"History repeats itself only in that, from afar, we all seem to lead exactly the same life. We are all born; we all spend time here on earth; we all die. But up close, we have each walked down our own separate paths. We have stood at our own lonely crossroads. We have touched the lives of others at crucial points, for better or for worse. In the end, each of us has lived a unique life story, astounding and complicated, a story that could never be repeated."
—London Calling, P. 1
I have now read each of Edward Bloor's first four novels, and he has easily become one of my favorite authors. Beyond just marvelous, intelligent characters, fascinating descriptive style and deep, fully fleshed-out stories, what captivates me about Edward Bloor's writing is the way he has of making every little thing in the narrative feel as if it could be a deceptive agent of harm utilized by a dark force bent on the destruction of the innocent, that an ostensibly innocuous bit of descriptive detail could change the entire complexion of the novel, if it were to be unleashed. It's the perfect atmosphere for the telling of a mystery embedded deep in the layers of time, a mystery of such rich historical importance that multiple lids are just waiting to be blown sky-high by one willing to turn up the heat. It feels as if every small thing could be a menacing part of the broader scheme: an elevator button that sticks a little bit when pressed, the furniture in the rooms of the primary characters and how it is arranged, the titles of classic books that line the shelves of a deceased relative...Edward Bloor has a unique way of making every last word he writes feel as if it has some ominous element attached to it, which explains why I always end up racing through his novels at a fevered, frenetic pace.
London Calling begins as what appears to be a regular school drama, if somewhat ratcheted up in its intensity. A nasty skirmish right at the story's onset between seventh grade student Martin Conway and a couple of his friends, and classmate Hank Lowery and a couple of his bully pals, turns into something more serious when a large chunk of marble ends up getting thrown, injuring no one. Martin's friend who threw the heavy material is the one upon whom most of the blame for the confrontation is foisted, though Hank Lowery certainly had been the real instigator of the trouble. This incident acts as the impetus for one of the main story threads of London Calling, Martin's desire to see to it that the illustrious Lowery family—held in reverence by most for supposed wartime deeds of courage performed by the general, "Hollerin' Hank"—is seen for the fraud that he and his sister know the Lowery family to be.
Martin's story takes an uneasy turn for the supernatural, though, after the death of his grandmother, whom he called "Nana". Martin had long felt a strange connection to Nana despite the geographic distance separating them, and in recent days she had made phone calls to Martin several times in a scatterbrained state, talking about a lost boy whom Martin needed to help. Martin brings home the old-fashioned radio that Nana had urgently bequeathed to him, and all seems ready to revert back to normal...until the vivid dreams begin, dreams too vivid to be dismissed as just illusions of the sleeping mind.
Martin is transported to the grim scenes of London, England during the 1940 German Blitzkrieg. His guide up and down the war torn streets is a boy named Jimmy, who seems to know that Martin is the only person who can somehow help him. Devastating destruction sweeps the byways and avenues of the panicked city, yet Martin returns on a few occasions to this place and time sixty years ago to be led around by the boy, Jimmy, knowing that somehow this is what Nana was talking about when she had called, asking him to help the lost boy. Martin knows that the catalyst for these dreams is the old-fashioned radio that had belonged to Nana, but what is Martin really expected to be able to do to help under these circumstances?
In his waking hours back in his own time, Martin's determined computer research begins to show that the minute details he remembers from his dreams with Jimmy during the Blitzkrieg are all true, and that there's no way he could know these things unless he really had, somehow, traveled into the past. Now, as the walls close in on Martin and the time approaches in which he must be willing to step up and do his part right now, the courage of an entire city forty years ago faced with the horror of bombing onslaughts every single day is the buoy by which Martin must keep his head above the fear that threatens to drown him. Above all, Martin has to be willing to accept the mission that has been given to him and act to do what he must, or the lives that he has been called upon to heal will have no one to provide that healing.
Though fictionalized in many aspects, London Calling is a real, heartfelt look at the endlessly complex maze of intersections through which every one of us inadvertently affects the lives of others, even those we might think we could never truly impact. It's all right there in the choices we make every day, and even in the things we choose not to do. Just by being alive, we all have plugged into a vibrant network that reaches to all corners of the globe, promising the possibility of joy and of pain beyond one's most outlandish fantasies. But we have to be willing to step up and act when our moment comes, or who will take the exact part carved out in time for us?
Edward Bloor has once again created a novel of depth and diligence, an impactful tribute to the power of human reasoning that will profoundly touch the mind of any thoughtful reader. I might give three and a half stars to London Calling.