By James Keen
“Something’s going to happen. Something bad.” – The Black Feather
People have always been fascinated by the themes suggested by apocalyptic novels. Whether the “end of the world” is caused by famine, disease, war, or other destructive “factors”, this outline may make an interesting story, because the concept provides the eternally tantalizing idea of literally “wiping out the past”, which is an interesting Whiteboard,; What would happen if we were given the chance to change our society, and perhaps improve our civilization? Russell Hoban’s Ridley Walker, Stephen King’s The Stand, and other similar novels offer fascinating visions of how we might rebuild ourselves if such a terrible event were to occur. Joseph De Lacy’s Black Feathers – While it repeats familiar themes prevalent in many stories built around the concept of the end of the world, it’s gratifying that he does so here in such a grim and engaging way. Arguably, the flaws in his narrative intent have little in common with the standard tenets of accepting “end of the world” scenarios, and more to do with the more mechanical aspects inherent in splitting his dark treatise into two volumes, the first in his “Black Dawn” duology.
De Lacy’s debut work has two narrative threads, a before-and-after literary methodology where the author allows herself to explore dual perspectives. On one hand, we have the story of young Gordon in the present day, the youngest child of a Black family in England, who may or may not hold the key to the future of the world, his country spiritually apathetic and gripped by a sinister and cruel instigation in the form of a corporate army known as the “Wards.” As a contrast – De Lacy has flown to an unspecified date in the future – we have the story of young Megan Morris, a young girl “chosen” by an agricultural civilization to uncover and spread the legend of a terrifying entity known as the “Raven Man” or “Black Jack.” De Lacy moves between the two narratives to construct a harrowing and thought-provoking composition that highlights the pathological nature of greed, self-centeredness, and emphasizes the harmful consequences of individuals and collective society acting in a self-serving manner.
As De Lacy further unfolds his disturbing scenes, it’s to his credit that he can barely contain his anger at the way we humans universally behave as a compelling storyteller. collective D’Lacey never allows his text to be dragged through the mire. It’s there, though hardly sublimated, and yet it flows from the page as the plot—an initially slow-burn affair—gathers pace. For the most part, the author eschews the standard preference for gore and spectacle, opting for a relatively restrained tone. That said, there are flashes of gory violence, and when they occur, they resonate deeply. The journeys of the two main characters are mostly satisfyingly unpredictable, as both nascent protagonists encounter and grapple with their own challenges, and the way D’Lacey weaves their stories together rarely feels manipulative or simply “played around” in terms of literary structure.
The language is thoughtful and lively, and the prose is often lyrical and lacks a fond sense of meandering. Despite the events and the shockingly hollow cultural mentality that the author depicts in the book, it is arguable that the author’s worldview is surprisingly optimistic. D’Lacey presents a mythology that, while it incorporates familiar threads of pre- and post-apocalyptic speculative fiction, he convincingly synthesizes these age-old concepts and presents his own stimulating approach to the genre. As the novel moves at a tight, exhilarating pace, endingAfter reading it, the strongest feeling I had was that the next volume of “Black Dawn” was about to come.
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grade: 4/5
