Matthew Jones first caught my attention with his "Decalog 2" short story "The Nine-Day Queen", amongst the best that collection had to offer. It is, therefore, quite a compliment when I say that "Bad Therapy" betters that initial work: Jones' first foray into full-length novels is nothing short of superb.

Like many of the best NA authors -- Kate Orman and Russell Davies spring immediately to mind -- Matthew employs a crisp, immensely readable narrative style which, in of itself, is enough to keep the reader interested from one page to the next. His narration is both blunt and yet enrapturing, capable of relating the dark side of 1950s London without seeming harsh or offensive. Indeed, in this, "Bad Therapy" recalls "Damaged Goods" -- both books deftly offer an honest picture of the era in which they are set, free from both rose-tintedness and distracting pessimism. "Bad Therapy" feels real in that its setting -- one which is at least familiar to all readers, if they haven't in fact experienced it personally -- does not seem at all fictionalised. Jones has not created his own vision of 1950s London so much as he has seized the real thing for his own purposes.

This sentiment is helped along, of course, by a relatively straightforward plot lacking in the overtly fantastic. "Damaged Goods"' portrait of 1987 England was strained somewhat by the mammoth being Mrs Jericho brings into existence at the story's climax. "Bad Therapy" is far more subtle with its city-shattering event -- the race riots -- springing naturally from the setting rather than being inserted awkwardly upon it. Indeed, the plot as a whole is quite comfortable despite its simplicity, and supports well the recovery the Doctor and Chris must go through after Roz's death. It is a testament to Matthew's skill as a writer that -- despite not having read "So Vile A Sin" yet due to its unfortunate delay -- the TARDIS crew's pain is still keenly felt. That we ourselves never witnessed Roz's death is irrelevant -- the important thing is that the characters still seem to have done so, and are reacting accordingly.

It goes without saying, then, that Jones' strongest points of characterisation are the two leads. Matthew clearly knows both the Doctor and Cwej intimately, such is his ability to capture the pair. His supporting cast is good if rather less memorable -- Jones seems to have gifted them with only as many facets as the plot requires, making them seem less real than the principles. This is less obvious with some of them -- Jack, for instance -- but is more egregious with, say, Inspector Harris or Moriah.

Jones' other major flaw is a tendency to be a little obvious and heavy-handed in his plot execution. This is particularly noticeable during the initial exchanges between the Doctor and Harris, as the Time Lord worms his way into the policeman's confidence. It feels like Matthew has held up a sign reading "THE DOCTOR USES HIS TIME LORD POWERS HERE", rather than being more subtle -- ideally, the readers should be conned as much as Harris, but it's far too easy to see what the Doctor is doing here. Similarly, although the reintroduction of an old friend is nice (if perhaps not given quite as much time as it deserves), keeping her identity a secret seems a little pointless. Not only is it obvious almost right from the get go, the mystery adds nothing to the plot and seems done for the shock value alone. It would have been far better, I think, to dispense with the mystery straightaway and devote more time to her, than to leave the character stranded in brief interludes for much of the novel.

Altogether, though, Matthew Jones has proven himself the third great find of 1996 for the NAs, together with Lance Parkin and Russell Davies. Much like "Family", the TNG episode which succeeded "The Best Of Both Worlds", "Bad Therapy" provides a much-needed codicil to "So Vile A Sin" while proving an immensely satisying novel in its own right.

8/10.

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