Genre: Fantasy
Series: Gentleman Bastard #1
Page Count: 499
Publication Year: 2006
Publisher: Bantam Spectra
Special Notes: I listened to the audiobook narrated by Michael Page.
Summary: It’s a mini Ocean’s Eleven set in a fantasy version of Venice.
I initially read this book four years ago and gave it five stars. Being my first adult fantasy book, I was wonderfully shocked by its superiority compared to the YA books I’d been reading. Looking back, it began my break from YA and launched me toward better things. I still love this book, but now I see some flaws.
The story is split between the present and when Locke was a child. Normally I don’t like flashbacks in books as I tend to dislike one side of the story. That’s not the case here. While I do prefer the present, the past is engaging and has a more relaxed tone so it’s easier to enjoy.
The past explores Locke’s formative years with Father Chains, the man who taught him the refined and academic ways required for thieving. Oftentimes the event the past reveals is a parallel or a lesson to be applied to the current con. It shows just how much Locke has learned and improved or how he met certain people. Later on, these “Interludes” shift their focus from Locke to general history of the city and its inhabitants, again providing parallels for something in the present. These later breaks in the story are well-written and interesting, but they kinda kill the momentum of the denouement. In my opinion it seems like the author is showing off his world instead of strengthening his story.
The present has many more moving parts. It opens with Locke and his crew preparing to meet their next mark, whom they intend to fleece via an elaborate scheme. This scheme is carried through most of the book and we see Locke’s talents for accents, lying, B&E, and other nefarious brilliance. During this scheme we also learn about Camorr, the city where Locke and Co. operate, and those who run it.
Camorr is reminiscent of Venice, as it has canals, exuberant festivals and names that sound vaguely Italian. It has factions too, one of which is for the Right People: those who are in the sticky fingers profession. Its leader, Barsavi, plays a largish role in the plot, as does the Spider, the spymaster for Camorr’s upper echelon. Those barely scratch the surface of this world. One of Lynch’s strong points is his ability to fashion such a detailed culture. He is a true creator of fantasy and is genuinely very good. There are tons of layers, offshoots and nooks to get lost in and I hope we return to this city in a later book.
Another element to the present story involves the Gray King. He causes substantial chaos not just for Barsavi, but Locke as well. We don’t learn the motive for his troublemaking until the end of the book and I wish it’d been revealed sooner.
All of these things may make it sound like the plot is cluttered. And at times that’s precisely what I was thinking. But aside from one event and some “Interludes,” it isn’t. Everything I’ve mentioned is connected, and removing one compromises the whole thing. It’s quite impressive.
One event, though, is entirely unnecessary. In fact, I can tell you what happens. Locke goes to this bank in search of a quality outfit. Somehow that takes about an hour of the audiobook and occurs in the final act. The plot grinds to a halt for this gratuitous excuse for Lynch to flex his writing skills. Aside from the minor/pointless payoff later, it serves no purpose to the plot and should’ve been a deleted scene.
But what about the characters and description?
Locke is a scoundrel. He steals, lies, manipulates, and is entirely too arrogant about it all. He gets into the worst binds but somehow manages to find the one escape route. He can’t resist insulting those with more power than him and laughs in their face whenever he can. His younger self is precocious and terrible at avoiding trouble. His devious mind is given plenty of challenging puzzles and he puts his mastermind into full force as an adult. But through it all he does make mistakes and that keeps him from being too good at everything. I like him.
His righthand man, Jean, is the ideal loyal friend. He is the brawn, yes, but he was raised alongside Locke and learned his fair share of unique talents and academics. I heard someone call him a Gary Stu (a male character who has no faults and learns things with no effort, the counterpart being a Mary Sue) and I can see where they’re coming from. He doesn’t seem to have any glaring personality problems like Locke does. . .as long as you view the lying, stealing, killing, and threatening as sterling examples of character. What I appreciate about him is his loyalty and friendship to Locke. He’ll go through any hell to keep Locke alive and proves it throughout the books. I want more friendships like theirs in other books.
The other members of Locke’s crew are Calo and Galdo (twins), and Bug. The twins are basically Fred and George Weasley, but the amoral, womanizing versions. Bug is the little shrimp who’s still learning the ropes of thieving but desperately wants to be one of the grown-ups. The five of them make a good band and for spoilery reasons I can’t talk anymore about them.
The rest of the cast is illustrated to the fullest, which can sometimes be a problem when they have a minor part and it gets complicated keeping a clear image of everyone.
What I didn’t notice until a later book is the fact that no one is “good.” Integrity and respect for moral rightness are not to be found. For the main scheme they designate a sizable amount of money just for bribes. Everyone can be bought, threatened, or corrupted because they’re either weak, crooked or wielding the villainy. And it’s not just in this city, it’s the whole world. I cheer for Locke because he’s the protagonist, not for his heroic tendencies. I’m not saying this is a fault in this fantasy world. But after three books of people folding to base traits, it’d be nice to see someone stand against it. To see a person with moral fiber oppose Locke and force him to evaluate his choices and if not change, realize there are other options. I love Locke as a thief but can we be expected to follow him for several more books without expecting him to question his criminal ways? I don’t think it’s been said that being honest and virtuous are for weaklings, so why isn’t anyone?
The biggest issue this time around is the description. It’s too much. I ignored most of the finer aspects of the architecture, locations and people because it got to the point where I didn’t care. It really hit me in book three when it seemed like every single person’s outfit is relayed practically down to the thread count. I appreciate good description as much as the next person, but there comes a time when my imagination can’t handle any more detail. Lynch frequently crosses my threshold. I’m sure if I could fully realize all the bits of his world I’d be crazy with envy at his lush vision, but I can’t. I think perhaps you have to leave breathing room for the readers instead of forcing them to see every minutiae in your three-dimensional wall mural. For me, visualizing his whole world is impossible.
There is some really good dialogue. I don’t have the book so I can’t give quotes, but I smiled many times during the conversations. It’s clever, fresh, and fun. There is modern swearing, which is a pet peeve of mine. It’s always out of place in fantasy and I’m tired of authors using it. But overall I enjoy the conversations.
I really like the audiobook’s narrator. I’ve heard his work before and it was fun hearing familiar voices.
Of the three books available, this one is my favorite.
So, this book has the banter, plot, world and overall feel of great fantasy. Issues aside, this is one of my favorite fantasy books.
But…while I am still anticipating the release of the next book, I’m not sure it’ll be as good as I want it. The ending of The Republic of Thieves created a big, twisty thing that I’m tempted to say is stupid. And what little I know of Lynch makes me think the themes and direction of the plot could go completely sideways. I hope I’m wrong.
Check out my rating here.
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