Sometimes a book grabs you by the collar in the first chapter and doesn’t let go until you’re blinking at 2am wondering where the evening went. The Lies of Locke Lamora is that book. Scott Lynch’s debut is a fantasy heist novel set in the city of Camorr, a Venice-like metropolis threaded with canals and dominated by the eerie, indestructible towers of Elderglass left behind by a vanished alien civilisation. It’s grimy, it’s clever, and it’s an absolute blast.
At its heart, this is the story of Locke Lamora, an orphan turned master con artist, trained by the priest Father Chains (who is decidedly not a pious man) as one of the Gentleman Bastards, a small gang of thieves who operate far above their station. While the criminal underworld of Camorr abides by a “Secret Peace” that forbids stealing from the nobility, Locke and his crew have been gleefully ignoring that rule for years. The Salvara Game, the long con that drives the first half of the book, is a thing of beauty: layers upon layers of deception, false identities, and sheer audacity that would make Ocean’s Eleven look like a smash and grab.
But Lynch isn’t content to just write a fun caper. When the Grey King arrives on the scene, the story shifts gears entirely, plunging Locke and the Gentleman Bastards into something far more dangerous than any con. Without spoiling anything, let’s just say the stakes escalate dramatically, and Lynch proves he’s perfectly willing to put his characters through absolute hell. There are moments in the second half of this book that genuinely shocked me, and the involvement of the Bondsmagi of Karthain (think mercenary sorcerers with zero sense of humour) raises the threat level to something Locke’s silver tongue alone can’t solve.
The characters are what make it sing, though. Jean Tannen, Locke’s best friend and the crew’s muscle, is a wonderful counterbalance: bookish, loyal, and terrifyingly handy with a pair of hatchets. The dynamic between Locke and Jean is the emotional backbone of the entire series, and it’s established beautifully here. Then there’s the Spider, Camorr’s secret intelligence chief, whose presence adds a layer of political intrigue that keeps you guessing about who’s really pulling the strings.
Lynch’s writing style is unapologetically fun. The dialogue crackles with profanity and wit, the world-building is dense without being overwrought, and the dual timeline structure (alternating between Locke’s training under Chains and the present-day con) keeps the pacing tight. If you enjoy the roguish charm of Joe Abercrombie’s characters, the intricate plotting of a Guy Ritchie film, or the “one more chapter” compulsion of a Sanderson novel, this is absolutely your kind of book.
I’ll be honest: having now read all three published Gentleman Bastard novels, this first entry remains the peak of the series. Red Seas Under Red Skies is a strong follow-up that takes the crew to sea, and The Republic of Thieves has its moments, but neither quite recaptures the lightning-in-a-bottle magic of this debut. That’s not a criticism of the series so much as a testament to how good this opener is. The Thorn of Emberlain remains forthcoming (and has been for some time), but even if the series never continues, The Lies of Locke Lamora stands brilliantly on its own. Start here. You won’t regret it.
On the Audiobook
Michael Page narrates this one, and he’s superb. His voice for Locke is dripping with exactly the right amount of charm and desperation, and he handles the large cast of characters with ease. The accents are distinct without being cartoonish, and he nails the comedic timing of Lynch’s dialogue. At around 22 hours, it’s a substantial listen, but the dual timeline structure means you’re never stuck in one groove for too long. One of those audiobooks where you find yourself sitting in the car park for an extra ten minutes because you can’t press pause.
The Verdict
Rating: 5/5
A masterclass in fantasy heist fiction: sharp, brutal, funny, and utterly unputdownable. The best book in the series and one of the finest fantasy debuts of the 21st century.
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