Sam Downing

Cherie Priest’s novel Boneshaker, the first instalment in her series The Clockwork Century, went heavy on the steampunk and the zombies. You might assume its follow-up, Dreadnought, would do the same, but by doing so you’d make an ass of u and me.

Sure, Dreadnought has elements of steampunk (walking robots appear right at the beginning) and zombies (which appear right at the end), but this is, ultimately, the story of a woman on a train.

Said woman is Mercy Lynch, a no-nonsense nurse working in a Confederate hospital during the Civil War. She learns her father is dying, which raises two problems: first, she hasn’t seen him since he ran out on her and her mother years ago; second, he lives all the way on the other side of the country.

But Mercy is weary of the gore she bandages up every day, and grieving the recent death of her husband, and so embarks on the long journey – travelling via dirigible (hey, another steampunk element!), then riverboat, then train. And what a train! The Dreadnought is a formidable Union war engine, loaded with weapons, carrying a mysterious cargo in the front and an even more mysterious cargo in the back.

Dreadnought is set in the same universe as Boneshaker, and features a handful of the same characters, but it’s a remarkably different novel to its predecessor… which is not a flaw! Once you adjust to Priest’s languid pace - it takes Mercy forever to finally board the eponymous Dreadnought – it’s a pleasure to read.

The American Civil War isn’t my favourite historical period, but Priest mostly makes it interesting – “mostly” because there’s still the odd infodump that I skipped over. The dry, oh-so-American tone is pitch-perfect, though the book’s greatest achievement is Mercy herself: she’s strong and capable and smart, and the best, most memorable thing about Dreadnought.

There is one thing the book is lacking: a map of the US, or at least all the states Mercy passes through on her journey. Most of the time I couldn’t picture her location in my head. My apologies, America, for not knowing exactly how all your states fit together.

Previously: Book review: Boneshaker, Cherie Priest

Boneshaker I bought at the same time as Leviathan, because they were next to one another on the tables at Barnes & Noble, and I vaguely remembered reading good things about it. (I also liked the cover. Goggles! Airships! Neat typography!) It was a good purchase. This is a great book.

Cherie Priest‘s story starts off slow: it’s not immediately apparent how the plot will turn out, unless you cheated and read the blurb, and even then it’s not obvious. Early chapters introduce us to Briar Wilkes and her teenage son Zeke, and the grim 19th century version of Seattle they inhabit. By around page 50, the plot has stuck them both in a walled-up part of the city that’s crawling with zombies (dubbed “rotters” in Priest’s universe) and pirates and mad scientists. (Boing Boing has a longer, better synopsis.)

No-so-coincidentally, around page 50 is where Boneshaker hooked me.

This is an epic, page-turning, wonderful read: deftly plotted, switching between Briar and Zeke as they individually explore the horrifying, steampunk-inspired place they’ve stumbled into; written in a beautifully verbose style that matches its historical era; and just a whole lot of fun. Priest is writing at least two more books set in the same world, and while they won’t be direct sequels to Boneshaker (which is a shame – I want more of Briar and Zeke and zombie-Seattle!), I can’t wait to read them.