Showing posts with label Ken Follett. Show all posts
Showing posts with label Ken Follett. Show all posts

Monday, November 07, 2016

THE BIG NEEDLE by Ken Follett (Symon Myles)

The Big Needle is Ken Follett’s first published novel – as by “Symon Myles” in 1974 – and what it lacks in complexity and subtlety is readily overcome with its streamlined, almost men’s adventure-like, plotting and enthusiasm.   

Apples Carstairs is a wealthy London real estate investor. He is divorced with a seldom seen teenage daughter, Jane, and two live-in lovers he enjoys as something more than wanton distraction. Apples’ world shudders when his ex-wife arrives at his doorstep with dark news: “Jane is in hospital in a coma.” Jane’s coma is the result of a heroin overdose. Apples is stunned with guilt for ignoring his daughter for so many years and then anger toward the heroin pushers. In an instant, Apples decides to destroy the man responsible for importing heroin into London. Not the street pusher, or distributor, but rather the top-level executive of the enterprise. A man he calls, “Mr. H”. His mission leads him from the underworld of London to the streets of Marseilles and back.

The Big Needle is more action than crime novel. It is plotted from car chase to shoot out to sex scene, of which there are many, and back again. The criminal element – identifying and destroying London’s heroin syndicate – is less mystery and more obstacle to both Apples and the reader. And Apples uses a methodical, if unbelievable, approach to accomplishing his mission. Unbelievable, because of Apples’ easy access to the crime syndicate in England and its French supplier, which is forgivable because of the novel’s quick, linear plot and lean prose. It doesn’t hurt that there is a subtle tongue-in-cheek feel to the whole enterprise.

Tuesday, December 18, 2007

Zingers 4: More First Lines with Grab

I’m a sucker for a good first line—one that grabs me by the throat and pulls me kicking and screaming into a story. It not only sells the novel—or short story—but it sets the mood, tone, theme, and damn near everything else that makes a story a story. And how I love a good story.

In this fourth edition of Zingers there are, as usual, three opening lines, or paragraphs as the case may be, that were especially appealing when I picked these books up. I’ve been in a thriller mood of late, and two of them show my mood, but the third is straight mystery.

1.

Creepers.

That’s what they called themselves, and that would make a good story, Balenger thought, which explained why he met them in this godforsaken New Jersey motel in a ghost town of 17,000 people. Months later, he still would not be able to tolerate being in rooms with closed doors. The nostril-widening smell of must would continue to trigger the memory of screams. The beam from a flashlight wouldn’t fail to make him sweat.

This is the opening paragraph to David Morrell’s Bram Stoker winning Creepers. It perfectly sets the stage for the story that quickly develops on the pages, and if you can put it down after an opening like that, you’re a braver man than I.

2.

He woke up scared.

Worse than that: he was terrified. His heart was pounding, his breath came in gasps, and his body was taut. It was like a nightmare, except that waking brought no relief. He felt that something dreadful had happened, but he did not know what it was.

He opened his eyes. A faint light from another room dimly illuminated his surroundings, and he made out vague shapes, familiar but sinister. Somewhere nearby, water ran in a cistern.

This is how Code to Zero by Ken Follett opens; the paragraphs create a terrific image of change. The character is off-balance, unsure, and scared. The character's feelings of unease permeate the prose, and very much make me want to read on. And I’m just glad someone else wakes up that way too.

3.

When ranch owner Opal Scarlett vanished, no one mourned except her three grown sons, Arlen, Hank, and Wyatt, who expressed their loss by getting into a fight with shovels.

This is one of the best opening lines I’ve read. It has everything. Bite. Mystery. Appeal. Humor—dark as it is. And it’s just damn intriguing. This line is how C.J. Box’s In Plain Sight begins, and oh how it makes me want to read on and on.