The Lies of Locke Lamora
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4,4 • 8 notes
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- 2,99 €
Description de l’éditeur
NATIONAL BESTSELLER • The first book of the epic fantasy caper Gentleman Bastard Sequence about a roguish group of conmen, which George R. R. Martin says “captured me right on the first page and never let me go.”
“If you haven’t read [The Lies of Locke Lamora], you should. If you have read it, you should probably read it again.”—Patrick Rothfuss
An orphan’s life is harsh—and often short—in the mysterious island city of Camorr. But young Locke Lamora dodges relentless danger, becoming a thief under the tutelage of a gifted con artist. As leader of the band of light-fingered brothers known as the Gentlemen Bastards, Locke is soon infamous, fooling even the underworld’s most feared ruler. But in the shadows lurks someone still more ambitious and deadly. Faced with a bloody coup that threatens to destroy everyone and everything that holds meaning in his mercenary life, Locke vows to beat the enemy at his own brutal game—or die trying.
Don’t miss any of Scott Lynch’s epic fantasy Gentleman Bastard Sequence:
THE LIES OF LOCKE LAMORA • RED SEAS UNDER RED SKIES • THE REPUBLIC OF THIEVES
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Life imitates art and art scams life in Lynch's debut, a picaresque fantasy that chronicles the career of Locke Lamora orphan, thief and leader of the Gentlemen Bastards from the time the Thiefmaker sells Locke to the faking Eyeless Priest up to Locke's latest con of the nobility of the land of Camorr. As in any good caper novel, the plot is littered with obvious and not-so-obvious obstacles, including the secret police of Camorr's legendary Spider and the mysterious assassinations of gang leaders by the newly arrived Gray King. Locke's resilience and wit give the book the tragicomic air of a traditional picaresque, rubbery ethics and all. The villain holds the best moral justification of any of the players. Lynch provides plenty of historical and cultural information reminiscent of new weirdists Steven Erikson and China Mi ville, if not quite as outr . The only drawback is that the realistic fullness of the background tends to accentuate the unreality of the melodramatic foreground.
