In the fantasy genre where every trope seems to grow more and more dated and overused, The Lies of Locke Lamora carries with it a gust of fresh air in the form of an orphan boy turned sneaky con-man who games an entire city under his thumb. The first book of the Gentlemen Bastards trilogy introduces a rich, woefully vibrant, and begrudgingly gritty world with eerily believable fantastical elements that artistically give magic to the story.
Even about three weeks after finishing the book, the feel, the smell, and the ambiance Scott Lynch has created for his readers still stick to my memory as vividly as the day I first read it.
And you should go read it too. Why?
The premise is amazing. Locke Lamora is a kid, as enigmatic as the world around him, and an amazingly talented thief. We get to follow his tale as he tries to take on and challenge the very structure of society, weaving through a complex web of fabrications. Scott Lynch puts his story in a compelling manner by mixing exposition with action, interlocking the main storyline with backstory interludes.
Speaking of the writing, the author’s approach for this book is definitely peculiar. Almost every chapter has a subsequent short-to-medium length interlude, which gives flashbacks detailing important and consequential moments in the characters’ lives. When not done correctly, this type of approach can hamper the narrative pacing of any story, like a car going at full speed then stopping every five seconds. But Lynch handles the clutch well and glides through his fantasy with amazing fluidity.
The Lies of Locke Lamora does this chapter-interlude formula masterfully, managing to make the seemingly negligible interludes into engaging short stories that serve a triple purpose of not only fleshing the characters out more, but giving more life to the already vigorous world, and deepening the reader’s understanding of the story further.
artwork by AKRU (c) Deviantart
I guess the one thing I can truly nitpick about the book is how the dialogue is written. I’ve seen criticism that all the characters sound the same and particular exchanges seem to be written by a teenager whose parents just recently gave him a free pass to curse. There are a few moments in the book where the dialogue throws me off, making me wince and cringe at its worst. Also admittedly, it did take a chapter or two to get used to the speaking habits of the characters. The older characters kind of blend into each other and are generally more weakly written compared to the younger characters and exposition is sometimes dumped in an unrealistic way which can be annoying.
For some, these factors might be game-breakers, like how raisins can sour an otherwise excellent dish. But Lynch offers such a full plate of fantastic imagination that these nitpicks become negligible, and eventually, just part of the reading experience.
Raisins though; it would’ve been better without the raisins.
What can’t be overlooked are the overarching dynamics of the characters with each other. Camorr, the prime city where the events of the story take place, has a delicate power structure built on history, tradition, and respect. The Lies of Locke Lamora makes you feel as if you’re part of the ever-turning clockwork, that you end up sympathizing with the characters’ struggles and outright feeling the gravity of Locke’s actions and their repercussions. That, when society is challenged, you feel disheveled and distraught. When a mystery plagues the country, you wish you knew the answers. When answers are given, you’re compelled to bring the pieces together to construct the bigger picture.
And when the story ends, you end up wanting more.
I truthfully think that the Gentlemen Bastards series is an underrated gem and a unique fantasy trilogy unlike most of what’s out there right now. I hope it gets more popular (because it certainly deserves recognition), so I share the enjoyment with more people.
Go out there and buy a copy! Now! Treat yourself! Before a thief steals all your savings!
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