick-butt quotient: ☆☆

Although I haven’t read much pirate-themed fiction, I find the premise interesting; so I’ve had my eye on this historical novel ever since the BC library (where I work) acquired it. It definitely didn’t disappoint! Set mostly in the early 1720s, with some stage-setting in the years leading up to those, this action-packed tale follows the life and adventures of first-person narrator Nancy Kington (b. ca. 1704), the daughter of a Bristol merchant, who finds herself packed off to the family’s plantation in Jamaica at the age of 15, and is subsequently led by circumstances to voluntarily sign articles on a pirate ship.

Pirates, of course, are sea-going robbers; by definition, they forcibly steal other people’s property for their own profit. Obviously, they’re off of the ethical strait-and-narrow path, and in shady moral territory. The piratical profession most naturally appeals to brutal and self-serving types who don’t have any particular moral sense or empathy with their fellow humans. (Some may be more brutal and selfish than others –and some spectacularly evil and sadistic types may find the pirate life an opportunity to gratify their propensities.) Like Robert Louis Stevenson before her, British writer Rees gives full recognition to that reality.

To a greater extent than Stevenson, though, she recognizes that there can be a range of nuanced moral qualities among pirates, with not all of them quite fitting that model –especially in a time and place where patriarchy and male chauvinism, legalized slavery, and institutionalized inequality and injustice greatly constrict many people’s lives and choices, and might render the right side of the law as morally dicey as life under the Jolly Roger. (That’s not unlike the situation in the Old West, or in medieval Europe, where “outlaws” might sometimes be decent people pushed outside the law by others using the system for their own gain.) Personally, I think that pirates who aren’t brutal and selfish as such, and who do have a strong moral sense and a concern for others, can be interesting characters in the ways they navigate the shades of grey that their position necessarily entails; and that’s true of our heroine here. (Yes, a lady who happens to be a pirate can be an honorable and admirable heroine!)

This is fiction in the Romantic tradition –that is, fiction that seeks primarily to evoke strong emotional responses from the reader, sometimes enhanced, as they are here, by extreme situations and exotic settings. The Romantic aim is fully fulfilled here; I was taken captive by this pirate right away, turned the pages as fast as I could at every opportunity, and experienced a wealth of complex emotions throughout the story. (It’s not, however, a “romance novel” in the Harlequin sense –though it has clean romance as one strand of the plot, which I appreciated– and it doesn’t “romanticize” things like piracy, slavery, and the grim realities of ocean-going life in the 18th century). It’s also fiction with serious food for thought, as well as rousing adventure, and a very moving portrait of cross-racial friendship. Like most modern Romantic fiction, though, it borrows Realist techniques, with a concern for verisimilitude and historical accuracy. (In common with some other authors, Rees used the contemporary nonfiction A General History of the Robberies and Murders of the Most Notorious Pyrates, which she and some others attribute to Daniel Defoe, as a key source.) Nancy’s narrative voice is engaging and quick-flowing, with a slightly archaic flavor in word choices and diction for realism, but is much easier to read than an actual 18th-century narrative would have been.

Born in 1949, former schoolteacher Rees is an accomplished novelist, the author of some 19 books, and a History major (she actually had a double major, but History was one). Her publishers market her books to the YA age group (and the BC library put this one in the Juvenile section on that account), in this case probably encouraged by the fact that Nancy and her friend and fellow pirate Miranda are in their teens. Bad language of the d-word sort is present but relatively restrained, rape or attempted rape and prostitution are part of their world but not portrayed in great detail, and while there are some very violent and grisly moments, Rees doesn’t wallow in them. The content here, IMO, wouldn’t be harmful to a healthy teen; and I could see plenty of teen readers of both sexes eating it up with a spoon and asking for more. But it could just as easily have been marketed as an adult novel; there isn’t anything stereotypically juvenile or “kiddish” about it. (Teens in Nancy and Miranda’s day were expected to grow up quickly, and our gals here definitely did –they have far more in common, in their capacities and general attitudes, with today’s adult women than they do with typical modern teens.)

This particular edition of the book has a moderately interesting interview with the author (originally published in a Michigan newspaper), and a few pages of discussion questions and activities, aimed at younger readers, that could be used for common reads in a book club or classroom. At the time it was published, the novel garnered a number of prestigious accolades from the likes of the American Library Assn., the International Reading Assn., etc. For once, I think it deserved every critical recognition it got (and I don’t often agree with the critical community!).

“You may wish me luck, or curse me for a damnable pirate,” Nancy writes near the close of her account. This reader opted for the first choice, without apology!

Author: Ceilia Rees
Publisher: Bloomsbury, available through Amazon, both as a paperback and an e-book