The Furthest Station, by Ben Aaronovitch
DISCLAIMER: This is not a Harry Potter story!* This is a small, and relatively short book; indeed, the final 18 [unnumbered] pages are devoted to an interview with the author by Paul Stark from [the publisher] “Orion’s audio team”, although, to be fair, this is quite instructive within the context of the subject matter, and the author’s views on it; so, at only 118 pages, it could probably more accurately be described as a novella; but whatever, it is self-contained, and perfectly able to stand on its own, as part of the PC Peter Grant series. It is something of a Curate’s Egg for me: I was attracted to it partly by the cover, which is quirkily eye-catching, but also because it includes the London Underground in its locations, and at least one of the characters is an employee of this august workhorse of an organisation.
PC Peter Grant is an officer in the Special Assessment Unit; otherwise known as the Folly; presumably a section of the Metropolitan Police [although that isn’t specified], and his superior is Detective Chief Inspector Nightingale, who appears to be some type of wizard; or else, a normal human who has become adept at magic, whose existence in this alternate reality is a given. Grant is able to perform minor magic, such as non-physical personal defence, and conjuring what is known as a werelight, which appears to have magical properties over & above simple illumination; he has been called in by his friend & colleague Sergeant Jaget Kumar of the London Underground division of the British Transport Police, and technically, the latter works directly for the Chief Constable as a troubleshooter and “go-to problem solver, but really he was there to deal with the weird shit on the Underground.” Kumar had been given a file of complaints handled by Project Guardian, “a joint BTP/Met/Transport for London/City Police initiative to deal with sexual assaults and offensive behaviour on the transport system.”
They had received a cluster of complaints about assaults on Underground trains using the Metropolitan Line by a ‘man who wasn’t there’, but when the complainants were questioned, their memories of the events, if it was immediately following, were sketchy, although that isn’t unusual for such cases, but if some time subsequently had elapsed, they denied all knowledge of the assaults. Hence Kumar & Grant’s involvement. The scenario does involves some acceptance of the fantasy element, but it is not so far removed from many people’s belief in the possibility of the existence of the paranormal, and phenomena such as ghosts, so it is not too fantastical, and there is some humour in it as well, which leavens the drama. *Many readers might see some similarities, in the magical knowledge & experience possessed & demonstrated by Grant & Nightingale, with the almost improbably famous Harry Potter stories, but I don’t think that this story and, presumably, others in the series, are a serious attempt to emulate them, and they should be read as such.
What brought me to the Curate’s Egg assessment was the colloquial language employed by the protagonist; I readily admit that I am pedantic with regard to the use of the English language, especially written, where preselection is not only implied, but expected, and I happily concede that PC Grant is not the most erudite of policemen, notwithstanding his relative youth, and [whatever his ethnicity] he is not going to think or speak the language as correctly as an English professor at one of our revered universities should [verb chosen advisedly], but it goes against the grain to read the prime example of this where he says, more than once in his first-person narration, “… me and [A N Other]” instead of “[A N Other] and I …”. I’m not sure what the reason for this might be: is it to make our hero seem ‘street-smart’, or is it to appeal to what I fear is a predominantly young[er than I], linguistically challenged audience; or both? Either way, and I make no excuses, but I just don’t like it, and its use grated on me. Otherwise, I enjoyed the book as a whole, and the dénouement was satisfying. The paperback I read was published in 2018  by Gollancz, an imprint of the Orion Publishing Group Ltd., London, ISBN 978-1-4732-2243-4.