Please don't let the 3 stars fool you: I enjoyed this book. More specifically, I enjoyed the story. Wilbur Smith excels in performing perhaps the two most important elements of fiction─ creating likable characters and detestable villains. The trouble I had was with execution.
Birds of Prey has an uneven feel; the first third of the novel unfolds at breakneck pace with great care given to explaining to the reader elements of nautical life and ship terminology. All of this is done quite necessarily, and at times the obvious is given despite a character knowing full well what the omniscient third-person narrator provides (i.e. "Hal watched the X, knowing full well that Y would happen. Y would happen, of course, because Y was related to X"). These incursions are excusable, if not clumsy distractions. As for the emotions of the characters...
Smith confuses me. In one moment, a captivating rendering of some geographical feature or clash of swords will be told with expert precision. When I skimmed the blurbs, the evasive language used to praise Smith's prose said things like "superlatively evocative." Hmm. But take the following gems:
"Some picked out Hal's virile broad-shouldered figure and shouted unintelligible invitations to him, making their meanings plain by the lewd gestures that accompanied them" (p. 505 Hardback). Or "They took comfort from each other, and drew on a mutual reserve of strength and determination" (p. 533 Hardback).
For me, this sort of lazy writing violates rule no. 1 in the author's handbook: show, don't tell. At times, the telling IS necessary (mizzenmast? top gallant?). For basic human emotions and descriptions? We established the primary character Hal Courtney is a youth in the prime of his life. During an extended captivity, we hear endlessly about how his youth is shed and his muscular development while working in the quarry. Yet, the endless repetition of his "startling green eyes" and "virile" self grow tiresome. Fast.
In the novel Hal has nothing short of four lovers, with the first a crucial piece of plot development (a captive held governor's wife-turned-villain) being the loss of his virginity and his self-condemnation for violating his father/order's commandments of personal conduct. Once past that, women swoon over Hal effortlessly. Two fall in love with as little encouragement as astrological predetermination and watching him in action. We're treated to countless descriptions of their nipples, pubic hair, and brazen tells of "swooned with affection" and so on.
I am new to the genre of what my librarian termed "men's fiction," or "men's historical fiction" and I am unfamiliar as to whether these conventions are exclusive to Smith or the genre as a whole, but as a reader I feel that there is only so many "dark berry nipples" that a 550 pages book can contain. Sex with a concubine as per the customs of a deep African tribe for an honored guest? Showing us the tribes/customs, and a crucial plot point (she warns Hal of pending execution as a result of his "fierce spear" or some such). But a female general who gloriously leads a counterattack to achieve unprecedented fame for her people resigning her station to be with Hal? COME ON!
What Smith does expertly achieve is the reader's hatred of the antagonists. Although quite heavy handed (250 pages of torture, slavery, and escape plan), I did find this book unputdownable. Moreover, when Hal and entourage do escape, the reward was absolutely great. Never does Smith betray what is presented and there are quite a few twists and turns that are unexpected─character deaths, injuries, and so on. With this said...
The villains in this book are heinously so. I employ the term villain only because after a few hundred pages I began to equate the captors as cartoonish villains, complete with only entirely evil/"not good" motives. The malevolent governor's wife manages to condemn, extort, extort-with-rape, and listen raptly to the executioner's tales of torture. She is also impossible to resist, as that every single character in the entire novel falls heedlessly in love with her, no matter how far her antics go.
The payoff is rich, and Smith has penned a truly enjoyable tale that I almost feel would work better as an action film. With some careful pruning (nearly every description of a naked woman, a person of color, and so on), this book would serve as a manual for how to write tense action.
I intend on reading Monsoon, the book's sequel, as soon as I can endure another 550 pages of torturous action. Truly, I was in those cells with the protagonist, no matter HOW long the sequence endures. 3 1/2 stars.