Malamander is one such story. In Cheerie-On-Sea (the letters c and h fall off the sign every winter), Herbert Lemon, the lost-and-founder of the Grand Nautilus Hotel, finds a lost girl one snowy winter evening. She too is sweet, named Violet Parma, and she’s an orphan, looking for her parents who disappeared one night twelve years ago when she was just a baby staying in the hotel.
Together they form a formidable duo, as they roam the coastal town looking for clues as to where Violet’s parents might have gone, and also learning more about the legend of the unctuous sea-monster who stalks the town in winter, hiding in the rolling sea fog, and waiting for its mate on the longest night of the year. This, of course, is the Malamander.
Taylor’s writing is both highly gothic, and laced with a fine dose of humour. The plot whips along at 100 knots, and the tantalising descriptions of the familiar turned dark make this story hugely appealing. The seaside town at close-season is sensually described; it may be without ice cream and sandcastles, but it is imbued with the warmth of fish and chips that steams up the café and gives comfort, and also the horrific sounds of the sea-monster’s shrieks, the frightening foggy sands, and the sea mist that makes the town more than live up to its wintry name of Eerie-on-Sea. The tangible salty fishy smell almost seeps from the pages itself.
But it is the way Taylor has populated his book that makes it so special, drawing on familiar tropes and yet giving it a twist of his own. Every name in the book is joyfully Dickensian, from the sweetie-named children to the villainous slippery Sebastian Eels (a writer with dubious motives), and a very Famous-Five-ish, Scooby-Doo-type villain in Boathook Man. The hotel owner, a reclusive Lady Kraken (think Miss Haversham) holes up in her tower with her claw-like hands and her cameraluna – (a camera-obscura-magic looking-glass) – spying on those below.
What’s more there is a kind bookshop owner, a talking cat, a beachcombing forager, and a mechanical mermonkey who spits out book references to where the correct book for each individual is stored in the bookshop – reminiscent of all seaside towns and their strange magical arcades (think the movie Big).
As Herbet and Violet’s quest for her parents turns into a quest for the egg of the Malamander, so they traverse the town and meet its people, and here Taylor excels in his use of dialogue, which is full of dramatic tension, slowing down in the right places, pausing, leaving gaps, all weaving in and out of his tale with its gothic mystery slant.
The denouement is like an action movie, set in a tide-filling shipwreck just off the coast, with Taylor even managing to make the reader as sympathetic to the Malamander as to the children.
By threading his coastal novel with ancient legend, and misleading the reader with red herrings, mysteries and untrustworthy adults, Taylor has shown he can write with flair, embedding hidden depths into the plot. He himself has hidden depths too – he illustrated the first Harry Potter editions. No wonder the map at the beginning of Malamander is as atmospheric as the prose itself.
This is a novel to hook you in from the first word. It’s cunning, clever, manipulative, deliciously dark and fun, and also holds delightfully old-fashioned storytelling. Don’t miss it. For ages 9+. You can buy it here.
Cover artwork by George Ermos. With thanks to Walker Books for a review copy.