Product Description

This book is set in London, 1826. Leaving behind his father's tragic failures, Gabriel Swift arrives to study with Edwin Poll, the greatest of the city's anatomists. It is his chance to find advancement by making a name for himself. But instead he finds himself drawn to his master's nemesis, Lucan, the most powerful of the city's resurrectionists and ruler of its trade in stolen bodies. Dismissed by Mr Poll, Gabriel descends into the violence and corruption of London's underworld, a place where everything and everyone is for sale, and where - as Gabriel discovers - the taking of a life is easier than it might seem.

Product Details

• Amazon Sales Rank: #3033 in Books
• Published on: 2008-06-19
• Original language: English
• Binding: Paperback
• 352 pages

Markus Zusak, author of THE BOOK THIEF
'Months after you've turned the last page, James Bradley's words are still with you - brave, compelling, unforgettable.'

Daily Telegraph
'A classically claustrophobic Gothic chiller.'

Big Issue
'An earthy brooding Gothic horror ... Gory at times, philosophical at others, this is atmospheric stuff.'

Customer Reviews

Superhyped rubbish
I bought this book in early November and have just, by an effort of willpower, finished it. Lacking any real plot and characterisation it left me feeling like descending into opium. There was no characterisation and in no way can the descriptions of London be compared with Dickens (or anyone else of that era and subsquently). There really is no plot, just a sequence of events that bring about the decline of Gabriel Swift, but no attempt to explain why he reacts / behaves the way he does, as there is no back story. And the last section only makes matters worse - why couldn't he just have been buried alive and done us all a favour? So no plot, no characterisation, mundane, predictable descriptions (didn't the sun ever shine in Georgian England?)and a writer who should realise that first-person, present-tense narrative is a skill that he has yet to learn.

It's Not As Bad As They Claim It
Having read a few reviews of this book on Amazon I have to conclude that the general consensus is a little harsh. To begin with a lot of moaning seems to be coming from the "unlikeable" protagonist"; correct me if I'm wrong but classics such as The Catcher in the Rye and Alice's Adventures in Wonderland (Penguin Popular Classics) neither had remotely likeable protagonists but were memorable because we could relate to even the worse corners of their personality.

The Resurrectionist's protagonist is much like that, at first you're not quite sure what to assume but later on you'll hate him. Essentially, he's a sadist who for inexplicable reasons touches the very depth of your personality. Areas you'd rather keep hidden.

The Resurrectionist is strangely constructed, which is where it mostly falls short. The short snappy bits of story are difficult to follow at first and the tacked on "ending" somewhat awkward and contrived.

Having said all that this is not as bad as other reviewers are making it. It's far from being as good as it wants to be but not even as close to being as bad as some claim it to be.

A Truly Gothic Gothic Novel
It takes a dark mind to write a story like this. James Bradley has the are of writing a tale in the Gothic style without resorting to shock tactics or too much gruesome detail.

The early nineteenth century is evoked with clarity as the writer takes us through streets and houses that seem perpetually dark. There is a gloom that hangs about every scene of Part One of the book. Somehow the mood of the character Gabriel colours everything. His story begins in a cold, snowy winter and never brightens from them.

There is corruption everywhere from the decaying bodies to the decaying morals of those involved in body-snatching.

Though it evokes history well, there is a contemporary edge to the story of Gabriel as he mixes with people who are a bad influence or morally corrupt in some way. He cannot make contact with these friends or his lover Arabella. He is unable to push down emotional barriers and reveal himself, and as he withdraws into opium addiction he is more insulated against feelings. The parallels drawn with modern heroin addiction are clear.

Part Two gives us Gabriel's redemption: he comes to terms with himself and can finally be honest about who he is. His future is a blank though, we don't know if he will survive in Australia as the possibility of falling again is distinct as he is ostracised from society.

An engaging book that draws you into its dark, Gothic world and holds you there.