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The London Satyr Paperback – International Edition, April 2, 2012
This month's Book With Buzz: "The Lying Game" by Ruth Ware
From the instant New York Times bestselling author of blockbuster thrillers "In a Dark, Dark Wood" and "The Woman in Cabin 10" comes Ruth Ware’s chilling new novel, "The Lying Game." See more
"A clever, intriguing and very well-written novel about the moral landscape of late-Victorian London" * The Times * "Edric mixes a potent brew... The ending is a masterstroke of the ironic and macabre" * Daily Mail * "Sharply written, wholly engrossing... not just an Edric novel, but the Edric novel" * Guardian * "Place, time and atmosphere are conjured with impeccable lightness of touch" * Spectator * "Gripping and entertaining read... well told and absorbing" * Eastern Daily Press *
About the Author
ROBERT EDRIC was born in 1956. His novels include Winter Garden (1985 James Tait Black Prize winner), A New Ice Age (1986 runner-up for the 1986 Guardian Fiction Prize), The Book of the Heathen (shortlisted for the 2001 WH Smith Literary Award), Peacetime (longlisted for the Booker Prize 2002), Gathering the Water (longlisted for the Booker Prize 2006) and In Zodiac Light, which was shortlisted for the Dublin Impac Prize 2010. He lives in Yorkshire.
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Top customer reviews
Early 1890s London. Photography, pornography, a theatre. Some titled idiot rapes and murders a little girl (as they do), and the heat is on. Our protag has some connections to people who have connections to the murderer, as our protag supplies costumes for use in racy photo shoots, the costumes being "borrowed" from the theatre where he's employed. Could be trouble.
Early into the novel, I began to despair. Contents: secret meetings, chance meetings and sightings, Bram Stoker insults (or "yo Mama", if you please), constant obscure conversations. About the last--obscurity. I notice this being over-used all the time in high-brow lit and art films, and Edric does it too. It's a neat trick; a way to give the illusion of depth to the proceedings without having to say anything profound, as well as a device to flatter your audience who feel so proud of the pretty gold stars bestowed on them for picking up on subtext. Me, I say unless you're being obscure so as to unleash a powerful emotion or set us up for a surprise, just tell it straight! Here, there is no powerful emotion or surprise, but perhaps a prize, meaning--If there was a contest for most pointlessly evasive, obscure, indirect book, this would surely be a front-runner for first place!
Edric describes his writing style perfectly throughout the novel: "[seems] filled with a deeper, hidden, more dangerous meaning."
"the predictability of all this deliberately convoluted and evasive language."
"Some things are as easy and as straightforward as you make them."
Is he taking the pi-ss or what?
Oh, one other thing. And another that Edric isn't alone in doing. He's an offender in the sci-fi speeding-up-or possibly-slowing-down-time department. What I mean is, during a scene the reader is told that a certain amount of time is supposed to have passed-- in this case 20 minutes between ejaculations-- but there's no way, at least in a world where time works as we know it to work, that this can be true, given how long it would take the events in-between time to transpire. So either it takes people longer to do things in this world, or time sped up and what we know as twenty minutes is now equivalent to twenty seconds. Say what?
But wait-- it's not all bad news. There were moments. A few beautiful passages, usually to do with the protags dead daughter. Are they worth the price of admission? Not in my opinion.