The Wicked Cometh by Laura Carlin
‘To the right of the last wooden house, warped and stooping, there is a covered alleyway no wider than a whip thong. At the end of the alleyway there is a yard; small as a poke, never gladdened by the warmth of the sun. In the far corner of that yard, behind a door that hangs loose on its leather hinges, is a room. It is a small room with a brick and dirt floor. This room is the centre of my London.’
Out of the shadows of murky London comes Hester White, a bright young woman who is desperate to escape the slums. When Hester is thrust into the world of the aristocratic Brock family, she leaps at the chance to improve her station in life under the tutelage of the mysterious Rebekah Brock. But whispers from her past begin to poison her new life.
The Wicked Cometh is lauded as one of the most anticipated books of 2018, and with its promise of a gothic setting and wicked deeds I was sure I was going to love it. Parts of it I did love and overall it was a very enjoyable book, but the pacing was where it let me down.
The Wicked Cometh has been billed for fans of The Essex Serpent but it has far more in common with Sarah Waters’ fabulous melodramatic Victorian novels than Sarah Perry’s more subtle, character-driven debut.
Carlin is fantastic at creating atmosphere, conjuring the filthy slums of Victorian London where the sun never shines and danger lurks around every corner. Her meticulous research is evident in the 19th century slang in the dialogue, adding another layer of realism to the story.
Carlin has successfully emulated the tone and style of Dickensian novels. Our plucky heroine Hester is rescued from the slums and whisked away to a life of safety and contentment – or so it first seems. The descriptions are beautiful and unique and the darkness of the story is lightened with dashes of humour.
The problem most reviewers and readers have picked up on is the pacing. The plot doesn’t really get going for a good 150 pages and, with Carlin’s antiquated style, those 150 pages feel even longer than they are. At times I felt almost suffocated with the weight of descriptions. This is Carlin’s first novel and you can tell she suffers from a serious case of overwriting; large chunks of the novel would have benefited from an editor with a red pen to cut the unnecessary and improve the flow of the chapters.
Despite its flaws, the characters were engaging enough to keep me reading. Hester is a determined and intelligent young woman, and her search for escape from the poor circumstances she has found herself in leads her on an exciting and poignant journey. She is likeable and interesting, and readers are sure to enjoy spending time with her.
The ne’er-do-well characters populating the slums of Victorian London are also brought vividly to life and add layers of intrigue and mystery to the plot.
I really enjoyed the ending of this novel. The central mystery kept me going through the slower parts of the novel so I was thrilled that it had an exciting and unpredictable resolution. It will require some suspension of disbelief, but what else would you expect from a Victorian melodrama?
Fans of Sarah Waters need look no further for their next read than this gothic Victorian mystery novel.
Many thanks to Hodder & Stoughton for a copy of this book in exchange for an honest review.