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Tim Severin is an explorer, historian, and author of historical fiction: a man of many accomplishments. His knowledge of seafaring is both extensive and first-hand, with him having undertaken a number of remarkable voyages in reconstructions of historical craft. These include replicating the alleged voyage of sixth-century Irish Saint Brendan across the Atlantic in a wood and leather currach; travelling from Oman to India and China in a replica of a ninth-century Arab dhow, and undertaking two voyages in a replica Greek Bronze Age galley in the Black Sea and the Mediterranean. That he should thus turn his attention to matters maritime in his fiction should come as no surprise. <\/span>\u00a0<\/span><\/p>\n In Corsair<\/em>, Severin focuses upon a different period again: the seventeenth century, with his theme being Barbary piracy. As you would expect, this proves to be a thoroughly well researched book, a fact that shines through in its wealth of historical detail and convincing descriptions of life aboard ship. If the reader should be inquisitive to learn about the conditions in the bagnios (the slave pens of contemporary Algiers), different gradations and uses of gunpowder, or the routines aboard one of Louis XIV\u2019s war galleys, then their curiosity should be satisfied. If, on the other hand, the reader hopes to find engaging characters with whom they can in some way identify, or feel any sympathy for, then I am afraid that they are likely to be grievously disappointed, for it is in his characterisation and passages of stilted dialogue that Severin is at his weakest. Moreover, it does not help that his protagonist \u2013 Hector Lynch \u2013 an Irish teenager with limited life experience who is taken into slavery from an insignificant Irish village, seems to effortlessly insinuate his way into the charmed circle of each influential personage with whom he comes into contact. <\/span>\u00a0<\/span><\/p>\n There is a certain lack of emotional charge to the language employed by the characters which renders the dialogue flat. It also results in the characters themselves \u2013 with the exception of the tongueless, noseless, and earless Karp \u2013 being poorly differentiated. Hector Lynch speaks in a fashion not overly dissimilar to that of the Maybot, just \u2018getting on with the job\u2019 of moving the reader from one expository scene to the next, where you can learn how to row, blast rock with different grades of power, or slaughter and disembowel a camel before drying its flesh for consumption on your journey across the desert. What you will not learn about are the inner psychological workings of the individuals named on the page, for there does not appear to be a great deal going on inside their heads. Perhaps I am being a little harsh in saying this, but I get the feeling that this is so because it appears that the book is aimed at a young adult market, and thus does not require a great deal of psychological or emotional sophistication. That it is such a book is purely a guess on my part, but if it\u2019s piratical derring-do on the high seas that the reader is looking for, I\u2019d recommend Sabatini\u2019s Captain Blood<\/em> over this any day, for it is a work that possesses both wit and verve, both of which Corsair<\/em>, sadly, lacks. \u00a0Although I\u2019ve not read any of Severin\u2019s other works, I suspect that his history books are far more engaging than his works of fiction, because I did find the historical detail in this novel fascinating at times, it was just the story that let it down. <\/span><\/p>\nShare this:<\/h3>