Grant's debut novel, "False Tidings," is a delightful read that captivates from start to finish. Set in a parallel, fantasy version of medieval Europe, the novel is best described as a whimsical satire that recalls classics like Don Quixote, Discworld, and – occasionally - Monty Python's Holy Grail.
The story revolves around William, a bookish and somewhat hapless young messenger, who is sent on a fool’s errand - literally: that is to say, he is sent by the king’s court jester, Feydor the Fool. Tasked with fetching some (probably) fictional aphrodisiac water from across the continent, he unwittingly becomes entangled in the machinations of at least five string-pulling power-brokers: the jester, the king, the queen of a gnome colony, and two rival witches.
The novel thus flirts with social commentary in its handling of its main theme - “false tidings” being the old-timey way of saying “fake news”. It features multiple scheming characters with conflicting goals who each add new, overlapping layers of narrative spin to events – very often mixing lots of falsehood with not-very-much truth, in order to further their own selfish ends. The story therefore prompts the reader to reflect on how we ought to interpret narratives pushed by real world politicians and media figures. It also guides us to see scheming itself, if taken to excess, as an essentially futile endeavour.
One standout character deserving of special mention is Feydor the Fool. Presented as vain, jealous, Machiavellian, and highly arrogant, he is nevertheless written entertainingly enough that he ended up gaining my sympathy. His contempt for his rivals is largely justified by their contemptibility, and his bountiful wit gives his scenes an elevated level of punch. I strongly suspect he will become a fan favourite.
Grant’s writing is effortlessly amusing when he wishes it to be. The prose oozes with charm, and is characterised by regular witty observations and asides. The author possesses a quintessentially British style of schoolboy humour, which is expressed through his wordplay and frequent winks to the reader. This is particularly noticeable in his choice of character and place names – and as such I even found myself chuckling while reading the glossary at the back. It is refreshing to read the work of someone who commits to the demands of a self-aware, light-hearted frolic in the fantasy genre, and thus refuses to take his own subject matter too seriously.
If I were to critique any aspect of the novel, I would probably suggest that the obstacles William and his travelling companions face on their quest, on the journey to their final destination, should have been more consistently farcical in nature, especially in the second half. Humour is such a clear strength of Grant’s writing, and the potential for farcical situations unfolding in his alternative universe had already been established through the introduction of several colourful characters early on, as well as in many of the early plot developments - especially in Feydor’s B-Plot. Doubling down on the novel’s comedic strength would, in my opinion, have further enhanced the satire – without necessarily detracting from the story’s stakes, or indeed making me feel any less attached to the story’s more sympathetic characters.
Despite this, "False Tidings" introduces a cast of lovable characters with a tightly written and at times thought-provoking plot, combining amusing moments with the underlying satirical theme. Grant's personal investment in the story shines through, evident in the cultural, philosophical, and literary references sprinkled into the narrative. The endnotes further reveal the author's passion for his book’s subject matter, and provide a nice optional extra for those interested while not intruding too much on the experience of readers who just want the story.
In conclusion, "False Tidings" is clearly a labour of love, showcasing Grant's talent for crafting an endearing and thoughtful tale. The novel is a must-read for anyone interested in self-aware, light-hearted fantasy adventures.