Praise for The King’s Gold
“[Pérez-Reverte] brings Seville to life as if her were animating a painting by Velázquez.”—The New York Times
“Fans of the series have come to expect historical authenticity, crisp prose, complex characters, exotic settings, and plenty of sanguinary action. They won’t be disappointed.”—Publishers Weekly
More Praise for the Captain Alatriste series
“Equipped with a quick-witted, charismatic hero and much to provoke and goad him, Mr. Pérez-Reverte has the makings of a flamboyantly entertaining series. Captain Alatriste ends with a wicked flourish, an evil laugh, and a strong likelihood that the best is yet to come.”—The New York Times
“Pérez-Reverte’s moody, wounded semi-hero—part cantankerous mercenary, part man of honor in a roiling society of pomp, pistols, and provocation—is a whole-cloth invention out ofa17th-century Madrid that has led to a 21st-century literary phenomenon....The clash and dash are thrilling; the swordplay is a bonus.”—Entertainment Weekly
“High-level intrigue and double-dealing in the tradition of Alexandre Dumas.”—Los Angeles Times Book Review
“Though Pérez-Reverte fills the swashbuckling story with nonstop action, Captain Alatriste is also a contemplation of life and death, which adds depth to the good, unclean fun.”—The Miami Herald
“Pérez-Reverte’s pacing is swift and suspenseful, the narrative voice both crisply cinematic and true to the setting of seventeenth-century Spain...a feast of dark historical detail and believable danger.”—The Denver Post
Alatriste, his young protege Inigo and his battered comrades are tired of adventures. But they need another one that pays well. An air of cynical resignation pervades The King's Gold. Perez-Reverte, even as he stages exhilarating scenes, darkens the mood, making this novel one of his finest…Even stock scenes of romantic assignation, swordplay, torture and execution appear fresh and profound in these pages, tinged as they are with longing for a time that never was as glorious as other swashbucklers would have us believe.
—The Washington Post
Pérez-Reverte, a former war correspondent, continues his popular Captain Alatriste series with a fourth swashbuckling volume (following The Sun over Breda). Diego Alatriste, a wily veteran of many 17th-century military campaigns, and his sidekick, Inigo Balboa-who narrates-have returned to Seville after fighting in the siege of Breda. With funds short, Alatriste accepts a dangerous mission to intercept a load of smuggled gold and deposit it in the royal coffers. Trolling the criminal underworld of Seville, Alatriste recruits a band of ruffians, and disguised as pirates, they prepare to slip aboard the ship transporting the gold, surprise and subdue the crew and beach the vessel. What Alatriste doesn't expect to find on board is his old adversary Gualterio Malatesta and a large contingent of mercenaries. Fans of the series have come to expect historical authenticity, crisp prose, complex characters, exotic settings and plenty of sanguinary action. They won't be disappointed. (Aug.)
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The fourth in Perez-Reverte's series of five historicals about the Spanish Captain Alatriste (The Sun Over Breda, 2007, etc.) is long on ambiance but short on plot. It's 1626 and Captain Alatriste and I-igo Balboa are arriving back in Spain after fighting in Flanders. Alatriste is now middle-aged, still laconic and increasingly world-weary, but as deadly as ever in battle. Balboa has come of age and is a practiced swordsman himself, thanks to Alatriste's tutelage. The Captain has been his surrogate father since his own father died on the battlefield. On reaching Seville, Alatriste receives a new assignment. The treasure fleet, bringing riches from the New World, is expected very soon. One galleon is carrying gold ingots in secret; the property of the Treasury is being unlawfully diverted. The court has gotten wind of the scheme, however; Alatriste must recruit a band of ruffians to retrieve the loot. That assault on the rogue galleon does not come until the end. In the interim the author shows us a corrupt society, awash in money, on "a slow road to nowhere." Spain, heedless of its soldiers' sacrifices, is "rarely a mother and more often a wicked stepmother." Yet Alatriste and his young disciple are themselves incorruptible, believing in honor and unwavering allegiance to the king, a tension at the heart of the story. Balboa is also in love, bewitched by his contemporary Angelica, maid of honor to the Queen, a love which almost costs him his life during a dangerous nocturnal tryst. That scene, and another in which Alatriste scares a corrupt merchant half to death, constitute the only action before the climax, and it's not enough. Just as disappointing is the author's refusal to penetratethe "personal wilderness" of the brooding Alatriste, a failure that is not disguised by the quirky charm of the interpolated snatches of verse, some of them from the celebrated playwright Lope de Vega. For all the author's customary elegance, this is one of the weaker novels in the series.
