(delectable cover art by Will Staehle)
“An absolute delight.” That was what I said about the first of Vivian Shaw’s Great Helsing novels, Strange Practice, around this time last year (see here for the review). In fact you can see that quote on the back cover of this second book; it really was one of the most enjoyable novels I read in 2017 and made my annual Best of the Year list. So you can imagine that when the second book, Dreadful Company, showed up on my desk you would have seen me shiver with anticip…. ation…. Did the that difficult “second album” live up to the promise of the first book? Nope, in fact it surpassed it; Vivian has taken all of the best elements (characters you really get to know and care about, sly sense of humour, clever references, some social commentary), allied them to an intriguing new story and along the way also nicely expanded the world Greta and her friend inhabit.
Greta is, like almost all GPs, constantly run off her feet, but her medical practice in London takes in an unusual set of patients, ones who otherwise would struggle to obtain healthcare – vampires, ghouls, werewolves, mummies and more, Greta treats any who need it. Unusually Dreadful Company takes her away for a few days, both from her practice and from London, invited to fill in at short notice at a medical conference for those with her unusual selection of patients, Greta is in Paris for a few days. Lord Ruthven returns from the first book (yes, that Lord Ruthven) and he is delighting in escorting Greta, treating her to the finest the City of Light has to offer – sumptuous hotel, elegant evening dress, a night at the opera in the Palais Garnier. Vivian has a delicious line in descriptive prose, and here the overly ornate opera house decor as possessing the “same kind of uninhibited, glittering cheer as a polished drag queen’s performance.”
The use of the opera house offers up the first in a number of references to one of the great classics of horror literature, Gaston Leroux’s Phantom of the Opera, even down to a scene on the grand staircase where Ruthven feels as if another presence is watching them close by (a nice nod to the 1920s film version of Phantom with Lon Chaney Snr, which used some remarkable early colour for the staircase scene and remains an astonishing piece of early cinema). Of course they are indeed being watched, there are local Parisian vampires at the opera – opera being one of those things that just attracts vampires, as is noted wryly in the book. And it isn’t long after Ruthven has to take his leave that Greta finds herself in trouble, snatched by the leader who has an entire coven of vampires in the infamous catacombs near the Père Lachaise cemetery (where else??), and this leader has a grudge against Ruthven, putting Greta in a huge amount of danger.
(the ball sequence in the opera house from the 1920s Phantom of the Opera)
Into this mix come new characters such as the werewolf St Germain (a nod to the famous vampire novel series?), who is effectively the supernatural protector of Paris. In a nice touch St Germain’s origins allude to the real historical mystery Beast of Gévaudan from 1700s France (still a fascinating mystery to this day), and two immortals who are very good at clearing old haunting sites, helping spirits move on, Crepusculous and Brightside, who put me in mind (in the good way) of Aziraphale and Crowley from Good Omens. The kidnapping plot is just the tip of the iceberg here though, and Vivian weaves an increasingly compelling story with many winding side-branches that twist around much like those ancient Parisian catacombs, before very satisfyingly coming together again, both the narrative and the character arcs being rounded up nicely. And no, I’m not going to say any more on the plot because I don’t want to spoil any of it for you.
There is a real sense of world-building going on here – Vivian is expanding that mix of the real and the supernatural world that Greta lives in, the history, the geography, the characters, and it is all tremendously satisfying – it reminded me of early Jim Butcher Dresden Files novels in that respect, in that each book had a self-contained tale but also built up that world with more details in each book so you became more immersed into them. As well as the expanded sense of Greta’s world and a compelling story, the wicked sense of humour in some of those descriptions there is also a nice line in geek-friendly references from the aforementioned Phantom of the Opera and Beast of Gévaudan to tips of the hat to Armand’s subterranean coven of blood-drinkers in The Vampire Lestat and how many other writers manage to work in an underground jail scene which manages to take in both “Oh whistle and I’ll come, my lad” and The Prisoner? This is the sort of book which will deserve a second read further down the road and I am sure I will spot more references, not just thrown in but nicely woven into the actual story. This is an utterly delicious read.