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Books : Fiction : Contemporary Fiction: 1970 Onwards : Authors A-Z : A : Arnott, Jake
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"What's breaking into a bank compared with founding one?" Bertolt Brecht's provocative question opens Jake Arnott's first novel The Long Firm and sets the scene for its memorable exploration of the London underworld at the beginning of the 1960s. Five very different characters tell their five very different stories about "Torture Gang Boss" Harry Starks. A man who "liked to break people" but also a "frightened little child" is how his lover and kept boy Terry recalls him; a "lower-class tearaway", according to the Tory lord who frequents his erotic parties; a depressive with a diabolical mind, one who likes to "stage manage the fear", in the eyes of his various criminal and starlet peers; a product of working-class subculture and a living critique of capitalism, concludes the radical young sociologist who teaches him in prison. Harry Starks is the beginning and end of The Long Firm, a compelling showman who embodies the brutal realism and impossible dreams at the heart of Arnott's vision of London low life. The glamour and corruption of that life drive this story but Arnott manages to weave cliche into enigma, myth into inquiry, in a way that revitalises the well-worn images of the mad and the bad. As Starks would put it, keeping Brecht's question before the readers' eyes, "It's all about the economy of power, Lenny". --Vicky Lebeau
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Jake Arnott's He Kills Coppers opens in August 1966 when the feel-good factor is running high as England enjoys World Cup victory and a seemingly endless summer. But the sunshine brings some nasty creatures out, and the brutal slaying of three policemen in a west London street sends shockwaves right to the heart of the nation. For three men, the killing is more than a front-page outrage. For Billy Porter, a war-time hero turned petty thief, it's a plan that went fatally wrong. For Frank Taylor, a Detective Sergeant trying to climb the Met's career ladder without resorting to corruption, it's a bereavement--the loss of a loyal comrade which must be avenged. For Tony Meehan, cub reporter on the Sunday Illustrated, it's nothing more than a fortuitous scoop that assures him his job. But reporting the crime awakens sinister urges that he's unable to resist and soon Meehan is creating his own news. Three men who've never met; three lives inextricably linked, in a chain of events that changed history.Those who raved about Arnott's debut novel The Long Firm will not be disappointed by its successor, a tale combining the tension of a hard-boiled crime thriller with a Dickensian eye for detail. The sounds and the spirit of 60s London are evoked with almost filmic precision, while the plot advances in that swift, inexorable fashion of the very best myths. A few of its peripheral characters, such as Jeannie, the whore with the conscience ("I never want to rely on bad money again"), and Mooney the Masonic vice-cop ("Through the Mysteries of the Craft you can keep yourself clean"), might be slightly clichéd, but the principal trio of narrators is vivid and utterly convincing. For a story that combines morality, the authentic whiff of Soho sleaze and a plot that goes straight for the jugular, readers need look no further. --Matthew Baylis
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"What's breaking into a bank compared with founding one?" Bertolt Brecht's provocative question opens Jake Arnott's first novel The Long Firm and sets the scene for its memorable exploration of the London underworld at the beginning of the 1960s. Five very different characters tell their five very different stories about "Torture Gang Boss" Harry Starks. A man who "liked to break people" but also a "frightened little child" is how his lover and kept boy Terry recalls him; a "lower-class tearaway", according to the Tory lord who frequents his erotic parties; a depressive with a diabolical mind, one who likes to "stage manage the fear", in the eyes of his various criminal and starlet peers; a product of working-class subculture and a living critique of capitalism, concludes the radical young sociologist who teaches him in prison. Harry Starks is the beginning and end of The Long Firm, a compelling showman who embodies the brutal realism and impossible dreams at the heart of Arnott's vision of London low life. The glamour and corruption of that life drive this story but Arnott manages to weave cliche into enigma, myth into inquiry, in a way that revitalises the well-worn images of the mad and the bad. As Starks would put it, keeping Brecht's question before the readers' eyes, "It's all about the economy of power, Lenny". --Vicky Lebeau
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Jake Arnott's He Kills Coppers opens in August 1966 when the feel-good factor is running high as England enjoys World Cup victory and a seemingly endless summer. But the sunshine brings some nasty creatures out, and the brutal slaying of three policemen in a west London street sends shockwaves right to the heart of the nation. For three men, the killing is more than a front-page outrage. For Billy Porter, a war-time hero turned petty thief, it's a plan that went fatally wrong. For Frank Taylor, a Detective Sergeant trying to climb the Met's career ladder without resorting to corruption, it's a bereavement--the loss of a loyal comrade which must be avenged. For Tony Meehan, cub reporter on the Sunday Illustrated, it's nothing more than a fortuitous scoop that assures him his job. But reporting the crime awakens sinister urges that he's unable to resist and soon Meehan is creating his own news. Three men who've never met; three lives inextricably linked, in a chain of events that changed history.Those who raved about Arnott's debut novel The Long Firm will not be disappointed by its successor, a tale combining the tension of a hard-boiled crime thriller with a Dickensian eye for detail. The sounds and the spirit of 60s London are evoked with almost filmic precision, while the plot advances in that swift, inexorable fashion of the very best myths. A few of its peripheral characters, such as Jeannie, the whore with the conscience ("I never want to rely on bad money again"), and Mooney the Masonic vice-cop ("Through the Mysteries of the Craft you can keep yourself clean"), might be slightly clichéd, but the principal trio of narrators is vivid and utterly convincing. For a story that combines morality, the authentic whiff of Soho sleaze and a plot that goes straight for the jugular, readers need look no further. --Matthew Baylis
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