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There’s something about your own name in someone else’s handwriting that gives you an instant blip of recognition, even when you meet it in unusual circumstances. And this certainly counted as unusual in my book. For one thing, it was written backwards, from right to left: but then, that was because it had been written on the inside of the car windscreen, by someone sitting in the driver’s seat. More strikingly, it was written in blood.
When I first read Mike Carey’s The Devil You Know I was pleased with his mixture of Chandlerisms and references to Vertigo Comic’s John Constantine, with protagonist Felix Castor also a Scouser with paranormal abilities. Thankfully Carey was able to go further with his own literary sandbox, introducing themes and ideas that might not have gone over to well with DC editors looking to develop further sequels to the mediocre Constantine film. The three titles in the series preceding the subject of today’s review are fast-moving supernatural thrillers, with Felix Castor a sometime-exorcist by trade, trying to make a living in a post-Millennium London that is teaming with werewolves, zombies, demons and ghosts.
This book quickly introduces the status quo, without leaving new readers lost. I would recommend reading Castor’s previous adventures, just to get a feel for the universe Carey has fashioned, as well as the excellent supporting cast.
Thicker Than Water opens with a daring heist, of sorts, with Castor and his partner Juliet (a succubus whose actual name is Ajulutsikael, but that’s not important right now) absconding from a private hospital with a very special patient. Some years ago Castor botched an exorcism involving his friend Rafael Ditko, which body was then transformed into a cell for a very powerful demon named Asmodeus. For years Castor has played a game of brinkmanship with the creature, managing to keep it sedated for brief periods so that Ditko can enjoy some peace. Until that is word got around about the powerful demon trapped in a human’s body and a court order was issued releasing him into the custody of old rival’s of Castor’s, who dearly wish to see what makes a creature such as Asmodeus tick.
After everything seems to go according to plan, Castor tries to lie low. Ditko is safely stashed away at a friend’s househouse. His landlord Pen gets to visit her old boyfriend for a conjugal visit or two while the demon is slumbering. And his buddy Nicky, the paranoid zombie, has invited him around to watch a private screening of Blade Runner in his own restored cinema. Then everything goes wrong fast.
Castor is implicated in the stabbing of a man named Kenny Seddon. Not only did he grow up with the victim in Liverpool, the severely wounded man managed to write the exorcist’s name in his own blood at the crime scene. As a suspect Castor is ordered to stay at home for questioning, but suspecting a fit-up, he returns to investigate Seddon’s home at Salisbury estate, a vast perpendicular warren of tower flats and narrow over-passes. There he discovers a malign, vicious miasma of evil, infecting the ordinary families living in the towers with a thirst for blood and violence. Somehow it is all connected to Felix and his childhood. And only Asmodeus knows what it wants.
First off this book is a great leap in quality from the preceding entries. I enjoyed them for what they were, but thought the formula was beginning to wear a bit thin. Carey has positioned all his pieces nicely for this book, allowing for greater depth with a more personal touch entering the proceedings. Castor’s childhood and his relationship with his brother Matt the priest is dwelled upon, we learn more about the nature of demons, adding to the already impressive world-building of the series and his rivalry with the demon Asmodeus finally comes to the fore.
New characters are introduced, including a zombie with a woman’s voice and a team of Catholic exorcists with fewer qualms about eliminating souls than Castor. The overall feel of the book is that of a more pop-culture literate William Blatty, with a fine line in Scouse banter. There’s even a dig at Blair-era Labour cynicism, as well as themes relating to adolescent self-harm.
Castor’s the kind of bloke you’d enjoy having a pint with, but would never want to owe a favour to. Check out this series and enjoy his company – from a distance.