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Can you flimflam a ghost?
It’s 1934. Former medium Dashiel Quicke travels the country debunking spiritualism and false mediums while struggling to stay ahead of his ex-business partner and lover who wants him back at any cost. During a demonstration at a college campus, Dashiel meets Hermann Goschalk, an Egyptologist who’s convinced that he has a genuine haunted artifact on his hands. Certain there is a rational explanation for whatever is going on with Hermann’s relics, Dashiel would rather skip town, but soon finds himself falling for Hermann. He agrees to take a look after all and learns that something is haunting Hermann’s office indeed.
Faced with a real ghost Dashiel is terrified, but when the haunting takes a dangerous turn, he must use the tools of the shady trade he left behind to communicate with this otherworldly spirit before his past closes in.
Rating: Narration – A-; Content – B+
Set in 1934, Megaera C. Lorenz’s The Shabti is an entertaining, pulpy, noir-ish thriller combined with a dash of horror and a rather lovely, gentle romance between two guys in their late forties/early fifties who have more or less given up on finding love. I’m always here for love stories featuring older protagonists, and that, combined with the unusual time period (for an historical romance) and the plot revolving around Egyptology had me eager to jump in. I was pleased to see Matt Haynes’ listed as the narrator; I haven’t listened to him in a while, but he’s an experienced narrator so I was assured of a quality performance.
Con-man and fake spiritualist Dashiel Quicke gave up the good life he’d made bilking people out of their money when his conscience pricked one time too many, and he now makes a meagre living travelling around the country putting on shows that reveal the tricks of the trade, and how fake spiritualists use manipulation and trickery to fool their targets into believing they really can contact the dead. When the book opens, he’s playing at a university campus to an audience composed mostly of students – and one handsome middle-aged gentleman sitting in the front row.
Dashiel is well aware of the identity of the man – he’s Hermann Goschalk, professor of Ancient Studies and Egyptology at the university – and had pre-selected him to take part in his demonstration of how fake mediums work. He’s surprised to find the professor waiting for him outside after the show, and moreso when the other man offers to buy him dinner. Dashiel isn’t in a position to turn down a free meal, so he gratefully accepts.
The other shoe drops during dinner, however, when Hermann explains that he’s noticed some strange goings on in the museum/research archive where he often works late at night – odd noises, objects not where they should be… bleeding walls… Dashiel is more than a little disappointed; he was enjoying the conversation and the company, but should have realised the other man had an ulterior motive for the dinner invite. He points out that the entire point of his show was to demonstrate that the supernatural doesn’t exist, but Hermann counters by pointing out that if everything he’s experienced really is a hoax, then Dashiel, with his inside knowledge of the tricks of the trade, is the ideal person to sniff it out.
The Shabti is a spookily atmospheric tale, the tension building slowly but steadily as Dashiel and Hermann realise that there is something really dangerous trying to break through the veil between worlds. The horror elements are genuinely scary (though not gory) and the mounting sense of unease as the story progresses and the threat becomes clearer is really well done. This is nicely balanced by the gentle tenderness of the romance between the two men, and there’s an important sub-plot featuring Dashiel’s former partner (both professionally and personally) – a dangerous individual who wants him back and who will stop at nothing to get what he wants. The author does a terrific job of blending these elements together to create a gripping and cohesive story.
The two leads are immensely likeable – even Dashiel, who, while he’s renounced his former life, is not above running the odd con here and there to make some cash. He’s flawed and complex; he doesn’t like himself very much, but he’s brave and clever and willing to stand up and do the right thing – even if it takes him a little while to actually do it. Hermann is a total cinnamon roll; kind and sweet, he loves his job and his cat, but he’s tenacious and is absolutely prepared to dig in his heels when he feels strongly about something. His quiet determination proves impossible for Dashiel to resist (and he tries!), especially once he realises that whatever is going on at the museum stems from supernatural causes rather than mundane ones, and that it has to be stopped before lives are lost. They’re a good team and a great couple despite their differences; Hermann shows Dashiel that he’s worthy of love, no matter what’s in his past, and Dashiel reminds Hermann that there’s room in his life for more than his work and his cat, and the tender affection that develops between them is just lovely. (The bedroom door is closed, but that feels right in context.)
I really liked the details about ancient Egyptian language and customs in the story – the author is an Egyptologist and her enthusiasm and knowledge shine through without ever becoming teachy, and she’s clearly done her homework on the techniques employed by the purveyors of spiritual ‘flim-flam’.
Matt Haynes delivers an expressive, well-paced and clearly differentiated performance overall, and does a truly splendid job with his vocal characterisations of the two leads. His portrayal of Dashiel is spot on; his smooth, deep tones are a perfect fit for a former con artist who needs to be able to ooze charm and good-humour, but there’s a world-weariness there, too, and I really liked the softer tones Mr. Haynes injects into his voice when Dashiel lets his guard down and allows Hermann to see the real him. His interpretation of Hermann is equally good, his intrinsic goodness and warmth encompassed by a lighter timbre and higher pitch, and special mention has to go to the deliciously smarmy drawl used to embody Dashiel’s devious and dastardly ex, Porphyrio, who chews scenery like there’s no tomorrow! The spooky scenes are expertly judged and radiate tension in a subtle way, and while the romance is fairly low key, the emotional connection shared by Dashiel and Hermann comes through strongly. The one criticism I can make, really, is that Mr. Haynes’ female voices don’t sound especially feminine; the two ladies in the story, Hermann’s neighbour, Lucille, and his secretary, Agnes, are voiced distinctly, but I wouldn’t have been able to tell they were women had I not known in advance who they were. But that’s a fairly small thing in what is a terrific performance overall, and it didn’t affect my enjoyment of the listen at all.
The Shabti is one of the most unusual stories I’ve listened to so far this year. Chillingly spooky, richly detailed and expertly narrated, I enjoyed it very much and it earns a strong recommendation.
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