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Books : Audio CDs : Authors A-Z : C : Cornwell, Bernard
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Does the fact that the The Last Kingdom inaugurates yet another series from Bernard Cornwell fill you with anticipation--or trepidation? His immensely popular Sharpe novels are, of course, the bedrock of the author’s popularity. But when readers learned that he was to abandon the redoubtable Sharpe for a Grail Quest series, there were those who invoked the ‘if isn’t broke, why fix it?’ rule. However, when Cornwell proved himself equally adept at conjuring a world of knights and savage combat, his Grail Quest series (the first book of which was Harlequin) soon established itself as another Cornwell winner.And here’s yet another series from the protean writer. Do we really need it? Yes, we do--it’s a safe bet that The Last Kingdom will prove that the author is seemingly capable of beginning an endless run of new novel sequences. As well as the impeccably plotted narrative, Cornwell has other fish to fry here: nothing less than a totally fresh look at a historical figure we think we know: Alfred the Great. Cornwell’s protagonist is Uhtred, caught in the conflict between the Danes and the English in the ninth century. He is born into the English aristocracy, but loses his parents at the age of ten and is raised in Viking fashion by a Dane. When massacres reign down on both sides, Uhtred is torn between his loyalties--and when his family disappears, a reckoning with a Viking chieftain is in the offing.
Behind all this is the King, Alfred: complex, conflicted, and by no means the figure that the conventional history books render him. All of the customary Cornwell virtues are fully on display here.--Barry Forshaw
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The Pale Horseman is the second book in Bernard Cornwell's Grail Quest sequence, and this highly experienced author will be well aware of the pitfalls awaiting the creator of any second book in a series -- particularly when its predecessor, The Last Kingdom, was so enthusiastically received. The fact that Cornwell's Sharpe books are so beloved (for their immense colour and vivid recreation of a very lively period of history) was not a guarantee that this latest venture for the author would succeed. But succeed it did, and The Last Kingdom conjured an era of Vikings and massacres, with a brilliantly drawn (and complex) King Alfred at the centre of the narrative. So -- does Cornwell bring off this second book with equal panache?No need for suspense -- The Pale Horseman is just as exhilarating a recreation of an age of heroes as its predecessor, delivered with the brio that is the author's trademark. Uhtred was born in Northumbria but rais! ed as a Viking. Married to a Saxon, he has achieved fame as a doughty warrior. But the more reflective Alfred has problems with the aggressive, self-serving manner of his young friend. An alliance, though, is necessary: these two are the sole remnants of those who commanded Wessex, after ill-judged bargains have destroyed the union. The Vikings now reign over most of England, and Alfred and his company are obliged to hide in the swampy netherland of Athelney, trying to regain the support they once enjoyed. Uhtred cannot shake off his Viking training, but finds himself acquiring an admiration for Alfred, who he comes to sense is a great man. As the narrative progresses, the conflict between the two men must be resolved before bloody battles will change the fate of England.
One expects the heroic endeavours of Bernard Cornwell's novels to be dispatched with panache, but there is another element which his admirers rely on: the conflict between his strongly drawn characters,! exemplified here by the two proud leaders. It'll take a while! before this new sequence achieves the immense popularity of the Sharpe novels, but the auguries are good. --Barry Forshaw
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All of the Sharpe novels, not just the new one, Sharpe's Prey, feature genuinely complex plotting in which the reader is kept engaged not just by a central conflict but by a whole host of subplots handled as adeptly as his main narrative. How does Bernard Cornwell maintain such a high standard in his tales of historical derring-do and danger? The genre is a touch overcrowded these days, but Cornwell is unquestionably in the upper echelons, with a consistency that must give most of his rivals pause. It isn't just the formula that makes these books work so well (high-powered, vividly described action, conflicted protagonists risking both their lives and careers, impressive historical detail), it is another factor that has distinguished the author's books since his early work.The year is 1807; Lieutenant Richard Sharpe is planning to leave the army. Against his better judgment, he is persuaded to accompany the Hon John Lavisser to Copenhagen in what is essentially an act of political skulduggery: they are to deliver a bribe and (hopefully) avert a war. But with the French ensuring that Europe remains at boiling point, Sharpe finds himself protecting his charge against French agents and struggling to ensure that the Danish battle fleet is not used to replace every French ship destroyed at Trafalgar. Sharpe is a character we know well and like, and his customary characteristics (tenacity, bloody-mindedness) are well to the fore here, but, as always, the other characters are equally strikingly drawn: Lavisser is a splendidly complex figure, as are several of Sharpe's nemeses. But it's that wonderfully adroit orchestration of action and plot that keeps the pulse racing, with the bombardment of Copenhagen and the massive bloodshed resulting in a truly impressive set piece:
Sharpe, from his vantage point on the dune, could see the smoke wreathing the wall. The city's copper spires and red roofs showed above the churning cloud. A dozen houses were burning there, fired by the Danish shells that hissed across the canal. Three windmills had their sales tethered against the blustering wind that blew the smoke westwards and fretted the moored fleet to the north of Copenhagen.
--Barry Forshaw
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One thing is as sure as death and taxes: that each successive Bernard Cornwell novel will be as exhilarating as its predecessor. Sharpe's Havoc continues the trend, demonstrating once again why the Richard Sharpe books by Cornwell are among the most cherished examples of historical derring-do around. While the novels are all assiduously detailed, with a precise sense of period, Cornwell knows how essential it is that his hero, the danger-prone Richard Sharpe, is as vividly characterised as ever. True to form, in Sharpe's Havoc we never lose sight of the character of the protagonist and the many members of the idiosyncratic supporting cast.This time, we are taken to the spring of 1809 when a few British soldiers are stationed in Lisbon as Marshal Soult undertakes his assault on the garrison of Northern Portugal. It's not for Sharpe and his trusty crew of riflemen to dwell on the finer points of politics when they are sent into the city of Oporto to save the lives of two British women who have elected to stay. But when one of the women, Kate Savage, goes missing, Sharpe (along with Sergeant Patrick Harper and several battle-hardened colleagues) finds himself besieged in the city when the bridge over the river falls to the enemy. The English are forced on in a desperate journey back to the safety of the British encampment, but things become very murky when an enigmatic English officer informs them that they will be staying in the hellhole that is Northern Portugal.
Cornwell admirers will know exactly what to expect, and all the heady pleasures that distinguished such earlier books as Sharpe's Battle and Sharpe's Company are fully in place here, with the added impetus that comes from a notably picaresque narrative. All the central characters are drawn with the customary forcefulness, and instead of the expected tension and release that is the hallmark of most Cornwell novels, there's a steadily increasing excitement engendered here that leads to an all-stops-out finale. --Barry Forshaw
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Vagabond, the second entry in the "Grail Quest" sequence, has been eagerly anticipated by those who read the first book, and it doesn't disappoint. Thomas has managed to survive the battle of Crécy. Still nursing his wounds, he is dispatched by the king on a mission to look into the matter of his father's inheritance, which is obscurely connected to the Holy Grail. This most precious relic of the Christian faith is a much sought-after object, offering the power of total victory in war to its owner. But Thomas finds himself in the middle of a battle against an army invading the North of England, and other shadowy forces pursuing the grail are prepared to slaughter anyone who stands in their way. In the ruins of his birthplace, Thomas discovers more about his father, and a dangerous voyage to France brings him up against his cousin and arch-enemy, Count of Astarc Guy Vexville. The stage is set for a merciless showdown.Thomas is a protagonist drawn quite as pithily as his much-loved predecessor, and the sheer verve of Cornwell's storytelling here is irresistible. We are plunged into a distant age: bloody, colourful and dangerous. Roll on, volume three! --Barry Forshaw
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