Characters: ***** (5 stars)
Character Development: **** (4 stars)
Plot: *** (3 stars)
Writing: *** (3 stars)
Overall: *** (3 stars)
(Let it be hereby stated that I read an advanced reader’s edition of The Quick, which may still be waiting on final edits.)
When a friend and colleague of mine at the bookshop insisted that I read The Quick the moment she finished it, I knew right away that I would have lots to say about this debut novel. It’s one of my favorite kinds of story, in one of my favorite settings, but there are a few twists which caught us both off guard. The Quick is a complex novel with a Victorian setting, a Gothic atmosphere, and a sweeping narrative. It’s also a monster story of sorts. I would have been utterly puzzled to realize – a hundred pages in – that there was some serious slaying to come, had my friend not mentioned her similar surprise. Neither the title nor the package revealed much about this book’s nature from the start. Since I have the galley and not the finished product of the book, I can’t help but wonder how heavily Random House intends to advertise the supernatural bent. On the back of my copy, it only says: “An astonishing debut novel of epic scope and suspense that conjures all the magic and menace of Victorian London”. Well, there’s menace aplenty and a grim sort of magic alongside what I can only call the “creature aspect” (to avoid spoiling too much). I was held in suspense once I finally got engrossed in the story, but it took me much longer than usual to immerse myself in Owen’s writing. As for the “epic scope,” I suppose that the many intertwining narratives and the multiple main characters prove that statement to be true.
The Quick starts out in Aiskew Hall, one of those large and drafty mansions in the English countryside which set the scene for so many sprawling novels. James and Charlotte are very young children when we first meet them, orphaned after their father’s death, and subject to uncertain futures. The scenes about the children’s games and fears were picturesque and I was charmed by their environment. I guess Lauren Owen grew up in an old Yorkshire boarding school, and her descriptions are excellent. From the secret passages indoors to the gardens outside, Aiskew Hall is a wonderful location. It’s too bad we don’t get to read more about it, as soon enough the setting switches to London.
Oh, Victorian London. So many distinctive tales have tramped up and down your streets – Dickens spin-offs have strolled alongside grisly horror stories. Sassy steampunk heroines now follow the same footsteps as eccentric detectives. There’s no real shortage of Gothic mysteries or supernatural horror crammed into that city’s ever-expanding boundaries of fiction, and I’m not sure if The Quick added anything too terribly new to the landscape. But there’s such an extensive literary heritage to late 19th century London that I do understand the appeal in borrowing the city’s peculiar brand of storytelling magic. While she doesn’t really break any new ground by setting her debut novel around a mysterious gentleman’s club in the darker parts of London, Owen does have a talent for creating atmosphere. I read the book over a couple of dreary late-November evenings and I was surprised every time I stepped outside to see neither hansom cabs nor top hats. I’m still keeping an eye out for ragamuffin pickpocket children (often my favorite characters in these sorts of books). When James and Charlotte experience the bustling hubbub of city life for the first time, their confusion and awe made the disorienting metropolis seem immediate and real.
After graduation, James moves to London and gets rooms with an eccentric friend-of-a-friend. He tries his hand at writing poetry, then moves on to plays after they see a production by some bloke named Wilde. Christopher Paige is lively and dashing while James is more of a reserved, respectful sort of fellow. Their personalities clash nicely and as their friendship deepens we get an entertaining glance at life in London for gentlemen with money enough to make society’s expectations the most pressing of their problems. It took a while, but eventually I found myself absorbed into the details of domestic issues and witty banter.
Right as their story started to get really interesting, though, Part II of The Quick introduces an entirely new point of view and style. I felt marooned and disoriented to be suddenly presented with The Notebooks of Augustus Mould in Chapter Six, and not only because the heading reminded me a little of The Secret Diaries of Adrian Mole by Sue Townsend (a very different sort of book indeed, though equally British). At this point, Owen started to take a Dracula-esque approach to her narrative. By treating the excerpts from Mould’s notebooks as an active component of the story, and by using shifts in perspective to take the plot in an entirely different direction, the novel introduces four or five new plot lines and main characters.
A threatening presence causes gossip in London, haughty idealists take charge of a secret society, a little girl learns why some streets are off-limits, and a shared tragedy brings two unlikely friends together to face an evil which is damned difficult to kill. As the story progresses we do come to understand how everyone will eventually interact to create a high-stakes confrontation, but I spent half the book trying to find connections rather than giving my full attention to the plot. Much in Stoker’s style, Owen uses her structure to show how menace can unite people and affect a great many lives. I do wish she had brought the different groups of characters together earlier on, though, especially since the men and women themselves were distinctive and their interactions were downright fun to witness. The pacing was stilted at times, which detracted from the strong descriptions and appealing aesthetic. In the second half of the book, I found some redemption when the many different threads eventually did come together to propel us towards an exciting conclusion. The focus was just a little off – too many influences from the genre’s long history were vying for attention – and I felt that the novel couldn’t quite contain its own scope.
The author has borrowed an awful lot from her literary predecessors: The Quick contains distinctive elements of Dickens, Stoker, Shelley, Poe, Anne Rice, and Robert Louis Stevenson. The editor’s note which came with the galley mentioned that Lauren Owen started out writing fan fiction of Harry Potter and Buffy the Vampire Slayer as a teenager. Push through the slow start and clunky narrative shifts to where the action begins, and you’ll see how Joss Whedon has made his mark. Even though I had a hard time getting comfortable with the balance between the book’s Victorian style and its eventual supernatural standoffs, I had a great time with each of those aspects in their own way. Some characters seemed straight out of Great Expectations, what with their moral qualms and social hardships. Others were gunslingin’ badasses with tragic pasts. I was happy to read about violent little kids and a mysterious occult library, though there were times when I wondered if I should be reading two different books instead of this one.
Now that I’ve finished reading The Quick, I’m intrigued to see what sort of reaction it will get once it’s released into the wild. I think there’s some strong writing and great characters, and while the premise isn’t particularly original it was interesting and fun. The target demographic of readers is difficult to define, though. You’ll need to have an appreciation for Victorian sensibilities in order to get through the first half of the book, but you can’t be too picky about style or easily annoyed by clunky narrative structures. On the other hand, it might appeal to readers of dark and violent Gothic adventures like The Haunting of Alaizabel Cray – tense stories which don’t rely too heavily on historical realism – but the language might make the pace drag on for fans of that genre. I happen to be right in the middle of that spectrum and did enjoy The Quick. Anyone picking up the book will find it necessary to suspend their judgement and expectations along with their disbelief. If you can do that, then the interesting descriptions; absorbing atmosphere; and memorable characters will keep you reading right through to the book’s mysterious ending.
If you liked that show “Ripper Street,” I think you’ll feel right at home in The Quick. If you were enchanted by Erin Morgenstern’s novel The Night Circus (Rosie and I reviewed it here) you will probably enjoy it, too. The Quick is less stunningly magical than The Night Circus was, but I think the characters were more believable and the personal relationships were handled better. I read books for the atmosphere more than anything else, and I’m happy I stuck with The Quick. You can definitely tell that it’s a first novel, and I hope that Lauren Owen will develop a style which is more distinctly her own as her writing progresses. I will absolutely be keeping an eye out for any of her future work, and I hope she continues to write darkly aesthetic stories which transport us to a more mysterious time and place.