London: The Novel

“A TOUR DE FORCE . . . LONDON TRACKS THE HISTORY OF THE ENGLISH CAPITAL FROM THE DAYS OF THE CELTS UNTIL THE PRESENT TIME. . . . BREATHTAKING.”
—The Orlando Sentinel

Now in a handsome new trade paperback edition, here is Edward Rutherfurd’s classic novel of London, a glorious pageant spanning two thousand years. He brings this vibrant city’s long and noble history alive through the ever-shifting fortunes, fates, and intrigues of half-a-dozen families, from the age of Julius Caesar to the twentieth century. Generation after generation, these families embody the passion, struggle, wealth, and verve of the greatest city in the world.

“REMARKABLE . . . The invasion by Julius Caesar’s legions in 54 B.C. . . . The rise of chivalry and the Crusades . . . The building of the Globe theatre . . . and the coming of the Industrial Revolution. . . . What a delightful way to get the feel of London and of English history. . . . We witness first-hand the lust of Henry VIII. We overhear Geoffrey Chaucer deciding to write The Canterbury Tales. . . . Each episode is a punchy tale made up of bite-size chunks ending in tiny cliffhangers.”
—The New York Times

Edward Rutherfurd belongs to the James Michener school: he writes big, sprawling history-by- the-pound. His novel, London, stretches two millennia all the way from Roman times to the present. The author places his vignettes at the most dramatic moments of that city's history, leaping from Caesar's invasion to the Norman Conquest to the Great Fire to (of course) the Blitz, with many stops in between. London is ambitious, and students of English history will eat it up. The author doesn't skimp on historical detail, and that's a signal pleasure of the book. Ultimately, though, the structure of the novel determines the lion's share of its success. Rutherfurd is a good storyteller and each vignette makes for a good story; however, he has given himself the inevitable task of beginning what amounts to a new book every 40 pages or so. Just as one begins to warm to the characters, they are hurried off the stage. You can't read London without a scorecard—but that's part of the fun.