Deadspeak (Necroscope IV) – Brian Lumley (1990)
Harry Keogh has returned from the parallel world of the Wamphyri with his Necroscope powers hypnotically removed by his vampire son, Harry Jr. He can no longer speak to the dead or go teleporting through time and space via the Mobius continuum.
If this wasn’t bad enough his new boss is trying to murder him, he is being stalked by a Soviet assassin, and the dead are rising from their graves to leave him messages on his lawn, arranged in pieces of dry stone walling.
Meanwhile, in Romania, a group of American students have hired a guide to take them to a ruined castle, rumoured to have been the home of an ancient vampire. The consequence of this will come as no surprise.
It doesn’t take Harry long to realise that the disappearance of two E-branch agents in Greece is the work of resurrected vampire Janos Ferenczy, a nasty piece of work even by vampire standards.
Harry must regain his powers in order to battle Janos, but how?
Put so baldly it seems like a terrible plot when in actuality, like the rest of the Necroscope books, it’s a glorious slice of late British pulp fiction; highly entertaining, compelling, and very readable.
Lumley’s kept the human and vampire sex scenes to a bare minimum here, for which I am thankful. Like Guy N Smith, Lumley no doubt considered gratuitous rumpy pumpy to be an additional salacious treat for his readers. Maybe it was at the time, but these days they read as a little awkward and dated.
It’s always a problem to properly categorise this series since the vampires themselves have an interesting and scientifically rational premise for their existence, as does the Mobius Continuum. It’s difficult to balance that with the premise of ‘souls’ hanging about in limbo, however. This was not so much of a problem in previous volumes but Lumley muddies the waters here by introducing further supernatural elements. Janos, it seems, has learned to raise the dead – not via some innate genetic talent – but through magic spells and incantations. This pushes the internal balance between the rational and the supernatural a little too far and seems like a device introduced to assist with what is a rushed denouement.
Nevertheless, Lumley is under-recognised for his very original take on the vampire life-cycle and his contribution to the sub-genre.