But there’s no worry about boring “real life” politics, or exposition here – Harris whips the reader along at a great pace – skillfully, frequently humourously – there’s great wit in little references and twists that you don’t need to be a connoisseur of British politics to appreciate.
But still, despite the craft, what’s missing here that is found in Harris’s historical thrillers – particularly the superb Pompeii — is his skill in making an unfamiliar world, utterly removed from our modern experience, come alive in a manner that feels real and visceral, that wears wide and solid research lightly. So while this is an enjoyable piece of topical playfulness tinged with spite, it has to be hoped that Harris will return to what he does best, rather than follow the tug of present-day entanglements.
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