Looking back
Inspired by my love of the Bartimaeus books, and whilst waiting for the final title in the hugely enjoyable Lockwood & Co series, I decided to explore Jonathan Stroud's earlier books. I have started with this, his very first. It was published in 1999, so comes so close to my remit of children's fantasy from the 21st century that I am happy to include it. A most fascinating discovery it is too
Echoes
I don't remember reading any work of contemporary children's fiction that has reminded me so strongly and positively of Alan Garner, particularly The Owl Service. It is not that Buried Fire is derivative in any way. Far from it. It is partly that both are rooted very deeply in a particular place, its landscape and its legend. I think Jonathan Stroud's location probably has more fictional embelishment than Alan Garner's, but even so. Equally each uses that legend as a powerful metaphor for their protagonists' state of mind and inner development. And more than anything both have a remarkable intensity of both structure and language.
Buried treasure
However Jonathan Stroud's story of a sinister and malevolent presence lurking beneath the earth is also an early example of his trademark interest in the supernatural, which permeates all his books and comes to the fore again in Lockwood & Co. His story of teenage anger, expressed through almost demonic posession, is not for younger children. Its corrupting evil is, at its height, deeply disturbing. But its narrative builds grippingly and its characters fascinate even as they disquiet. It packs a very considerable emotional punch.
Buried Fire is in many ways a classic first novel from a young writer. It is literary and intensly lyrical. More recently Jonathan Stroud's writing has matured into a much more direct, accessible style, one where apparent simplicity conceals a multitude of writing skill. But that does not mean that Buried Fire is of mere academic interest. It is a fine work in its own right. Anyone looking for a teen read that is challenging intellectually and emotionally, whilst still carrying the chilling frission of supernatural horror, could do far worse than to seek it out.
Don't judge a book . . .
Unfortunately the cover of the original hardback (above) must be a contender for the most tasteless book jacket ever. There is now a paperback (below), only slightly better*. But don't be put off by either. It is a fascinating book.
Now, in between working through my huge waiting-to-read pile, I shall delve into Jonathan Stroud's other early works.
Note:
* The US edition is better still.
