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Thicker Than Water (Felix Castor) Paperback – July 9, 2010
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Additional Details
- Print length504 pages
- LanguageEnglish
- PublisherLittle, Brown Book Group
- Publication dateJuly 9, 2010
- Dimensions4.5 x 1.5 x 7 inches
- ISBN-101841496561
- ISBN-13978-1841496566
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From Publishers Weekly
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Review
"You'll be up all night finishing this one." Richard Morgan, author, Altered Carbon
About the Author
Product details
- Publisher : Little, Brown Book Group (July 9, 2010)
- Language : English
- Paperback : 504 pages
- ISBN-10 : 1841496561
- ISBN-13 : 978-1841496566
- Item Weight : 2.31 pounds
- Dimensions : 4.5 x 1.5 x 7 inches
- Best Sellers Rank: #2,442,947 in Books (See Top 100 in Books)
- #8,959 in Hard-Boiled Mystery
- #13,321 in Occult Fiction
- #174,272 in Fantasy (Books)
- Customer Reviews:
About the author
Mike Carey got into writing through comic books, where his horror/fantasy series Lucifer garnered numerous international awards and was nominated for five Eisners. From there he moved into novels and screenplays, while still maintaining a presence in the comics world (he is currently writing two of Marvel's flagship titles, X-Men and Ultimate Fantastic Four). His movie Frost Flowers, an erotic ghost story, is currently in production with Hadaly/Bluestar Pictures. He lives in London, England, about as far as you can get from the centre of the city and still have access to the London Underground train network. His wife, Linda, writes fantasy for young readers under the pseudonym A.J. Lake. They have three children and an implausibly beautiful cat.
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The thing that is most noticeable about Carey's writing compared to almost any other current author I can name is that he is such a fine, literate writer. His words are so beautifully crafted that they are sometimes downright lyrical by which I don't mean sappy. Crisp. Wonderful word choices ... in fact occasionally actually using a word that is new to me. It has been decades since I learned a new word and I love it! Also noteworthy is that he does not repeat himself. He does not employ the same descriptive phrases repetitively nor does he, as many otherwise fine authors do, obviously copy and paste sections from one book to another to (I presume) save writing time. No short cuts for Mr. Carey. The result is a style that is rich in description, a wonderful counterpoint of gritty street slang banging head-on into literary English. Guttersnipe meets Jane Austen. It gives the narrative a texture that never becomes singsong.
There are many surprises in the book. The characters surprised me, despite ... or perhaps because ... I read the earlier books. His characters develop. Although many of them are not human, they grow in remarkably believable ways. This ought to be more common amongst authors than it actually is. Although the characters surprise you, it isn't surprise based on their doing something that doesn't jibe with their nature, but because the character has chosen a unique path or solution.
Mike Carey has a subtle and elegant sense of humour. No broad gaffaws here, but a sense of sharp irony pervades his prose. This is not, however, a funny book in the usual sense. There's nothing humorous or light-hearted about it. The humour is in the author's writing style, not the storyline. It is ironic and sometimes cynical and if you find that amusing, you will get some chuckles from it. But no smiles from the plot. That is dead serious, pun intended. Others have covered the story in more than sufficient detail, so I won't. Still, darkness notwithstanding, you can count on Mike Carey's signature plays on words and entertaining twists of phrase. It made ME smile.
The plot is alternately and sometimes simultaneously gripping and creepy which is, I believe, entirely intentional. I have rarely been better entertained by a book and look forward to the next installment. Two thumbs up for this one.
The mystery was a flaccid, the clues to its resolution vague and too far and few between to give one a chance to put the pieces together. Like Castor attempting to solve the riddle, the violence overshadowed the clues and threw me off. The backstories, however - first of Castor, then of Juliet - kept me in rapt attention and was what I found of most interest rather than the plot itself. Carey's dry wit, dead-pan humor ("... it goes against the grain to give up just because you're outnumbered, outgunned, painted into a corner and running a quarter past empty. ...") and creative metaphors ("it was an indelible skein of screaming wrongness impaled and spread out across that secotr of the skyline. It hung in front of me like mouldering curtains, so viviely present that I felt I could reach out and touch it ...") that will keep me coming back. Given the way in which Carey ends _Thicker Than Water_, I wonder how much farther he can take the story.
That said, the aspect of Thicker Than Water that I thought was so brilliant was the mystery. There is a well-worn conceit in mystery fiction where the detective has all of the information in front of him to solve the case, and knows that he all the necessary information, but can't seem to put the pieces together. This can be frustrating for the reader, if, as often happens, the reader sees the connections better than the detective, or the detective refuses to ask the right question that the reader knows will complete the jigsaw puzzle. Thicker Than Water avoids this altogether, and in fact left me, as the reader, suffering from the same fate as Felix. I knew there was something that I was missing as I read the book, I knew there was a connection that I didn't see, and it kept nagging at me that I should be able to put the pieces together.
Then, Felix gets that last piece of the puzzle, but the reader doesn't. So we get more clues about who must be involved, and yet I still couldn't see what I was missing. And then finally, the key detail is revealed, and with a cascade of images and memories the entire plot snapped together in my brain. Every piece was there, every connection was made, and the plot became a seamless whole. That was very cool.
And beyond the mystery, the pace increases further, the decisions that Felix has made are driving events forward, and the questions from the start of the series of the morality of his job, his duty to his injured friend, and the danger of a war between the living and the dead, continue to be at the heart of the series. Extremely well done Mr. Carey, and I look forward to Book 5, and hopefully many more.
Top reviews from other countries
THICKER THAN WATER ist Felix' persönlichstes Abenteuer. Es geht hier um keinen Kunden, der einen Fall an ihn heranträgt, Fix arbeitet dieses Mal auf eigene Rechnung. Wir erfahren endlich mehr über Castors Vergangenheit und die Umstände, in denen er aufgewachsen ist. Auch sein Verhältnis zu seinem älteren Bruder Matt wird näher beleuchtet und man beginnt zu verstehen, warum sie so entfremdet sind. Felix war schon von der allerersten Seite an ein gut ausgearbeiteter und glaubwürdiger Charakter, aber in THICKER THAN WATER erfährt man in groben Zügen die Gründe, warum er so ein sarkastischer Bastard ist, der sich an niemanden binden kann und seine Mitmenschen immer wieder wegstößt.
Neben diesen familiären Offenbarungen hat Felix endlich einen Weg gefunden, Rafi vor Jenna-Jane Mulbridge in Sicherheit zu bringen. Es werden außerdem einige wichtige Fragen geklärt, die das Jenseits betreffen und Fix bekommt einen wahren Augenöffner.
In THICKER THAN WATER ist die Handlung weniger verstrickt und weit verzweigt wie in den Vorgängerbänden. Das Problem - Kenny Seddons Tod - liegt klar auf der Hand und Felix verfolgt seine Spuren, um hinter des Rätsels Lösung zu kommen. Da der Fall dieses Mal so persönlich ist, beeinträchtigt dies natürlich den Ton und die Stimmung des Romans. Fix' Sarkasmus ist natürlich nicht auszurotten, aber er kommt weniger zum Einsatz und THICKER THAN WATER ist von einer gewissen Melancholie durchzogen.
Die Auflösung in THICKER THAN WATER ist vor allem für Matt geradezu herzzerreißend und auch Felix lassen die Entwicklungen nicht kalt. Der Roman endet mit einem Cliffhanger, der ein wahrer Paukenschlag ist, und die schnellstmögliche Lektüre von THE NAMING OF THE BEAST unverzichtbar macht. Sehr, sehr empfehlenswert.
There are a number of reviews on these books so I won't delve into plot, I'll just say this. I'm a hardened fan of Urban Fantasy, whatever side of the pond it takes place. I've trawled through all the Dresden files and rocked with Matthew Swift and the blue angels, looked into the future with Alex Verus, and even put up with the slightly smug Iron Druid. Castor however, differs from all of them in that his so called 'Power' - his ability to see the dead and play them down from the ledge/off to the netherworld with his wee tin whistle - is essentially quite lame. I don't mean it's not cool that he can move spirits on with a jaunty tune, it's more that his power can't always be sucked out of the ground, summoned from the concrete etc, to get him out of tight situations. He has to rely on his wits a lot more than the others in this canon, and while they all take a hit from time to time, he takes a sever battering on regular occasions without being able to 'magic' away his aches n' pains. I particularly like the fact that he's a gumshoe before he's a person with supernatural abilities. In all the books he does a lot of legwork to find out what's going on, and often, summoning ghosts or leaning on loup garous just gets him a bloody nose and seemingly little else.
This touch of fallibility and vulnerability makes Castor the Daddy of all street walking hoodoo men. The fact that there are only five books in the series also means you get to really invest in him, his undead tech guy and his sexy succubus, without any of them overstaying their welcome.
So go back and read the three books before this one, you'll be very glad you did.
There is definitely something of the film noir about this book. The urban landscapes of London and Liverpool are faithfully conjured, coloured with the greys and blacks of a sixties movie. The attitudes and feelings of those incidental characters within the cityscapes is also well outlined. It feels contemporary, and not just because of its references to 21st century Britain.
A scholar could do a great deal worse than examine what Carey is saying subtextually about self-harming in modern society - but that's a bit deep.
Fix, Pen, Rafi (Asmodeus), and Juliet are all here to order, interwoven into a narrative that is complex and fast moving. As always, it's a bit like a ride at some grizzly theme park.
It's a great adventure: bloody, voilent, supernatural and superbly told.