Newman's ambitious rethinking of the legend of the diabolical pact emphasizes the destruction Faust (or in this case, the Quorum) causes others; here, personal damnation is directly related to the harm done to the innocent in the course of enjoying the pact's benefits.Newman is never dull, but for all his thoughtfulness and insight, the novel doesn't quite work for me. The Quorum's casual, self-serving cruelty prevents one from developing sympathy for its members, although one of Newman's main contentions is that almost everyone would act as they do, given the opportunity. (Perhaps Newman, writing in the early 1990s, was reflecting on the explosion of ruthlessly exploitative capitalism in the Thatcher years).The aforementioned cruelty is especially jarring in juxtaposition with Newman's customary jocularity and pop culture satire. It's as if the reader is expected to enjoy the Quorum's sadism; but, for me, the pain of their primary victim is too believable, too well-grounded in real life to work as black comedy. Moreover, Newman's handling of the legend's moral conclusion, in which the diabolist is damned and the innocent experience some sort of redemption, is intellectualized and unconvincing. What is the purpose of the mephistophelean "Device" which extracts the victim's pain? (In this version of the story, the Devil is more interested in collecting misery than he is in collecting souls). And is anyone likely to emerge from fifteen years of low-grade torture in a confident, chipper state of mind? The sweetness of the ending scarcely mitigates the bitterness which precedes it.
Kim Newman does Faust! Like most Newman novels, this takes on a well-known horror theme and gives it a twist. The Quorum does not disappoint, with its mischievous humour and satirical look at the 1970s through to the 1990s. Newman manages to capture the bleakness of the seventies, the greed and short-termism of the eighties, and the introspection and angst of the nineties. The main protagonists that form the Quorum include Mark, Mickey, Michael and Neil. The three M’s all enjoy success and good fortune as long as Neil suffers. The narrative jumps between the present day and the past as the story unfolds. Some will enjoy this technique, whilst others may find it a little jarring. Personally, I managed to follow the story and appreciated the obvious care and detail that Newman has put into this. He clearly relishes the minutiae of the world’s he creates, and his knowledge of film, television and popular culture in general, are enviable. The character of Sally Rhodes, the private investigator, is another inspired creation, joining the pantheon of strong heroines in Newman’s catalogue. Through her we learn more, including some very unpalatable truths. As I read on, all I could keep thinking was “Poor Neil.” He really does suffer while his so-called friends prosper.This is a cautionary tale, told with the usual wit and creative flair of one of horror’s best contemporary writers. For Newman fans this is a must read. It’s not his best, but it exhibits all the ingredients that make a Newman novel so enjoyable and memorable.
