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Jonathan L Howard_Johannes Cabal Series #0 5-#3

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Description

 							
  
  About the
Author
  Jonathan L. Howard has published three novels in the Johannes Cabal series for Headline, and is a game
designer, scriptwriter, and a veteran of the computer games industry since the early 1990s, with titles such as the
'Broken Sword' series to his credit.
  
  
  
  Johannes Cabal has faced down the undead, ghosts, monsters, and Satan himself. But before
all that, he fought the terrifying Bonewind, a supernatural being that devours life itself, and he did it all without
leaving his house.
  
  "Johannes Cabal and the Blustery Day" was the story that first introduced the
necromancer of some little infamy back in 2004. Long out of print, it makes its belated return on Hallowe'en, of course.

  
  
  
  In this uproarious and
clever debut, it’s time to give the Devil his due.
  
  Johannes Cabal, a brilliant scientist and
notorious snob, is single-mindedly obsessed in heart and soul with raising the dead. Well, perhaps not soul... He
hastily sold his years ago in order to learn the laws of necromancy. But now, tormented by a dark secret, he travels to
the fiery pits of Hell to retrieve it. Satan, who is incredibly bored these days, proposes a little wager: Johannes has
one year to persuade one hundred people to sign over their souls or he will be damned forever.
  
  To make
the bet even more interesting, Satan throws in that diabolical engine of deceit, seduction, and corruption known as a
“traveling circus” to aid in the evil bidding. What better place exists to rob poor sad saps of their souls
than the traveling carnivals historically run by hucksters and legendary con men?
  
  With little time to
lose, Johannes raises a motley crew from the dead and enlists his brother, Horst, a charismatic vampire (an unfortunate
side effect of Johannes’s early experiments with necromancy), to be the carnival’s barker. On the road
through the pastoral English countryside, this team of reprobates wields their black magic with masterful ease,
resulting in mayhem at every turn.
  
  Johannes may have the moral conscience of anthrax, but are his tricks
sinful enough to beat the Devil at his own game? You’ll never guess, and that’s a promise!
  
 
Brilliantly written and wickedly funny, Johannes Cabal the Necromancer combines the chills and thrills of old-fashioned
gothic tales like The Legend of Sleepy Hollow, the mischievous humor of Wicked, and the sophisticated charms of Jonathan
Strange & Mr. Norrell and spins the Faustian legend into a fresh, irreverent, and irresistible new adventure.
 

  A Q&A with Jonathan L. Howard
  
  Question: You’ve been working on Johannes Cabal in its
various iterations for many years now, how did it feel spending so much time with such nefarious characters?
  
  Jonathan L. Howard: It’s something of a cliché to say that villains are more interesting than heroes, nor
is it even very true, so I shan’t be trotting that particular phrase out. I would suggest that it is the inner
life of the character that makes them interesting, and that is true of the virtuous as much as the vile. Cabal does some
rather horrible things, it is true, but he never does them purely to give himself the opportunity to curl his waxed
moustache—he’s clean-shaven, for one thing—and declaim his wickedness. He always has a reason, and
it’s usually a good one. I find fictional villains who are evil because they are evil unengaging. Cabal, on the
other hand, has motivations and drives that most can sympathise with, even if the actions he commits based on those
drives can be loathsome. For him, the ends always justify the means, and damn the consequences.
  
  Question:
The carnival in your book is used as a device for collecting souls; was there a real life inspiration for the carnival?
Do you find there to be something generally sinister about carnivals?
  
  Jonathan L. Howard: There’s
no real life inspiration for the carnival, really, but plenty in fiction. The obvious inspiration was Bradbury’s
Something Wicked’s Cooger & Dark’s Carnival wasn’t the first threatening carnival in fiction,
and it certainly wasn’t the last, but it is probably the best. It was the persnickety question of where such a
carnival might come from and how anybody would end up as a proprietor that inspired my novel.
  
  As for how
sinister they are, that is to an extent a fictional conceit on my part too. You have to bear in mind that carnivals like
that are unknown in the United Kingdom, and I haven’t heard of the traditional British travelling fair being
transported by train either. The Cabal stories take place in a slightly blurry world where things come together because
they aesthetically appeal to me, and not because they’re historically accurate; a magical realism of sorts. I
wanted an American-style carnival travelling by train, and that’s what I got. That said, there are plenty of
permanent fairgrounds around the country, and they tended to have a slightly creepy air about them. The real Ghost
Trains in Blackpool and Porthcawl, for example, inspired the exterior of the Ghost Train in the novel.
  
 
Question: In addition to writing you work as a video game designer, how does that work compare to the experience of
writing fiction? Are there any surprising similarities?
  
  Jonathan L. Howard: There are definite
similarities, but I wouldn’t say that they are surprising. The games I’ve worked on tend to have definite
narratives, so it’s exactly the same process of inspiration, development, pacing, and polishing. The main
difference is that a novel can have significant sequences in which physically little happens, which is considered
heretical in games. In fairness, there’s good reason for that—the player wants to be involved, and there
isn’t a great deal of opportunity for that in a scene consisting of two people talking over a cup of tea.
That’s not to say it hasn’t been attempted, and pretty successfully. I remember a game a few years ago
based on the stories of Edgar Allan Poe. It hit all its target, being very atmospheric, true to its source, even thought
provoking, and all without
  
  Question: Have you always been a fan or horror and supernatural lore? When did
this sort of thing first capture your imagination?
  
  Jonathan L. Howard: Yes, I’ve always enjoyed
the grotesque and the macabre, right from an early age. I recall that I somehow saw Dana Andrews being chased around the
woods by a fireball in Out of the Unknown episodes before being sent to bed, and any number of slightly disturbing
imports like The Tinderbox and
  
  Question: What sort of research did you do for the book? Was there
anything you came across in the process that really surprised you?
  
  Jonathan L. Howard: I actually did
very little research for it; it was mostly lurking in my mind already. I can remember little necessary for day to day
living, but if you ask me the birth name of Dr. Crippen’s wife, I can tell you off the top of my head. I needed a
bit of nomenclature for something or other in the running of a carnival, which a librarian friend found for me, but that
was the only real piece of research for it. Even things like the Grand Conjuration to summon a demon—which is an
authentic ritual, you may be horrified to hear—was in a book I already had. I have a large collection of books on
assorted esoterica to the extent that my wife, a bibliophile herself, rolls her eyes and says, “Not more bloody
books?” whenever I come home with a bookshop bag and a sheepish expression.
  
  Question: There is a
lot of paperwork in your version of Hell. Did you hold an especially bureaucratic job somewhere before working as a game
designer?
  
  Jonathan L. Howard: No, I’m very happy to say. I remember as a child considering the
inevitability of growing up and wondering what the worst thing about it would be. It all looked pretty good from that
perspective: money, going to bed when you liked, being able to go into any certificate film, and so on. Finally, I
spotted a bad point, and that bad point was having to fill in forms. And I was right. There’s just something
about completing a form that fills me with dread in its consideration, and depression during its commission. Which
reminds me; I have two to fill in this week. Oh, joy.
  
  Question: Johannes is a bit of an anti-hero and his
motivations are somewhat mysterious. Do you think that he’s misunderstood by those around him?
  
 
Jonathan L. Howard: He’s definitely misunderstood, although if he were understood, it still wouldn’t make
him popular. The fact that he’s labeled a necromancer gives him a public relations problem, as the vast majority
of them are power hungry lunatics. Cabal’s ultimate aim is to defeat death, and to have the ability to bring
people back just as they were when they were alive, physically, mentally, and spiritually. No lurking demonic
possessions, no uncouth brain gobbling. His researches in that direction, however, have not been conducted in the most
advantageous light.
  
  Question: What’s next for you?
  
  Jonathan L. Howard: I handed in
the submission draft of the second Cabal novel Johannes Cabal the Detective just the other week, so that will be going
through the editorial process shortly. I also have to decide what the next Cabal novel after that will be; I have a
couple of ideas so it’s a case of weighing pros and cons before making a decision. I have a couple of non-Cabal
novels, one of which is completed but needs a second draft, and the other is about 80% done. I’d like to get them
polished, and then see if we can get them into print.
  
  (Photo © Emma L.B.K. Smith)
  
  From
Publishers Weekly
  
  When Johannes Cabal, a haughty sorcerer, finds that the absence of a soul is an
impediment to his occult studies, he strikes a bargain with Satan in British author Howard's darkly funny debut: in one
year's time he'll deliver the bartered souls of 100 unfortunates so that he might repossess his own. Cabal and his
vampire brother, Horst, mount a traveling carnival to scour the countryside for men and women desperate enough to
consign their souls to an infernal eternity for whatever will relieve their misery of the moment. Cabal proves
marginally competent but maximally amusing in his dealings with a competing necromancer, an asylum of escaped lunatics
and a staff of slowly decomposing carnies conjured from the dead. Howard capably synthesizes two classic themes of
macabre fiction—the pact with the devil and the dark carnival—but the book's episodic structure and
unconvincing ending betray it as a freshman effort. Still, Howard's ear for witty banter and his skill at rendering
black comedy bode well for the future. (July) 
  Copyright © Reed Business Information, a division of Reed
Elsevier Inc. All rights reserved.
  
  
 

  The Detective (Johannes Cabal, #2)
  
  Johannes Cabal, necromancer of some little infamy, returns in
this riotously clever and terrifically twisted tale of murder and international intrigue.
  
  In this
genre-twisting novel, infamous necromancer Johannes Cabal, after beating the Devil and being reunited with his soul,
leads us on another raucous journey in a little-known corner of the world. This time he’s on the run from the
local government.
  
  Stealing the identity of a minor bureaucrat, Cabal takes passage on the Princess
Hortense, a passenger aeroship that is leaving the country. The deception seems perfect, and Cabal looks forward to a
quiet trip and a clean escape, until he comes face-to-face with Leonie Barrow, an enemy from the old days who could blow
his cover. But when a fellow passenger throws himself to his death, or at least that is how it appears, Cabal begins to
investigate out of curiosity. His minor efforts result in a vicious attempt on his own life—and then the gloves
come off.
  
  Cabal and Leonie—the only woman to ever match wits with him—reluctantly team up
to discover the murderer. Before they are done, there will be more narrow escapes, involving sword fighting and
newfangled flying machines. There will be massive destruction, not to mention resurrected dead . . .
  
 
Steampunk meets the classic Sherlockian mystery in this rip-roaring adventure where anything could happen . . . and
does.
  
  
  
 
Johannes Cabal and his rather inexact powers of necromancy are back once more. This time, his talents are purchased by
The Fear Institute as they hunt for the Phobic Animus - the embodiment of fear. The three Institute members, led by
Cabal and his Silver Key, enter the Dreamlands and find themselves pursued by walking trees plagued with giant ticks,
stone men that patrol the ruins of their castles, cats that feed on human flesh and phobias which torment and devastate.
The intrepid explorers are killed off one by one as they traipse through this obfuscating and frustrating world, where
history itself appears to alter. Cabal, annoyed that the quest is becoming increasingly heroic, finds himself alone with
the Institute's only remaining survivor, and after a shockingly violent experiment, begins to suspect that not
everything is quite as it seems... 						

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