City Of Lies is about a great many things: Poison, politics,
the moral and ethical obligations a society ha to those working within it, the
quality of friendships and, er, more poison. The slow-burn narrative captured
by attention and didn’t let it go, and the world drawn showed a marvellous depth
of imagination; given this is Sam Hawke’s debut, the series it begins is off to
a very strong start.
The story explores themes of the dichotomy and conflict
between the urban and country as well; much of the text takes place within a
sprawling city regarded (at least by its rulers) as a centre of socio-cultural
enlightenment. A council of well-heeled nobles rules, and dispenses justice and
economic largesse to their populace. The people have access to education, and
guilds exist to allow the talented to make something of themselves. Or so the
story goes. Things are, as ever, not that simple. The governance, the beneficence,
the economy, the social inclusivity of a
ruling elite from a different background to the remainder of their population –
all are, at the very least, on tenuous ground. Perhaps the largest fib in City
Of Lies is the city itself – or at least the ideals it’s founded upon. The
story isn’t afraid to use its characters to explore flawed assumptions, to
question the sacred cows which this society has built, and to deconstruct them,
block by block. The occasional murder is thrown in, too.
The city is glorious, in its way, in the evocation of the
ideals it tries to match, even where it falls short. And in being a thriving
metropolis of broken walls and soaring bridges, a living proof that
co-operation and harmony can have positive results. That this is, if not a lie,
at least contemporaneously somewhat wishful thinking, doesn’t give this world
any less of a heart. There’s so much social complexity at work here –
agricultural workers struggling with urban rentiers, representatives trying to
create new guilds to allow people to earn a living in different ways, armies on
the march – it’s breathtaking. It’s a lot to take in, but it sneaks up on you. Over
the course of the book, the city will get under your skin – much like the
poisons described at the start of a chapter.
If the world is fascinating, the characters are equally
compelling. The heart of the book is friendships, and family ties – between a
young aristocrat with an important role in government, his equally aristocratic
friend, whose duty it is to ‘proof’ substances as a protection from poison, and
the proofer’s sister, who, chronically ill, carries affection for them both.
They’re an odd lot, these three, but their unbending faith in each other is the
pole star of the narrative, and once which makes it an absolute joy to read.
While we’re looking at the deeper themes of the text, while we’re looking at social
inequalities writ small and large, or the minutiae of politics, or actual
poisonings, or duels, or battles, the emotional resonance of this triad glues
the text together.
The relationship of the three protagonists carries the
warmth and depth of genuine friendship, of duty embraced with mutual affection.
It’s a delight to see such friendships celebrated, and the positive nature of
the emotions in no way decries their honesty and the truthful heft that they
lend to the story. It’s what gives the
book heart. This is helped, in some ways, by the villains – such as they
are. For the antagonist here is a
mystery – sowing disruption and lethal toxins from the shadows. Each character
is thus a challenge; each pampered aristocrat could be wearing a mask, each
Order-Keeper patrolling the streets a potential quisling.
To the author’s
credit, each of the ensemble around our central group feels like an individual.
Petty, spiteful individuals, sure. Duty-driven and socially suspect,
absolutely. Acidic and unforgiving of the pride of the City? No question. But
each has a distinct voice, and each carries a personal opacity which makes them
more or less of a threat. Each smile may mask a villain – but of course, a
scowl can too. If the City is founded on principles which may be undermined
where they intersect with reality, the people withi the city are also cloaked
in smaller, pettier lies – and in this, and in their efforts to be more or less
than themselves, they’re thoroughly believable, and very human.
The plot is a complex web of mystery, focused, perhaps
unsurprisingly, on lies, subterfuge, and poison. Each paragraph is a test of
nerve, waiting to see if a silent murder has occurred. Each sentence carries a
slow burning tension, perhaps akin to waiting for an antidote. I won’t get into
it here, but suffice to say that City Of Lies has a lot going on. There’s
enough byzantine factional politics for anyone, and if that’s not your jam,
there’s more than a little swordplay and siegecraft as well.
There is some
magic floating around in the background, quietly understated, but it doesn’t
feel like a focus for much of the book – that focus is on the characters, on
our trio and on their efforts to investigate a mystery and thus hopefully not
die trying. The gently bubbling, seeping tension left me turning pages late
into the night, and the tightly woven relationship between the central
characters kept me turning them until morning. With that in mind, I’d recommend
City Of Lies. It’s a vividly imagined, cunningly crafted debut, and an
excellent read.
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