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A Game of Thrones (A Song of Ice and Fire #1)
A Game of Thrones (A Song of Ice and Fire, #1)
4.43 of 5 stars
4.43
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416,793 ratings
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The first volume of A Song of Ice and Fire, the greatest fantasy epic of the modern age. GAME OF THRONES is now a major TV series from HBO, starring Sean Bean.
Summers span decades. Winter can last a lifetime. And the struggle for the Iron Throne has begun.
As Warden of the north, Lord Eddard Stark counts it a curse when King Robert bestows on him the office of the Hand. His...more The first volume of A Song of Ice and Fire, the greatest fantasy epic of the modern age. GAME OF THRONES is now a major TV series from HBO, starring Sean Bean.
Summers span decades. Winter can last a lifetime. And the struggle for the Iron Throne has begun.
As Warden of the north, Lord Eddard Stark counts it a curse when King Robert bestows on him the office of the Hand. His honour weighs him down at court where a true man does what he will, not what he must … and a dead enemy is a thing of beauty.
The old gods have no power in the south, Stark’s family is split and there is treachery at court. Worse, the vengeance-mad heir of the deposed Dragon King has grown to maturity in exile in the Free Cities. He claims the Iron Throne.(less)
Summers span decades. Winter can last a lifetime. And the struggle for the Iron Throne has begun.
As Warden of the north, Lord Eddard Stark counts it a curse when King Robert bestows on him the office of the Hand. His...more The first volume of A Song of Ice and Fire, the greatest fantasy epic of the modern age. GAME OF THRONES is now a major TV series from HBO, starring Sean Bean.
Summers span decades. Winter can last a lifetime. And the struggle for the Iron Throne has begun.
As Warden of the north, Lord Eddard Stark counts it a curse when King Robert bestows on him the office of the Hand. His honour weighs him down at court where a true man does what he will, not what he must … and a dead enemy is a thing of beauty.
The old gods have no power in the south, Stark’s family is split and there is treachery at court. Worse, the vengeance-mad heir of the deposed Dragon King has grown to maturity in exile in the Free Cities. He claims the Iron Throne.(less)
Kindle Edition, 819 pages
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(first published August 6th 1996)
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A Game of Thrones
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There are plenty of fantasy authors who claim to be doing something different with the genre. Ironically, they often write the most predictable books of all, as evidenced by Goodkind and Paolini. Though I'm not sure why they protest so much--predictability is rarely a death sentence in genre fantasy.
The archetypal story of the hero, the villain, the great love, and a world to be saved never seems to get old--and there's nothing wrong with this story when it's told well. At the best, it's excitin...more There are plenty of fantasy authors who claim to be doing something different with the genre. Ironically, they often write the most predictable books of all, as evidenced by Goodkind and Paolini. Though I'm not sure why they protest so much--predictability is rarely a death sentence in genre fantasy.
The archetypal story of the hero, the villain, the great love, and a world to be saved never seems to get old--and there's nothing wrong with this story when it's told well. At the best, it's exciting, exotic, and builds to a fulfilling climax. At the worst, it's just a bloodless rehash, and the worse are more common by far.
Perhaps it was this wealth of predictable, cliche romances that drove Martin to aim for something 'different'. Unfortunately, being different isn't something you can choose to do, you have to come by it naturally. Sure, Moorcock wrote Elric to be the anti-Conan, but at some point, he had to stretch out and find a core for his series that was more than simply 'this is not Conan'--and he did.
In similar gesture, Martin rejects the moralistic romance of the genre, tearing the guts out of epic fantasy: the fantastical, the romantic ideals, the heroism, and with them, the moral purpose. Fine, so he took out the rollicking fun and the social message; what did he replace them with?
Like the post-Moore comics of the eighties and nineties, fantasy has borne witness to a backlash against the moral hero, and then a backlash against the grim antihero who came after. After all, if all Martin wanted was grim and gritty antiheroes, he didn't have to reject the staples of fantasy, he could have gone to its roots: Howard, Leiber, or Poul Anderson.
Like many authors who try to develop realism, Martin forgets that 'Truth is stranger than Fiction'. The real world is full of strangeness: unbelievable events, coincidences, and odd characters. When authors remove these elements in an attempt to make their world seem realistic, they end up with a fiction duller than reality; after all, unexpected details are the heart of verisimilitude.
When Chekhov and Peake removed the easy thrill of romance from their stories, they replaced it with strange and exciting characters. They wrote things strange enough to seem true. Compared with these authors, Martin's world comes off as dull and gray. Instead of innovating new, radically different elements, he merely removes familiar staples, and any world defined by lack is going to end up feeling rather thin.
However despite trying inject the book with history and realism, he does not reject the melodramatic characterization of his fantasy forefathers, as evidenced by his brooding bastard antihero protagonist (with pet albino wolf). Apparently, his idea of 'grim realism' is similar to 'Draco in Leather Pants'. This causes a central conflict in the story's tone, rather like putting the cast of a soap opera into an existentialist German film.
He also puts in lots of sex and rape and misogyny, which isn't necessarily bad, if handled well. I think books should have sex in them, and shouldn't shy away from any uncomfortable, unpleasant reality of life. The problem is when people who are not comfortable with their own sexuality start writing about it, which seems to be the problem of every mainstream fantasy author.
If an author writing some sex and lets the pen get away from him, his own lack of fulfillment starts leaking into the scene. It's not about the characters anymore, now it's just the author cybering with me about his favorite fetish. I don't want to buy a book just to get lost in someone's squicky fetish. If I cyber with a fat, bearded stranger, I expect to be paid for it.
I know a lot of fans probably get into it more than I do (like how plenty of WOW players enjoy making their female night elf hunters hump each other), but while reading Goodkind, Jordan, and Martin, it's like seeing a Playboy at your uncle's house and all the pages are wrinkled. That's not to say there isn't great pop fantasy sex out there--there is, and it's written by women.
Though I don't have any choice examples from this book, I did come across an article which mentioned this quote, from a later book in the series:
"When she went to the stables, she wore faded sandsilk pants and woven grass sandals. Her small breasts moved freely beneath a painted Dothraki vest . . ."
I can imagine the process, as Martin sits, hands hovering over the keyboard, trying to get inside his character's head:
"Okay, I'm a woman. How do I see and feel the world differently? My cultural role is defined by childbirth. In the process of marriage, I can be bought and sold by my own--Oh, hey! Look at that, I've got tits! Man, look at those things go. *whooshing mammary sound effects* Okay, time to write."
Yet we don't get any descriptions of variously-sized dongs swinging within the confines of the meticulously-described clothing. We do get a set of giant manboobs--which, as an overweight, elderly man, I assume Martin has some personal experience with--but not until book five, and even then, it's not the dude being hyperaware of his own, secretly moving under his clothes--they're just there to gross out a dwarf. Not really a balanced depiction.
The books are also well known for featuring sudden, apparently pointless deaths, which some suggest is a sign of realism. But, of course, nothing is pointless in fiction, because the author must deliberately decide what to include. Sure, in real life, people will often suddenly die before finishing their life's work (authors of doorstop fantasy series do it all the time), but there's a reason we don't tend to tell stories of people who die unexpectedly in the middle of thing: they are usually boring and pointless. They build up for a while and eventually, lead nowhere.
Novelists often write in isolation, and so it's easy to forget the rule to which playwrights adhere: your story is always a fiction, and any time you ignore that fact and treat it as if it were real, you are working against your own writing. The writing that seems to most natural is never effortless, it is carefully and painstakingly constructed to feel natural.
People are often told in entry-level creative writing classes to 'listen to how real people talk, and write like that', which is terrible advice. A transcript of spoken conversation is often so full of repetition, half-thoughts, and non-specific words ('stuff', 'thing') as to be incomprehensible--especially without all of the cues of pattern, tone, and body language. Written communication works very differently, so making dialogue feel like speech is an artificial process. It's the same with sudden character deaths: treat them like a history, and your plot will become just as choppy and hard to follow.
But then, I'm not sure Martin's deaths are truly unpredictable. As in an action film, they are usually a plot convenience: kill off a villain, and you don't have to worry about wrapping up his personal arc. You don't have to defeat him psychologically--the finality of his death is the great equalizer. Plus now you don't have to do the hard work of demonstrating that the hero was morally right: he's the only option left.
Likewise, in Martin's book, death ties up loose threads--namely, plot threads. Often, this is the only ending we get to his plot arcs, which makes them rather predictable: any time a character could get enough influence to make things better, he will die. Any character who poses a threat to the continuing chaos which drives the plot will first be built up, and then killed off.
Like all authors, Martin begins by producing plot arcs that grow and change, providing tension and goals for his characters. Normally, when such arcs come to a close, the author must use all the force of his skill to deal with themes and answer questions, providing a satisfying conclusion to a promising idea that his readers have watched grow.
Or you could just kill off the character central to the conflict and bury the plot arc with him. That way, you never have to worry about closure, you can just hook your readers by crafting a new arc from the chaos caused by the dissolution of the previous build. Start to make the reader believe that things might get better, to believe in a character, then wave your arms in distraction, then yell and point, 'look at that terrible thing, over there!', and hope your audience becomes so caught up in worrying about this new problem that they forget that the old one was never actually resolved.
By chaining these false endings together, you can create a perpetual state of tension which never requires solution, and so, the author will never have to do the hard work of finishing what they started. If an author is lucky, they die before reaching the Final Conclusion the readership is always clamoring for, and will never have to worry about meeting the collective expectation which the years of deferral have built up. It's easy to idolize Kurt Cobain, because you never had to see him bald and old and crazy like David Lee Roth.
Unlucky authors live to write the Final Book, which will break the spell of continual tension and expectation that kept their readers enthralled. Since the plot has not been tightening into a larger, intertwined conclusion (in fact, it's probably been spiraling out of control), the author must wrap things up conveniently and suddenly, leaving fans confused and upset. And, having thrown out the grand moral story of fantasy, Martin cannot even end on the dazzling trick of the vaguely-spiritual transgressive Death Event on which the great majority of fantasy books rely for a handy tacked-on climax.
The drawback is that, even if a conclusion gets stuck on at the end, the story fundamentally leads nowhere--it winds back and forth without resolving psychological or tonal arcs. But then, doesn't that sound more like real life? Martin tore out the moralistic heart and magic of fantasy, and in doing so, rejected the notion of grandly realized conclusions. Perhaps we shouldn't compare him to other writers of romance, but to grandly realized Histories.
He asks us to believe in his intrigue, his grimness, and his amoral world of war, power, and death. In short, he is asking us to compare him not to the false Europe of Arthur, Robin Hood, and Orlando, but to the real Europe of plagues, power struggles, religious wars, witch hunts, and roving companies of soldiery forever ravaging the countryside.
Unfortunately, he doesn't compare very well to them, either. His intrigue is not as interesting as Cicero's, Machiavelli's, Enguerrand de Coucy's--or even Sallust's, who was practically writing fiction, anyways. Some might suggest it unfair to compare a piece of fiction to a true history, but those are the same histories that lent Howard, Leiber, and Moorcock their touches of verisimilitude. Martin might have taken a lesson from them and drawn inspiration from further afield: even Tolkien had his Eddas.
More than anything, this book felt like a serial melodrama. It is a story of the hardships of an ensemble cast who we are meant to watch over and sympathize with, being drawn chiefly by emotional appeals (the hope that things will 'get better' in this dark place, 'tragic' deaths), even though these appeals often conflict with the realism, and in the end, there is no grander story to unify the whole. The 'grittiness' is just Martin replacing the standard fantasy theme of 'glory' with one of 'hardship', and despite flipping this switch switch, it's still just an emotional appeal. 'Heroes always win' is just as boring and predictable as 'heroes always lose'.
It's been suggested that I didn't read enough of Martin to judge him, but if the first four hundred pages aren't good, I don't expect the next thousand will be different. If you combine the three Del Ray collections of Conan The Barbarian stories, you get 1,263 pages (including introductions, end notes, and variant scripts). If you take Martin's first two books in this series, you get 1,504 pages. Already, less than halfway through the series, he's written more than Howard's entire Conan output, and all I can do is ask myself: why does he need that extra length?
Some authors use it to their advantage, but for most, it's just sprawling, undifferentiated bloat. Melodrama can be successful, as evidenced by the endless 'variations on a theme' of Soap Operas, Pro Wrestling, Lost, and mainstream superhero comics. Plenty of people enjoy it, but it's neither revolutionary nor realistic.
Some have tried to defend this book by saying "at least Martin isn't as bad as all the drivel that gets published in genre fantasy", but saying "he's better than dreck" is really not very high praise. Others have intimated that I must not like fantasy at all, pointing to my low-star reviews of Martin, Wolfe, Jordan, and Goodkind, but it is precisely because I am passionate about fantasy that I fall heavily on these authors.
A lover of fine wines winces the more when he is given a corked bottle of vinegar, a ballet enthusiast's love of dance would not leave him breathless at a high school competition, and likewise, having learned to appreciate Epics, Histories, the Matter of Europe, Fairy Tales, and their modern offspring, the fantasy genre, I find Martin woefully lacking.
There's plenty of grim fantasy and intrigue out there, from its roots in epic poetry to the Thousand and One Nights to the early fantasies of Eddison, Dunsany, Morris, Macdonald, Haggard, and Kipling. Then there are more modern authors: Poul Anderson, Moorecock, Susanna Clarke, Neil Gaiman, Ray Bradbury, Mervyn Peake, China Mieville, Phillip Pullman, Howard, Lovecraft, and Leiber.
There seems to be a sense that Martin's work is somehow revolutionary, that it represents a 'new direction' for fantasy, but all I see is a reversion. Sure, he's different than Jordan, Goodkind, and their ilk, because they took equal parts Tolkien and Howard, the pseudo-medieval high-magic world from the first and the blood-and-guts heroism from the second. Martin, on the other hand, has more closely followed Tolkien's lead than any other modern high fantasy author.
Tolkien wanted to make his story 'real'--not 'realistic', by using the various dramatic techniques of literature--but actually real, by trying to create all the detail of a pretend world behind the story. He was so obsessed with it that over a span of twenty years, he released The Hobbit and the Lord of the Rings, and in the twenty years after that, filled his shed with a bunch of notes that his son has been trying unsuccessfully to make a book from ever since.
And that's the same thing Martin's trying to do: cover a bland story with a litany of details drawn from real life, but which don't contribute meaningfully to his characters, plot, or tone. So, if Martin is good because he is different, then it stands to reason that he's not very good, because he's not really very different. He may seem different if all someone has read is Tolkien and the authors who ape his style, but that's just one small corner of a very expansive genre. Anyone who thinks Tolkien is the 'father of fantasy' doesn't know enough of genre to judge.
So, if Martin neither an homage nor an original, I'm not sure what's left. In his attempt to set himself apart, he tore out the joyful heart of fantasy, but failed replace it with anything worthwhile. There is no revolutionary voice here, and there is nothing in Martin's book that has not been done better by other authors.
However, there is one thing Martin has done that no other author has been able to do: kill the longrunning High Fantasy series. That's right, according to some friends of mine in publishing (and some amusingly on-the-nose remarks by Caleb Carr), Martin's inability to deliver a book on time and awful relationship with his publisher means that literary agents are no longer accepting manuscripts for high fantasy series. So it turns out that Martin is so bad at structuring that he actually pre-emptively ruined books by other authors (while at the same time gutting his own sub genre). Perhaps it is true what they say about silver linings . . .
Though I declined to finish this book, I'll leave you with a caution compiled from various respectable people on this site who did continue on with the series:
"If you need some kind of closure, avoid this series. No arcs will ever be completed, nothing will ever really change. They keep saying 'Winter is Coming', but it's not. As the series goes on, there will be more and more characters and diverging plotlines to keep track of, many of them apparently completely unrelated to each other. If you enjoy a grim, really long soap opera with lots of deaths and constant unresolved tension, pick up the series--otherwise, maybe check out the show."
My Fantasy Book Suggestions(less)
The archetypal story of the hero, the villain, the great love, and a world to be saved never seems to get old--and there's nothing wrong with this story when it's told well. At the best, it's excitin...more There are plenty of fantasy authors who claim to be doing something different with the genre. Ironically, they often write the most predictable books of all, as evidenced by Goodkind and Paolini. Though I'm not sure why they protest so much--predictability is rarely a death sentence in genre fantasy.
The archetypal story of the hero, the villain, the great love, and a world to be saved never seems to get old--and there's nothing wrong with this story when it's told well. At the best, it's exciting, exotic, and builds to a fulfilling climax. At the worst, it's just a bloodless rehash, and the worse are more common by far.
Perhaps it was this wealth of predictable, cliche romances that drove Martin to aim for something 'different'. Unfortunately, being different isn't something you can choose to do, you have to come by it naturally. Sure, Moorcock wrote Elric to be the anti-Conan, but at some point, he had to stretch out and find a core for his series that was more than simply 'this is not Conan'--and he did.
In similar gesture, Martin rejects the moralistic romance of the genre, tearing the guts out of epic fantasy: the fantastical, the romantic ideals, the heroism, and with them, the moral purpose. Fine, so he took out the rollicking fun and the social message; what did he replace them with?
Like the post-Moore comics of the eighties and nineties, fantasy has borne witness to a backlash against the moral hero, and then a backlash against the grim antihero who came after. After all, if all Martin wanted was grim and gritty antiheroes, he didn't have to reject the staples of fantasy, he could have gone to its roots: Howard, Leiber, or Poul Anderson.
Like many authors who try to develop realism, Martin forgets that 'Truth is stranger than Fiction'. The real world is full of strangeness: unbelievable events, coincidences, and odd characters. When authors remove these elements in an attempt to make their world seem realistic, they end up with a fiction duller than reality; after all, unexpected details are the heart of verisimilitude.
When Chekhov and Peake removed the easy thrill of romance from their stories, they replaced it with strange and exciting characters. They wrote things strange enough to seem true. Compared with these authors, Martin's world comes off as dull and gray. Instead of innovating new, radically different elements, he merely removes familiar staples, and any world defined by lack is going to end up feeling rather thin.
However despite trying inject the book with history and realism, he does not reject the melodramatic characterization of his fantasy forefathers, as evidenced by his brooding bastard antihero protagonist (with pet albino wolf). Apparently, his idea of 'grim realism' is similar to 'Draco in Leather Pants'. This causes a central conflict in the story's tone, rather like putting the cast of a soap opera into an existentialist German film.
He also puts in lots of sex and rape and misogyny, which isn't necessarily bad, if handled well. I think books should have sex in them, and shouldn't shy away from any uncomfortable, unpleasant reality of life. The problem is when people who are not comfortable with their own sexuality start writing about it, which seems to be the problem of every mainstream fantasy author.
If an author writing some sex and lets the pen get away from him, his own lack of fulfillment starts leaking into the scene. It's not about the characters anymore, now it's just the author cybering with me about his favorite fetish. I don't want to buy a book just to get lost in someone's squicky fetish. If I cyber with a fat, bearded stranger, I expect to be paid for it.
I know a lot of fans probably get into it more than I do (like how plenty of WOW players enjoy making their female night elf hunters hump each other), but while reading Goodkind, Jordan, and Martin, it's like seeing a Playboy at your uncle's house and all the pages are wrinkled. That's not to say there isn't great pop fantasy sex out there--there is, and it's written by women.
Though I don't have any choice examples from this book, I did come across an article which mentioned this quote, from a later book in the series:
"When she went to the stables, she wore faded sandsilk pants and woven grass sandals. Her small breasts moved freely beneath a painted Dothraki vest . . ."
I can imagine the process, as Martin sits, hands hovering over the keyboard, trying to get inside his character's head:
"Okay, I'm a woman. How do I see and feel the world differently? My cultural role is defined by childbirth. In the process of marriage, I can be bought and sold by my own--Oh, hey! Look at that, I've got tits! Man, look at those things go. *whooshing mammary sound effects* Okay, time to write."
Yet we don't get any descriptions of variously-sized dongs swinging within the confines of the meticulously-described clothing. We do get a set of giant manboobs--which, as an overweight, elderly man, I assume Martin has some personal experience with--but not until book five, and even then, it's not the dude being hyperaware of his own, secretly moving under his clothes--they're just there to gross out a dwarf. Not really a balanced depiction.
The books are also well known for featuring sudden, apparently pointless deaths, which some suggest is a sign of realism. But, of course, nothing is pointless in fiction, because the author must deliberately decide what to include. Sure, in real life, people will often suddenly die before finishing their life's work (authors of doorstop fantasy series do it all the time), but there's a reason we don't tend to tell stories of people who die unexpectedly in the middle of thing: they are usually boring and pointless. They build up for a while and eventually, lead nowhere.
Novelists often write in isolation, and so it's easy to forget the rule to which playwrights adhere: your story is always a fiction, and any time you ignore that fact and treat it as if it were real, you are working against your own writing. The writing that seems to most natural is never effortless, it is carefully and painstakingly constructed to feel natural.
People are often told in entry-level creative writing classes to 'listen to how real people talk, and write like that', which is terrible advice. A transcript of spoken conversation is often so full of repetition, half-thoughts, and non-specific words ('stuff', 'thing') as to be incomprehensible--especially without all of the cues of pattern, tone, and body language. Written communication works very differently, so making dialogue feel like speech is an artificial process. It's the same with sudden character deaths: treat them like a history, and your plot will become just as choppy and hard to follow.
But then, I'm not sure Martin's deaths are truly unpredictable. As in an action film, they are usually a plot convenience: kill off a villain, and you don't have to worry about wrapping up his personal arc. You don't have to defeat him psychologically--the finality of his death is the great equalizer. Plus now you don't have to do the hard work of demonstrating that the hero was morally right: he's the only option left.
Likewise, in Martin's book, death ties up loose threads--namely, plot threads. Often, this is the only ending we get to his plot arcs, which makes them rather predictable: any time a character could get enough influence to make things better, he will die. Any character who poses a threat to the continuing chaos which drives the plot will first be built up, and then killed off.
Like all authors, Martin begins by producing plot arcs that grow and change, providing tension and goals for his characters. Normally, when such arcs come to a close, the author must use all the force of his skill to deal with themes and answer questions, providing a satisfying conclusion to a promising idea that his readers have watched grow.
Or you could just kill off the character central to the conflict and bury the plot arc with him. That way, you never have to worry about closure, you can just hook your readers by crafting a new arc from the chaos caused by the dissolution of the previous build. Start to make the reader believe that things might get better, to believe in a character, then wave your arms in distraction, then yell and point, 'look at that terrible thing, over there!', and hope your audience becomes so caught up in worrying about this new problem that they forget that the old one was never actually resolved.
By chaining these false endings together, you can create a perpetual state of tension which never requires solution, and so, the author will never have to do the hard work of finishing what they started. If an author is lucky, they die before reaching the Final Conclusion the readership is always clamoring for, and will never have to worry about meeting the collective expectation which the years of deferral have built up. It's easy to idolize Kurt Cobain, because you never had to see him bald and old and crazy like David Lee Roth.
Unlucky authors live to write the Final Book, which will break the spell of continual tension and expectation that kept their readers enthralled. Since the plot has not been tightening into a larger, intertwined conclusion (in fact, it's probably been spiraling out of control), the author must wrap things up conveniently and suddenly, leaving fans confused and upset. And, having thrown out the grand moral story of fantasy, Martin cannot even end on the dazzling trick of the vaguely-spiritual transgressive Death Event on which the great majority of fantasy books rely for a handy tacked-on climax.
The drawback is that, even if a conclusion gets stuck on at the end, the story fundamentally leads nowhere--it winds back and forth without resolving psychological or tonal arcs. But then, doesn't that sound more like real life? Martin tore out the moralistic heart and magic of fantasy, and in doing so, rejected the notion of grandly realized conclusions. Perhaps we shouldn't compare him to other writers of romance, but to grandly realized Histories.
He asks us to believe in his intrigue, his grimness, and his amoral world of war, power, and death. In short, he is asking us to compare him not to the false Europe of Arthur, Robin Hood, and Orlando, but to the real Europe of plagues, power struggles, religious wars, witch hunts, and roving companies of soldiery forever ravaging the countryside.
Unfortunately, he doesn't compare very well to them, either. His intrigue is not as interesting as Cicero's, Machiavelli's, Enguerrand de Coucy's--or even Sallust's, who was practically writing fiction, anyways. Some might suggest it unfair to compare a piece of fiction to a true history, but those are the same histories that lent Howard, Leiber, and Moorcock their touches of verisimilitude. Martin might have taken a lesson from them and drawn inspiration from further afield: even Tolkien had his Eddas.
More than anything, this book felt like a serial melodrama. It is a story of the hardships of an ensemble cast who we are meant to watch over and sympathize with, being drawn chiefly by emotional appeals (the hope that things will 'get better' in this dark place, 'tragic' deaths), even though these appeals often conflict with the realism, and in the end, there is no grander story to unify the whole. The 'grittiness' is just Martin replacing the standard fantasy theme of 'glory' with one of 'hardship', and despite flipping this switch switch, it's still just an emotional appeal. 'Heroes always win' is just as boring and predictable as 'heroes always lose'.
It's been suggested that I didn't read enough of Martin to judge him, but if the first four hundred pages aren't good, I don't expect the next thousand will be different. If you combine the three Del Ray collections of Conan The Barbarian stories, you get 1,263 pages (including introductions, end notes, and variant scripts). If you take Martin's first two books in this series, you get 1,504 pages. Already, less than halfway through the series, he's written more than Howard's entire Conan output, and all I can do is ask myself: why does he need that extra length?
Some authors use it to their advantage, but for most, it's just sprawling, undifferentiated bloat. Melodrama can be successful, as evidenced by the endless 'variations on a theme' of Soap Operas, Pro Wrestling, Lost, and mainstream superhero comics. Plenty of people enjoy it, but it's neither revolutionary nor realistic.
Some have tried to defend this book by saying "at least Martin isn't as bad as all the drivel that gets published in genre fantasy", but saying "he's better than dreck" is really not very high praise. Others have intimated that I must not like fantasy at all, pointing to my low-star reviews of Martin, Wolfe, Jordan, and Goodkind, but it is precisely because I am passionate about fantasy that I fall heavily on these authors.
A lover of fine wines winces the more when he is given a corked bottle of vinegar, a ballet enthusiast's love of dance would not leave him breathless at a high school competition, and likewise, having learned to appreciate Epics, Histories, the Matter of Europe, Fairy Tales, and their modern offspring, the fantasy genre, I find Martin woefully lacking.
There's plenty of grim fantasy and intrigue out there, from its roots in epic poetry to the Thousand and One Nights to the early fantasies of Eddison, Dunsany, Morris, Macdonald, Haggard, and Kipling. Then there are more modern authors: Poul Anderson, Moorecock, Susanna Clarke, Neil Gaiman, Ray Bradbury, Mervyn Peake, China Mieville, Phillip Pullman, Howard, Lovecraft, and Leiber.
There seems to be a sense that Martin's work is somehow revolutionary, that it represents a 'new direction' for fantasy, but all I see is a reversion. Sure, he's different than Jordan, Goodkind, and their ilk, because they took equal parts Tolkien and Howard, the pseudo-medieval high-magic world from the first and the blood-and-guts heroism from the second. Martin, on the other hand, has more closely followed Tolkien's lead than any other modern high fantasy author.
Tolkien wanted to make his story 'real'--not 'realistic', by using the various dramatic techniques of literature--but actually real, by trying to create all the detail of a pretend world behind the story. He was so obsessed with it that over a span of twenty years, he released The Hobbit and the Lord of the Rings, and in the twenty years after that, filled his shed with a bunch of notes that his son has been trying unsuccessfully to make a book from ever since.
And that's the same thing Martin's trying to do: cover a bland story with a litany of details drawn from real life, but which don't contribute meaningfully to his characters, plot, or tone. So, if Martin is good because he is different, then it stands to reason that he's not very good, because he's not really very different. He may seem different if all someone has read is Tolkien and the authors who ape his style, but that's just one small corner of a very expansive genre. Anyone who thinks Tolkien is the 'father of fantasy' doesn't know enough of genre to judge.
So, if Martin neither an homage nor an original, I'm not sure what's left. In his attempt to set himself apart, he tore out the joyful heart of fantasy, but failed replace it with anything worthwhile. There is no revolutionary voice here, and there is nothing in Martin's book that has not been done better by other authors.
However, there is one thing Martin has done that no other author has been able to do: kill the longrunning High Fantasy series. That's right, according to some friends of mine in publishing (and some amusingly on-the-nose remarks by Caleb Carr), Martin's inability to deliver a book on time and awful relationship with his publisher means that literary agents are no longer accepting manuscripts for high fantasy series. So it turns out that Martin is so bad at structuring that he actually pre-emptively ruined books by other authors (while at the same time gutting his own sub genre). Perhaps it is true what they say about silver linings . . .
Though I declined to finish this book, I'll leave you with a caution compiled from various respectable people on this site who did continue on with the series:
"If you need some kind of closure, avoid this series. No arcs will ever be completed, nothing will ever really change. They keep saying 'Winter is Coming', but it's not. As the series goes on, there will be more and more characters and diverging plotlines to keep track of, many of them apparently completely unrelated to each other. If you enjoy a grim, really long soap opera with lots of deaths and constant unresolved tension, pick up the series--otherwise, maybe check out the show."
My Fantasy Book Suggestions(less)
541 likes · like · see review
EDIT: 14 Dec. 2012. I no longer get notifications for the comments. Feel free to duke it out with each other; just don't expect me to respond.
WARNING: If you enjoyed this book, even a little bit, you may not want to read this review. It will probably make you angry. Heaven knows that the book made me furious, and I intend to turn every bit of that wrath back on it.
Instead, I suggest you read karen's review, Aerin's review, Joyzi's review, or any other of the gushing four and five-star reviews he...more EDIT: 14 Dec. 2012. I no longer get notifications for the comments. Feel free to duke it out with each other; just don't expect me to respond.
WARNING: If you enjoyed this book, even a little bit, you may not want to read this review. It will probably make you angry. Heaven knows that the book made me furious, and I intend to turn every bit of that wrath back on it.
Instead, I suggest you read karen's review, Aerin's review, Joyzi's review, or any other of the gushing four and five-star reviews here. If video reviews are more your style, I suggest Melina Pendulum's vlog about this book.
Realistically, I know a lot of you are not going to listen, which is why the edit is here. At least it will slow you down a little.
EDIT: adding one more thing because, despite the warning and the redirect links I kindly provided, I have indeed gotten the kind of sexist bullshit comments I anticipated. Before you launch into the usual defense, therefore, I give you this:
"Alternatively, some fans may find it tempting to argue “Well this media is a realistic portrayal of societies like X, Y, Z”. But when you say that sexism and racism and heterosexism and cissexism have to be in the narrative or the story won’t be realistic, what you are saying is that we humans literally cannot recognise ourselves without systemic prejudice, nor can we connect to characters who are not unrepentant bigots. Um, yikes. YIKES, you guys.
And even if you think that’s true (which scares the hell out of me), I don’t see you arguing for an accurate portrayal of everything in your fiction all the time. For example, most people seem fine without accurate portrayal of what personal hygiene was really like in 1300 CE in their medieval fantasy media. (Newsflash: realistically, Robb Stark and Jon Snow rarely bathed or brushed their teeth or hair). In real life, people have to go to the bathroom. In movies and books, they don’t show that very much, because it’s boring and gross. Well, guess what: bigotry is also boring and gross. But everyone is just dying to keep that in the script."
Source.
Here's the scoop on this review. For a book that I hate, I usually write a lot. After suffering for several hundred pages, I have pleeeenty of things to say. I've never hated a book that was quite as long as this one quite as much as I do, so I've had to alter my review so that I can say everything I want to without going over the character limit.
The first part is an unorganized rant. I marked pages with particularly annoying quotes on them; for these rants, I broke the book into segments of 100 pages and wrote up quotes and responses for each segment into separate blog posts. These are all linked below.
The second part will be a more organized rant masquerading as a review. MAKE NO MISTAKE: THIS IS A 'HATER' REVIEW. IF ANYTHING WAS GOING TO CAUSE ME TO SPONTANEOUSLY DEVELOP THE ABILITY TO BREATHE FIRE, IT WOULD HAVE BEEN THIS BOOK.
Part 1:
Pages 1-100
Pages 101-200
Pages 201-300
Pages 301-400
Pages 401-500
Pages 501-600
Pages 601-700
Pages 701-807
Part 2:
There are books I don't like.
There are books I loathe.
And then...
there's this book, which did its level best to drive me to drinking.

and I don't even like alcohol.
I wanted to like this. I wanted it to be as excellent as so many people insist it is. There are some books that I went into expecting them to be horrible, but this isn't one of them. Oh, my hopes were high here - it was recommended by a plethora of great authors, including the guys of Writing Excuses, who I absolutely love. Reviewers who I greatly respect rated it four and five stars and wrote at length about how awesome it was. Other people praised the book as "the greatest achievement of the fantasy genre so far" and Martin as "the greatest fantasy writer of all time".
It's those last two that are most important, I think, because I love the fantasy genre - always have, and hopefully always will. Fantasy is what got me into reading (well, Harry Potter, specifically) and it's been one of my mainstays for as long as I can remember. I bought this book in large part because it was so often touted as, if not always the greatest achievement of the genre, one of the major works of fantasy published in our time. Having recently read several works by Brandon Sanderson, all of which were innovative, highly readable, and deeply philosophical, I was excited to see what Martin (by all reports an even better writer than Sanderson) could do. I expected my mind to be blown, repeatedly, and to be faced with the challenge of writing a review for a book so staggeringly brilliant that I could hardly think straight after finishing it.
That is far, far, far from what I got.
First of all, this book is definitely not what I think of when I hear the word 'fantasy'. It's certainly far from my definition of 'high fantasy'. Now, I realize that my definition of 'high fantasy', which includes pervasive magic, unusual creatures, and a setting that is vividly far from the real world, is not the definition you'll find if you look the term up online. I also don't care. Seeing as the critical definition appears to characterize high fantasy solely by the fact that it doesn't take place on our Earth, and as this definition is written as if high fantasy and sword-and-sorcery are mutually exclusive, I'm inclined to conclude that whoever wrote said definition is pretty damn stupid and carry on with my own outlines of what makes fantasy high, low, urban, epic, or any other subcategory or combination thereof.
That said - this book? High fantasy? Not as far as I'm concerned. It is, to say the least, distinctly lacking in the requisite elements of the fantastic.

Is it possible that Martin is going for a 'the magic comes back' subplot over the course of the series? Definitely. Do I give two shits about the rest of the series? NOPE.
This book comes off as a pathetic attempt at fantasy by someone who doesn't really care about the genre, or doesn't know much about it. It mostly struck me more as an alternate universe War of the Roses fanfiction, with some hints of magic thrown in in a halfassed attempt to give it a place on the genre fiction shelves of bookstores. You can explain to me over and over how Martin intended to make his world 'gritty' and 'realistic' and I will tell you over and over that that shouldn't matter: that it is possible to have a fantasy which is gritty, realistic, and also utterly fantastical. It's even possible to do it without losing the particular areas where Martin seemed to be trying for gritty realism: since he chose to make all of his characters of the nobility anyhow, he wouldn't have had to worry about overglorifying the lives of the peasantry, as one might with a more economically diverse cast.
Now, I'm willing to give Martin the benefit of the doubt a little bit on the possibility of the 'magic comes back' thing, because there did seem to be elements here that could become fantastical if fully explained later. The problem, of course, is that they're tossed out without background, let alone proper explanation, and so feel jarring and out of place - not a coherent part of the world, but bits tossed in to be linked together later. Right now... all they managed to do was trip me up, throw me ass-over-teakettle out of the story, and leave me blinking at the page in confusion and not a little bit of frustration.
(And yeah, maybe part of why I'm so sore about this is that, like I said, I started this book not long after reading some Sanderson, and Sanderson is basically the king of seamless, fantastical, elegant worldbuilding, so pretty much anyone looks bad in comparison, but still.)
If I had to assign this book to a genre, I'd call it 'low fantasy', because as far as I'm concerned it was running too low on the qualities that make fantasy what it is. It's about as much fantasy as fanfiction that translates characters to the modern day is - namely, basically mundane with a miniscule twist.
The characters of this book also stand out... and not in a good way.

There are a lot of them - eight POVs and plenty more on the side - and not a single one of them is likeable. They all had the potential to be, which makes it worse. Bran, the Stark boy who learns too much and is crippled as a result, could have an interesting arc if it weren't so slow and drawn-out. The hints of genuine pathos-inducing story are definitely there. They're also present in the chapters focused on Catelyn, who is the closest Martin gets to a truly nuanced character. Ned Stark, Catelyn's husband, is supposed to be the noble one - too bad his 'nobility' comes off as stupidity instead. Jon Snow, Ned's bastard child, is a truly stereotypical fantasy character: the super special 'outcast' who is nonetheless generally loved except by those the narration makes a point to show as bigoted and cruel, who never really has to work either for physical skills or personal growth, and who gets gifted by the narrative with an absurd number of SUPER UNIQUE TRAPPINGS, including an albino wolf (really, Martin, REALLY? Are you secretly a fourteen year-old girl writing horrendous anime fanfic or something? Answer: no, and the comparison is insulting to fourteen year-old girls.) and a bastard sword that was a family heirloom of a noble house not his own. Arya is by far the most entertaining of the Starks, but only because she fulfills all sorts of rebellious-noble-girl-learns-to-fight tropes that I'm quite fond of. Sansa's chapters made me set the book down for days on end; she is beyond a shadow of a doubt the most insipid, annoying, airheaded character I have ever read and she has not a single whisper of a redeeming quality. Tyrion Lannister is what Jon Snow could have become without the heapings of Gary Stu in his youth: a bitter middle-aged man with father issues who turns to sex and crudity as his only defense; somewhat akin to Catelyn, he had the potential to be interesting and nuanced if his behavior hadn't been played dead straight.
And there's one more: Daenerys Targaryen. Oh, Dany, Dany, Dany. I could write a dissertation on Dany and everything that went wrong with her story - but I don't have that kind of time.
For those of you not familiar with this most epic of George R.R. Martin's characterization and plot failures, here is a summary:
(oh and spoilers, but I honestly can't be bothered to tag it.)
When we first meet her, Dany is thirteen years ond and about to be sold (effectively) into marriage with Khal Drogo, a warlord of the Dothraki people, by her abusive and not-a-little-bit-crazy brother, Viserys. Viserys has convinced himself that Drogo will help him take back 'his' kingdom - this being the Seven Kingdoms where the rest of the book takes place - hence the whole 'selling his sister to beraped by married to someone he obviously sees as a barbarian' thing. The marriage occurs, and then the wedding night in truly squicky half-detail. There then follows a long journey across the plains to a Dothraki city, during which Dany is raped (and no, I will not call it anything else) by Drogo. By her fourteenth birthday she is pregnant. When they arrive in the Dothraki city, Viserys makes such an ass of himself that Drogo kills him by pouring molten gold over his head in the middle of a feasting hall. Robert, the current king of the Seven Kingdoms who the Targaryens see as a usurper, sends assassins to kill Dany - naturally, they fail - and Drogo gets so angry at this that he decides to commit all his people to attacking the Seven Kingdoms in retribution. They leave the Dothraki city (at this point Dany is heavily pregnant) and go out to wreak havoc across the countryside on their way to conquest. In one such battle Drogo is wounded; because he refuses to care for the wound properly, it gets infected. When it is clear that he is going to die, Dany appeals to an old woman to perform forbidden magic to save him; the rest of Drogo's people do not approve and try to cast Dany out. End result: Dany loses her child to create a Drogo-zombie, which she then smothers. When his body is placed on the traditional pyre, she adds in three supposedly dead dragon eggs (given to her as wedding gifts and which any fool could see hundreds of pages off were bound to hatch) and, surprise surprise, they hatch.
To which my primary objections are:
1. The blinding obviousness of the ending
2. The fact that this single plotline - this single POV among eight - is so far distant from and so barely related to the others
3. The fact that Dany being raped is never treated as what it is, and that the relationship between her and Drogo is portrayed as love.

The first two are self-explanatory; the third, of course, is the big thorny problem. Now, I can sort of understand the perspective which argues that Dany is taking control of her sexuality - she comes to enjoy sex and even to initiate and control it at times. However, SHE IS AT NO POINT OLDER THAN FOURTEEN. There's a reason that such a concept as an 'age of consent' exists - there is an age at which teenagers are genuinely immature and probably shouldn't be making life-changing decisions like, say, things that could get them pregnant. Now, I understand that in the medieval times like those that this book is based on, girls were getting married and having children a lot earlier, and that people in general were more mature at an early age. However, Dany shows none of that maturity until after she's been with Drogo for weeks - if not months. When she's married to him, she is if anything unusually innocent for her age. It's a little hard for me to accept the idea that she's taking control of her sexuality when she's so young and clueless that her first sexual experience is a choice only inasmuch as she chooses not to fight back. Not fighting back, by the way, doesn't mean it's not rape, particularly in the situation that Dany is in (vastly younger than Drogo, vastly weaker, browbeaten by her abusive brother and told over and over that her obligation is to do whatever her husband wants). Nor are her later sexual experiences ones of choice; in fact, it is explicitly stated that even when she had horrible saddle sores and could barely walk, she was expected to be available for sex and treated as such. If anything, her eventual enjoyment of it seems more like a psychological block put up as a survival tactic than genuine pleasure in the act or love for Drogo.
Yet, despite the fact that this situation is obviously, beyond a shadow of a doubt, rape, it's never addressed in-text. If anything, it's portrayed as a positive experience for Dany, one that makes her stronger and enables her to stand up for herself.

Stupid me; I thought that the cancerous expansion of rape-as-love was limited to abusive jackass love interests in YA paranormal romances; clearly, I was wrong. It's everywhere, people. We are all completely fucking doomed.
Which brings me to one of the other major frustrations I had with this book: the sex.
Ummm... what to say? I thought reading some of the V'lane bits of Darkfever while sitting next to my mother on the plane was uncomfortable; to my utter shock, that was nothing compared to reading the sex scenes of this book alone. No worry about someone looking over my shoulder and reading about MacKayla Lane getting hot and bothered - and yet even more awkward. Why? Well, as one reviewer put it (and I wish I could remember who to give them credit), they're written kind of as if they're these tremendous mythic events. I cringe at the very thought of quoting them, but to give you a little idea of what they're like... (worst romance sex scenes you've ever read) - (bizarre flowerly euphemisms) + (gratuitous use of the word 'manhood')*(general strange reverence for penises above and beyond the norm) + (incidences of incest) = Game of Thrones sex scene.
In general: AWKWARD.

(Just to be sure you feel my pain.)
This book felt male-oriented in a way that is so painfully forced that it made me distinctly uncomfortable. I don't mean that women can't enjoy it - obviously, as all the reviews I linked back at the top demonstrate, they can and they do. I mean that the book itself felt as if it were written for the most stereotypical male audience imaginable. As Tatiana described it, it reads like a soap opera for men. Because MEN want lots of violence, sex, swearing by female genitalia, and paper-thin motivations, right? Which is exactly what Martin dishes up.

and so is the book he's produced.
I thought at around the halfway point that I'd finish the book and be able to watch the HBO show to get the rest of the series without suffering through more awkwardly described sex scenes (not to mention the rest of it). By the time I finished, though, I had developed such a virulent hatred for this book, its author, and everything related to either of the above that I start grinding my teeth just reading praise for it. Watching the show would be vastly to my detriment - mostly because neither my hand nor my bank account would do well after I put my fist through the screen of my laptop.
In conclusion/summary:




Oh, and to the diehard defenders of this series, like those who were plaguing Keely's review, who like to tell people who disagree with them that GRRM is the greatest writer of ALL TIME and that the female characters presented herein are feminist (or, to use an exact quote, that "GRRM has written some of the most independent, self-reliant heroines ever to grace the fantasy genre. It's more than half the reason he's so beloved. His female characters disdain male attention, are always smarter, faster, deadlier, and braver than any of their male counterparts. Kinda like feminists with swords" which is complete and utter bullshit), I have only one thing to say:

THANK YOU AND GOODNIGHT.(less)
WARNING: If you enjoyed this book, even a little bit, you may not want to read this review. It will probably make you angry. Heaven knows that the book made me furious, and I intend to turn every bit of that wrath back on it.
Instead, I suggest you read karen's review, Aerin's review, Joyzi's review, or any other of the gushing four and five-star reviews he...more EDIT: 14 Dec. 2012. I no longer get notifications for the comments. Feel free to duke it out with each other; just don't expect me to respond.
WARNING: If you enjoyed this book, even a little bit, you may not want to read this review. It will probably make you angry. Heaven knows that the book made me furious, and I intend to turn every bit of that wrath back on it.
Instead, I suggest you read karen's review, Aerin's review, Joyzi's review, or any other of the gushing four and five-star reviews here. If video reviews are more your style, I suggest Melina Pendulum's vlog about this book.
Realistically, I know a lot of you are not going to listen, which is why the edit is here. At least it will slow you down a little.
EDIT: adding one more thing because, despite the warning and the redirect links I kindly provided, I have indeed gotten the kind of sexist bullshit comments I anticipated. Before you launch into the usual defense, therefore, I give you this:
"Alternatively, some fans may find it tempting to argue “Well this media is a realistic portrayal of societies like X, Y, Z”. But when you say that sexism and racism and heterosexism and cissexism have to be in the narrative or the story won’t be realistic, what you are saying is that we humans literally cannot recognise ourselves without systemic prejudice, nor can we connect to characters who are not unrepentant bigots. Um, yikes. YIKES, you guys.
And even if you think that’s true (which scares the hell out of me), I don’t see you arguing for an accurate portrayal of everything in your fiction all the time. For example, most people seem fine without accurate portrayal of what personal hygiene was really like in 1300 CE in their medieval fantasy media. (Newsflash: realistically, Robb Stark and Jon Snow rarely bathed or brushed their teeth or hair). In real life, people have to go to the bathroom. In movies and books, they don’t show that very much, because it’s boring and gross. Well, guess what: bigotry is also boring and gross. But everyone is just dying to keep that in the script."
Source.
Here's the scoop on this review. For a book that I hate, I usually write a lot. After suffering for several hundred pages, I have pleeeenty of things to say. I've never hated a book that was quite as long as this one quite as much as I do, so I've had to alter my review so that I can say everything I want to without going over the character limit.
The first part is an unorganized rant. I marked pages with particularly annoying quotes on them; for these rants, I broke the book into segments of 100 pages and wrote up quotes and responses for each segment into separate blog posts. These are all linked below.
The second part will be a more organized rant masquerading as a review. MAKE NO MISTAKE: THIS IS A 'HATER' REVIEW. IF ANYTHING WAS GOING TO CAUSE ME TO SPONTANEOUSLY DEVELOP THE ABILITY TO BREATHE FIRE, IT WOULD HAVE BEEN THIS BOOK.
Part 1:
Pages 1-100
Pages 101-200
Pages 201-300
Pages 301-400
Pages 401-500
Pages 501-600
Pages 601-700
Pages 701-807
Part 2:
There are books I don't like.
There are books I loathe.
And then...
there's this book, which did its level best to drive me to drinking.

and I don't even like alcohol.
I wanted to like this. I wanted it to be as excellent as so many people insist it is. There are some books that I went into expecting them to be horrible, but this isn't one of them. Oh, my hopes were high here - it was recommended by a plethora of great authors, including the guys of Writing Excuses, who I absolutely love. Reviewers who I greatly respect rated it four and five stars and wrote at length about how awesome it was. Other people praised the book as "the greatest achievement of the fantasy genre so far" and Martin as "the greatest fantasy writer of all time".
It's those last two that are most important, I think, because I love the fantasy genre - always have, and hopefully always will. Fantasy is what got me into reading (well, Harry Potter, specifically) and it's been one of my mainstays for as long as I can remember. I bought this book in large part because it was so often touted as, if not always the greatest achievement of the genre, one of the major works of fantasy published in our time. Having recently read several works by Brandon Sanderson, all of which were innovative, highly readable, and deeply philosophical, I was excited to see what Martin (by all reports an even better writer than Sanderson) could do. I expected my mind to be blown, repeatedly, and to be faced with the challenge of writing a review for a book so staggeringly brilliant that I could hardly think straight after finishing it.
That is far, far, far from what I got.
First of all, this book is definitely not what I think of when I hear the word 'fantasy'. It's certainly far from my definition of 'high fantasy'. Now, I realize that my definition of 'high fantasy', which includes pervasive magic, unusual creatures, and a setting that is vividly far from the real world, is not the definition you'll find if you look the term up online. I also don't care. Seeing as the critical definition appears to characterize high fantasy solely by the fact that it doesn't take place on our Earth, and as this definition is written as if high fantasy and sword-and-sorcery are mutually exclusive, I'm inclined to conclude that whoever wrote said definition is pretty damn stupid and carry on with my own outlines of what makes fantasy high, low, urban, epic, or any other subcategory or combination thereof.
That said - this book? High fantasy? Not as far as I'm concerned. It is, to say the least, distinctly lacking in the requisite elements of the fantastic.

Is it possible that Martin is going for a 'the magic comes back' subplot over the course of the series? Definitely. Do I give two shits about the rest of the series? NOPE.
This book comes off as a pathetic attempt at fantasy by someone who doesn't really care about the genre, or doesn't know much about it. It mostly struck me more as an alternate universe War of the Roses fanfiction, with some hints of magic thrown in in a halfassed attempt to give it a place on the genre fiction shelves of bookstores. You can explain to me over and over how Martin intended to make his world 'gritty' and 'realistic' and I will tell you over and over that that shouldn't matter: that it is possible to have a fantasy which is gritty, realistic, and also utterly fantastical. It's even possible to do it without losing the particular areas where Martin seemed to be trying for gritty realism: since he chose to make all of his characters of the nobility anyhow, he wouldn't have had to worry about overglorifying the lives of the peasantry, as one might with a more economically diverse cast.
Now, I'm willing to give Martin the benefit of the doubt a little bit on the possibility of the 'magic comes back' thing, because there did seem to be elements here that could become fantastical if fully explained later. The problem, of course, is that they're tossed out without background, let alone proper explanation, and so feel jarring and out of place - not a coherent part of the world, but bits tossed in to be linked together later. Right now... all they managed to do was trip me up, throw me ass-over-teakettle out of the story, and leave me blinking at the page in confusion and not a little bit of frustration.
(And yeah, maybe part of why I'm so sore about this is that, like I said, I started this book not long after reading some Sanderson, and Sanderson is basically the king of seamless, fantastical, elegant worldbuilding, so pretty much anyone looks bad in comparison, but still.)
If I had to assign this book to a genre, I'd call it 'low fantasy', because as far as I'm concerned it was running too low on the qualities that make fantasy what it is. It's about as much fantasy as fanfiction that translates characters to the modern day is - namely, basically mundane with a miniscule twist.
The characters of this book also stand out... and not in a good way.

There are a lot of them - eight POVs and plenty more on the side - and not a single one of them is likeable. They all had the potential to be, which makes it worse. Bran, the Stark boy who learns too much and is crippled as a result, could have an interesting arc if it weren't so slow and drawn-out. The hints of genuine pathos-inducing story are definitely there. They're also present in the chapters focused on Catelyn, who is the closest Martin gets to a truly nuanced character. Ned Stark, Catelyn's husband, is supposed to be the noble one - too bad his 'nobility' comes off as stupidity instead. Jon Snow, Ned's bastard child, is a truly stereotypical fantasy character: the super special 'outcast' who is nonetheless generally loved except by those the narration makes a point to show as bigoted and cruel, who never really has to work either for physical skills or personal growth, and who gets gifted by the narrative with an absurd number of SUPER UNIQUE TRAPPINGS, including an albino wolf (really, Martin, REALLY? Are you secretly a fourteen year-old girl writing horrendous anime fanfic or something? Answer: no, and the comparison is insulting to fourteen year-old girls.) and a bastard sword that was a family heirloom of a noble house not his own. Arya is by far the most entertaining of the Starks, but only because she fulfills all sorts of rebellious-noble-girl-learns-to-fight tropes that I'm quite fond of. Sansa's chapters made me set the book down for days on end; she is beyond a shadow of a doubt the most insipid, annoying, airheaded character I have ever read and she has not a single whisper of a redeeming quality. Tyrion Lannister is what Jon Snow could have become without the heapings of Gary Stu in his youth: a bitter middle-aged man with father issues who turns to sex and crudity as his only defense; somewhat akin to Catelyn, he had the potential to be interesting and nuanced if his behavior hadn't been played dead straight.
And there's one more: Daenerys Targaryen. Oh, Dany, Dany, Dany. I could write a dissertation on Dany and everything that went wrong with her story - but I don't have that kind of time.
For those of you not familiar with this most epic of George R.R. Martin's characterization and plot failures, here is a summary:
(oh and spoilers, but I honestly can't be bothered to tag it.)
When we first meet her, Dany is thirteen years ond and about to be sold (effectively) into marriage with Khal Drogo, a warlord of the Dothraki people, by her abusive and not-a-little-bit-crazy brother, Viserys. Viserys has convinced himself that Drogo will help him take back 'his' kingdom - this being the Seven Kingdoms where the rest of the book takes place - hence the whole 'selling his sister to be
To which my primary objections are:
1. The blinding obviousness of the ending
2. The fact that this single plotline - this single POV among eight - is so far distant from and so barely related to the others
3. The fact that Dany being raped is never treated as what it is, and that the relationship between her and Drogo is portrayed as love.

The first two are self-explanatory; the third, of course, is the big thorny problem. Now, I can sort of understand the perspective which argues that Dany is taking control of her sexuality - she comes to enjoy sex and even to initiate and control it at times. However, SHE IS AT NO POINT OLDER THAN FOURTEEN. There's a reason that such a concept as an 'age of consent' exists - there is an age at which teenagers are genuinely immature and probably shouldn't be making life-changing decisions like, say, things that could get them pregnant. Now, I understand that in the medieval times like those that this book is based on, girls were getting married and having children a lot earlier, and that people in general were more mature at an early age. However, Dany shows none of that maturity until after she's been with Drogo for weeks - if not months. When she's married to him, she is if anything unusually innocent for her age. It's a little hard for me to accept the idea that she's taking control of her sexuality when she's so young and clueless that her first sexual experience is a choice only inasmuch as she chooses not to fight back. Not fighting back, by the way, doesn't mean it's not rape, particularly in the situation that Dany is in (vastly younger than Drogo, vastly weaker, browbeaten by her abusive brother and told over and over that her obligation is to do whatever her husband wants). Nor are her later sexual experiences ones of choice; in fact, it is explicitly stated that even when she had horrible saddle sores and could barely walk, she was expected to be available for sex and treated as such. If anything, her eventual enjoyment of it seems more like a psychological block put up as a survival tactic than genuine pleasure in the act or love for Drogo.
Yet, despite the fact that this situation is obviously, beyond a shadow of a doubt, rape, it's never addressed in-text. If anything, it's portrayed as a positive experience for Dany, one that makes her stronger and enables her to stand up for herself.

Stupid me; I thought that the cancerous expansion of rape-as-love was limited to abusive jackass love interests in YA paranormal romances; clearly, I was wrong. It's everywhere, people. We are all completely fucking doomed.
Which brings me to one of the other major frustrations I had with this book: the sex.
Ummm... what to say? I thought reading some of the V'lane bits of Darkfever while sitting next to my mother on the plane was uncomfortable; to my utter shock, that was nothing compared to reading the sex scenes of this book alone. No worry about someone looking over my shoulder and reading about MacKayla Lane getting hot and bothered - and yet even more awkward. Why? Well, as one reviewer put it (and I wish I could remember who to give them credit), they're written kind of as if they're these tremendous mythic events. I cringe at the very thought of quoting them, but to give you a little idea of what they're like... (worst romance sex scenes you've ever read) - (bizarre flowerly euphemisms) + (gratuitous use of the word 'manhood')*(general strange reverence for penises above and beyond the norm) + (incidences of incest) = Game of Thrones sex scene.
In general: AWKWARD.

(Just to be sure you feel my pain.)
This book felt male-oriented in a way that is so painfully forced that it made me distinctly uncomfortable. I don't mean that women can't enjoy it - obviously, as all the reviews I linked back at the top demonstrate, they can and they do. I mean that the book itself felt as if it were written for the most stereotypical male audience imaginable. As Tatiana described it, it reads like a soap opera for men. Because MEN want lots of violence, sex, swearing by female genitalia, and paper-thin motivations, right? Which is exactly what Martin dishes up.

and so is the book he's produced.
I thought at around the halfway point that I'd finish the book and be able to watch the HBO show to get the rest of the series without suffering through more awkwardly described sex scenes (not to mention the rest of it). By the time I finished, though, I had developed such a virulent hatred for this book, its author, and everything related to either of the above that I start grinding my teeth just reading praise for it. Watching the show would be vastly to my detriment - mostly because neither my hand nor my bank account would do well after I put my fist through the screen of my laptop.
In conclusion/summary:




Oh, and to the diehard defenders of this series, like those who were plaguing Keely's review, who like to tell people who disagree with them that GRRM is the greatest writer of ALL TIME and that the female characters presented herein are feminist (or, to use an exact quote, that "GRRM has written some of the most independent, self-reliant heroines ever to grace the fantasy genre. It's more than half the reason he's so beloved. His female characters disdain male attention, are always smarter, faster, deadlier, and braver than any of their male counterparts. Kinda like feminists with swords" which is complete and utter bullshit), I have only one thing to say:

THANK YOU AND GOODNIGHT.(less)
266 likes · like · see review
Anna
Anila - I'm only responding to your original review with page updates ... no time to read all the other comments, but I loved your review of this book...more
Anila - I'm only responding to your original review with page updates ... no time to read all the other comments, but I loved your review of this book. it was spot on. That said, I still enjoyed the book... But I laughed out loud at your commentary. Well said :)(less)
Apr 01, 2013 07:59pm
Apr 01, 2013 07:59pm
deleted user
you went all out xD nice ;) and the added gifs...brilliant :D
Apr 08, 2013 11:03am
Apr 08, 2013 11:03am
I really feel the necessity of a bit of personal backstory here, before I start the review. Back in 1996 when this book first came out, and I was about 14 or 16 years old, I saw the hardcover on a sale table for about $5 and couldn't resist a bargain (still can't, though I'm more cautious these days). So I started reading this book with the vague idea that it was a flop, and that may not have helped, but I got through 100 pages of it before feeling so crapped off with it that I shoved it in my c...more
I really feel the necessity of a bit of personal backstory here, before I start the review. Back in 1996 when this book first came out, and I was about 14 or 16 years old, I saw the hardcover on a sale table for about $5 and couldn't resist a bargain (still can't, though I'm more cautious these days). So I started reading this book with the vague idea that it was a flop, and that may not have helped, but I got through 100 pages of it before feeling so crapped off with it that I shoved it in my cupboard and tried not to think about it. Page 108 to be exact. More on why later.
If you've heard of this book, or read it, you're probably aware that far from being the flop I assumed it was at the time (and I didn't know anyone who was reading it), the series has gone on to be one of the big Cash Cows of the fantasy genre. Computer games, role-playing games - there's even a board game that looks like Risk. Sooner or later there'll be a movie or something, no doubt (I'm moderately surprised one isn't in the works already). People love this book and this series. So I'm well aware I'll probably be lynched for this review, because even the people on Goodreads who didn't like it still had great things to say about it.
But reviews are subjective, and here's mine.
In the vein of Tolkein, Jordan, Elliott, Goodkind, Hobb, Eddings, Feist et al, A Game of Thrones is set in the classicly boring-and-overdone medieval-England-esque setting, and is essentially about a bunch of nobles fighting over a throne. Great. Very original. Praised for its focus on political intrigue, its lack of magic and similar fantasy tropes, and its cast of believable and interesting characters, I found the book tedious. The first "epic fantasy" series I read (after Narnia) was Jordan's The Wheel of Time series, and it's true that I struggled with the first book, Eye of the World. But there were elements to it that I liked, characters who I felt attached to, enough to read the second book and become hooked, and so on. I love 1000-page long, fat fantasy books. I love huge casts of characters and have no problem keeping up with them. I've read Jennifer Fallon's Wolfblade trilogy and Second Sons Trilogy, both of which are heavy on political intrigue and very low on magic, and they're supurb. A Game of Thrones is not. It offers nothing new to the genre, and does nothing original with what it has.
Narrated in turns by Eddard (Ned) Stark, Lord of Winterfell; his wife Lady Catelyn; his bastard son Jon Snow; his very young daughters Sansa and Arya; his middle son Bran; Tyrion Lannister, a dwarf and brother to the Queen; and young Daenerys Targaryen, last of the line of dragon kings and exiled to the land beyond the narrow sea, the book is divided into neat chapters headed by the name of one or the other, so you know exactly whose point-of-view you're going to get and where you are in the plot. Thanks for holding my hand Martin, but I don't like this technique. The chapter headings, I'm referring to. It encourages me to start wondering about the character before I've even started reading. "CATELYN" the chapter title reads: is she young or old, a peasant, a farmer, a daughter, a mother, nice, mean... I start imagining things and then have to correct it all as the character is revealed during the chapter. There's power in names, and withholding them or putting elements of a character's personality first is often more compelling, and better writing. It also made it harder to get through the book, because at the end of one chapter I'd see the name of the next, think "oh great, him/her again, their story's boring" and put the book down.
Let me be perfectly straight: I did not find any of the characters to be particularly interesting; though Jaime Lannister had something about him, you hardly ever saw him. They all pretty much felt like the same character, just in different situations. The differences between them, for example the good-girl Sansa and her tomboy sister Arya, felt forced, superficial and clichéd. Ned is all about honour and duty, but especially honour, with love a more minor consideration, but honestly, could the man be more stupid? Eddard's a moron, and dull, and his only saving grace is that he's nice to his daughters. Let's be clear about something else right here: this world and its people are so sexist and misogynist it's ludicrous. There are many derogatory references to women's tits, metaphors about screwing whores, descriptions of Daenerys getting her nipples pinched by her horrible brother Viserys - not to mention her marriage, at twelve, to a horselord whose men rape women like there's no tomorrow; incest and so on. The first time I tried to read this book, I was offended and disgusted (it didn't help that I'd read Pillars of the Earth not long before; though I did not grow up sexually repressed or prudish or anything like that, I have never found reading descriptions of rape to be all that easy, especially when they're treated so dismissively) - yet oddly my impressions of the characters were much more favourable. I read it now and I just felt contempt.
No one character stands out, though Arya has potential. Catelyn is as boring as her husband, and her sister Lysa is, let's face it, mad as a hatter and a sure sign of why women are unfit to rule (a clear message in this medieval-esque patriarchal world). Queen Cercei too. Tyrion, the dwarf, seems on the verge of having charisma but fails, and Daenerys... I want to like someone, but Martin doesn't give his characters any depth. Sure, they're all flawed and a flawed character is a great literary device - the anti-hero, etc. But Martin's characters are walking clichés, even the dwarf.
The plot is also pretty weak. I don't need elves and magic and dragons - in fact, I tend to avoid them, especially elves *yawn* - but you've gotta give me something else. A bildungsroman does wonders - yes, let me see the characters on a journey of life rather than a quest, quests are tired. There's no quest in A Game of Thrones, and that's fine with me. But what is there? Jon goes to the Wall that separates the wilderness from the Seven Kingdoms (why is it called the Seven Kingdoms when there's only one kingdom?) and is attacked by an Other, a kind of zombie creature; Ned goes to the capital to take up the role of King's Hand because the King, Robert, likes to spend his time boozing, whoring and hunting; Catelyn follows to tell him someone tried to kill Bran; Ned tries to discover why the previous Hand died... And swords with names, seriously, what's with that? I'm so sick of such blatant phallic symbols and their representations, and the whole creed of honour and duty and gallant knights...
What frustrates me most is that this could have been a really interesting story, if only the author had better talent at writing characters - or letting them write themselves. The plot is not the problem, though it's largely uneventful, with no climactic moments because even those are written at the same pace as the rest, with no drammatic flourishes (come on, we all like those, let's be honest). But the characters, *sigh*, their motivations are simplistic, their actions extremely predictable, and while they don't blur one into another neither do any of them stand out. Also, the type of setting seems mostly convenient: with the focus on the nobles and their squabbling, you don't learn much about the lower classes, or what kind of food is grown here, or what kind of industry supports the economy, or anything about the cultures - using the clichéd medieval England setting allows Martin to ignore one of the more fascinating aspects of society and leaves his world shallow, like surface water, without support (using this old and worn Fantasy setting allows an author to get lazy about world-building). The history of the land is also riddled with clichés, and sort of thrown in here and there as if to remind the reader "it is a real place, look, here's what the First Men did!"
As for the writing, it's easy to read and calm, though very slow and rather lacking in tone or any interesting stylistic quirks: flat and bland, in other words. There's no atmosphere in this book. There're a few bad lines, like "A storm of rose petals blew across a blood-streaked sky, as blue as the eyes of death" (p.425) - his one concession to drama, it seems, though if you read it again you'll notice it doesn't actually make sense; and a few awkward sentences that leave you scrambling, such as "Catelyn watched her son [Robb Stark] mount up. Olyvar Frey held his horse for him, Lord Walder's son, two years older than Robb, and ten years younger and more anxious." (p.696) I noticed a similar sentence later, and I guess I know what he means but really, it's terrible writing.
On the plus side, there were a few things I liked. The direwolves - large ferocious animals as constant companions and protectors: always a winner with me; the intriguing climate, where summer and winter lasts years, decades even, before changing (how does that work? Seriously, what do they eat?); Daenerys' dragon eggs, and the Dothraki, the horse lords - though they were pretty superficial and confined to a rigid list of adjectives - I would have liked to understand their culture better. In many fantasy books my problem is the whole good vs. evil cliché, which generally involves the plot. Here, my problem is that the characters are so black-and-white. They are described, good, that's settled, now what? There's no grey. No character development. They never once surprised me.
I honestly don't know if I'll read the next book. The Wheel of Time taught me (at the same age as I first tried reading this book, 16) that the first book in a series can be the weakest, because of the amount of extrapolation and background etc. that goes on. I didn't find that problem here, it was very grounded in the now, which makes me think the next book will be more of the same. I keep coming back to the reasons why I struggled to finish this book: boredom, clichéd and empty characters, not enough balance (as in, there's no love in this book, and if the characters are so realistic why don't they love?), and predictable events. You know what it reminds me of? Marion Zimmer Bradley's equally famous The Mists of Avalon - another book I couldn't finish. If you like Arthurian fantasy, and that kind of style, then this would be a good book for you: the excessively patriarchal culture, the battles, the hint of magic and something glorious lurking around the edges but never coming to the fore, it's all here, neatly packaged. Obviously it works for a lot of people.
But to all those people who say that Martin has opened up the genre in new ways, that he is the best writer of the epic fantasy crowd and so on, I have to wonder, have they read anything else? And then I wonder whether it's a matter of which author you read first and grow attached to, and so compare all the others. I don't think I fell into that trap as such, because Jordan's lost the plot, literally, Goodkind's personal politics and propaganda have taken over his story, and the one epic fantasy series that I love above all others - to date - is Kate Elliott's Crown of Stars series, which I didn't start reading till I was in uni. But I really wonder, how this story grabbed other people. If it grabbed you, I'd love to hear how and why, because sometimes I feel like I'm too jaded or something, too snobby maybe ....(less)
If you've heard of this book, or read it, you're probably aware that far from being the flop I assumed it was at the time (and I didn't know anyone who was reading it), the series has gone on to be one of the big Cash Cows of the fantasy genre. Computer games, role-playing games - there's even a board game that looks like Risk. Sooner or later there'll be a movie or something, no doubt (I'm moderately surprised one isn't in the works already). People love this book and this series. So I'm well aware I'll probably be lynched for this review, because even the people on Goodreads who didn't like it still had great things to say about it.
But reviews are subjective, and here's mine.
In the vein of Tolkein, Jordan, Elliott, Goodkind, Hobb, Eddings, Feist et al, A Game of Thrones is set in the classicly boring-and-overdone medieval-England-esque setting, and is essentially about a bunch of nobles fighting over a throne. Great. Very original. Praised for its focus on political intrigue, its lack of magic and similar fantasy tropes, and its cast of believable and interesting characters, I found the book tedious. The first "epic fantasy" series I read (after Narnia) was Jordan's The Wheel of Time series, and it's true that I struggled with the first book, Eye of the World. But there were elements to it that I liked, characters who I felt attached to, enough to read the second book and become hooked, and so on. I love 1000-page long, fat fantasy books. I love huge casts of characters and have no problem keeping up with them. I've read Jennifer Fallon's Wolfblade trilogy and Second Sons Trilogy, both of which are heavy on political intrigue and very low on magic, and they're supurb. A Game of Thrones is not. It offers nothing new to the genre, and does nothing original with what it has.
Narrated in turns by Eddard (Ned) Stark, Lord of Winterfell; his wife Lady Catelyn; his bastard son Jon Snow; his very young daughters Sansa and Arya; his middle son Bran; Tyrion Lannister, a dwarf and brother to the Queen; and young Daenerys Targaryen, last of the line of dragon kings and exiled to the land beyond the narrow sea, the book is divided into neat chapters headed by the name of one or the other, so you know exactly whose point-of-view you're going to get and where you are in the plot. Thanks for holding my hand Martin, but I don't like this technique. The chapter headings, I'm referring to. It encourages me to start wondering about the character before I've even started reading. "CATELYN" the chapter title reads: is she young or old, a peasant, a farmer, a daughter, a mother, nice, mean... I start imagining things and then have to correct it all as the character is revealed during the chapter. There's power in names, and withholding them or putting elements of a character's personality first is often more compelling, and better writing. It also made it harder to get through the book, because at the end of one chapter I'd see the name of the next, think "oh great, him/her again, their story's boring" and put the book down.
Let me be perfectly straight: I did not find any of the characters to be particularly interesting; though Jaime Lannister had something about him, you hardly ever saw him. They all pretty much felt like the same character, just in different situations. The differences between them, for example the good-girl Sansa and her tomboy sister Arya, felt forced, superficial and clichéd. Ned is all about honour and duty, but especially honour, with love a more minor consideration, but honestly, could the man be more stupid? Eddard's a moron, and dull, and his only saving grace is that he's nice to his daughters. Let's be clear about something else right here: this world and its people are so sexist and misogynist it's ludicrous. There are many derogatory references to women's tits, metaphors about screwing whores, descriptions of Daenerys getting her nipples pinched by her horrible brother Viserys - not to mention her marriage, at twelve, to a horselord whose men rape women like there's no tomorrow; incest and so on. The first time I tried to read this book, I was offended and disgusted (it didn't help that I'd read Pillars of the Earth not long before; though I did not grow up sexually repressed or prudish or anything like that, I have never found reading descriptions of rape to be all that easy, especially when they're treated so dismissively) - yet oddly my impressions of the characters were much more favourable. I read it now and I just felt contempt.
No one character stands out, though Arya has potential. Catelyn is as boring as her husband, and her sister Lysa is, let's face it, mad as a hatter and a sure sign of why women are unfit to rule (a clear message in this medieval-esque patriarchal world). Queen Cercei too. Tyrion, the dwarf, seems on the verge of having charisma but fails, and Daenerys... I want to like someone, but Martin doesn't give his characters any depth. Sure, they're all flawed and a flawed character is a great literary device - the anti-hero, etc. But Martin's characters are walking clichés, even the dwarf.
The plot is also pretty weak. I don't need elves and magic and dragons - in fact, I tend to avoid them, especially elves *yawn* - but you've gotta give me something else. A bildungsroman does wonders - yes, let me see the characters on a journey of life rather than a quest, quests are tired. There's no quest in A Game of Thrones, and that's fine with me. But what is there? Jon goes to the Wall that separates the wilderness from the Seven Kingdoms (why is it called the Seven Kingdoms when there's only one kingdom?) and is attacked by an Other, a kind of zombie creature; Ned goes to the capital to take up the role of King's Hand because the King, Robert, likes to spend his time boozing, whoring and hunting; Catelyn follows to tell him someone tried to kill Bran; Ned tries to discover why the previous Hand died... And swords with names, seriously, what's with that? I'm so sick of such blatant phallic symbols and their representations, and the whole creed of honour and duty and gallant knights...
What frustrates me most is that this could have been a really interesting story, if only the author had better talent at writing characters - or letting them write themselves. The plot is not the problem, though it's largely uneventful, with no climactic moments because even those are written at the same pace as the rest, with no drammatic flourishes (come on, we all like those, let's be honest). But the characters, *sigh*, their motivations are simplistic, their actions extremely predictable, and while they don't blur one into another neither do any of them stand out. Also, the type of setting seems mostly convenient: with the focus on the nobles and their squabbling, you don't learn much about the lower classes, or what kind of food is grown here, or what kind of industry supports the economy, or anything about the cultures - using the clichéd medieval England setting allows Martin to ignore one of the more fascinating aspects of society and leaves his world shallow, like surface water, without support (using this old and worn Fantasy setting allows an author to get lazy about world-building). The history of the land is also riddled with clichés, and sort of thrown in here and there as if to remind the reader "it is a real place, look, here's what the First Men did!"
As for the writing, it's easy to read and calm, though very slow and rather lacking in tone or any interesting stylistic quirks: flat and bland, in other words. There's no atmosphere in this book. There're a few bad lines, like "A storm of rose petals blew across a blood-streaked sky, as blue as the eyes of death" (p.425) - his one concession to drama, it seems, though if you read it again you'll notice it doesn't actually make sense; and a few awkward sentences that leave you scrambling, such as "Catelyn watched her son [Robb Stark] mount up. Olyvar Frey held his horse for him, Lord Walder's son, two years older than Robb, and ten years younger and more anxious." (p.696) I noticed a similar sentence later, and I guess I know what he means but really, it's terrible writing.
On the plus side, there were a few things I liked. The direwolves - large ferocious animals as constant companions and protectors: always a winner with me; the intriguing climate, where summer and winter lasts years, decades even, before changing (how does that work? Seriously, what do they eat?); Daenerys' dragon eggs, and the Dothraki, the horse lords - though they were pretty superficial and confined to a rigid list of adjectives - I would have liked to understand their culture better. In many fantasy books my problem is the whole good vs. evil cliché, which generally involves the plot. Here, my problem is that the characters are so black-and-white. They are described, good, that's settled, now what? There's no grey. No character development. They never once surprised me.
I honestly don't know if I'll read the next book. The Wheel of Time taught me (at the same age as I first tried reading this book, 16) that the first book in a series can be the weakest, because of the amount of extrapolation and background etc. that goes on. I didn't find that problem here, it was very grounded in the now, which makes me think the next book will be more of the same. I keep coming back to the reasons why I struggled to finish this book: boredom, clichéd and empty characters, not enough balance (as in, there's no love in this book, and if the characters are so realistic why don't they love?), and predictable events. You know what it reminds me of? Marion Zimmer Bradley's equally famous The Mists of Avalon - another book I couldn't finish. If you like Arthurian fantasy, and that kind of style, then this would be a good book for you: the excessively patriarchal culture, the battles, the hint of magic and something glorious lurking around the edges but never coming to the fore, it's all here, neatly packaged. Obviously it works for a lot of people.
But to all those people who say that Martin has opened up the genre in new ways, that he is the best writer of the epic fantasy crowd and so on, I have to wonder, have they read anything else? And then I wonder whether it's a matter of which author you read first and grow attached to, and so compare all the others. I don't think I fell into that trap as such, because Jordan's lost the plot, literally, Goodkind's personal politics and propaganda have taken over his story, and the one epic fantasy series that I love above all others - to date - is Kate Elliott's Crown of Stars series, which I didn't start reading till I was in uni. But I really wonder, how this story grabbed other people. If it grabbed you, I'd love to hear how and why, because sometimes I feel like I'm too jaded or something, too snobby maybe ....(less)
336 likes · like · see review
Andrew
I laughed SO hard at this!! Thank you so much for the review. I wanted to know if GoT was worth reading, and now I know it's not - it's everything I t...more
I laughed SO hard at this!! Thank you so much for the review. I wanted to know if GoT was worth reading, and now I know it's not - it's everything I thought it would be and more. Thank you for the good laugh! If you can recommend me any books, feel free! I can say I'm the biggest Tolkien nut on the planet (that being a hit)! I'll be following your reviews!
"As for the writing, it's easy to read and calm, though very slow and rather lacking in tone or any interesting stylistic quirks: flat and bland, in other words. There's no atmosphere in this book. There're a few bad lines, like "A storm of rose petals blew across a blood-streaked sky, as blue as the eyes of death" (p.425) - his one concession to drama, it seems, though if you read it again you'll notice it doesn't actually make sense; and a few awkward sentences that leave you scrambling, such as "Catelyn watched her son [Robb Stark] mount up. Olyvar Frey held his horse for him, Lord Walder's son, two years older than Robb, and ten years younger and more anxious." (p.696) I noticed a similar sentence later, and I guess I know what he means but really, it's terrible writing.(less)
May 02, 2013 06:27pm
"As for the writing, it's easy to read and calm, though very slow and rather lacking in tone or any interesting stylistic quirks: flat and bland, in other words. There's no atmosphere in this book. There're a few bad lines, like "A storm of rose petals blew across a blood-streaked sky, as blue as the eyes of death" (p.425) - his one concession to drama, it seems, though if you read it again you'll notice it doesn't actually make sense; and a few awkward sentences that leave you scrambling, such as "Catelyn watched her son [Robb Stark] mount up. Olyvar Frey held his horse for him, Lord Walder's son, two years older than Robb, and ten years younger and more anxious." (p.696) I noticed a similar sentence later, and I guess I know what he means but really, it's terrible writing.(less)
May 02, 2013 06:27pm
Srivatsan
I enjoyed this review a lot, up until the point where it complained about swords having names. I just couldn't proceed with the review beyond that poi...more
I enjoyed this review a lot, up until the point where it complained about swords having names. I just couldn't proceed with the review beyond that point. I, for one, considered the idea sweet, and I can't help but regard any objections to this as just nitpicky. And this is not even something GRRM pulled out of his ass: Excalibur, anyone?(less)
May 13, 2013 12:15am
May 13, 2013 12:15am
yup.
nerds, now i am among you.
this is going to be a review where i just prattle on and on about meee meee meee, because let's face it - there are a million reviews of this puppy out there so i don't have to worry about doing a disservice to the book. you'll either read the book or you won't. but you should: it's got direwolves.
i wasn't going to read this. after years of watching hordes of desperate sad-eyed nerds coming up to me, asking "any news on the george r.r. martin release??" (like the bn...more yup.
nerds, now i am among you.
this is going to be a review where i just prattle on and on about meee meee meee, because let's face it - there are a million reviews of this puppy out there so i don't have to worry about doing a disservice to the book. you'll either read the book or you won't. but you should: it's got direwolves.
i wasn't going to read this. after years of watching hordes of desperate sad-eyed nerds coming up to me, asking "any news on the george r.r. martin release??" (like the bn computer knows more, somehow, than the internet. it doesn't) and i would have to tell them (not without some schadenfreude-glee) "nope - it has just been moved back another year!!" it gave me a solid sense of "there but for the grace..." like when you see a very young junkie and you congratulate yourself for dodging that particular bullet.
despite what i kept hearing about how awesome the books were, i just filed it away in the mental RA folder of "stuff nerds like" and figured one day i would read them, you know - for research, but not before they were all out - i wasn't going to get sucked into the trap of so many before me - the waiting game of disappointment and having to reread the older books again and again to keep track of who was even alive at this point. "when you play the game of thrones, you play to become frustrated and impatient."
i have seen it a hundred times.
so when the teevee show came out and people were drooling over how good it was, i paid them no mind. i pushed it two feet past the "someday" pile in my brain. because i am not one of those people who watch a movie before reading the book, am i??
but connor wore me down. he really wanted me to see it and he wanted to talk to me about it and his bearded little face was all lit from within with enthusiasm and i just couldn't say no to him.
so i did it. i watched the teeveee. on demand - several episodes in a row, pissed off if i started to get too sleepy to make it through another episode.
so so good.
so now, i had to read it, right? i owe it to the gods of fine literature and all.
so i did, and god this book is fun.
i am glad they changed a few things for the filmed version - i'm not sure i would have been too comfortable watching a thirteen-year-old actress play daenerys.
in the same line of thought - natalie - i know you have not watched the show yet, but your crush on jon snow?? perfectly understandable to someone watching the show - he has that dark brooding thing i can see a girl going for, but if you have only read the books?? girl, your crush is on a fourteen-year-old boy. i have notified the authorities, you perv.
in the end, i am glad i watched the show first, if only so that i know how to pronounce the characters' names. oh, you crazy high fantasy novels and your names...
alfonso won't read this series because of the incest and because they never tell you where the soldiers pooped. i am not kidding. several people complain that the seasonal imbalance complicates the growing cycle and where is all their food coming from. this point i can understand - fantasy novels are supposed to care about developing a fully-realized world and all, and that is kind of a major detail, but it doesn't bother me at all. i am no connoisseur of fantasy- i am a dilettante at best. so i don't care where people are getting their food - i don't care if the social hierarchy is a realistic one, given the particulars of this realm, i certainly don't care where the soldiers are pooping. nor do i care in any novel where and when the characters poop. i just like this book's quiet intrigues and betrayals. the diplomacy, the lack of hesitation when it is time for a character to be killed off. i love how there aren't any "good guys" or "bad guys," only "effective" and "ineffective" characters. every one of them does at least one thing that'll make a reader go, "oh, bad move." so he dropped a few details when it comes to agriculture - he spent all his energies into creating characters that i love reading about.there are facets to this thing - sides of the argument rarely seen in a straight-ahead rollicking plot-driven novel.
and i'm not really sure where the misogyny accusations come from. is it because women can't really ascend to power except through marriage?? because i don't think that was invented for this book - i am pretty sure that has happened, historically, in other places. and if it's the looting and raping, well - that happens in war, too. wait, is it sansa?? yeah, she's kind of a wash. but the girl wants what the girl wants. she's at least more complicated than bella, right? there are plenty of good characters here that aren't weak or power-mad, or just regular-mad... okay - there are a couple. but sheeeeit - all the characters here are pretty bad, on the moral spectrum, right? littlefinger is my very favorite, but i wouldn't want to know him in my real life. i appreciate his devotion, though.
so i am super excited about clash of kings, both the book i will read and the show i will watch. swords and boobies and direwolves. i don't even know how i am going to make it until then.
oh, because i was talking about boobies and HBO just there, connor was telling me this story about louis ck, and i loved it, and i found this quote. it is relevant!! hbo is nudity-crazy!! but he took care of their lust for flesh:
HBO was asking us why there was no nudity on the show, and what they really meant was, Why wasn’t Pamela Adlon, who played my wife, nude? When I hired Pam, I didn’t tell her she was going to be doing anything like that. It wasn’t supposed to be that kind of show. So I said, “You know what, I’ll do it.” And I did that episode, and they were like, “O.K., we have plenty of nudity, thank you.”
hbo, thwarted!
look, dana, i read one of your books!!
and i have just discovered betterbooktitles.com!
(less)
nerds, now i am among you.
this is going to be a review where i just prattle on and on about meee meee meee, because let's face it - there are a million reviews of this puppy out there so i don't have to worry about doing a disservice to the book. you'll either read the book or you won't. but you should: it's got direwolves.
i wasn't going to read this. after years of watching hordes of desperate sad-eyed nerds coming up to me, asking "any news on the george r.r. martin release??" (like the bn...more yup.
nerds, now i am among you.
this is going to be a review where i just prattle on and on about meee meee meee, because let's face it - there are a million reviews of this puppy out there so i don't have to worry about doing a disservice to the book. you'll either read the book or you won't. but you should: it's got direwolves.
i wasn't going to read this. after years of watching hordes of desperate sad-eyed nerds coming up to me, asking "any news on the george r.r. martin release??" (like the bn computer knows more, somehow, than the internet. it doesn't) and i would have to tell them (not without some schadenfreude-glee) "nope - it has just been moved back another year!!" it gave me a solid sense of "there but for the grace..." like when you see a very young junkie and you congratulate yourself for dodging that particular bullet.
despite what i kept hearing about how awesome the books were, i just filed it away in the mental RA folder of "stuff nerds like" and figured one day i would read them, you know - for research, but not before they were all out - i wasn't going to get sucked into the trap of so many before me - the waiting game of disappointment and having to reread the older books again and again to keep track of who was even alive at this point. "when you play the game of thrones, you play to become frustrated and impatient."
i have seen it a hundred times.
so when the teevee show came out and people were drooling over how good it was, i paid them no mind. i pushed it two feet past the "someday" pile in my brain. because i am not one of those people who watch a movie before reading the book, am i??
but connor wore me down. he really wanted me to see it and he wanted to talk to me about it and his bearded little face was all lit from within with enthusiasm and i just couldn't say no to him.
so i did it. i watched the teeveee. on demand - several episodes in a row, pissed off if i started to get too sleepy to make it through another episode.
so so good.
so now, i had to read it, right? i owe it to the gods of fine literature and all.
so i did, and god this book is fun.
i am glad they changed a few things for the filmed version - i'm not sure i would have been too comfortable watching a thirteen-year-old actress play daenerys.
in the same line of thought - natalie - i know you have not watched the show yet, but your crush on jon snow?? perfectly understandable to someone watching the show - he has that dark brooding thing i can see a girl going for, but if you have only read the books?? girl, your crush is on a fourteen-year-old boy. i have notified the authorities, you perv.
in the end, i am glad i watched the show first, if only so that i know how to pronounce the characters' names. oh, you crazy high fantasy novels and your names...
alfonso won't read this series because of the incest and because they never tell you where the soldiers pooped. i am not kidding. several people complain that the seasonal imbalance complicates the growing cycle and where is all their food coming from. this point i can understand - fantasy novels are supposed to care about developing a fully-realized world and all, and that is kind of a major detail, but it doesn't bother me at all. i am no connoisseur of fantasy- i am a dilettante at best. so i don't care where people are getting their food - i don't care if the social hierarchy is a realistic one, given the particulars of this realm, i certainly don't care where the soldiers are pooping. nor do i care in any novel where and when the characters poop. i just like this book's quiet intrigues and betrayals. the diplomacy, the lack of hesitation when it is time for a character to be killed off. i love how there aren't any "good guys" or "bad guys," only "effective" and "ineffective" characters. every one of them does at least one thing that'll make a reader go, "oh, bad move." so he dropped a few details when it comes to agriculture - he spent all his energies into creating characters that i love reading about.there are facets to this thing - sides of the argument rarely seen in a straight-ahead rollicking plot-driven novel.
and i'm not really sure where the misogyny accusations come from. is it because women can't really ascend to power except through marriage?? because i don't think that was invented for this book - i am pretty sure that has happened, historically, in other places. and if it's the looting and raping, well - that happens in war, too. wait, is it sansa?? yeah, she's kind of a wash. but the girl wants what the girl wants. she's at least more complicated than bella, right? there are plenty of good characters here that aren't weak or power-mad, or just regular-mad... okay - there are a couple. but sheeeeit - all the characters here are pretty bad, on the moral spectrum, right? littlefinger is my very favorite, but i wouldn't want to know him in my real life. i appreciate his devotion, though.
so i am super excited about clash of kings, both the book i will read and the show i will watch. swords and boobies and direwolves. i don't even know how i am going to make it until then.
oh, because i was talking about boobies and HBO just there, connor was telling me this story about louis ck, and i loved it, and i found this quote. it is relevant!! hbo is nudity-crazy!! but he took care of their lust for flesh:
HBO was asking us why there was no nudity on the show, and what they really meant was, Why wasn’t Pamela Adlon, who played my wife, nude? When I hired Pam, I didn’t tell her she was going to be doing anything like that. It wasn’t supposed to be that kind of show. So I said, “You know what, I’ll do it.” And I did that episode, and they were like, “O.K., we have plenty of nudity, thank you.”
hbo, thwarted!
look, dana, i read one of your books!!
and i have just discovered betterbooktitles.com!
(less)
235 likes · like · see review
Laura
Love this review. My story is very much likes yours. I put this to the side, deciding it was geek/nerd stuff. Then my BF demanded i watch series 1. Af...more
Love this review. My story is very much likes yours. I put this to the side, deciding it was geek/nerd stuff. Then my BF demanded i watch series 1. After that there was no choice but to read the series!(less)
May 01, 2013 05:35am
May 01, 2013 05:35am
Apr 29, 2013
StoryTellerShannon
rated it
5 of 5 stars
·
review of another edition
Recommends it for:
Tim Janke
First off, I'm a heavy duty fan of GRRM. I've read over a 100 different fantasy authors in my time. Took about 5 years off from the genre b/c I felt it was all getting too formulaic and cliched. So, when I came back to fantasy I read the usual: Goodkind, Jordan, etc. and then someone told me about GRRM and man, that was the kicker!
img src="
"
Here are the reasons to choose GRRM. I've also listed the reasons not to choose him to make it fair b/c I know their are certain personalities who won't lik...more First off, I'm a heavy duty fan of GRRM. I've read over a 100 different fantasy authors in my time. Took about 5 years off from the genre b/c I felt it was all getting too formulaic and cliched. So, when I came back to fantasy I read the usual: Goodkind, Jordan, etc. and then someone told me about GRRM and man, that was the kicker!
img src="
"
Here are the reasons to choose GRRM. I've also listed the reasons not to choose him to make it fair b/c I know their are certain personalities who won't like this series:
WHY TO READ GRRM
(1) YOU ARE TIRED OF FORMULAIC FANTASY: good lad beats the dark lord against impossible odds; boy is the epitome of good; he and all his friends never die even though they go through great dangers . . . the good and noble king; the beautiful princess who falls in love with the commoner boy even though their stations are drastically different . . . you get the idea. After reading this over and over, it gets old.
img src= "
>"
img src= "
"
(2) YOU ARE TIRED OF ALL THE HEROES STAYING ALIVE EVEN THOUGH THEY ARE UNDER CONSTANT DANGER: this gets even worse where the author kills a main hero off but that person comes back later in the story. Or, a hero does die but magic brings him back.
img src="
"
img src="
"
This sometimes carries to minor characters where even they may not die, but most fantasy authors like to kill them off to show that some risked the adventure and perished.
(3) YOU ARE A MEDIEVAL HISTORY BUFF: this story was influenced by the WARS OF THE ROSES and THE HUNDRED YEARS WAR.
img src="
"
(4) YOU LOVE SERIOUS INTRIGUE WITHOUT STUPID OPPONENTS: lots of layering; lots of intrigue; lots of clever players in the game of thrones. Unlike other fantasy novels, one side, usually the villain, is stupid or not too bright.
img src= "
"
(5) YOU ARE INTERESTED IN BIASED OPINIONS AND DIFFERENT TRUTHS: GRRM has set this up where each chapter has the title of one character and the whole chapter is through their viewpoint. Interesting tidbit is that you get their perception of events or truths. But, if you pay attention, someone else will mention a different angle of truth in the story that we rarely see in other novels. Lastly and most importantly, GRRM doesn't try to tell us which person is right in their perception. He purposelly leaves it vague so that we are kept guessing.
img src="
"
(6) LEGENDS: some of the most interesting characters are those who are long gone or dead. We never get the entire story but only bits and pieces; something that other fantasy authors could learn from to heighten suspense. Additionally, b/c the points of views are not congruent, we sometimes get different opinions.
img src="
"
(7) WORDPLAY: if you're big on metaphors and description, GRRM is your guy. Almost flawless flow.
(8) LOTS OF CONFLICT: all types, too; not just fighting but between characters through threats and intrigue.
(9) MULTILAYERED PLOTTING; SUB PLOTS GALORE: each character has their own separate storyline; especially as the story continues and everyone gets scattered. This is one of the reasons why each novel is between 700-900 pages.
(10) SUPERLATIVE VARIED CHARACTERS: not the typical archetypes that we are used to in most fantasy; some are gritty; few are totally evil or good; GRRM does a great job of changing our opinions of characters as the series progress. This is especially true of Jaime in book three.
img src="
"
(11) REALISTIC MEDIEVAL DIALOGUE: not to the point that we can't understand it but well done.
(12) HEAPS OF SYMBOLISM AND PROPHECY: if you're big on that.
(13) EXCELLENT MYSTERIES: very hard to figure out the culprits; GRRM must have read a lot of mystery novels.
(14) RICHLY TEXTURED FEMALE CHARACTERS: best male author on female characters I have read; realistic on how women think, too.
img src="
"
(15) LOW MAGIC WORLD: magic is low key; not over the top so heroes can't get out of jams with it.
img src="
"
REASONS TO NOT READ GRRM
(1) YOU LIKE YOUR MAIN CHARACTERS: GRRM does a good job of creating more likeable characters after a few die. But, if that isn't your style, you shouldn't be reading it. He kills off several, not just one, so be warned.
(2) DO NOT CARE FOR GRITTY GRAY CHARACTERS: if you like more white and gray characters, this may unsettle you. I suggest Feist or Goodkind or Dragonlance if you want a more straight forward story with strong archetypes.
(3) MULTIPLE POINTS OF VIEWS TURN YOU OFF: if you prefer that the POVS only go to a few characters, this might be confusing for you.
img src="
"
(4) SWEARING, SEX: there's a lot of it in this book just as there is in real life.
img src= "
"
(5) YOU DEMAND CLOSURE AT THE END OF EVERY BOOK: this isn't the case for all stories in the series. Some are still going on; some have been resolved; others have been created and are moving on.
(6) IF YOU WANT A TARGET OR SOMEONE TO BLAME: this can be done to some extent but not as much. This is b/c he doesn't try to make anyone necessarily good or evil.
img src="
"
img src="
"
(7) ARCHETYPES: some readers like archetypal characters because it's comfortable; we like the good young hero (sort of like Pug in Feist's THE RIFTWAR SAGA); it's familiar and we sometimes like to pretend we're this upcoming, great hero. You wont' get much of this in GRRM with the exception of one or two characters.
img src="
"
img src="
"
(8) LENGTH: you don't want to get into a long fantasy epic series. In that case, look for shorters works as this is biiig.
(9) PATRIARCHY: men are most of the main characters with lots of power (one female exception).
img src="<
>"
STORY/PLOTTING: A minus; CHARACTER/DIALOGUE: A minus to A; LEGENDS/WORLD BUILDING: A plus; FANTASY FOCUSES: A; OVERALL GRADE: A; WHEN READ LAST: 2009 (5 readings) (revised review April 2012)
img src="
"
img src="
"(less)
img src="
"Here are the reasons to choose GRRM. I've also listed the reasons not to choose him to make it fair b/c I know their are certain personalities who won't lik...more First off, I'm a heavy duty fan of GRRM. I've read over a 100 different fantasy authors in my time. Took about 5 years off from the genre b/c I felt it was all getting too formulaic and cliched. So, when I came back to fantasy I read the usual: Goodkind, Jordan, etc. and then someone told me about GRRM and man, that was the kicker!
img src="
"Here are the reasons to choose GRRM. I've also listed the reasons not to choose him to make it fair b/c I know their are certain personalities who won't like this series:
WHY TO READ GRRM
(1) YOU ARE TIRED OF FORMULAIC FANTASY: good lad beats the dark lord against impossible odds; boy is the epitome of good; he and all his friends never die even though they go through great dangers . . . the good and noble king; the beautiful princess who falls in love with the commoner boy even though their stations are drastically different . . . you get the idea. After reading this over and over, it gets old.
img src= "
>"img src= "
"(2) YOU ARE TIRED OF ALL THE HEROES STAYING ALIVE EVEN THOUGH THEY ARE UNDER CONSTANT DANGER: this gets even worse where the author kills a main hero off but that person comes back later in the story. Or, a hero does die but magic brings him back.
img src="
"img src="
"This sometimes carries to minor characters where even they may not die, but most fantasy authors like to kill them off to show that some risked the adventure and perished.
(3) YOU ARE A MEDIEVAL HISTORY BUFF: this story was influenced by the WARS OF THE ROSES and THE HUNDRED YEARS WAR.
img src="
"(4) YOU LOVE SERIOUS INTRIGUE WITHOUT STUPID OPPONENTS: lots of layering; lots of intrigue; lots of clever players in the game of thrones. Unlike other fantasy novels, one side, usually the villain, is stupid or not too bright.
img src= "
"(5) YOU ARE INTERESTED IN BIASED OPINIONS AND DIFFERENT TRUTHS: GRRM has set this up where each chapter has the title of one character and the whole chapter is through their viewpoint. Interesting tidbit is that you get their perception of events or truths. But, if you pay attention, someone else will mention a different angle of truth in the story that we rarely see in other novels. Lastly and most importantly, GRRM doesn't try to tell us which person is right in their perception. He purposelly leaves it vague so that we are kept guessing.
img src="
"(6) LEGENDS: some of the most interesting characters are those who are long gone or dead. We never get the entire story but only bits and pieces; something that other fantasy authors could learn from to heighten suspense. Additionally, b/c the points of views are not congruent, we sometimes get different opinions.
img src="
"(7) WORDPLAY: if you're big on metaphors and description, GRRM is your guy. Almost flawless flow.
(8) LOTS OF CONFLICT: all types, too; not just fighting but between characters through threats and intrigue.
(9) MULTILAYERED PLOTTING; SUB PLOTS GALORE: each character has their own separate storyline; especially as the story continues and everyone gets scattered. This is one of the reasons why each novel is between 700-900 pages.
(10) SUPERLATIVE VARIED CHARACTERS: not the typical archetypes that we are used to in most fantasy; some are gritty; few are totally evil or good; GRRM does a great job of changing our opinions of characters as the series progress. This is especially true of Jaime in book three.
img src="
"(11) REALISTIC MEDIEVAL DIALOGUE: not to the point that we can't understand it but well done.
(12) HEAPS OF SYMBOLISM AND PROPHECY: if you're big on that.
(13) EXCELLENT MYSTERIES: very hard to figure out the culprits; GRRM must have read a lot of mystery novels.
(14) RICHLY TEXTURED FEMALE CHARACTERS: best male author on female characters I have read; realistic on how women think, too.
img src="
"(15) LOW MAGIC WORLD: magic is low key; not over the top so heroes can't get out of jams with it.
img src="
"REASONS TO NOT READ GRRM
(1) YOU LIKE YOUR MAIN CHARACTERS: GRRM does a good job of creating more likeable characters after a few die. But, if that isn't your style, you shouldn't be reading it. He kills off several, not just one, so be warned.
(2) DO NOT CARE FOR GRITTY GRAY CHARACTERS: if you like more white and gray characters, this may unsettle you. I suggest Feist or Goodkind or Dragonlance if you want a more straight forward story with strong archetypes.
(3) MULTIPLE POINTS OF VIEWS TURN YOU OFF: if you prefer that the POVS only go to a few characters, this might be confusing for you.
img src="
"(4) SWEARING, SEX: there's a lot of it in this book just as there is in real life.
img src= "
"(5) YOU DEMAND CLOSURE AT THE END OF EVERY BOOK: this isn't the case for all stories in the series. Some are still going on; some have been resolved; others have been created and are moving on.
(6) IF YOU WANT A TARGET OR SOMEONE TO BLAME: this can be done to some extent but not as much. This is b/c he doesn't try to make anyone necessarily good or evil.
img src="
"img src="
"(7) ARCHETYPES: some readers like archetypal characters because it's comfortable; we like the good young hero (sort of like Pug in Feist's THE RIFTWAR SAGA); it's familiar and we sometimes like to pretend we're this upcoming, great hero. You wont' get much of this in GRRM with the exception of one or two characters.
img src="
"img src="
"(8) LENGTH: you don't want to get into a long fantasy epic series. In that case, look for shorters works as this is biiig.
(9) PATRIARCHY: men are most of the main characters with lots of power (one female exception).
img src="<
>"STORY/PLOTTING: A minus; CHARACTER/DIALOGUE: A minus to A; LEGENDS/WORLD BUILDING: A plus; FANTASY FOCUSES: A; OVERALL GRADE: A; WHEN READ LAST: 2009 (5 readings) (revised review April 2012)
img src="
"img src="
"(less)
103 likes · like · see review
Sep 29, 2011
Aerin
rated it
4 of 5 stars
·
review of another edition
Recommended to Aerin by:
Everybody
I gave up on epic fantasy a long, lonnnnnnnnng time ago. In those dark days when I was too old for children's books, contemptuously uninterested in the YA available at the time (mostly "horror" novels featuring haunted prom dresses or whatever, or after-school-special books about capital-I Issues like drugs or teen pregnancy), and completely unsure how to navigate the treacherous waters of the Adult Fiction section of the library, I turned to fantasy for comfort. I loved fantasy! I'd spent my ch...more
I gave up on epic fantasy a long, lonnnnnnnnng time ago. In those dark days when I was too old for children's books, contemptuously uninterested in the YA available at the time (mostly "horror" novels featuring haunted prom dresses or whatever, or after-school-special books about capital-I Issues like drugs or teen pregnancy), and completely unsure how to navigate the treacherous waters of the Adult Fiction section of the library, I turned to fantasy for comfort. I loved fantasy! I'd spent my childhood reading and rereading tales of hobbits and talking lions and books that never end and boys who never grow up. But when I took home my first passel of Adult Fantasy novels - big, chunky things with enticing covers and dozens of sequels - I ended up seriously disillusioned with the idea of not just Adult Fiction, but adulthood in general. Is THIS what old people are interested in, I wondered disgustedly, crappy writing and an icky icky obsession with sex? I switched to sci-fi, which was a little less lurid, and didn't look back till I got to college.
Then, I tried out the first novels of the two fantasy series that were incredibly popular at that time: The Wheel of Time, and The Sword of Truth. Both came highly recommended by lots and lots of people, but I hated - HATED - both of them. Wizard's First Rule was a STEAMING pile of crap, and The Eye of the World was EVEN worse, I couldn't get more than a hundred pages into it. And at that point, I realized that high fantasy - especially the pulpy series variety with the 1000-page installments and the pseudo-medieval settings and the clunky prose that made my brain bleed - was Not For Me. And I went back to sci-fi.
So when A Song of Ice and Fire came along, and evvvvvverybody loved it, I was not interested. NOT interested. Fool me once, yadda yadda, and I had been fooled tooooo many times. And I'd read the feminist critiques, and I'd seen the bad reviews from people I generally agree with, and I patted myself on the back: Good choice, self. Dodged a bullet this time.
But, in another one of those Awkward Social Situations I'm so bad at navigating, a coworker who knows I like the nerdy stuff asked me if I'd read it, and when I said no, insisted that I MUST, it was AWESOME. "Oh," I said. "I guess I'll have to read it."
The next day, he lent me his copy. Oh. I guess I'll have to read it. Shit.
So I tried to work myself up to it: You can do this, self! It's just one book! Sure, it's a brainbustingly LONG book, but... the type is pretty big. It won't be so bad! You can write a scathing, bitchy review of it when you're done!
It didn't work. There was dread. There was so much dread.
But when I finally did pick it up, I found that I... liked it.
And the haters aren't wrong - the book is hardly unimpeachable and has plenty of plot holes and things to dislike. And the feminists aren't wrong - though compared to the genre norm, this book is surprisingly abundant in the fleshed-out female character department. And I wasn't wrong in that it's a million pages long and has mostly to do with palace intrigue, which is usually a recipe for a snoozefest. It's all swordfights and whores and backstabbing and murrrrrrderrrrr and rape and bastards and zombies and eunuchs and poison and insanity and then some more rape and knights and gore and... wait, why are there zombies? But in any case. I was expecting all of this (except the zombies), and I was expecting to dislike it.
I think there are two things that won me over: Martin is a decent wordsmith, for one. He's not a great writer, but his prose flows smoothly and is well-paced enough to keep me interested. Half my problem with the fantasy genre has been that approximately 95% of it is horribly written. And for two, he writes engaging characters. Not all of them are likeable - many are thoroughly despicable - but they're all interesting. They're archetypes, and yet they feel enough like real people that I can care about them. And that's another thing that's pretty rare in pulp fantasy - usually the characters have no depth to them at all, and I just can't remain invested in stories about people that feel fake and one-dimensional.
The overall plot isn't anything special - like I said, it's all basically palace intrigue - a bunch of different factions all wanting power, nobody truly being what they seem, shady people changing allegiances more often than they change clothes. If you like that sort of thing, you'll probably like this book. And if you don't like that sort of thing (I usually don't)... you actually might like this book anyway. It goes places you don't expect this kind of story to go, and it's a good yarn to lose yourself in. I don't usually read really chunky books - short attention span, gen-Y and all that - so I'd forgotten how immersive they can be, and how nice it can be to get away from reality in a really lonnnnnng, well-developed story.
So I'm really looking forward to the sequels, and hoping they'll continue being awesome. I'm socking away the first one for the holidays, because these are just the right sort of fuck-you-I'm-reading books that are perfect for escaping awkward family social events (along with my other trusty weapon, the flask). As the book says, winter is coming, and you can never be too prepared...(less)
Then, I tried out the first novels of the two fantasy series that were incredibly popular at that time: The Wheel of Time, and The Sword of Truth. Both came highly recommended by lots and lots of people, but I hated - HATED - both of them. Wizard's First Rule was a STEAMING pile of crap, and The Eye of the World was EVEN worse, I couldn't get more than a hundred pages into it. And at that point, I realized that high fantasy - especially the pulpy series variety with the 1000-page installments and the pseudo-medieval settings and the clunky prose that made my brain bleed - was Not For Me. And I went back to sci-fi.
So when A Song of Ice and Fire came along, and evvvvvverybody loved it, I was not interested. NOT interested. Fool me once, yadda yadda, and I had been fooled tooooo many times. And I'd read the feminist critiques, and I'd seen the bad reviews from people I generally agree with, and I patted myself on the back: Good choice, self. Dodged a bullet this time.
But, in another one of those Awkward Social Situations I'm so bad at navigating, a coworker who knows I like the nerdy stuff asked me if I'd read it, and when I said no, insisted that I MUST, it was AWESOME. "Oh," I said. "I guess I'll have to read it."
The next day, he lent me his copy. Oh. I guess I'll have to read it. Shit.
So I tried to work myself up to it: You can do this, self! It's just one book! Sure, it's a brainbustingly LONG book, but... the type is pretty big. It won't be so bad! You can write a scathing, bitchy review of it when you're done!
It didn't work. There was dread. There was so much dread.
But when I finally did pick it up, I found that I... liked it.
And the haters aren't wrong - the book is hardly unimpeachable and has plenty of plot holes and things to dislike. And the feminists aren't wrong - though compared to the genre norm, this book is surprisingly abundant in the fleshed-out female character department. And I wasn't wrong in that it's a million pages long and has mostly to do with palace intrigue, which is usually a recipe for a snoozefest. It's all swordfights and whores and backstabbing and murrrrrrderrrrr and rape and bastards and zombies and eunuchs and poison and insanity and then some more rape and knights and gore and... wait, why are there zombies? But in any case. I was expecting all of this (except the zombies), and I was expecting to dislike it.
I think there are two things that won me over: Martin is a decent wordsmith, for one. He's not a great writer, but his prose flows smoothly and is well-paced enough to keep me interested. Half my problem with the fantasy genre has been that approximately 95% of it is horribly written. And for two, he writes engaging characters. Not all of them are likeable - many are thoroughly despicable - but they're all interesting. They're archetypes, and yet they feel enough like real people that I can care about them. And that's another thing that's pretty rare in pulp fantasy - usually the characters have no depth to them at all, and I just can't remain invested in stories about people that feel fake and one-dimensional.
The overall plot isn't anything special - like I said, it's all basically palace intrigue - a bunch of different factions all wanting power, nobody truly being what they seem, shady people changing allegiances more often than they change clothes. If you like that sort of thing, you'll probably like this book. And if you don't like that sort of thing (I usually don't)... you actually might like this book anyway. It goes places you don't expect this kind of story to go, and it's a good yarn to lose yourself in. I don't usually read really chunky books - short attention span, gen-Y and all that - so I'd forgotten how immersive they can be, and how nice it can be to get away from reality in a really lonnnnnng, well-developed story.
So I'm really looking forward to the sequels, and hoping they'll continue being awesome. I'm socking away the first one for the holidays, because these are just the right sort of fuck-you-I'm-reading books that are perfect for escaping awkward family social events (along with my other trusty weapon, the flask). As the book says, winter is coming, and you can never be too prepared...(less)
131 likes · like · see review
Marie
Glad I caught this review! I have to say that most everything that ended up working for you was what didn't work for me, but if it had, I would have l...more
Glad I caught this review! I have to say that most everything that ended up working for you was what didn't work for me, but if it had, I would have liked it. Does that make sense? It's like a book I just read, Brimstone, which is a sort of paranormal thriller mystery, which I often don't like, but for whatever reason really worked for me this time. I think if I had been expecting something a little more...what's the word, pulpy?...I might have enjoyed it more.(less)
Jan 21, 2013 08:27pm
Jan 21, 2013 08:27pm
Aerin
Yeah, it's always nice when something you don't expect to like very much exceeds your expectations. And GoT is one of those books where I can totally...more
Yeah, it's always nice when something you don't expect to like very much exceeds your expectations. And GoT is one of those books where I can totally see why people don't like it, but for whatever reason, it swept me up. Maybe it just hit me at the right time.(less)
Jan 21, 2013 09:25pm
Jan 21, 2013 09:25pm
May 08, 2009
Ceridwen
rated it
4 of 5 stars
·
review of another edition
Recommended to Ceridwen by:
the Hollender boys
An open letter to George R R Martin:
Dear Mr. Martin,
While I love killer zombies and nobles stabbing peasants in the throat, I think your world doesn't make any sense. If there really were an environment that had ten years of winter and ten of summer, there's no ruddy way that a culture from that environment would engage in war in the manner they do in this book. Or they would totally die off and be replaced by a culture comprised of people who weren't a bunch of short-sighted tools.
Also, pleas...more An open letter to George R R Martin:
Dear Mr. Martin,
While I love killer zombies and nobles stabbing peasants in the throat, I think your world doesn't make any sense. If there really were an environment that had ten years of winter and ten of summer, there's no ruddy way that a culture from that environment would engage in war in the manner they do in this book. Or they would totally die off and be replaced by a culture comprised of people who weren't a bunch of short-sighted tools.
Also, please decide how or if magic works, and then stick with that.
Thanks,
Ceridwen
P.S. I really do love killer zombies though.
Later edit: I wrote this review really flippantly, mostly because I was making a point in some other review about the contested issue of "world building". Now, mostly when I hear the term "world building", I reach for my pistol, because it is code for bloated, environmental scene-setting that now that I'm not 14 and on summer break - when I swallowed down the Lord of the Rings in its entirety in a week, and then started again - I have a lot less time for the romanticized landscape and its import on modern Western constructions of masculinity. Which is pretty much what world-building of that nature comes down to, for me. Maybe it's because LotR is this post-war elegy for a lost and ruined Europe, right down to its rocks, and latter day fantasists have just mimeographed this nostalgia. Not so, GRRM.
Point being: I don't think that's what's going on here - the world-building of nostalgic landscape - it's something more like political science fiction. And yee haw for that. The magic in these books is terribly sloppy, right down to the landscape, but the endless scheming, and the ways a thousand characters are conjured and set against each other, and no one wins, and everyone has a limited vantage, etc etc - this is just a trip to read. People call GRRM the American Tolkien, which I think is pretty hilarious, because Tolkien's world is fundamentally moral, and Martin's is...not. It isn't immoral, but it's not going to hand you puppies just for thinking you're in the right. I think I'm off my own topic - I was talking about trees, right? - I just wanted to make a note about this review that I didn't think carefully about when I tossed it off however many years ago. (less)
Dear Mr. Martin,
While I love killer zombies and nobles stabbing peasants in the throat, I think your world doesn't make any sense. If there really were an environment that had ten years of winter and ten of summer, there's no ruddy way that a culture from that environment would engage in war in the manner they do in this book. Or they would totally die off and be replaced by a culture comprised of people who weren't a bunch of short-sighted tools.
Also, pleas...more An open letter to George R R Martin:
Dear Mr. Martin,
While I love killer zombies and nobles stabbing peasants in the throat, I think your world doesn't make any sense. If there really were an environment that had ten years of winter and ten of summer, there's no ruddy way that a culture from that environment would engage in war in the manner they do in this book. Or they would totally die off and be replaced by a culture comprised of people who weren't a bunch of short-sighted tools.
Also, please decide how or if magic works, and then stick with that.
Thanks,
Ceridwen
P.S. I really do love killer zombies though.
Later edit: I wrote this review really flippantly, mostly because I was making a point in some other review about the contested issue of "world building". Now, mostly when I hear the term "world building", I reach for my pistol, because it is code for bloated, environmental scene-setting that now that I'm not 14 and on summer break - when I swallowed down the Lord of the Rings in its entirety in a week, and then started again - I have a lot less time for the romanticized landscape and its import on modern Western constructions of masculinity. Which is pretty much what world-building of that nature comes down to, for me. Maybe it's because LotR is this post-war elegy for a lost and ruined Europe, right down to its rocks, and latter day fantasists have just mimeographed this nostalgia. Not so, GRRM.
Point being: I don't think that's what's going on here - the world-building of nostalgic landscape - it's something more like political science fiction. And yee haw for that. The magic in these books is terribly sloppy, right down to the landscape, but the endless scheming, and the ways a thousand characters are conjured and set against each other, and no one wins, and everyone has a limited vantage, etc etc - this is just a trip to read. People call GRRM the American Tolkien, which I think is pretty hilarious, because Tolkien's world is fundamentally moral, and Martin's is...not. It isn't immoral, but it's not going to hand you puppies just for thinking you're in the right. I think I'm off my own topic - I was talking about trees, right? - I just wanted to make a note about this review that I didn't think carefully about when I tossed it off however many years ago. (less)
Aug 24, 2011
Mariel
rated it
2 of 5 stars
·
review of another edition
Recommends it for:
I would rather shave my head with a cheese grater
Recommended to Mariel by:
I would rather chew broken glass
My brown eyes that hover below the average height of eye to eyeness because of my midgety 5'5 frame struggled in valiant honour inside my pasty white face, despite the ten years of Florida summers, to soak up the cheese whiz blanketed pages with the driest crust of bread of the whole rest of the book. So tasteless this crust was that a Gulag inmate would have turned it down. "No, thank you but the cheese formed with the bread into a kind of glue that got caught in my throat and I couldn't breath...more
My brown eyes that hover below the average height of eye to eyeness because of my midgety 5'5 frame struggled in valiant honour inside my pasty white face, despite the ten years of Florida summers, to soak up the cheese whiz blanketed pages with the driest crust of bread of the whole rest of the book. So tasteless this crust was that a Gulag inmate would have turned it down. "No, thank you but the cheese formed with the bread into a kind of glue that got caught in my throat and I couldn't breath for all of the gagging. No, I couldn't possibly have seconds, thirds or fifths. If I get hungry I'll lick the residue from my fingers. I think it's called cheetle?" Brown eyes, reflecting neon orange cheetos lights, presevered in spite of the overwhelming prospect of purple prose duller than the uncared for blade given to the most token of juvenile female warriors in training bras. The duller weapons hurt more like when Alan Rickman wanted to bring the hurt to Kevin Costnor with a spoon. The purple turned to ugly shades of yellow like the mysterious bruises that appear on my upper arms from time to time (I would have rather been confronted by another nosy woman about my abusive nonexistant boyfriend than read more of this series). "Seamus, my chihuahua in dire need of denta bones!" I cried (sorry, baby, but your breath reeks. I'd rather suffocate under his breath another night than read more of this series!), "I have bought more books than my meagre budget should have allowed. It is too big for my hands to hold comfortably in front of my chocolate eyes. All I got for my troubles was boredom and tears! It is too boring, nothing much happens to justify a book this long. It reads like a pompous show only resurrected on the latest hours on the Sy Fy channel, probably a pilot that wasn't picked up, and that only when a paid advertisement cannot be found. Is it supposed to be taken seriously or is it trashy? It reads like the worst of the two worlds. Incest and midgets have no right to be so dull! There are no non-stick pans to compare to the egg sticking to my face! Why didn't I listen to you, my noble beast with the watery bug eyes? I am asking you because you laughed fewer times than I did when we watched Beverly Hills Chihuahua." If there was a blender attractively displayed at three in the morning I would purchase it in five easy payments and test the blades on this book.
Seamus trembles at the prospect of reading any more of this series that he had warned Mariel against. Mariel, the ungrateful girl who ignores him to read books when she should be petting him or something else more worthwhile. He refuses to poop on the book now rather than just say I told you so (again). (Beverly Hills Chihuahua 2 was a chance to perfect the formula! Who knew it would be worse?)
My brown eyes that match my brown hair that is too dark because it doesn't see much sunlight, being shorter than the tallest trees, nodded off a lot. I stood shorter than people who are 5'6, 5'7 and '58 because I am a short ass 5'5. Stewardesses fought me to a duel for my claims of short assness. I could not reach the overhead compartments for luggage and also won a round of arm wrestling. My training bra is bigger than their training bra. There are no juvenile girl warriors tougher than me or my chihuahua. Chihuahuas are known for picking fights with dogs bigger than them. This is all you've got? The king was a fat man (the author?) who had hos on the side (that's why he's protracted the release dates. He wants to bribe convention chicks with spoilers! Someone is twisting someone's nipples, anyway, if the sex scenes are any indication of his fantasy life...) and his wife got diddled by her twin brother (ewwww! twincest! It is good for my twin that I am not a fan of this series). The queen is not nearly as scary as my nemesis Turtle. I laugh in the face of their danger. I wish I had a turtle shell of my own to hide in for my own (danger). The bastard son joins the Logan Wildcats and there are thousands of mentions of how dangerous dire wolves are yet they are total pussies for kids because of who their parents are. Insta training. How come montages only happen for realistic stuff and then the color of eyes are trotted out ad nauseum? Montages are meant for cleaning and studying! Why do they only happen for good stuff like sleeping? Even though I fell asleep I know that all of this is true because my chihuahua knew on the spot that my parents were married when they had me. Mariel, daughter of pharmacist, I see pill bottles in your future. Lots and lots of pill bottles. Take that one that says ritalin. You are going to need it. Brown....eyes.....hair.....full...of...shit...Zzzzzzzzzzzzzz.
P.s. I told my twin about this book. "Blah blah.... twins had sex... pompous scenery shit... Dragons..." She said: "So it's like Eragon?" "Yes." I wouldn't rather read Eragon again.(less)
Seamus trembles at the prospect of reading any more of this series that he had warned Mariel against. Mariel, the ungrateful girl who ignores him to read books when she should be petting him or something else more worthwhile. He refuses to poop on the book now rather than just say I told you so (again). (Beverly Hills Chihuahua 2 was a chance to perfect the formula! Who knew it would be worse?)
My brown eyes that match my brown hair that is too dark because it doesn't see much sunlight, being shorter than the tallest trees, nodded off a lot. I stood shorter than people who are 5'6, 5'7 and '58 because I am a short ass 5'5. Stewardesses fought me to a duel for my claims of short assness. I could not reach the overhead compartments for luggage and also won a round of arm wrestling. My training bra is bigger than their training bra. There are no juvenile girl warriors tougher than me or my chihuahua. Chihuahuas are known for picking fights with dogs bigger than them. This is all you've got? The king was a fat man (the author?) who had hos on the side (that's why he's protracted the release dates. He wants to bribe convention chicks with spoilers! Someone is twisting someone's nipples, anyway, if the sex scenes are any indication of his fantasy life...) and his wife got diddled by her twin brother (ewwww! twincest! It is good for my twin that I am not a fan of this series). The queen is not nearly as scary as my nemesis Turtle. I laugh in the face of their danger. I wish I had a turtle shell of my own to hide in for my own (danger). The bastard son joins the Logan Wildcats and there are thousands of mentions of how dangerous dire wolves are yet they are total pussies for kids because of who their parents are. Insta training. How come montages only happen for realistic stuff and then the color of eyes are trotted out ad nauseum? Montages are meant for cleaning and studying! Why do they only happen for good stuff like sleeping? Even though I fell asleep I know that all of this is true because my chihuahua knew on the spot that my parents were married when they had me. Mariel, daughter of pharmacist, I see pill bottles in your future. Lots and lots of pill bottles. Take that one that says ritalin. You are going to need it. Brown....eyes.....hair.....full...of...shit...Zzzzzzzzzzzzzz.
P.s. I told my twin about this book. "Blah blah.... twins had sex... pompous scenery shit... Dragons..." She said: "So it's like Eragon?" "Yes." I wouldn't rather read Eragon again.(less)
82 likes · like · see review
Daniel Nowicki
I didn't know there were so many stupid people in the world... And then I discovered internet.
Mar 09, 2013 01:33pm
Mar 09, 2013 01:33pm
Stephen M
Daniel wrote: "I didn't know there were so many stupid people in the world... And then I discovered internet."
I know, seeing people leave insulting me...more Daniel wrote: "I didn't know there were so many stupid people in the world... And then I discovered internet."
I know, seeing people leave insulting messages without even as much as an introduction really makes you question the thoughtfulness and conscientiousness of the average person on the internet. Good to hear you contribute something productive Daniel!(less)
Mar 09, 2013 01:43pm
I know, seeing people leave insulting me...more Daniel wrote: "I didn't know there were so many stupid people in the world... And then I discovered internet."
I know, seeing people leave insulting messages without even as much as an introduction really makes you question the thoughtfulness and conscientiousness of the average person on the internet. Good to hear you contribute something productive Daniel!(less)
Mar 09, 2013 01:43pm
there are about a billion reviews of this one so i doubt i have anything to add. the only thing i feel truly compelled to say is TYRION THE DWARF IS AWESOME! my God, i haven't read a character who is so different and so enjoyable in years. many-layered and consistently surprising, hero & antihero, generous & spiteful in equal amounts, as capable of high-handed miscalculation as he is of clever deduction, brave & loyal & vindictive... just overall a superb creation. Tyrion, you ar...more
there are about a billion reviews of this one so i doubt i have anything to add. the only thing i feel truly compelled to say is TYRION THE DWARF IS AWESOME! my God, i haven't read a character who is so different and so enjoyable in years. many-layered and consistently surprising, hero & antihero, generous & spiteful in equal amounts, as capable of high-handed miscalculation as he is of clever deduction, brave & loyal & vindictive... just overall a superb creation. Tyrion, you are the tops! and now you're going to be played by the studliest dwarf actor in the business. GO, TYRION, GO!
the novel itself is fast-paced and fun, featuring lavish and completely enjoyable world-building, a narrative that is widescreen in scope but often intimate is scale, some nifty twists, and strong & vivid characterizations. this is not a novel with much idiosyncratic "style" but there is a very literary feel to it nonetheless. it is complex but straightforward, nuanced, carefully planned writing, in the classic historical-novel mode... but made grand & epic by the range of fascinating (and overlapping) multiple perspectives. the action scenes are sparse but very well-rendered; the magic is likewise rare but that rarity make each appearance even more fascinating. although it is all rather archetypal and familiar, it is still never less than pleasing.
___
when thinking on it again, a few months after first reading it, everything just seems perfectly accomplished, even meaningful. DING DING DING!! you & your sequel just won 1 more star, congratulations amazing novel!(less)
the novel itself is fast-paced and fun, featuring lavish and completely enjoyable world-building, a narrative that is widescreen in scope but often intimate is scale, some nifty twists, and strong & vivid characterizations. this is not a novel with much idiosyncratic "style" but there is a very literary feel to it nonetheless. it is complex but straightforward, nuanced, carefully planned writing, in the classic historical-novel mode... but made grand & epic by the range of fascinating (and overlapping) multiple perspectives. the action scenes are sparse but very well-rendered; the magic is likewise rare but that rarity make each appearance even more fascinating. although it is all rather archetypal and familiar, it is still never less than pleasing.
___
when thinking on it again, a few months after first reading it, everything just seems perfectly accomplished, even meaningful. DING DING DING!! you & your sequel just won 1 more star, congratulations amazing novel!(less)
Aug 28, 2011
K.D. Oliveros
rated it
3 of 5 stars
·
review of another edition
Recommended to K.D. by:
Ranee
I did not mean to read this book. My copy was just given to me by a friend as gift for my 47th birthday last month. I think I am too old for fantasy. Life in itself has too much of it and I don't think I need to read more. I enjoyed a couple of Tolkien's works last year and that friend knew that I also shared her love for Douglas Adam's Hitchhiker's and I thought that was the reason why she gave me this book. I am past the halftime of my life so what I am trying to do now is to read the books in...more
I did not mean to read this book. My copy was just given to me by a friend as gift for my 47th birthday last month. I think I am too old for fantasy. Life in itself has too much of it and I don't think I need to read more. I enjoyed a couple of Tolkien's works last year and that friend knew that I also shared her love for Douglas Adam's Hitchhiker's and I thought that was the reason why she gave me this book. I am past the halftime of my life so what I am trying to do now is to read the books included in the 1001 Books You Must Read Before You Die and the works of Tolkien and Adams are there so that was the reason why I read and fortunately enjoyed them.
Before typing this review, I read each and every review of my Goodreads friends. Most of them gave this a 5, including the ones whose taste on books I truly admire. A few of them, 4, and just a couple gave this a 3 but I barely knew them for me to be swayed by their judgement. Oh, there was one lady, whose reviews I also read right away (because she was one of my top friends), who gave this a 2 but her review was metaphorical yet very entertaining so I did not readily understand what she was saying until I re-read it. I actually commented in her review that I shared her views regarding this book.
When I was a young boy, I used to enjoy radio programs with flying white horse, wizards with magic wands, warriors with powerful swords, knights saving damsels in distress, kings fighting for their kingdoms, sorcerers with their magic cauldrons, etc. I think reality dawns earlier to children belonging to poor families than their privileged city-based counterparts living with their rich mom and dad. There is no magic when a poor boy goes to the city, rides a bus, endures a knife poking on his side and becomes a victim of pickpockets and snatchers because the poor provincial boy looks so ignorant, vulnerable and gullible. No wand, no sword, no magic spell to use against the hoodlums in the city. So, from those incidents, few months after arriving in the city, I guess I naturally shed off those fantasy worlds from my mind, woke up to real world and started reading books that were more realistic. Good that my father had a cousin who worked in the army that became the source of hand-me-down books on battles, wars, western and crime. Just like our body's built-in defense mechanism, our taste on books changes depending on our life's circumstances.
But I am still rating this book with a 3 that means I liked it!. It is definitely engrossing and superbly entertaining. Considering that it is the first book in the series, I understand the reason for its many almost overcrowding characters. I thought that Martin wanted to have spare characters to use in case he needed to tweak the plot down the rest of his story. Another reason why I did not go crazy while reading this first book was that I saw its HBO mini-series (blame it on the proliferation of cheap pirated DVDs in our third-world country) prior to my reading. So this, being a plot-novel, for many instances, bored me as I already knew what would happen. I had no choice but to switch to the other books in my currently-reading folder. Hence, for the next 3 books in the series, I will make sure not to watch the HBO adaptation before reading the book. You see, I oftentimes enjoy reading books whose movie adaptations I saw already because I'd like to understand or savor the story more, catch the smallest of their beautiful dialogues, appreciate the imagery by forming them in my mind once again, thoroughly digest the theme or live the characters in my own world. However, this book, Game of Thrones is presented in a clear-cut fashion sans meaningful quotes, vivid imagery and memorable dialogues. Well, except seemingly the catchy one-liners like the one that sounds like a song title, the things we do for love and the trite the winter is coming that I am not sure why many Filipinos love even if we have no winter here in the Philippines. I also noticed that even if there were some scenes or characters that were excluded in the HBO mini-series, the two - book and the screen adaptation - were basically the same.
But don't get me wrong. I will still read the other 3 books. Afterall, my profile pic is that of Khal Drogo as we both share the same acronym. K.D. for Khal Drogo! Too bad, he cannot grow old to my age so he has no picture as an old man like me.
Dra. Ranee, thank you so much for giving this book to me!(less)
Before typing this review, I read each and every review of my Goodreads friends. Most of them gave this a 5, including the ones whose taste on books I truly admire. A few of them, 4, and just a couple gave this a 3 but I barely knew them for me to be swayed by their judgement. Oh, there was one lady, whose reviews I also read right away (because she was one of my top friends), who gave this a 2 but her review was metaphorical yet very entertaining so I did not readily understand what she was saying until I re-read it. I actually commented in her review that I shared her views regarding this book.
When I was a young boy, I used to enjoy radio programs with flying white horse, wizards with magic wands, warriors with powerful swords, knights saving damsels in distress, kings fighting for their kingdoms, sorcerers with their magic cauldrons, etc. I think reality dawns earlier to children belonging to poor families than their privileged city-based counterparts living with their rich mom and dad. There is no magic when a poor boy goes to the city, rides a bus, endures a knife poking on his side and becomes a victim of pickpockets and snatchers because the poor provincial boy looks so ignorant, vulnerable and gullible. No wand, no sword, no magic spell to use against the hoodlums in the city. So, from those incidents, few months after arriving in the city, I guess I naturally shed off those fantasy worlds from my mind, woke up to real world and started reading books that were more realistic. Good that my father had a cousin who worked in the army that became the source of hand-me-down books on battles, wars, western and crime. Just like our body's built-in defense mechanism, our taste on books changes depending on our life's circumstances.
But I am still rating this book with a 3 that means I liked it!. It is definitely engrossing and superbly entertaining. Considering that it is the first book in the series, I understand the reason for its many almost overcrowding characters. I thought that Martin wanted to have spare characters to use in case he needed to tweak the plot down the rest of his story. Another reason why I did not go crazy while reading this first book was that I saw its HBO mini-series (blame it on the proliferation of cheap pirated DVDs in our third-world country) prior to my reading. So this, being a plot-novel, for many instances, bored me as I already knew what would happen. I had no choice but to switch to the other books in my currently-reading folder. Hence, for the next 3 books in the series, I will make sure not to watch the HBO adaptation before reading the book. You see, I oftentimes enjoy reading books whose movie adaptations I saw already because I'd like to understand or savor the story more, catch the smallest of their beautiful dialogues, appreciate the imagery by forming them in my mind once again, thoroughly digest the theme or live the characters in my own world. However, this book, Game of Thrones is presented in a clear-cut fashion sans meaningful quotes, vivid imagery and memorable dialogues. Well, except seemingly the catchy one-liners like the one that sounds like a song title, the things we do for love and the trite the winter is coming that I am not sure why many Filipinos love even if we have no winter here in the Philippines. I also noticed that even if there were some scenes or characters that were excluded in the HBO mini-series, the two - book and the screen adaptation - were basically the same.
But don't get me wrong. I will still read the other 3 books. Afterall, my profile pic is that of Khal Drogo as we both share the same acronym. K.D. for Khal Drogo! Too bad, he cannot grow old to my age so he has no picture as an old man like me.
Dra. Ranee, thank you so much for giving this book to me!(less)
46 likes · like · see review
Gena Myrtle
I am currently experiencing the same thing. I could not enjoy the book because I saw the series first (which I religiously watch!). I can't help it, i...more
I am currently experiencing the same thing. I could not enjoy the book because I saw the series first (which I religiously watch!). I can't help it, it's too addictive. But my friends who have finished the series said that the second book is a little different from that of the show's season 2. So I am looking forward to lunging into the second book :)(less)
May 19, 2013 04:55am
May 19, 2013 04:55am
A Game of Thrones has been plaguing my Amazon recommendations list for years and, for just as long, I've gone back and forth over whether or not I wanted to plunge in and give it a try. Some sources used words like epic, Tolkien-esque, and masterpiece, so I would promptly put it on my list for my next bookstore visit. Before I could purchase a copy, though, I would encounter other sources using words like convoluted, complex, and plodding, resulting in my just as promptly striking it off my list...more
A Game of Thrones has been plaguing my Amazon recommendations list for years and, for just as long, I've gone back and forth over whether or not I wanted to plunge in and give it a try. Some sources used words like epic, Tolkien-esque, and masterpiece, so I would promptly put it on my list for my next bookstore visit. Before I could purchase a copy, though, I would encounter other sources using words like convoluted, complex, and plodding, resulting in my just as promptly striking it off my list. And so it went until . . .
HBO. As much as I hate to admit it, I turned to television to tell me whether or not this is a series I would like. And I was hooked immediately. Now I wish I had read the books sooner because it's somewhat difficult for me to separate the book from the series as I have never seen a film or television adaptation stick so closely to the original source material. However, that may be a moot issue as the very fact that I found the book compelling and suspenseful even though I knew what was going to happen is testament enough to Martin's writing.
Told from alternating points of view, Martin vividly captures a wide cast of characters, but I never felt intimidated by keeping up with who is who, nor did I agree with other reviewers who have stated that the plotlines are "overly complex." I also disagree with those who say the novel has misogynistic tones--the men are strong and (I would argue) the women stronger. The court intrigues and the Machiavellian jockeying for the Iron Throne amongst the great houses of the Seven Kingdoms is delightfully entertaining: the scheming, the lying, the seducing, the killing--what's not to love?
I'm also impressed with the world Martin has created here. Admittedly, the world building is not as complex as many other fantasy novels I've read, but I consider the simplicity of his world to be one of its strengths. Set in a somewhat medieval time period, the fantasy elements are subtle: there are direwolves, the Others, the ominous certainty that "winter is coming" (a winter that can last generations). Plus, there's mention of dragons (and everything's always better with a dragon). However, many writers in this genre try to stuff their novels so full of fantasy tropes that they almost become parodies of themselves. Martin's work feels as though you're reading the history of another culture or society; everything seems authentic and nothing forced.
There were a few repeated phrases that began to vex me (such as "breaking their fast" and the blushing, oh, God, the blushing), but I suppose such repetitions can only be expected in a novel of this size. I also dreaded the Sansa chapters (simply because she's such an unlikable character) and the Bran chapters (though I suspect Bran has the potential to become a favorite character in later books). These flaws are minor, however, and I definitely plan on continuing with the series as I have the feeling that Martin is just beginning to weave the tangled web of the Seven Kingdoms.
Cross posted at This Insignificant Cinder(less)
HBO. As much as I hate to admit it, I turned to television to tell me whether or not this is a series I would like. And I was hooked immediately. Now I wish I had read the books sooner because it's somewhat difficult for me to separate the book from the series as I have never seen a film or television adaptation stick so closely to the original source material. However, that may be a moot issue as the very fact that I found the book compelling and suspenseful even though I knew what was going to happen is testament enough to Martin's writing.
Told from alternating points of view, Martin vividly captures a wide cast of characters, but I never felt intimidated by keeping up with who is who, nor did I agree with other reviewers who have stated that the plotlines are "overly complex." I also disagree with those who say the novel has misogynistic tones--the men are strong and (I would argue) the women stronger. The court intrigues and the Machiavellian jockeying for the Iron Throne amongst the great houses of the Seven Kingdoms is delightfully entertaining: the scheming, the lying, the seducing, the killing--what's not to love?
I'm also impressed with the world Martin has created here. Admittedly, the world building is not as complex as many other fantasy novels I've read, but I consider the simplicity of his world to be one of its strengths. Set in a somewhat medieval time period, the fantasy elements are subtle: there are direwolves, the Others, the ominous certainty that "winter is coming" (a winter that can last generations). Plus, there's mention of dragons (and everything's always better with a dragon). However, many writers in this genre try to stuff their novels so full of fantasy tropes that they almost become parodies of themselves. Martin's work feels as though you're reading the history of another culture or society; everything seems authentic and nothing forced.
There were a few repeated phrases that began to vex me (such as "breaking their fast" and the blushing, oh, God, the blushing), but I suppose such repetitions can only be expected in a novel of this size. I also dreaded the Sansa chapters (simply because she's such an unlikable character) and the Bran chapters (though I suspect Bran has the potential to become a favorite character in later books). These flaws are minor, however, and I definitely plan on continuing with the series as I have the feeling that Martin is just beginning to weave the tangled web of the Seven Kingdoms.
Cross posted at This Insignificant Cinder(less)
36 likes · like · see review
Stephanie
Amanda wrote: "Stephanie wrote: "My oldest son and I have watched quite a few of the first series of the TV show, and I really, really love it!"
HBO ha...more Amanda wrote: "Stephanie wrote: "My oldest son and I have watched quite a few of the first series of the TV show, and I really, really love it!"
HBO has done a damn fine job adapting the books to television. Us..."
I was hoping this would help my poor old memory out a bit, too... lol(less)
Jul 18, 2012 10:58pm
HBO ha...more Amanda wrote: "Stephanie wrote: "My oldest son and I have watched quite a few of the first series of the TV show, and I really, really love it!"
HBO has done a damn fine job adapting the books to television. Us..."
I was hoping this would help my poor old memory out a bit, too... lol(less)
Jul 18, 2012 10:58pm
Stephanie
P.s, I hope you have a facebook account, because I saw this pic and thought of you. NOT because of the woman in the pic., E.L. James. But because of t...more
P.s, I hope you have a facebook account, because I saw this pic and thought of you. NOT because of the woman in the pic., E.L. James. But because of the other dude... ;)
http://www.facebook.com/photo.php?fbi...(less)
Jul 18, 2012 11:05pm
http://www.facebook.com/photo.php?fbi...(less)
Jul 18, 2012 11:05pm
When the King comes to Winterfell, Ned Stark soon finds himself given the post of Hand to the King by King Robert. All is not well in Winterfell, however. Stark's son is gravely injured and signs point to the King's wife's family, the Lannisters. Stark will soon find out that when you play the Game of Thrones, you either win or die...
Okay, so it's way more complicated than that but it's hard to write a teaser for an 800+ page kitten squisher like this.
I was bound and determined not to read the S...more When the King comes to Winterfell, Ned Stark soon finds himself given the post of Hand to the King by King Robert. All is not well in Winterfell, however. Stark's son is gravely injured and signs point to the King's wife's family, the Lannisters. Stark will soon find out that when you play the Game of Thrones, you either win or die...
Okay, so it's way more complicated than that but it's hard to write a teaser for an 800+ page kitten squisher like this.
I was bound and determined not to read the Song of Ice and Fire for a variety of reasons.
1. I am not a huge fan of today's fantasy novels, never-ending doorstop fantasy series in particular.
2. The series is not yet finished and I don't want to be Dark Towered into waiting years between books or having Martin pull a Robert Jordan and die without completing it.
3. Hype. Anytime someone tells me I have to read something, I almost always dig my feet in and resist. One of these days, I'll stop being stubborn when people recommend me books. Sure, most of them read probably 20% as much as I read in a year but there are reasons why certain books sell thousands and thousands of copies.
So after my girlfriend and I blazed through the first season of Game of Thrones in a weekend, I figured it was time to cave in and give it a try. My fears were unfounded. The Game of Thrones took over my life while I was reading it. Even after watching the first season of the TV series, I couldn't be bothered with things like cleaning house and eating properly. I was captivated by the tale of the Lannisters, the Starks, the Targaryens, and the rest.
I read an interview with George R.R. Martin where he mentioned liking historical fiction but hating knowing the ending before he started. Game of Thrones feels way more like historical fiction than it does fantasy. While there are magical elements, they don't dominate the story. The story is the battle for the throne of the seven kingdoms and intrigue behind the scenes by various factions. It feels way more like Pillars of the Earth than it does epic fantasy.
For me, the main strengths of the Game of Thrones are the characters and GRRM's willingness to do horrible things to them. While fantasy is usually about good vs. evil, nothing is so black and white in the Game of Thrones. King Robert is a man with a drinking and whoring problem. Ned Stark fathered a child out of wedlock. The Lannisters are a bunch of well-meaning scumbags. Jon Snow looks down upon his companions because of his noble upbringing.
As for GRRM's willingness to do horrible things to his characters? Don't get too attached to anyone. There were several shocking deaths in Game of Thrones and I'm told it gets worse from here on out. I can't wait for someone to settle Joffrey Lannister's hash!
For me, one of the marks of a good book is if it makes me want to rush out and write something similar. It happened with the Dark Tower, Fafhrd and the Gray Mouser, Elric, Hyperion, Amber, and now this. Speaking of Amber, Martin thanks Roger Zelazny in the acknowledgments. I already knew he and Zelazny were close. Now I'm wondering if the machinations in Game of Thrones were in any way inspired by the ones of the family in Amber.
Differences between the book and the first season of the show are pretty minor. One thing that really stood out was that a lot of the characters were younger in the book. Also, there weren't so many women being taken roughly from behind in Martin's text. Other than that, it was mostly chronology and a few minor scenes that were missing.
That's about all I can say since I don't want to give too much away. This book is a monstrous tome but it didn't feel like it. There's always something going on and everyone better watch their backs. After all, Winter is Coming...(less)
Okay, so it's way more complicated than that but it's hard to write a teaser for an 800+ page kitten squisher like this.
I was bound and determined not to read the S...more When the King comes to Winterfell, Ned Stark soon finds himself given the post of Hand to the King by King Robert. All is not well in Winterfell, however. Stark's son is gravely injured and signs point to the King's wife's family, the Lannisters. Stark will soon find out that when you play the Game of Thrones, you either win or die...
Okay, so it's way more complicated than that but it's hard to write a teaser for an 800+ page kitten squisher like this.
I was bound and determined not to read the Song of Ice and Fire for a variety of reasons.
1. I am not a huge fan of today's fantasy novels, never-ending doorstop fantasy series in particular.
2. The series is not yet finished and I don't want to be Dark Towered into waiting years between books or having Martin pull a Robert Jordan and die without completing it.
3. Hype. Anytime someone tells me I have to read something, I almost always dig my feet in and resist. One of these days, I'll stop being stubborn when people recommend me books. Sure, most of them read probably 20% as much as I read in a year but there are reasons why certain books sell thousands and thousands of copies.
So after my girlfriend and I blazed through the first season of Game of Thrones in a weekend, I figured it was time to cave in and give it a try. My fears were unfounded. The Game of Thrones took over my life while I was reading it. Even after watching the first season of the TV series, I couldn't be bothered with things like cleaning house and eating properly. I was captivated by the tale of the Lannisters, the Starks, the Targaryens, and the rest.
I read an interview with George R.R. Martin where he mentioned liking historical fiction but hating knowing the ending before he started. Game of Thrones feels way more like historical fiction than it does fantasy. While there are magical elements, they don't dominate the story. The story is the battle for the throne of the seven kingdoms and intrigue behind the scenes by various factions. It feels way more like Pillars of the Earth than it does epic fantasy.
For me, the main strengths of the Game of Thrones are the characters and GRRM's willingness to do horrible things to them. While fantasy is usually about good vs. evil, nothing is so black and white in the Game of Thrones. King Robert is a man with a drinking and whoring problem. Ned Stark fathered a child out of wedlock. The Lannisters are a bunch of well-meaning scumbags. Jon Snow looks down upon his companions because of his noble upbringing.
As for GRRM's willingness to do horrible things to his characters? Don't get too attached to anyone. There were several shocking deaths in Game of Thrones and I'm told it gets worse from here on out. I can't wait for someone to settle Joffrey Lannister's hash!
For me, one of the marks of a good book is if it makes me want to rush out and write something similar. It happened with the Dark Tower, Fafhrd and the Gray Mouser, Elric, Hyperion, Amber, and now this. Speaking of Amber, Martin thanks Roger Zelazny in the acknowledgments. I already knew he and Zelazny were close. Now I'm wondering if the machinations in Game of Thrones were in any way inspired by the ones of the family in Amber.
Differences between the book and the first season of the show are pretty minor. One thing that really stood out was that a lot of the characters were younger in the book. Also, there weren't so many women being taken roughly from behind in Martin's text. Other than that, it was mostly chronology and a few minor scenes that were missing.
That's about all I can say since I don't want to give too much away. This book is a monstrous tome but it didn't feel like it. There's always something going on and everyone better watch their backs. After all, Winter is Coming...(less)
70 likes · like · see review
Becky
Chip wrote: "Particularly appropriate here I think: http://www.youtube.com/watch?v=1CLCOv..."
This is fantastic. :D
Apr 20, 2013 10:16am
This is fantastic. :D
Apr 20, 2013 10:16am
In A Game of Thrones, Martin's dwarf, Tyrion Lannister, explains that "most men would rather deny a hard truth than face it."
True, I think. Isn't that why we read fantasy novels about gallant knights that die fighting bravely against the undead? Sure, they die, but they die bravely. When other soldiers die serving their lord, they die loyally. Regardless, the Dark Lord will eventually implode and flowers will bloom, unlike in reality.
Of all the characters in fantasy, few seem to have stepped so...more In A Game of Thrones, Martin's dwarf, Tyrion Lannister, explains that "most men would rather deny a hard truth than face it."
True, I think. Isn't that why we read fantasy novels about gallant knights that die fighting bravely against the undead? Sure, they die, but they die bravely. When other soldiers die serving their lord, they die loyally. Regardless, the Dark Lord will eventually implode and flowers will bloom, unlike in reality.
Of all the characters in fantasy, few seem to have stepped so clearly out from the hard truth's that drive the real world as Tyrion, who Martin has admitted in interviews is based on himself. Like Tyrion, Martin thwarts our romantic expectations throughout A Game of Thrones, rubbing in the fact that life rarely bends into a narrative arc that ends with the good guys smooching damsels recently freed from distressed towers.
Martin is relentless in this message. We can turn to any chapter in A Game of Thrones and find evidence for Tyrion's worldview. For example, here is a scene taken from King Robert's jousting tournament. Ser Gregor Clegane has not inadvertently killed a man in front of Sansa, who is our most likely viewpoint character to swoon at any given moment:
Sansa doesn't faint, not for want of trying: potential glory is never realized.
I doubt I'm the only reader who found Sansa the most annoying to read in this novel. She forgives villains too easily, something readers will never do in this series. Maybe we shouldn't be so quick to judge her. Much as we deride her for her romantic delusions, many of us struggle to face "hard truths," whether in our lives or in our reading.
The closest thing we have to a romantic hero here is Ned Stark. We know he is not perfect: he's cheated on his wife, he has betrayed his king, and he often endangers his family in the name of honor. However, he takes responsibility for his mistakes as well as his duties. Since this is something our world's politicians have never done willingly, we view Ned as a romantic hero.
Like Sansa, we desperately want Ned to defeat the evil queen, Cersei. Even though we know he's outmatched before he makes it to the capital of the Seven Kingdoms, King's Landing, we have seen evil queens vanquished before.
It is the interplay between our fantasies (more like Sansa's than we might care to admit) and our (more reluctant than we might care to admit) recognition of Tyrion's worldview that makes A Game of Thrones so compelling.
So this is a novel that I recommend.
And you can't fault Martin for integrity. He has taken so long to write the fifth novel of this series that his fans are now as likely to interpret him as a villain as they are a hero.
That's dedication.(less)
True, I think. Isn't that why we read fantasy novels about gallant knights that die fighting bravely against the undead? Sure, they die, but they die bravely. When other soldiers die serving their lord, they die loyally. Regardless, the Dark Lord will eventually implode and flowers will bloom, unlike in reality.
Of all the characters in fantasy, few seem to have stepped so...more In A Game of Thrones, Martin's dwarf, Tyrion Lannister, explains that "most men would rather deny a hard truth than face it."
True, I think. Isn't that why we read fantasy novels about gallant knights that die fighting bravely against the undead? Sure, they die, but they die bravely. When other soldiers die serving their lord, they die loyally. Regardless, the Dark Lord will eventually implode and flowers will bloom, unlike in reality.
Of all the characters in fantasy, few seem to have stepped so clearly out from the hard truth's that drive the real world as Tyrion, who Martin has admitted in interviews is based on himself. Like Tyrion, Martin thwarts our romantic expectations throughout A Game of Thrones, rubbing in the fact that life rarely bends into a narrative arc that ends with the good guys smooching damsels recently freed from distressed towers.
Martin is relentless in this message. We can turn to any chapter in A Game of Thrones and find evidence for Tyrion's worldview. For example, here is a scene taken from King Robert's jousting tournament. Ser Gregor Clegane has not inadvertently killed a man in front of Sansa, who is our most likely viewpoint character to swoon at any given moment:
The youth fell not ten feet from where Sansa was seated. The point of Ser Gregor's lance had snapped off in his neck, and his life's blood flowed out in slow pulses, each weaker than the one before. His armor was shiny new; a bright streak of fire ran down his outstretched arm, as the steel caught the light. Then the sun went behind a cloud, and it was gone.
Sansa doesn't faint, not for want of trying: potential glory is never realized.
I doubt I'm the only reader who found Sansa the most annoying to read in this novel. She forgives villains too easily, something readers will never do in this series. Maybe we shouldn't be so quick to judge her. Much as we deride her for her romantic delusions, many of us struggle to face "hard truths," whether in our lives or in our reading.
The closest thing we have to a romantic hero here is Ned Stark. We know he is not perfect: he's cheated on his wife, he has betrayed his king, and he often endangers his family in the name of honor. However, he takes responsibility for his mistakes as well as his duties. Since this is something our world's politicians have never done willingly, we view Ned as a romantic hero.
Like Sansa, we desperately want Ned to defeat the evil queen, Cersei. Even though we know he's outmatched before he makes it to the capital of the Seven Kingdoms, King's Landing, we have seen evil queens vanquished before.
It is the interplay between our fantasies (more like Sansa's than we might care to admit) and our (more reluctant than we might care to admit) recognition of Tyrion's worldview that makes A Game of Thrones so compelling.
So this is a novel that I recommend.
And you can't fault Martin for integrity. He has taken so long to write the fifth novel of this series that his fans are now as likely to interpret him as a villain as they are a hero.
That's dedication.(less)
43 likes · like · see review
Ryan
Stephen wrote: "Have you heard the theory that Ned Stark never really cheated on his wife? He claims Jon SNow as his bastard but what if Jon is his ne...more
Stephen wrote: "Have you heard the theory that Ned Stark never really cheated on his wife? He claims Jon SNow as his bastard but what if Jon is his nephew? His sister might have been the boy's mom."
I hadn't heard that, but there's something to be said for it. Jon looks like Arya, who resembles Ned's sister. Also, I always wondered by loyal Ned, who loved Ashara Dayne, would suddenly hook up with a random woman on his way home to Winterfell.(less)
Feb 15, 2012 09:12am
I hadn't heard that, but there's something to be said for it. Jon looks like Arya, who resembles Ned's sister. Also, I always wondered by loyal Ned, who loved Ashara Dayne, would suddenly hook up with a random woman on his way home to Winterfell.(less)
Feb 15, 2012 09:12am
Stephen
It explains Ned's reluctance to discuss the mother with Jon, his apparent out of character inflicting of this boy on a beloved wife, and it would be a...more
It explains Ned's reluctance to discuss the mother with Jon, his apparent out of character inflicting of this boy on a beloved wife, and it would be a nice touch that as a Stark (on the distaff side) he still gets a direwolf. It also explains a lot of vague dialogue when we view things from Ned's POV in a book where most of the dialogue is far from vague.(less)
Feb 15, 2012 10:44am
Feb 15, 2012 10:44am
Apr 22, 2008
John Wiswell
rated it
5 of 5 stars
·
review of another edition
Recommends it for:
Fantasy readers, folklore readers, political fiction readers
Recommended to John by:
Nick Sabin, Cassie Nichols
This may be the best Fantasy I've read since J.R.R. Tolkien. I highly recommend it to any fans of the Lord of the Rings series who have been disappointed by the other supposed epics that have shown up since. Martin has created a sprawling world, full of intrigue and potential, and sowed it with characters who can carry out interesting conflicts within it. His prose is far more readable than the average Fantasy writer, capable of beautiful phrases and sweeping passages, but also excellent at carr...more
This may be the best Fantasy I've read since J.R.R. Tolkien. I highly recommend it to any fans of the Lord of the Rings series who have been disappointed by the other supposed epics that have shown up since. Martin has created a sprawling world, full of intrigue and potential, and sowed it with characters who can carry out interesting conflicts within it. His prose is far more readable than the average Fantasy writer, capable of beautiful phrases and sweeping passages, but also excellent at carrying out action and expressing mindsets. In good characters, a good world and a good grasp of English, he certainly has more of the ingredients for great Fantasy than I've seen in a long time (and he bought them in bulk).
Now that I've put my best praise up front, I can talk about the weaknesses. Specifically: the beginning. The first hundred pages are a chore, and you would be well-served bringing a notebook to keep track of all the names and characters Martin throws at you. There is Bran, named for his father's dead brother, one of a dozen other Brans who will be mentioned. There is Robb, and there is King Robert. Jon Snow and Jon Arynn are different people. Eddard and Ned are the same person. God help you when some of them get nicknames.
The names might not be such an issue if the characters stood out more, but aside from remembering that Bran likes to climb and Jon Snow is a bastard who angsts about his father, there really isn't much to hang onto. The second hundred pages improve by starting to jam the characters into personal plots, but reading is still slow and grim for much of it. Only Tyrion Lannister stands out as having a particularly unique voice, and he's a cynical intellectual midget who literally somersaults out of a window in his first paragraph. He really didn't need help being unique.
Lastly, the sexuality is pretty thick and jarring in those 200 pages, and Martin is not particularly entertaining, arousing, endearing or interesting in his descriptions. In fact, all he did was creep me the Hell out. He doesn't pull back on it later. You merely get used to it. The intimate details do help mood occasionally, but it more seems like his personal fascination that I'd suffer through (for thankfully shorter lengths of prose) to get at the worthwhile material.
If you should make it beyond that gap, brave reader, you've got something great ahead of you. The situations of the many characters form and get direction, such that they are mostly distinct (though sadly most of Martin's women sound the same and are very similar emotionally - with two keen exceptions). The book bounces between a dozen characters in their attempts to grow up, start lives, start families, run kingdoms, search for doomed heroes, protect the king, train in the way of the sword, play the politics of the court - everybody's up to something, giving you a plethora of perspectives as the major conflict emerges between two houses. You can easily come to care about people on both sides of the war that begins near the end of the book, which is an incredible feat, especially when it's this compelling. You're likely to sympathize with people who may eventually fight each other to the death.
I can't praise the momentum enough. Beyond the portion I've already criticized, Martin builds momentum like no prose writer I've read in quite some time. One character's actions will have ramifications for another; one battle means another; one curious detail reveals a large plan. Characters will die, plots will fail, and you will not always see it coming. Better, the more trivial chapters, like a trip to a blacksmith, expand on the world or give characters a chance to chat in highly entertaining ways, such that it holds interest without needing to rush plot on you. The hundreds of names for places and people you'll never see in this book are a testament of Martin's intricately built world, which may be the most lovingly developed since Tolkien. Equally important, he puts his best efforts into placing interesting characters into that world - a failing of the majority of modern Fantasy writers. A Game of Thrones goes from character to character, building up an incredibly compelling drama that spans hundreds of miles and dozens of interesting people, and grows more interesting by the chapter. At page 100 it was a chore to pick up; at page 500 I didn't want to put it down.
Martin makes many of his influences quite obvious: Mervyn Peake (the description of the Iron Throne could have come straight out of Gormenghast, and all of the family fighting sounds like an elaboration of Peake's plot), J.R.R. Tolkien(the loving details and lore of weaponry, the labored sense of history in the world, the bygone beastiary, and the endless frickin' names), the Nibelungenlied (not to spoil it, but one character's hunting death sounds like an elaboration of Siegfried's demise), and classics like Shakespeare (like Peake and Tolkien, you don't write about this many troubled, royal-blooded in-fighters without a hard-on for the classics). Similarly, most of the elements of classic sprawling storytelling are here, including most of the major characteristics of the classic hero and villain, but the individual characteristics are divied up amongst the entire cast. So one character gets the Jedi-like wise but quirky swordmaster teacher, one has a history of heroism (but little these days, a nice spin), one is a king (but not kingly), one is a tormented bastard, one is powerless (and actually crippled), one is totally innocent and pure (not for long in this world, though), one wins the battles and so on. Similarly, the villain elements: the untrustworthy council, the diabolical wife, the giant, the brute, the torturer, the snotty brat - if magic shows up more frequently in this world, there will definitely be an evil witch or wizard. None of these elements feel hackneyed (except possibly Martin's almost misogynistic tendency to make women weak or vile - and even there, the weak girls are sympathetic half the time), generally feeling like they fit into this world that was once inhabited by dragons and shades.
That's the last thing I really need to praise. Martin's is a world haunted by Fantasy. It's fascinating. You don't see the dragons; they're supposed to be dead. The gods don't appear. There's a mention of manticores, but that's it. This world seems to have descended into realism out of a mythical past. But Martin is just setting things up, and when the first major mystical thing hits, it has enormous impact. After that you're left to wonder how much Fantasy content exists in his world. How much is real, and how much is myth? And it's not done in the standard skeptical tone, but with reverence and intrigue, and it always follows the plot, rather than becoming the plot, making it all the more engaging.
Erata:
I’m doing this as much for me as anyone else:
Eddard/Ned Stark: Badass of Winterfell. Lord and executioner.
Catelyn Stark: Eddard’s wife, mother of Robb and Brandon. As a child she was betrothed to Brandon Stark, Eddard’s brother. Now one of her sons is named “Brandon.” Yeah, that’s not going to be an issue.
Brandon/Bran: Eddard’s wussier son, likes animals, used to like to climb.
Robb Stark: Eddard and Catelyn’s son. Older than Bran. Kind of a prick.
King Robert: Here to hang out with Eddard, get drunk and make you confused as to what Robb is doing in camp.
Jon Snow: Eddard’s bastard son. Catelyn hates him. Socializes to some level with Bran and Robb. Totally rocking the “outsider” vibe.
Tyrion: A "dwarf," which I guess means a deformed midget, though he's clearly capable of physical feats that even perfectly healthy people can't do. He debuts by somersaulting out of a window and landing in a handstand. Fun dialogue.
Jaime: Cheeky bastard. Incestuous, murderous - really, going to be fun to see him die eventually, and it'll be fun until then, too.
Circe: "Cersei." Uh-huh. I'm waiting for her to turn someone into a pig.
The Mountain: Big mean guy
Arya: The girl with the sword
Sansa: The girl with romance
Dani: The girl with the huge husband
So Jon Snow hangs out with Pip and Sam on the Night's Watch? That's worse than "Circe." I love it.(less)
Now that I've put my best praise up front, I can talk about the weaknesses. Specifically: the beginning. The first hundred pages are a chore, and you would be well-served bringing a notebook to keep track of all the names and characters Martin throws at you. There is Bran, named for his father's dead brother, one of a dozen other Brans who will be mentioned. There is Robb, and there is King Robert. Jon Snow and Jon Arynn are different people. Eddard and Ned are the same person. God help you when some of them get nicknames.
The names might not be such an issue if the characters stood out more, but aside from remembering that Bran likes to climb and Jon Snow is a bastard who angsts about his father, there really isn't much to hang onto. The second hundred pages improve by starting to jam the characters into personal plots, but reading is still slow and grim for much of it. Only Tyrion Lannister stands out as having a particularly unique voice, and he's a cynical intellectual midget who literally somersaults out of a window in his first paragraph. He really didn't need help being unique.
Lastly, the sexuality is pretty thick and jarring in those 200 pages, and Martin is not particularly entertaining, arousing, endearing or interesting in his descriptions. In fact, all he did was creep me the Hell out. He doesn't pull back on it later. You merely get used to it. The intimate details do help mood occasionally, but it more seems like his personal fascination that I'd suffer through (for thankfully shorter lengths of prose) to get at the worthwhile material.
If you should make it beyond that gap, brave reader, you've got something great ahead of you. The situations of the many characters form and get direction, such that they are mostly distinct (though sadly most of Martin's women sound the same and are very similar emotionally - with two keen exceptions). The book bounces between a dozen characters in their attempts to grow up, start lives, start families, run kingdoms, search for doomed heroes, protect the king, train in the way of the sword, play the politics of the court - everybody's up to something, giving you a plethora of perspectives as the major conflict emerges between two houses. You can easily come to care about people on both sides of the war that begins near the end of the book, which is an incredible feat, especially when it's this compelling. You're likely to sympathize with people who may eventually fight each other to the death.
I can't praise the momentum enough. Beyond the portion I've already criticized, Martin builds momentum like no prose writer I've read in quite some time. One character's actions will have ramifications for another; one battle means another; one curious detail reveals a large plan. Characters will die, plots will fail, and you will not always see it coming. Better, the more trivial chapters, like a trip to a blacksmith, expand on the world or give characters a chance to chat in highly entertaining ways, such that it holds interest without needing to rush plot on you. The hundreds of names for places and people you'll never see in this book are a testament of Martin's intricately built world, which may be the most lovingly developed since Tolkien. Equally important, he puts his best efforts into placing interesting characters into that world - a failing of the majority of modern Fantasy writers. A Game of Thrones goes from character to character, building up an incredibly compelling drama that spans hundreds of miles and dozens of interesting people, and grows more interesting by the chapter. At page 100 it was a chore to pick up; at page 500 I didn't want to put it down.
Martin makes many of his influences quite obvious: Mervyn Peake (the description of the Iron Throne could have come straight out of Gormenghast, and all of the family fighting sounds like an elaboration of Peake's plot), J.R.R. Tolkien(the loving details and lore of weaponry, the labored sense of history in the world, the bygone beastiary, and the endless frickin' names), the Nibelungenlied (not to spoil it, but one character's hunting death sounds like an elaboration of Siegfried's demise), and classics like Shakespeare (like Peake and Tolkien, you don't write about this many troubled, royal-blooded in-fighters without a hard-on for the classics). Similarly, most of the elements of classic sprawling storytelling are here, including most of the major characteristics of the classic hero and villain, but the individual characteristics are divied up amongst the entire cast. So one character gets the Jedi-like wise but quirky swordmaster teacher, one has a history of heroism (but little these days, a nice spin), one is a king (but not kingly), one is a tormented bastard, one is powerless (and actually crippled), one is totally innocent and pure (not for long in this world, though), one wins the battles and so on. Similarly, the villain elements: the untrustworthy council, the diabolical wife, the giant, the brute, the torturer, the snotty brat - if magic shows up more frequently in this world, there will definitely be an evil witch or wizard. None of these elements feel hackneyed (except possibly Martin's almost misogynistic tendency to make women weak or vile - and even there, the weak girls are sympathetic half the time), generally feeling like they fit into this world that was once inhabited by dragons and shades.
That's the last thing I really need to praise. Martin's is a world haunted by Fantasy. It's fascinating. You don't see the dragons; they're supposed to be dead. The gods don't appear. There's a mention of manticores, but that's it. This world seems to have descended into realism out of a mythical past. But Martin is just setting things up, and when the first major mystical thing hits, it has enormous impact. After that you're left to wonder how much Fantasy content exists in his world. How much is real, and how much is myth? And it's not done in the standard skeptical tone, but with reverence and intrigue, and it always follows the plot, rather than becoming the plot, making it all the more engaging.
Erata:
I’m doing this as much for me as anyone else:
Eddard/Ned Stark: Badass of Winterfell. Lord and executioner.
Catelyn Stark: Eddard’s wife, mother of Robb and Brandon. As a child she was betrothed to Brandon Stark, Eddard’s brother. Now one of her sons is named “Brandon.” Yeah, that’s not going to be an issue.
Brandon/Bran: Eddard’s wussier son, likes animals, used to like to climb.
Robb Stark: Eddard and Catelyn’s son. Older than Bran. Kind of a prick.
King Robert: Here to hang out with Eddard, get drunk and make you confused as to what Robb is doing in camp.
Jon Snow: Eddard’s bastard son. Catelyn hates him. Socializes to some level with Bran and Robb. Totally rocking the “outsider” vibe.
Tyrion: A "dwarf," which I guess means a deformed midget, though he's clearly capable of physical feats that even perfectly healthy people can't do. He debuts by somersaulting out of a window and landing in a handstand. Fun dialogue.
Jaime: Cheeky bastard. Incestuous, murderous - really, going to be fun to see him die eventually, and it'll be fun until then, too.
Circe: "Cersei." Uh-huh. I'm waiting for her to turn someone into a pig.
The Mountain: Big mean guy
Arya: The girl with the sword
Sansa: The girl with romance
Dani: The girl with the huge husband
So Jon Snow hangs out with Pip and Sam on the Night's Watch? That's worse than "Circe." I love it.(less)
Mar 22, 2009
Jesse
rated it
5 of 5 stars
·
review of another edition
Recommends it for:
anyone who likes anything epic and historical
Recommended to Jesse by:
William
Shelves:
fantasy,
jesse-s-all-time-favorite-authors
I know no one reading this knows me much (well some of you may) but I DON'T reread books. I usually read a book once and its quite well locked into my brain. As much as I've enjoyed many books I've read, they just don't require a second read for me. I read them, now its time to move on. "A Game of Thrones" is different. I loved this book and its characters so much, and crave the world and narrative so much that I couldn't wait for Martin to get the newest installment out. So I started rereading...more
I know no one reading this knows me much (well some of you may) but I DON'T reread books. I usually read a book once and its quite well locked into my brain. As much as I've enjoyed many books I've read, they just don't require a second read for me. I read them, now its time to move on. "A Game of Thrones" is different. I loved this book and its characters so much, and crave the world and narrative so much that I couldn't wait for Martin to get the newest installment out. So I started rereading the first book I've ever reread.
Let me just say that I didn't find ANY of the characters boring. Even the characters that I would find an anoying personality type, are deeply engrosing in this tale. And those types of characters number just 2 for me in this book. There are so many characters, with such a broad range of personalities that there is someone to match everyones likes. Yet even the characters I initially found myself repulsed by, grow and change and are just as fascinating as those that I admire and empathize with.
Normally I dislike when an author has too many characters and jumps from character to character from one chapter to the next, not so in this book. Martin's ability to tell a story and hook you on it, is so great that I started to look forward to these jumps to different characters. With this many characters you really are provided with a great narrow and broad picture of the currents of this world and narrative. Its like watching individual storms all over the globe, all adding up to the global weather system.
Which leads me to my next point, his pacing. I've read my share of epic fantasy series. In particular Martin's two major contemporaries/rivals for the top spot of the epic fantasy genre: Terry Goodkind and Robert Jordan. Both these authors have good parts, and bad parts to their books. There are momments in their books where I stop and think, "That was the coolest thing (event) I've ever read". Yet there are way more parts in both author's works where I was thinking "when are we going to get to the next awsome and exciting event? Why are we still walking/riding/working/...etc(you get my drift)". I came to expect this in any book, particularly epic fantasy. I just thought that when a book/series gets as long as these tomes, you end up having to spread some borring filler in there because one imagination can only do so much exciting work. Martin broke that mold for me. I kept waiting for a momment where part of my mind would start, metaphorically, tapping its foot in bordom thinking, "are we there yet?". It never happened. Each chapter would grab me, and by the time the chapter ended I was groaning at having to leave behind this story thread because I was wrapped up in its narrative path. Then I'm instantly swept up by the events of the next chapters story thread.
Finally there is the commitment by the author to this narrative. Many stories have jeopardy but you kind of know that in the end, the main character can't die, there are more books to come. Don't ever count on that in "A Game of Thrones". Everyone of the characters is fair game, and people/characters will die in horrible and tragic ways. In this book and in subsequent ones in the series, I literally threw down the book and got up in shock. Sometimes even shouting out to no one at all, "Oh my GODS!, he killed !". It gives me confidence in Martin and his own level of commitment to telling me the best and most real story possible, complete with unfair and tragic events happening to good AND bad people (though in the case of the bad people I suppose it would be "fair and happy" when negative things happen to them..lol). Ok, thats it, I can't believe how much I wrote here. Hope this gets some folks to read this book. Cause once you read the first, you'll be hooked.
03/22/2009: I just finished re-reading this book, and have to say it was even better the second time around. I caught subtleties to the plot that I never caught before, particularly about Jon Snow, Lyanna Stark, and Eddard Stark. I also found it interesting how much more the tension in the book was increased for me because I knew certain great momments were coming in the book, and the tension that created for me was most enjoyable. This is quite possibly THE best first book in a fantasy series I've ever read. I can't wait to re-read book #2 now, if only I had more time to read!(less)
Let me just say that I didn't find ANY of the characters boring. Even the characters that I would find an anoying personality type, are deeply engrosing in this tale. And those types of characters number just 2 for me in this book. There are so many characters, with such a broad range of personalities that there is someone to match everyones likes. Yet even the characters I initially found myself repulsed by, grow and change and are just as fascinating as those that I admire and empathize with.
Normally I dislike when an author has too many characters and jumps from character to character from one chapter to the next, not so in this book. Martin's ability to tell a story and hook you on it, is so great that I started to look forward to these jumps to different characters. With this many characters you really are provided with a great narrow and broad picture of the currents of this world and narrative. Its like watching individual storms all over the globe, all adding up to the global weather system.
Which leads me to my next point, his pacing. I've read my share of epic fantasy series. In particular Martin's two major contemporaries/rivals for the top spot of the epic fantasy genre: Terry Goodkind and Robert Jordan. Both these authors have good parts, and bad parts to their books. There are momments in their books where I stop and think, "That was the coolest thing (event) I've ever read". Yet there are way more parts in both author's works where I was thinking "when are we going to get to the next awsome and exciting event? Why are we still walking/riding/working/...etc(you get my drift)". I came to expect this in any book, particularly epic fantasy. I just thought that when a book/series gets as long as these tomes, you end up having to spread some borring filler in there because one imagination can only do so much exciting work. Martin broke that mold for me. I kept waiting for a momment where part of my mind would start, metaphorically, tapping its foot in bordom thinking, "are we there yet?". It never happened. Each chapter would grab me, and by the time the chapter ended I was groaning at having to leave behind this story thread because I was wrapped up in its narrative path. Then I'm instantly swept up by the events of the next chapters story thread.
Finally there is the commitment by the author to this narrative. Many stories have jeopardy but you kind of know that in the end, the main character can't die, there are more books to come. Don't ever count on that in "A Game of Thrones". Everyone of the characters is fair game, and people/characters will die in horrible and tragic ways. In this book and in subsequent ones in the series, I literally threw down the book and got up in shock. Sometimes even shouting out to no one at all, "Oh my GODS!, he killed !". It gives me confidence in Martin and his own level of commitment to telling me the best and most real story possible, complete with unfair and tragic events happening to good AND bad people (though in the case of the bad people I suppose it would be "fair and happy" when negative things happen to them..lol). Ok, thats it, I can't believe how much I wrote here. Hope this gets some folks to read this book. Cause once you read the first, you'll be hooked.
03/22/2009: I just finished re-reading this book, and have to say it was even better the second time around. I caught subtleties to the plot that I never caught before, particularly about Jon Snow, Lyanna Stark, and Eddard Stark. I also found it interesting how much more the tension in the book was increased for me because I knew certain great momments were coming in the book, and the tension that created for me was most enjoyable. This is quite possibly THE best first book in a fantasy series I've ever read. I can't wait to re-read book #2 now, if only I had more time to read!(less)
Jun 25, 2012
Jason Koivu
rated it
4 of 5 stars
·
review of another edition
Recommends it for:
fantasy fans
Recommended to Jason by:
just about everyone
A Game of Thrones is really good. You may not think so after reading the rest of this review, but yes, I enjoyed this book. I liken it to Tolstoy's Anna Karenina in that it's a sweeping epic mostly focused on the movers and shakers while keeping the timeline linear by shifting the focus back and forth between characters and groups of characters, specifically families.
Also, it's a big honkin' huge book, just like those Russian classics. Honestly, A Game of Thrones could have been made into two o...more A Game of Thrones is really good. You may not think so after reading the rest of this review, but yes, I enjoyed this book. I liken it to Tolstoy's Anna Karenina in that it's a sweeping epic mostly focused on the movers and shakers while keeping the timeline linear by shifting the focus back and forth between characters and groups of characters, specifically families.
Also, it's a big honkin' huge book, just like those Russian classics. Honestly, A Game of Thrones could have been made into two or three books. George RR Martin has slowed down his publishing rate for this series and some think he's burning out. By breaking up these massive tomes into smaller books that could be released over time, there wouldn't be such a large and noticeable gap between books. On the other hand, if your book is meant to be a thousand pages long because that's how it naturally progresses and ends, the action remains intense, and the reader's interest can be maintained through out, then by god you should publish that thousand page book!
Let me state now, I'm not a big fan of the fantasy genre. It's reliance on cliches, the general poor quality of the writing, the immaturity sometimes seen in relating to characters of the opposite gender of the author, etc. Martin succeeds in many of those areas where so many others have failed. There were relatively few moments while I was reading when I felt like I knew ahead of time exactly where the scene would inevitably lead. On the whole, his writing is solid. His many female characters are fully rounded, not "full-breasted". Yes, there are heroes and there are villains, but there are plenty of shades-of-gray characters in between as well. People are forced into unpleasant choices that they'd rather not make as it goes against their morals or code of honor, but they do make that choice because it's necessary or because - even if it's seen as wrong by many - they just can't see a loved one suffer. I like that. I don't need to see Mr. White Knight Johnny-do-good making noble sacrifices, nor do I want the bad guy doing evil for the sole purpose of doing evil. Martin is very good about giving his characters their due motivation.
As for the writing itself, a gripe I have with fantasy epics is a reliance upon stock phrases. I understand repetition was a memory device used in the old oral tradition, but we write this stuff down now. There's no need to ape a dead art that even its purveyors wouldn't still use if they were around today. They'd get a computer, printer and a ream of paper and be happier than a pig in shit. Having said all that, I'm not even sure this form of repetition is even intended as a homage to the bards of yesteryear. It think this boils down to lazy writing. Now, before you get all upset let me say that I'm not calling George R.R. Martin a lazy writer. He has written many books with many pages. It is truly amazing the amount of output he's produced. But therein lies the problem. When you write a 900 page epic that people eat right up and then beg for more, you are put in the position of having to produce more as rapidly as possible. Coming up with fresh ways of describing actions, characters and scenes can be difficult, even over the course of one regular sized novel, so it's no surprise to see people "breaking their fast" every time there is a morning scene. It's very useful in that it tells the reader not only that it is morning, but also that the characters are eating. That's great! So then as the writer you shouldn't feel obliged to say anything else on the matter and we can keep the action moving on...but wait...oops, he's gone and described what the characters are eating for breakfast, for the dozenth time. A couple times is fine, but unless there's something special about the food that we need to know, a couple mentions for the sake of detail is fine. The other issue being that, because "breaking their fast" and "milk of the poppy" are unusual phrases, they stand out. Therefore repetition of them stands out even more, and if you continue to see phrases that stand out time and time again, they tend to stand out for the wrong reasons and become stand-out annoyances.
Another pet peeve of mine is the adverb. It's a way of quickly describing something without going into much depth, which is fine in some instances, but overuse leads to weak characterizations and the like. Adverb use is fine for journalism, where a reporter needs to describe say a multi-death house fire in the span of 150 words. There's no time for lengthy prose. But when you've got hundreds of pages to work with, there's time. Martin's not as egregious as some fantasy writers about this, but he does get a little adverb heavy now and then. There seemed to be these sections where clusters of them would appear like pack animals rumbling by, causing a momentary disturbance in my reading. It's not a big deal, but they do stick out like a soar thumb to me, especially when used one after another. Hell, there's at least one occasion, and maybe two even, when...suddenly something happened suddenly! Really? Come on, who's editing this stuff? Anyone?
When I was boy I would come home from school and mom would be there doing the ironing or whatever while watching the daytime soap opera General Hospital. This was during the heady days of the "Luke and Laura" saga, and I LOVED every minute of it. Their forbidden love affair dragged on forever, through all kinds of impossible odds. The tension was just exciting enough, with a plot on a level a 9 year old could follow, but more importantly, essentially the same thing happened in every episode so that the story dragged out into epic length. That really appealed to me. I think that's because children seek stability. Here was this fun story that I could come home to everyday and rely on it being there for me, giving me that little thrill I enjoyed so much and being the constant I so desired. That's what the soap opera did for me. To this day I love me a good ol' series. However, series or no, I'm okay with only reading this first book and stopping. I don't feel an overwhelming desire to read on. I'm older now and have things I want to do, other books I want to read. I'd love to follow these characters to the end and maybe some day I will, but good golly miss molly, there's a whole lotta readin' goin' on for what is essentially a soap opera!(less)
Also, it's a big honkin' huge book, just like those Russian classics. Honestly, A Game of Thrones could have been made into two o...more A Game of Thrones is really good. You may not think so after reading the rest of this review, but yes, I enjoyed this book. I liken it to Tolstoy's Anna Karenina in that it's a sweeping epic mostly focused on the movers and shakers while keeping the timeline linear by shifting the focus back and forth between characters and groups of characters, specifically families.
Also, it's a big honkin' huge book, just like those Russian classics. Honestly, A Game of Thrones could have been made into two or three books. George RR Martin has slowed down his publishing rate for this series and some think he's burning out. By breaking up these massive tomes into smaller books that could be released over time, there wouldn't be such a large and noticeable gap between books. On the other hand, if your book is meant to be a thousand pages long because that's how it naturally progresses and ends, the action remains intense, and the reader's interest can be maintained through out, then by god you should publish that thousand page book!
Let me state now, I'm not a big fan of the fantasy genre. It's reliance on cliches, the general poor quality of the writing, the immaturity sometimes seen in relating to characters of the opposite gender of the author, etc. Martin succeeds in many of those areas where so many others have failed. There were relatively few moments while I was reading when I felt like I knew ahead of time exactly where the scene would inevitably lead. On the whole, his writing is solid. His many female characters are fully rounded, not "full-breasted". Yes, there are heroes and there are villains, but there are plenty of shades-of-gray characters in between as well. People are forced into unpleasant choices that they'd rather not make as it goes against their morals or code of honor, but they do make that choice because it's necessary or because - even if it's seen as wrong by many - they just can't see a loved one suffer. I like that. I don't need to see Mr. White Knight Johnny-do-good making noble sacrifices, nor do I want the bad guy doing evil for the sole purpose of doing evil. Martin is very good about giving his characters their due motivation.
As for the writing itself, a gripe I have with fantasy epics is a reliance upon stock phrases. I understand repetition was a memory device used in the old oral tradition, but we write this stuff down now. There's no need to ape a dead art that even its purveyors wouldn't still use if they were around today. They'd get a computer, printer and a ream of paper and be happier than a pig in shit. Having said all that, I'm not even sure this form of repetition is even intended as a homage to the bards of yesteryear. It think this boils down to lazy writing. Now, before you get all upset let me say that I'm not calling George R.R. Martin a lazy writer. He has written many books with many pages. It is truly amazing the amount of output he's produced. But therein lies the problem. When you write a 900 page epic that people eat right up and then beg for more, you are put in the position of having to produce more as rapidly as possible. Coming up with fresh ways of describing actions, characters and scenes can be difficult, even over the course of one regular sized novel, so it's no surprise to see people "breaking their fast" every time there is a morning scene. It's very useful in that it tells the reader not only that it is morning, but also that the characters are eating. That's great! So then as the writer you shouldn't feel obliged to say anything else on the matter and we can keep the action moving on...but wait...oops, he's gone and described what the characters are eating for breakfast, for the dozenth time. A couple times is fine, but unless there's something special about the food that we need to know, a couple mentions for the sake of detail is fine. The other issue being that, because "breaking their fast" and "milk of the poppy" are unusual phrases, they stand out. Therefore repetition of them stands out even more, and if you continue to see phrases that stand out time and time again, they tend to stand out for the wrong reasons and become stand-out annoyances.
Another pet peeve of mine is the adverb. It's a way of quickly describing something without going into much depth, which is fine in some instances, but overuse leads to weak characterizations and the like. Adverb use is fine for journalism, where a reporter needs to describe say a multi-death house fire in the span of 150 words. There's no time for lengthy prose. But when you've got hundreds of pages to work with, there's time. Martin's not as egregious as some fantasy writers about this, but he does get a little adverb heavy now and then. There seemed to be these sections where clusters of them would appear like pack animals rumbling by, causing a momentary disturbance in my reading. It's not a big deal, but they do stick out like a soar thumb to me, especially when used one after another. Hell, there's at least one occasion, and maybe two even, when...suddenly something happened suddenly! Really? Come on, who's editing this stuff? Anyone?
When I was boy I would come home from school and mom would be there doing the ironing or whatever while watching the daytime soap opera General Hospital. This was during the heady days of the "Luke and Laura" saga, and I LOVED every minute of it. Their forbidden love affair dragged on forever, through all kinds of impossible odds. The tension was just exciting enough, with a plot on a level a 9 year old could follow, but more importantly, essentially the same thing happened in every episode so that the story dragged out into epic length. That really appealed to me. I think that's because children seek stability. Here was this fun story that I could come home to everyday and rely on it being there for me, giving me that little thrill I enjoyed so much and being the constant I so desired. That's what the soap opera did for me. To this day I love me a good ol' series. However, series or no, I'm okay with only reading this first book and stopping. I don't feel an overwhelming desire to read on. I'm older now and have things I want to do, other books I want to read. I'd love to follow these characters to the end and maybe some day I will, but good golly miss molly, there's a whole lotta readin' goin' on for what is essentially a soap opera!(less)
47 likes · like · see review
Donna Louise
I think I understand, some of it, as you say is very poorly written and just kinda silly. I think that despite the fantastical elements, they must be...more
I think I understand, some of it, as you say is very poorly written and just kinda silly. I think that despite the fantastical elements, they must be grounded in some form of reason and yes, reality. Yep, does sound kinda odd!
The Clan of the Cave Bear was recommended to me once too and I was not impressed. Poorly written and wildly inaccurate. So grounding in factual, realistic aspects is super important. Although I think that it was possibly read many years ago as a younger adult and I read it at 35. No, that isn't an excuse I have decided. Some authors are indeed far superior. :o)(less)
updated May 12, 2013 09:46am
The Clan of the Cave Bear was recommended to me once too and I was not impressed. Poorly written and wildly inaccurate. So grounding in factual, realistic aspects is super important. Although I think that it was possibly read many years ago as a younger adult and I read it at 35. No, that isn't an excuse I have decided. Some authors are indeed far superior. :o)(less)
updated May 12, 2013 09:46am
Jason Koivu
Donna Louise wrote: "I think I understand, some of it, as you say is very poorly written and just kinda silly. I think that despite the fantastical el...more
Donna Louise wrote: "I think I understand, some of it, as you say is very poorly written and just kinda silly. I think that despite the fantastical elements, they must be grounded in some form of reason and yes, realit..."
I tried "Clan..." a few years ago, got about 50 pages in and gave it up. My opinion parallels yours. I know some people who read it as kids and loved it. I don't know any adults who've read it and liked it. I guess we can't go back to our childhoods, regardless of what JM Barrie would have us believe!(less)
May 12, 2013 09:58am
I tried "Clan..." a few years ago, got about 50 pages in and gave it up. My opinion parallels yours. I know some people who read it as kids and loved it. I don't know any adults who've read it and liked it. I guess we can't go back to our childhoods, regardless of what JM Barrie would have us believe!(less)
May 12, 2013 09:58am
The world kept screaming at me that this book is one of the best fantasy novels ever. So I bought it (and scored an awesome 1990s cover). Then people started warning me how complicated it was. So I let it collect dust on my bookshelves for a couple years. Until now.
I didn’t find it difficult to follow. Sure, I had to flip back a few times to recall characters and events. That is to be expected in a long book with multiple points of view. I do wish Martin had stuck to one name per character. But,...more The world kept screaming at me that this book is one of the best fantasy novels ever. So I bought it (and scored an awesome 1990s cover). Then people started warning me how complicated it was. So I let it collect dust on my bookshelves for a couple years. Until now.
I didn’t find it difficult to follow. Sure, I had to flip back a few times to recall characters and events. That is to be expected in a long book with multiple points of view. I do wish Martin had stuck to one name per character. But, on the whole, it was easier that keep up with than the dwarves in The Hobbit or the political intrigues in Kushiel's Dart. Lesson learned: don’t let people scare me off books. James Joyce, here I come!
At first, it bothered me that the majority of the main characters are under twenty years old. How can they already be discussing the marriage of a seven year old? Is it really a good idea to let a twelve year old boy order executions? Then given that the average life span in this medieval-type society would be maybe forty years old, I can see how one would want to kick start life’s big events earlier. And I am excited at the prospect of seeing these characters grow up over the course of the series. Instead of flashing back to transformative childhood events, we can experience them in real-time.
Martin masterfully manipulated my feelings toward the characters. I was prepared to despise the barbarian king, Drogo and ended up liking him. I hardened against Catelyn when I learned how she treats her stepson, Jon, only to soften when she doubts her decisions toward her (maybe) enemy, Tyrion. I went back and forth with the enigmatic Petyr. I questioned the sanity of a favorite, Daenerys at one point. Heck, I even sympathized with the whiny Sansa by the end. Masterful! Martin really set up compelling backstories for his characters and took me for a ride. I love that no one is completely evil or loveable.
The world-building, while solid, is not the best I have encountered. To his credit, Martin did create some striking images – namely the imposing Wall of ice, a castle perched on the side of a cliff, and (view spoiler)[the newly hatched dragons at Daenerys’ breasts - YES!!! (hide spoiler)]. Several times I wanted to shake the characters and yell, “If you know a decades long winter is coming, shouldn’t you be preparing your food stores?” I was also expecting more fantasy elements. There is no magic to speak of. I suspect, at the very least, that the otherworldly Others and dragons will emerge from the sidelines as the series continues.
After some wishy-washy debate, I knocked off a star. I am starting to notice how derivative all fantasy novels are. This is probably not fair to Martin since he wrote this book years and years ago. Many of the fantasy authors I’ve read recently likely copied elements from Martin himself. Alas, I cannot change the order of my readings and the impression stands. The star also fell, because I didn’t read this one at breakneck speed. Normally the pages of these epic fantasies fly by so fast my hair stirs in the breeze. This book felt as long as its full 800+ pages.
Hmm, now that I've written them down, my downgrade rationale seems pretty lame. Back to five stars! This really is an excellent fantasy novel. I will certainly be continuing the series. As the Texas summer heats up, I am looking forward to escaping into an all-out winter with Martin! I’ll tell my husband I am “getting into character” as I lower the thermostat a few more degrees. Martin, I am sending the electricity bill to you.
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I didn’t find it difficult to follow. Sure, I had to flip back a few times to recall characters and events. That is to be expected in a long book with multiple points of view. I do wish Martin had stuck to one name per character. But,...more The world kept screaming at me that this book is one of the best fantasy novels ever. So I bought it (and scored an awesome 1990s cover). Then people started warning me how complicated it was. So I let it collect dust on my bookshelves for a couple years. Until now.
I didn’t find it difficult to follow. Sure, I had to flip back a few times to recall characters and events. That is to be expected in a long book with multiple points of view. I do wish Martin had stuck to one name per character. But, on the whole, it was easier that keep up with than the dwarves in The Hobbit or the political intrigues in Kushiel's Dart. Lesson learned: don’t let people scare me off books. James Joyce, here I come!
At first, it bothered me that the majority of the main characters are under twenty years old. How can they already be discussing the marriage of a seven year old? Is it really a good idea to let a twelve year old boy order executions? Then given that the average life span in this medieval-type society would be maybe forty years old, I can see how one would want to kick start life’s big events earlier. And I am excited at the prospect of seeing these characters grow up over the course of the series. Instead of flashing back to transformative childhood events, we can experience them in real-time.
Martin masterfully manipulated my feelings toward the characters. I was prepared to despise the barbarian king, Drogo and ended up liking him. I hardened against Catelyn when I learned how she treats her stepson, Jon, only to soften when she doubts her decisions toward her (maybe) enemy, Tyrion. I went back and forth with the enigmatic Petyr. I questioned the sanity of a favorite, Daenerys at one point. Heck, I even sympathized with the whiny Sansa by the end. Masterful! Martin really set up compelling backstories for his characters and took me for a ride. I love that no one is completely evil or loveable.
The world-building, while solid, is not the best I have encountered. To his credit, Martin did create some striking images – namely the imposing Wall of ice, a castle perched on the side of a cliff, and (view spoiler)[the newly hatched dragons at Daenerys’ breasts - YES!!! (hide spoiler)]. Several times I wanted to shake the characters and yell, “If you know a decades long winter is coming, shouldn’t you be preparing your food stores?” I was also expecting more fantasy elements. There is no magic to speak of. I suspect, at the very least, that the otherworldly Others and dragons will emerge from the sidelines as the series continues.
After some wishy-washy debate, I knocked off a star. I am starting to notice how derivative all fantasy novels are. This is probably not fair to Martin since he wrote this book years and years ago. Many of the fantasy authors I’ve read recently likely copied elements from Martin himself. Alas, I cannot change the order of my readings and the impression stands. The star also fell, because I didn’t read this one at breakneck speed. Normally the pages of these epic fantasies fly by so fast my hair stirs in the breeze. This book felt as long as its full 800+ pages.
Hmm, now that I've written them down, my downgrade rationale seems pretty lame. Back to five stars! This really is an excellent fantasy novel. I will certainly be continuing the series. As the Texas summer heats up, I am looking forward to escaping into an all-out winter with Martin! I’ll tell my husband I am “getting into character” as I lower the thermostat a few more degrees. Martin, I am sending the electricity bill to you.
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I've not read any high fantasy in a long, long time, but I decided to pick this up purely because so many people on my flist were raving about the series. I can definitely see why it's a best-seller. It's long, with solid prose and a plot which is complex, but not overly so; the pacing is good, and the action is mostly organic, not engineered. Martin's characterisation is probably his best point. He has a vast array of characters, and switches POV between seven or eight different characters thro...more
I've not read any high fantasy in a long, long time, but I decided to pick this up purely because so many people on my flist were raving about the series. I can definitely see why it's a best-seller. It's long, with solid prose and a plot which is complex, but not overly so; the pacing is good, and the action is mostly organic, not engineered. Martin's characterisation is probably his best point. He has a vast array of characters, and switches POV between seven or eight different characters throughout the course of the book. All of them have convincing motivations, to greater or lesser degrees, and are well-sketched, even if none of them ever really came alive for me.
And yet, there is a but coming. This is very good high fantasy, but it's still high fantasy, and falls victim to a lot of the weaknesses of the genre. It's book one of a cycle, which inevitably means dumps of information and portentous events which foreshadow events which won't happen for hundreds, if not thousands of pages. It's full of people who go around referring to themselves as being "of the blood of the dragon" amongst other such melodramatic epithets; I rolled my eyes at them when I was ten, and I wince at them now.
The setting is also absolutely stock, faux medieval Europe. The seven kingdoms clearly make up England and Wales below Hadrian's Wall, with the Starks who were formerly Kings in the North a clear parallel to the history of England before its eventual unification under one king. The society he creates doesn't hold up to close scrutiny; this is a top-heavy world of kings and lords and ladies. And just as I winced at Tolkien's Haradrim, what we saw of the Dothraki, but most especially the glimpses of one particular lord from the Summer Isles, made me uneasy. Did Martin find it absolutely necessary every time Jalabhar Xho was mentioned to remind us that he was "black-skinned" or "dark-skinned" or "dark as night"? My god, a character who is not a lily-white European! Shocking! Clearly that is his only important character attribute.
Enjoyable and entertaining enough, though, and I might very well pick up the next few volumes if I come across them secondhand in Chapters. I don't think I'll be buying them new, though.(less)
And yet, there is a but coming. This is very good high fantasy, but it's still high fantasy, and falls victim to a lot of the weaknesses of the genre. It's book one of a cycle, which inevitably means dumps of information and portentous events which foreshadow events which won't happen for hundreds, if not thousands of pages. It's full of people who go around referring to themselves as being "of the blood of the dragon" amongst other such melodramatic epithets; I rolled my eyes at them when I was ten, and I wince at them now.
The setting is also absolutely stock, faux medieval Europe. The seven kingdoms clearly make up England and Wales below Hadrian's Wall, with the Starks who were formerly Kings in the North a clear parallel to the history of England before its eventual unification under one king. The society he creates doesn't hold up to close scrutiny; this is a top-heavy world of kings and lords and ladies. And just as I winced at Tolkien's Haradrim, what we saw of the Dothraki, but most especially the glimpses of one particular lord from the Summer Isles, made me uneasy. Did Martin find it absolutely necessary every time Jalabhar Xho was mentioned to remind us that he was "black-skinned" or "dark-skinned" or "dark as night"? My god, a character who is not a lily-white European! Shocking! Clearly that is his only important character attribute.
Enjoyable and entertaining enough, though, and I might very well pick up the next few volumes if I come across them secondhand in Chapters. I don't think I'll be buying them new, though.(less)
22 likes · like · see review
Siria
Do you feel that Martin's focus (through his characters) on these cultural differences is some latent racism in the author himself, or more of a refle...more
Do you feel that Martin's focus (through his characters) on these cultural differences is some latent racism in the author himself, or more of a reflection of his own misunderstanding of the medieval(-ish) worldview?
I don't know that A and B must necessarily be in opposition with one another.
Presuming his world is entirely a creation of fantasy and unrelated to the real medieval world, is the author not allowed to create societies in which characters are passively racist? ...or is that just not something you particularly care to read about? Some like it darker than others.
The author is certainly allowed to do such things. I don't think I've ever stated that an author isn't free to explore such themes—or other things which I may personally find distasteful. Yet I find much more palatable—much more interesting and much more intelligent—those works in which it seems as if the author is aware of the issues in their work, and is interested in examining them, rather than simply (un)consciously replicating sexist/racist/homophobic etc tropes.
But then, I'm a historian, and we're sort of the opposite to lit people—we're all about trying to find the motivations behind what people write :)(less)
Dec 14, 2010 08:44pm
I don't know that A and B must necessarily be in opposition with one another.
Presuming his world is entirely a creation of fantasy and unrelated to the real medieval world, is the author not allowed to create societies in which characters are passively racist? ...or is that just not something you particularly care to read about? Some like it darker than others.
The author is certainly allowed to do such things. I don't think I've ever stated that an author isn't free to explore such themes—or other things which I may personally find distasteful. Yet I find much more palatable—much more interesting and much more intelligent—those works in which it seems as if the author is aware of the issues in their work, and is interested in examining them, rather than simply (un)consciously replicating sexist/racist/homophobic etc tropes.
But then, I'm a historian, and we're sort of the opposite to lit people—we're all about trying to find the motivations behind what people write :)(less)
Dec 14, 2010 08:44pm
Jun 12, 2011
Brad
rated it
5 of 5 stars
·
review of another edition
Shelves:
fantasy,
sword-and-sorcery-opera
I am finished. My real review will be coming soon (and here it is), but here's the last installment of my reading journal for those who are still interested. This star rating reflects my feelings about the last quarter of the book and may not be my final rating for the book in its entirety. Since I am writing about the book as I go, there will necessarily be spoilers, so don't continue if you want to avoid them.
My Game of Thrones Journal: volume iv
Arya -- I sure hope Syrio’s not dead yet. That...more I am finished. My real review will be coming soon (and here it is), but here's the last installment of my reading journal for those who are still interested. This star rating reflects my feelings about the last quarter of the book and may not be my final rating for the book in its entirety. Since I am writing about the book as I go, there will necessarily be spoilers, so don't continue if you want to avoid them.
My Game of Thrones Journal: volume iv
Arya -- I sure hope Syrio’s not dead yet. That was a nice little fight between him and the White Guard. As for Arya ... I like how quick she is on her feet. I hope she lives into the next book. She’s much more like Jon than the others in her family. Her father could use some of her decision making skills.
Sansa -- Selfish, easily manipulated, I understand where she’s coming from and why she dow what she does, but betraying your blood for a crown, or perceived love, or a dream deserves a full out whooping. I can’t imagine a Lannister doing such a thing. Which group is really the more ethical?
Jon-- Maybe Jon’s not smarter than Ned after all. He tries to kill Ser Alliser Thorne during his little temper tantrum, then he lights a potentially uncontrollable fire in a tower. Idiot! (though I am sure he’ll get away for the fire). Nice to see the Others, or the wights, back kicking some ass. Hope they stay from now on. Nice to see Sam getting a good moment too.
Bran--The arrogance of the lords in this realm! They refuse to listen to their social inferiors with a surety that only they themselves are right and that their decisions are the only decisions. Their hubris is staggering, and so accurate to the real world it makes me shudder. And it pisses me off. Give me the Oshas and the Hodors. I hope that Bran is able to learn some true wisdom through his acquaintances.
Daenerys-- Ser Jorah, crime that pissed Ned off aside, seems to be about the most honourable and subtle of men from the Seven Kingdoms. I love him. He’s one of my faves. What a shame he won’t get his revenge on Ned.
And then there is Robert’s idiotic decision to make the attempt on Dany’s life. The only smart thing in the whole book that Ned says, and it goes ignored, and now Robert has awakened the Stallion that will ravage the Seven Kingdoms. The war will be excellent. And if anything will make me go on with this series it is the promise of the two invasions – the one from the North and the one from across the Narrow Sea.
Catelyn-- Reading this book at a pace of only five chapters a week has been very difficult for me. There have been points where putting the book aside was nearly impossible and times when picking it up again was too. This chapter from Catelyn’s POV was one of the toughest chapters to get back into for me. I am not a fan of Catelyn or Robb, and reading about them unwittingly plotting the end of House Stark (or will it be?) just aggravated me. Catelyn’s decision to keep her mouth shut in front of her son’s men was a nice touch, and it was good to see that maybe her time with her sister has rekindled some prudence in her. But even with that touch I was mostly bored. Which is a real shame. Still, Tyrion is next, so that’s a good thing.
Tyrion -- Nice to be back to someone I like. Tyrion’s cool under pressure is the key to my love for him. In fact, I don’t think he even knows what pressure is. And the shit he can get away with saying is fantastic. He takes the piss out of Tywin (I expected so much from his coming that, I have to admit, being a touch disappointed by our first sighting of him), manipulates the tribesmen with ease, and turns every flow into his flow. He would be the best and scariest King methinks.
Sansa -- What a twit. Her naiveté is mindblowing, really, but it is very much part of her familial inheritance. The Starks/Tullys all seem to be a pack of naive and trusting fools. And it also shows a willingness to ignore what she should know about her father. The man so clearly cares more about honour than life, that he would never go for a deal with Joff. Oh well, at least her chapters always have much more than Sansa going for them. The court intrigue here was brilliant, especially the stand old Ser Barristan took against the other White Swords. I sure hope he lives to become a thorn in the side of Joff. Probably not, though.
Eddard -- This may be my favourite chapter in the book. Varys’ advice to Ned was brilliant, and I badly want Ned to listen to Varys, but something tells me he won’t when the shit really hits the fan. What I find most fascinating about the scene is that Varys didn’t need to give this advice unless there is some truth in what he says about wanting peace. I am not sure that peace is worth it if it leads to the Lannisters in power, but I genuinely believe that he wants peace. We just don’t get enough about Varys, and the same could be said about so many of these characters. It’s the travesty of Martin’s work, really, that he writes such beautifully realized characters and is unable to give us enough about any of them because of the sprawling beast that is his series. I have heard tell, though, that the next book has a whole bunch of new characters to swell the ranks. No. Please, no. I just want more about those we already have.
Shit, a Catelyn chapter is next.
Catelyn -- Lucky for Robb, he’s going to die and get everyone else killed so he won’t have to marry any Freys. Have to say I like that crazy old Walder Frey. He’s one of the most plain speaking lords we’ve come across. No bullshit at all. Straight to the point. I like him.
An aside: Jon really should have passed his knowledge of Joff’s lineage on to the other Baratheon’s right away, or someone (at a minimum). His failure was obvious when I first read it, of course, but as this story goes on and his folly increases, I just want to smack him for his stupidity. Maybe he should have his tongue cut out, since he doesn’t know how to use it.
Jon -- Okay, not only do I like this book, as I was finally forced to admit, but Martin has won me over to his camp too. This chapter with Jon, his possession of Longclaw, the revelation of Maester Aemon’s Targaryen lineage, and the real tension building around the wights is damn fine. I feel even more than I did at the beginning that A Game of Thrones is just a boy’s own soap opera, but that has become an increasingly good thing. I really don’t want this book to end.
I am even more convinced now that Ned will take the honourable route and die. Of course, he’ll probably die regardless.
Daenerys -- Interesting. There is real love now between Drogo and Dany. She grows more every time we see her, both in strength and stature, and seeing Mormont right after listening to his Dad piss on his name was marvellous. He’s not such a bad guy, all things considered. The Maester trained healer is a nice connection back to the Seven Kingdoms for Dany too.
The most important thing to come out of this chapter for me, however, is this interchange when Dany stops the rape: “Mormont: ‘You are your brother’s sister, in truth.’ / ‘Viserys?’ She did not understand. / ‘No,’ he answered. ‘Rhaegar.’” I am increasingly convinced that Robert and Ned and all those rebels had no business usurping the Targaryens. Even if the king was mad, it sounds like his heir apparent, Rhaegar had all the makings of a decent king, so breaking their vows was dishourable in the extreme, and they are paying a just price for their infamy. It’s easy to attack Jaime because he was the Kingslayer, but what the hell were all of these jackasses doing if not getting themselves in position to slay the King. Rather a kingslayer than a usurper.
Tyrion -- Here we have what’s excellent about Martin’s storytelling approach in microcosm. He tells big sweeping tales by tightening his focus on single events – even more tightly focused on people – in the midst of the big sweeping adventure. And we have that very thing happening starkly in this chapter. The big battle rages, but what we see is the battle of the left flank, and specifically the left flank from the perspective of Tyrion trying to stay alive. Making this sort of focus interesting is an impressive skill, but when it is done well, as it is here, it makes for a compelling story that always leaves me wanting more. And, in case I haven’t mentioned it for a while, I love Tyrion, and I can’t wait to see him get his revenge on Tywin.
Catelyn -- Another cool slice of battle scene, but what really strikes me here is the constant disrespect to Theon Greyjoy. The Starks seem to treat Theon like he is some sort of bondsman or peon. But the fact is that Theon is the heir to House Greyjoy, and a young man on par with Robb. Yet Catelyn treats him the way she treats Jon Snow, with disdain, as do most of the others. If, as we are led to believe, Theon has been sent to the Starks to raise, or for finishing or whatever, he would be more appropriately treated with the respect she pays her children rather than constantly smacking him down and embarrassing him in front of others. I have an inkling that their treatment of him is just another thing that is going to haunt the Starks. And it serves them right. Again.
Daenerys -- As if I didn’t already know, NO ONE IS SAFE! Love it. Mormont continues to be a favourite of mind. he is a for real bad ass, and his loyalty to Dany is true. One of the few truly loyal folks in this book. It’s almost a shame he and Ned had a disagreement because they could have been friends in another time and place. Anyway, best part of this chapter is the real magic going on in the tent and the first full out, mind bending cliffhanger. Wow! I want to skip to the next Dany chapter right now. And this is the first time that I’ve actually been pissed at <3Xeni<3 for talking me into this mad way of reading a book. Fuck me.
Arya -- As soon as I knew Ned was being brought before Joffrey, I thought, “Varys’ advice be damned. You’re dead anyway, Eddard. Tell the world that bastard’s not the King.” Yet he does the right thing for Sansa and pays the wicked price. Bummer that Arya had to see that, but I am so glad she did. Someone is going to pay the price, and Needle is going to do the exacting.
Bran -- So are Bran and Rickon set to bring magic back into the world under the watchful eye of Osha? Is Bran going to be the great transcendent hero he dreams of being? Will Rickon be a psycho? How important will the pair be to the Winter to come? How much more important will the direwolves be? These questions and more will be answered, when?
Sansa -- How can anyone reach this point in the book and still hate Sansa? Naive? Yes. Petty? Yes. Foolish? Yes. But how is that any different from her mother or father? They made her what she is, and all of those bad things that they made are tempered with some good things too. And she certainly didn’t deserve what she got from Joffrey. The Hound and Sansa are going to have a great moment someday. At least, I hope so.
Daenerys -- This world of Martin’s has all the brutality and sadness of our own, and that is what makes it truly excellent. So much of the Fantasy out there is too fantastic to resonate with me. It’s not the magic or the monsters, but that everything is so black and white and ultimately so clinically dangerous rather than realistically dangerous. In cities, for instance, it is always the seedy parts of town that are dangerous and nasty. The fights between lords only effect the lords and their armies. Most everyone and everything else escapes. But here, in this world, everyone feels it. No one escapes. I love that.
And I wonder who Daenerys will hook up with next. Ser Jorah? I can always hope.
Tyrion -- Nice. We finally get to really see Lord Tywin, and he didn’t disappoint this time. Clearly he has the real power in the realm, and specifically in the Lannister family despite the throning of his grandson. I almost hope he can hold it all together now that he and his family are up against it. This was an interesting chapter in that I had no idea how in the shit the Lannisters were. I didn’t know the defeat that led to Jaime’s capture and the release of Riverrun was so thorough. I knew Robb took the Kingslayer, but I had no idea it was such a total rout. Also, I can’t wait to see Tyrion slapping around his King nephew when he takes over as boss. Should be something to see.
Jon -- So it turns out he’s as childish as the bulk of his half-siblings. I wonder if he realizes the favour his true brothers did for him, and how much they love him judging by what they risked to save his life and bring him home. I am really hoping we don’t have anymore Jon POVs in the book. I’ve had it with his voice. He annoys me more than Sansa, to be honest.
Catelyn -- Fabulously unexpected. Martin actually surprised me with the turn in this chapter during the council of war. I didn’t see it coming, and now it truly becomes a Game of Thrones. Wow!
Daenerys -- Seriously good ending. I expected this one, so there’s no surprise like there was last chapter, but this chapter has to be one of the most emotionally fulfilling endings I’ve read in a good long time. Methinks the Dragon has been awoken. The world WILL shudder under her wings.
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My Game of Thrones Journal: volume iv
Arya -- I sure hope Syrio’s not dead yet. That...more I am finished. My real review will be coming soon (and here it is), but here's the last installment of my reading journal for those who are still interested. This star rating reflects my feelings about the last quarter of the book and may not be my final rating for the book in its entirety. Since I am writing about the book as I go, there will necessarily be spoilers, so don't continue if you want to avoid them.
My Game of Thrones Journal: volume iv
Arya -- I sure hope Syrio’s not dead yet. That was a nice little fight between him and the White Guard. As for Arya ... I like how quick she is on her feet. I hope she lives into the next book. She’s much more like Jon than the others in her family. Her father could use some of her decision making skills.
Sansa -- Selfish, easily manipulated, I understand where she’s coming from and why she dow what she does, but betraying your blood for a crown, or perceived love, or a dream deserves a full out whooping. I can’t imagine a Lannister doing such a thing. Which group is really the more ethical?
Jon-- Maybe Jon’s not smarter than Ned after all. He tries to kill Ser Alliser Thorne during his little temper tantrum, then he lights a potentially uncontrollable fire in a tower. Idiot! (though I am sure he’ll get away for the fire). Nice to see the Others, or the wights, back kicking some ass. Hope they stay from now on. Nice to see Sam getting a good moment too.
Bran--The arrogance of the lords in this realm! They refuse to listen to their social inferiors with a surety that only they themselves are right and that their decisions are the only decisions. Their hubris is staggering, and so accurate to the real world it makes me shudder. And it pisses me off. Give me the Oshas and the Hodors. I hope that Bran is able to learn some true wisdom through his acquaintances.
Daenerys-- Ser Jorah, crime that pissed Ned off aside, seems to be about the most honourable and subtle of men from the Seven Kingdoms. I love him. He’s one of my faves. What a shame he won’t get his revenge on Ned.
And then there is Robert’s idiotic decision to make the attempt on Dany’s life. The only smart thing in the whole book that Ned says, and it goes ignored, and now Robert has awakened the Stallion that will ravage the Seven Kingdoms. The war will be excellent. And if anything will make me go on with this series it is the promise of the two invasions – the one from the North and the one from across the Narrow Sea.
Catelyn-- Reading this book at a pace of only five chapters a week has been very difficult for me. There have been points where putting the book aside was nearly impossible and times when picking it up again was too. This chapter from Catelyn’s POV was one of the toughest chapters to get back into for me. I am not a fan of Catelyn or Robb, and reading about them unwittingly plotting the end of House Stark (or will it be?) just aggravated me. Catelyn’s decision to keep her mouth shut in front of her son’s men was a nice touch, and it was good to see that maybe her time with her sister has rekindled some prudence in her. But even with that touch I was mostly bored. Which is a real shame. Still, Tyrion is next, so that’s a good thing.
Tyrion -- Nice to be back to someone I like. Tyrion’s cool under pressure is the key to my love for him. In fact, I don’t think he even knows what pressure is. And the shit he can get away with saying is fantastic. He takes the piss out of Tywin (I expected so much from his coming that, I have to admit, being a touch disappointed by our first sighting of him), manipulates the tribesmen with ease, and turns every flow into his flow. He would be the best and scariest King methinks.
Sansa -- What a twit. Her naiveté is mindblowing, really, but it is very much part of her familial inheritance. The Starks/Tullys all seem to be a pack of naive and trusting fools. And it also shows a willingness to ignore what she should know about her father. The man so clearly cares more about honour than life, that he would never go for a deal with Joff. Oh well, at least her chapters always have much more than Sansa going for them. The court intrigue here was brilliant, especially the stand old Ser Barristan took against the other White Swords. I sure hope he lives to become a thorn in the side of Joff. Probably not, though.
Eddard -- This may be my favourite chapter in the book. Varys’ advice to Ned was brilliant, and I badly want Ned to listen to Varys, but something tells me he won’t when the shit really hits the fan. What I find most fascinating about the scene is that Varys didn’t need to give this advice unless there is some truth in what he says about wanting peace. I am not sure that peace is worth it if it leads to the Lannisters in power, but I genuinely believe that he wants peace. We just don’t get enough about Varys, and the same could be said about so many of these characters. It’s the travesty of Martin’s work, really, that he writes such beautifully realized characters and is unable to give us enough about any of them because of the sprawling beast that is his series. I have heard tell, though, that the next book has a whole bunch of new characters to swell the ranks. No. Please, no. I just want more about those we already have.
Shit, a Catelyn chapter is next.
Catelyn -- Lucky for Robb, he’s going to die and get everyone else killed so he won’t have to marry any Freys. Have to say I like that crazy old Walder Frey. He’s one of the most plain speaking lords we’ve come across. No bullshit at all. Straight to the point. I like him.
An aside: Jon really should have passed his knowledge of Joff’s lineage on to the other Baratheon’s right away, or someone (at a minimum). His failure was obvious when I first read it, of course, but as this story goes on and his folly increases, I just want to smack him for his stupidity. Maybe he should have his tongue cut out, since he doesn’t know how to use it.
Jon -- Okay, not only do I like this book, as I was finally forced to admit, but Martin has won me over to his camp too. This chapter with Jon, his possession of Longclaw, the revelation of Maester Aemon’s Targaryen lineage, and the real tension building around the wights is damn fine. I feel even more than I did at the beginning that A Game of Thrones is just a boy’s own soap opera, but that has become an increasingly good thing. I really don’t want this book to end.
I am even more convinced now that Ned will take the honourable route and die. Of course, he’ll probably die regardless.
Daenerys -- Interesting. There is real love now between Drogo and Dany. She grows more every time we see her, both in strength and stature, and seeing Mormont right after listening to his Dad piss on his name was marvellous. He’s not such a bad guy, all things considered. The Maester trained healer is a nice connection back to the Seven Kingdoms for Dany too.
The most important thing to come out of this chapter for me, however, is this interchange when Dany stops the rape: “Mormont: ‘You are your brother’s sister, in truth.’ / ‘Viserys?’ She did not understand. / ‘No,’ he answered. ‘Rhaegar.’” I am increasingly convinced that Robert and Ned and all those rebels had no business usurping the Targaryens. Even if the king was mad, it sounds like his heir apparent, Rhaegar had all the makings of a decent king, so breaking their vows was dishourable in the extreme, and they are paying a just price for their infamy. It’s easy to attack Jaime because he was the Kingslayer, but what the hell were all of these jackasses doing if not getting themselves in position to slay the King. Rather a kingslayer than a usurper.
Tyrion -- Here we have what’s excellent about Martin’s storytelling approach in microcosm. He tells big sweeping tales by tightening his focus on single events – even more tightly focused on people – in the midst of the big sweeping adventure. And we have that very thing happening starkly in this chapter. The big battle rages, but what we see is the battle of the left flank, and specifically the left flank from the perspective of Tyrion trying to stay alive. Making this sort of focus interesting is an impressive skill, but when it is done well, as it is here, it makes for a compelling story that always leaves me wanting more. And, in case I haven’t mentioned it for a while, I love Tyrion, and I can’t wait to see him get his revenge on Tywin.
Catelyn -- Another cool slice of battle scene, but what really strikes me here is the constant disrespect to Theon Greyjoy. The Starks seem to treat Theon like he is some sort of bondsman or peon. But the fact is that Theon is the heir to House Greyjoy, and a young man on par with Robb. Yet Catelyn treats him the way she treats Jon Snow, with disdain, as do most of the others. If, as we are led to believe, Theon has been sent to the Starks to raise, or for finishing or whatever, he would be more appropriately treated with the respect she pays her children rather than constantly smacking him down and embarrassing him in front of others. I have an inkling that their treatment of him is just another thing that is going to haunt the Starks. And it serves them right. Again.
Daenerys -- As if I didn’t already know, NO ONE IS SAFE! Love it. Mormont continues to be a favourite of mind. he is a for real bad ass, and his loyalty to Dany is true. One of the few truly loyal folks in this book. It’s almost a shame he and Ned had a disagreement because they could have been friends in another time and place. Anyway, best part of this chapter is the real magic going on in the tent and the first full out, mind bending cliffhanger. Wow! I want to skip to the next Dany chapter right now. And this is the first time that I’ve actually been pissed at <3Xeni<3 for talking me into this mad way of reading a book. Fuck me.
Arya -- As soon as I knew Ned was being brought before Joffrey, I thought, “Varys’ advice be damned. You’re dead anyway, Eddard. Tell the world that bastard’s not the King.” Yet he does the right thing for Sansa and pays the wicked price. Bummer that Arya had to see that, but I am so glad she did. Someone is going to pay the price, and Needle is going to do the exacting.
Bran -- So are Bran and Rickon set to bring magic back into the world under the watchful eye of Osha? Is Bran going to be the great transcendent hero he dreams of being? Will Rickon be a psycho? How important will the pair be to the Winter to come? How much more important will the direwolves be? These questions and more will be answered, when?
Sansa -- How can anyone reach this point in the book and still hate Sansa? Naive? Yes. Petty? Yes. Foolish? Yes. But how is that any different from her mother or father? They made her what she is, and all of those bad things that they made are tempered with some good things too. And she certainly didn’t deserve what she got from Joffrey. The Hound and Sansa are going to have a great moment someday. At least, I hope so.
Daenerys -- This world of Martin’s has all the brutality and sadness of our own, and that is what makes it truly excellent. So much of the Fantasy out there is too fantastic to resonate with me. It’s not the magic or the monsters, but that everything is so black and white and ultimately so clinically dangerous rather than realistically dangerous. In cities, for instance, it is always the seedy parts of town that are dangerous and nasty. The fights between lords only effect the lords and their armies. Most everyone and everything else escapes. But here, in this world, everyone feels it. No one escapes. I love that.
And I wonder who Daenerys will hook up with next. Ser Jorah? I can always hope.
Tyrion -- Nice. We finally get to really see Lord Tywin, and he didn’t disappoint this time. Clearly he has the real power in the realm, and specifically in the Lannister family despite the throning of his grandson. I almost hope he can hold it all together now that he and his family are up against it. This was an interesting chapter in that I had no idea how in the shit the Lannisters were. I didn’t know the defeat that led to Jaime’s capture and the release of Riverrun was so thorough. I knew Robb took the Kingslayer, but I had no idea it was such a total rout. Also, I can’t wait to see Tyrion slapping around his King nephew when he takes over as boss. Should be something to see.
Jon -- So it turns out he’s as childish as the bulk of his half-siblings. I wonder if he realizes the favour his true brothers did for him, and how much they love him judging by what they risked to save his life and bring him home. I am really hoping we don’t have anymore Jon POVs in the book. I’ve had it with his voice. He annoys me more than Sansa, to be honest.
Catelyn -- Fabulously unexpected. Martin actually surprised me with the turn in this chapter during the council of war. I didn’t see it coming, and now it truly becomes a Game of Thrones. Wow!
Daenerys -- Seriously good ending. I expected this one, so there’s no surprise like there was last chapter, but this chapter has to be one of the most emotionally fulfilling endings I’ve read in a good long time. Methinks the Dragon has been awoken. The world WILL shudder under her wings.
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36 likes · like · see review
Victor
I have to say that I totally agree with the strange pace of the book. At some points in the story, I needed to power through, on others, it was a pain...more
I have to say that I totally agree with the strange pace of the book. At some points in the story, I needed to power through, on others, it was a pain to keep reading. I'll say it took me a year in between 41 other books to finally finish this(less)
Dec 25, 2012 09:23pm
Dec 25, 2012 09:23pm
Brad
I surprised myself the other day and actually bought book three, Victor. I think I am going to start on January first. I should finish it around June.
Dec 25, 2012 09:54pm
Dec 25, 2012 09:54pm
Hmm..."A Game of Thrones"... the book I read to see if it was really true. A Game of Thrones first came to my notice via the attentions of a Twitter spambot, who tweeted what seemed to be extracts from a racy fantasy novel ("The dragon does not beg, slut!") in between links to porn and new iPads or whatever. A fellow tweeter put one of the quotes into Google and discovered the quotes were from an actual book! And not just any book, an IMMENSELY POPULAR book beloved by fans worldwide! I had to ru...more
Hmm..."A Game of Thrones"... the book I read to see if it was really true. A Game of Thrones first came to my notice via the attentions of a Twitter spambot, who tweeted what seemed to be extracts from a racy fantasy novel ("The dragon does not beg, slut!") in between links to porn and new iPads or whatever. A fellow tweeter put one of the quotes into Google and discovered the quotes were from an actual book! And not just any book, an IMMENSELY POPULAR book beloved by fans worldwide! I had to rush over to Borders at lunch time to confirm it with my own eyes.
It tells the story of the Starks and the Lannisters (primarily), who become engaged in a battle for the Iron Throne of the Seven Kingdoms. Another major storyline is that of the surviving Targaryens, Dany and Viserys, who fled the Seven Kingdoms as children, when their father was deposed as King. It is politically complex (in a medieval kind of way) and has intrigue, betrayal, murder, zombies, barbarians and I did read all 807 pages after all.
But... I think the best fantasy and science fiction (or speculative fiction or whatever it's called now) allows authors and readers alike to explore the big themes - death, faith, gender, society, class, race - at a remove from our own society, in a purer form, without some of the baggage that goes with "real life" fiction. The best speculative fiction (for me) is about ideas as much as the fantastic world that's been created.
So it was disappointing to read a book where gender roles and class and everything else were so - feudal. If you're going to invent a complex society, it seems a shame to do nothing new with it. For example, women occupy the types of roles you might expect (lady wives of great men, prostitutes, cranky nursemaids). There are some strong women characters, but they're also the ones who cause the most trouble. There's a token tomboy, who (gasp!) learns swordplay.
One thing that creeped me out was the junior age of many of the characters - many begin the book aged 3-15. All these children do things and feel things that seem to old for them. (Maybe I'm just becoming an old fuddy duddy and don't remember what it was like to learn swordplay at age nine). Dany's story, in particular, made me feel a little ill at times. Her vile brother (Viserys) is keen to raise an army and go back to claim his throne so he sells her to a Dothraki horse lord (Khal Drogo) with the understanding that he will be provided an army in return. The Dothraki are barbarians; we know this because they have sex in public and like to do it doggy style. We're party to Dany's sexual awakening, with phrases like "she took his hand and moved it down to the wetness between her thighs" and "she rode him fiercely" and "his manhood glistened wetly". Which is fine (except for "his manhood glistened wetly" ROFL!!) only SHE'S THIRTEEN. By fourteen she is pregnant (with "the stallion who will mount the world", jeez no one could mention her baby without someone going on about the stallion who will mount the world, enough already!). I thought it was all a bit yucky. But apparently Dany's story extracted into a novella won a Hugo Award, so what do I know?
Other niggles - silly names (Joffrey? Direwolves?), frequently hilarious prose ("Daenerys Targaryen wed Khal Drogo with fear and barbaric splendour in a field beyond the walls of Pentos" and let's not forget that glistening manhood), repetitive character identifiers (OK OK Jon is a bastard, WE GET IT and he misses Arya's GRIN and being able to MUSS HER HAIR) etc etc.
Now this book (and the series) have legions of fans, so I hope I don't get any hate mail after this review.(less)
It tells the story of the Starks and the Lannisters (primarily), who become engaged in a battle for the Iron Throne of the Seven Kingdoms. Another major storyline is that of the surviving Targaryens, Dany and Viserys, who fled the Seven Kingdoms as children, when their father was deposed as King. It is politically complex (in a medieval kind of way) and has intrigue, betrayal, murder, zombies, barbarians and I did read all 807 pages after all.
But... I think the best fantasy and science fiction (or speculative fiction or whatever it's called now) allows authors and readers alike to explore the big themes - death, faith, gender, society, class, race - at a remove from our own society, in a purer form, without some of the baggage that goes with "real life" fiction. The best speculative fiction (for me) is about ideas as much as the fantastic world that's been created.
So it was disappointing to read a book where gender roles and class and everything else were so - feudal. If you're going to invent a complex society, it seems a shame to do nothing new with it. For example, women occupy the types of roles you might expect (lady wives of great men, prostitutes, cranky nursemaids). There are some strong women characters, but they're also the ones who cause the most trouble. There's a token tomboy, who (gasp!) learns swordplay.
One thing that creeped me out was the junior age of many of the characters - many begin the book aged 3-15. All these children do things and feel things that seem to old for them. (Maybe I'm just becoming an old fuddy duddy and don't remember what it was like to learn swordplay at age nine). Dany's story, in particular, made me feel a little ill at times. Her vile brother (Viserys) is keen to raise an army and go back to claim his throne so he sells her to a Dothraki horse lord (Khal Drogo) with the understanding that he will be provided an army in return. The Dothraki are barbarians; we know this because they have sex in public and like to do it doggy style. We're party to Dany's sexual awakening, with phrases like "she took his hand and moved it down to the wetness between her thighs" and "she rode him fiercely" and "his manhood glistened wetly". Which is fine (except for "his manhood glistened wetly" ROFL!!) only SHE'S THIRTEEN. By fourteen she is pregnant (with "the stallion who will mount the world", jeez no one could mention her baby without someone going on about the stallion who will mount the world, enough already!). I thought it was all a bit yucky. But apparently Dany's story extracted into a novella won a Hugo Award, so what do I know?
Other niggles - silly names (Joffrey? Direwolves?), frequently hilarious prose ("Daenerys Targaryen wed Khal Drogo with fear and barbaric splendour in a field beyond the walls of Pentos" and let's not forget that glistening manhood), repetitive character identifiers (OK OK Jon is a bastard, WE GET IT and he misses Arya's GRIN and being able to MUSS HER HAIR) etc etc.
Now this book (and the series) have legions of fans, so I hope I don't get any hate mail after this review.(less)
His trusty steed at a trot, Ser Merk headed forth into the Seven Kingdoms. Along the way, he met a sly lil dwarf, an honorable man, his honorable wife, a young boy who thought he could fly, Ser This and Ser That, Ser Used-to-Be, and Ser Has-Never-Been, and in the end, it turned out to be the boring young lady whose chapters Ser Merk often dreaded to see coming that finally stole his heart.
Young lady, you hath woneth my hand. May I have this daynct?
Cut a rug, bugaloo. Cut a rug, bugaloo. La lal...more His trusty steed at a trot, Ser Merk headed forth into the Seven Kingdoms. Along the way, he met a sly lil dwarf, an honorable man, his honorable wife, a young boy who thought he could fly, Ser This and Ser That, Ser Used-to-Be, and Ser Has-Never-Been, and in the end, it turned out to be the boring young lady whose chapters Ser Merk often dreaded to see coming that finally stole his heart.
Young lady, you hath woneth my hand. May I have this daynct?
Cut a rug, bugaloo. Cut a rug, bugaloo. La lala La lala.
Young lady, you done lost ye clothes. Tyrion, you knave, get thee offeth thy floors and stop starin uppeth yon lady's skirts! Oh yes, I see, yes, I'll give you that. She doesn't seem to wear clothes often, does she? You've a keen eye there, Lannister. But a tart tongue. But I like ya. I think you'll go far.
CORN!!! CORN!!! CORN!!!!
Oh shut it you mangy crow.
Look Jon, do what you have to do, okie? If you gotta trot, trot that bastard over hill and over dale. Over long rivers and short. Itty bitty squatty rivers, and great big ole massive watery arms that could fill a flagon the size of Pluto. Oh, yes, that's right. I understand. I'm aware they downgraded it. But in your time. Ohhhh. You don't know what Pluto is. Alright then.
Bran, Bran, my boy. Come here, my lad, let's talk. Hey!! Where you goin!!? See, you should've done that do begin with!! Things would've turned out a whole lot better! ...Fine, run then.
Joffrey, my boy! You're the biggest eunuch, dickless, ball-less, hopeless, sack of horse shit on the face of the Seven Kingdoms. Inquiring minds at home wanna know: how's it feel?
And there you have it folks. Live from the Seven Kingdoms, this is Ser Mirk, er, Mork, er, why did I decide to spell these names just slightly different from their "modern English" counterparts, again? Might wanna rethink that in the second draft. Again, this is Ser Merck. ...Merck... Lineage. German pharmaceutical giant. Note to self: check blood line. Vast wealth could like in the near future. Ask Varys, he knows shit. So, this is Ser Merck, signing off. Back to you in the booth, Old Gods.
(less)
Young lady, you hath woneth my hand. May I have this daynct?
Cut a rug, bugaloo. Cut a rug, bugaloo. La lal...more His trusty steed at a trot, Ser Merk headed forth into the Seven Kingdoms. Along the way, he met a sly lil dwarf, an honorable man, his honorable wife, a young boy who thought he could fly, Ser This and Ser That, Ser Used-to-Be, and Ser Has-Never-Been, and in the end, it turned out to be the boring young lady whose chapters Ser Merk often dreaded to see coming that finally stole his heart.
Young lady, you hath woneth my hand. May I have this daynct?
Cut a rug, bugaloo. Cut a rug, bugaloo. La lala La lala.
Young lady, you done lost ye clothes. Tyrion, you knave, get thee offeth thy floors and stop starin uppeth yon lady's skirts! Oh yes, I see, yes, I'll give you that. She doesn't seem to wear clothes often, does she? You've a keen eye there, Lannister. But a tart tongue. But I like ya. I think you'll go far.
CORN!!! CORN!!! CORN!!!!
Oh shut it you mangy crow.
Look Jon, do what you have to do, okie? If you gotta trot, trot that bastard over hill and over dale. Over long rivers and short. Itty bitty squatty rivers, and great big ole massive watery arms that could fill a flagon the size of Pluto. Oh, yes, that's right. I understand. I'm aware they downgraded it. But in your time. Ohhhh. You don't know what Pluto is. Alright then.
Bran, Bran, my boy. Come here, my lad, let's talk. Hey!! Where you goin!!? See, you should've done that do begin with!! Things would've turned out a whole lot better! ...Fine, run then.
Joffrey, my boy! You're the biggest eunuch, dickless, ball-less, hopeless, sack of horse shit on the face of the Seven Kingdoms. Inquiring minds at home wanna know: how's it feel?
And there you have it folks. Live from the Seven Kingdoms, this is Ser Mirk, er, Mork, er, why did I decide to spell these names just slightly different from their "modern English" counterparts, again? Might wanna rethink that in the second draft. Again, this is Ser Merck. ...Merck... Lineage. German pharmaceutical giant. Note to self: check blood line. Vast wealth could like in the near future. Ask Varys, he knows shit. So, this is Ser Merck, signing off. Back to you in the booth, Old Gods.
(less)
I know I keep telling this story over and over, and I feel like I've been talking about those books I consider "formative" to my interest in fantasy and science fiction rather a lot lately—probably because I've been re-reading some of them. So apologies if the anecdotes have become tiresome. Nevertheless, it is necessary in this case for the wavey lines of flashback to cascade down your computer screen, for A Song of Ice and Fire played such a big role in kindling my love for fantasy that it wou...more
I know I keep telling this story over and over, and I feel like I've been talking about those books I consider "formative" to my interest in fantasy and science fiction rather a lot lately—probably because I've been re-reading some of them. So apologies if the anecdotes have become tiresome. Nevertheless, it is necessary in this case for the wavey lines of flashback to cascade down your computer screen, for A Song of Ice and Fire played such a big role in kindling my love for fantasy that it would be criminal not to examine it in this light.
My tastes as a child ran decidedly toward mysteries: first I devoured the Hardy Boys and Nancy Drew, then I discovered Arthur Conan Doyle and Agatha Christie. I read Lord of the Rings in grades five and six, along with Dune, but I view those experiences as separate from when I truly became enchanted with science fiction and fantasy a year later. They were mere dalliances, flirtations with the field prior to my actual deflowering. I read them and enjoyed them, but they did not inspire me to read more widely in their respective genres.
That all changed in grade seven. A classmate and friend lent me a massive book containing the first three volumes of The Belgariad , by David Eddings. It blew my mind, and with all the enthusiasm an impressionable 12-year-old boy can muster, I thought it was the best thing ever. My evaluation of the series' quality has mellowed over the years, but I cannot discount the importance it has as my gateway book into fantasy. After I devoured The Belgariad, I was like a zombie starved for braaaaains. I needed something more, and my local library delivered up to me exactly what I wanted.
I read the first three books in the Ice and Fire series in their hardcover editions. It would be an exaggeration to say I could barely lift them, but they definitely stood out from your average hardcover novel, and are much more remarkable than the mass market paperback edition I read this time. The sheer doorstopper physicality of these books made an impression on me that lasts to this day.
A Game of Thrones and the two sequels that existed at the time were not my first foray into fantasy, nor were they what got me hooked on the genre. They were the crucial second series that cemented my love of fantasy, confirming to me that I had made the right choice. The intrigue among the characters fascinated me, and I couldn't wait to see what happened to them next. (I do not recall what I thought about the sexuality, if indeed I noticed it at all.) And, as with The Belgariad, I brought my unhoned ideas of literary quality to the table when I read A Game of Thrones, and I'm sure I thought it was among the best books I've ever read.
So we come, in the most direct route possible however meandering it may seem, to my point. I do not still rank these books among "the best I've ever read;" I'm lucky enough to have read quite a few good books since then. Although I still love this series and really enjoyed re-reading this book, my adult self is better equipped to evaluate it critically. That's why I re-read books that made a difference for me as a child or adolescent, such as this one, A Wizard of Earthsea , and Fifth Business . I don't do it to destroy the illusions I hold about how great they are but to put my childhood admiration for them in a context my adult self can understand. The story I told above is a great memory, but it's just a story. It's not what actually happened, just a fragmentary recollection of how it might have happened. I have romanticized not just books themselves but their place in my younger life, and this is a way of bringing them down off their pedestal and making them more real to me.
A Game of Thrones is also kind of a reality check for the romanticization of medieval fantasy in general. The book is not so much realistic—it is, after all, set in an alternative world where there be dragons—but the way Martin depicts life in a medieval setting is a lot more reminiscent of British historical fiction than classic epic fantasy. It's one thing to have a story set in a monarchy with knights and nobility and peasantry; it's quite another to claim one's setting is "medieval" or "feudal" in a true sense of those words. Reading this book, I'm reminded of something David Brin wrote in his afterword for Glory Season:
I remember thinking at the time, and I still think, that Brin's entirely right to question the status quo in this way. I don't know if there is a proper name for this type of folly—we could call it "the pastoral illusion" after all those people who think we should return to "a better way of life" by returning to a past level of technology—but it is not present in A Game of Thrones. Life in the Seven Kingdoms is not all that pleasant by our standards, and it mostly has to do with a fundamental lack of freedom—a lack of choice.
I have come to understand, in no small part thanks to my awesome Medieval & Tudor Drama prof, how fundamentally different life was in a feudal society compared to what we experience today. The cognitive dissonance Brin finds so distasteful is a result of our attempts to map our own cultural conceptions onto feudal society. In particular, our Enlightenment-driven ideas about individuality and self-determination often tend to get in the way. It goes deeper, however, extending beyond how we live to how we think. The society of the Seven Kingdoms of Westeros captures this lack of individual choice by showing us the obligations the characters have to their family, their positions, and the realm itself.
The Stark children are a great example. Robb Stark is destined to succeed his father as Lord of Winterfell, and he seems rather suited to the role. His brother Bran suffers a fall that leaves him paralyzed from the waist down. This shatters Bran's life and his understanding of his place in the world. Westeros has precious few slots in society for thinkers and sedentary people, and the masculine role is very much one of activity, and for nobility, fighting and hunting. Bran will never be a warrior now. He has alternatives, of course, which Eddard Stark lists for Arya when she asks what Bran can do now. Then she asks:
Arya, bless her heart, does not want to conform to the role of women among Westeros nobility. It's not that women are powerless—Cersei Lannister and Catelyn Stark belie that idea—but they have to be very careful in how they wield their power, for there is quite a bit of misogyny present even among the "good" characters, like King Robert. The phrase "just a woman" and its ilk gets repeated throughout the book. Women have power, but they lack the respect (or fear) that accompanies such power when wielded overtly, martially.
Sansa Stark is almost the exact opposite of her younger sister. And while it's impossible not to have a special place in one's heart for Arya, who is well on her way to being a Lady of War, I also feel for Sansa. She's not likeable: she's naive, selfish, and self-absorbed. Yet she almost feels as if he's a stand-in for the reader: she's constantly looking for a hero, and every time she thinks she has found him, her hopes are betrayed. Joffrey is not Prince Charming; Ser Loras Tyrell is not the chivalrous knight in shining armour; her father cannot save her. There are no heroes in A Game of Thrones, just fallible human beings.
This is a book which truly embraces the idea of an ensemble cast. Some characters shine more than others, but there is no single character one can isolate as "the main character" or "the hero." I won't go so far as to suggest that every character is morally ambiguous or that there are no protagonists or antagonists. The conflict is pretty clearly between House Stark and House Lannister. The former are the "good guys" who stand for truth, honour, etc.; the latter are "the bad guys" who manipulate, deceive, betray, and so on. Martin makes us want to cheer for the Starks and boo the Lannisters—but that doesn't mean the Starks are all good people who only do good things and who are above manipulation or deceit. In many ways, they remind me of Houses Atreides and Harkonnen from Dune . There's the same mixture of epic scope with intimate family relationships.
The conflict also draws from the real-life Wars of the Roses. Martin, like Bernard Cornwell, portrays not only the harsh realities of feudal society in terms of relationships and choice but also the political instability often present in such systems of governance. I'm enamoured with British history, because it's just so juicy, and if you read enough about it, one of the overwhelming themes is one of fragility. The country gets invaded quite often, kings fall, new dynasties arise, and then those ones fall too. The idea of a single, unified army is a myth; armies consist of a few knights but mostly conscripts whose day jobs are much less militant, and the conscripts are loyal to their lords, not to the king. Martin reminds us of this fact several times throughout A Game of Thrones, notably in the relationship between Robb Stark and the force he raises to march upon the Lannisters. Later, when Arya overhears a conversation among some common people about King Robert, we are reminded that these folk don't really care who is king. One ruler will likely be just as bad as another.
So the causes for which the nobility, and in particular House Stark, fight are actually rather divorced from the concerns of the common people. Toward the end of A Game of Thrones, Lord Eddard has to choose between supporting a false claimant to the throne, which would save his family and supposedly preserve the stability of Westeros, or supporting the "rightful" king, even though he's probably not the best guy for the job. I love this dilemma, and I love Martin for putting Eddard in this situation where there are no good choices. It's great to see characters forced to choose between two bad alternatives—and it's even better if the character can somehow come up with a third option.
Eddard's choice, as I'll call it, brings to mind two things. Firstly, nobody in power today got there unless that person or a predecessor took power from someone else. Today's "rightful" leaders are yesterday's revolutionaries; history makes this abundantly clear. Eddard considers House Baratheon the "rightful" ruling house of Westeros—this is after he was instrumental in the rebellion against the previous "rightful" kings, the Targaryens. Viserys Targaryen, likewise, considers himself the rightful king of Westeros and is rather bitter about it. Secondly, in the chaos that quickly unfolds throughout A Game of Thrones, Martin has created a delightful downward spiral of events. The kingdom is well on its way to civil war before Eddard's choice, and any suggestion that by choosing to support one claimant to the throne over another he'll be preserving the stability of Westeros is a lie. Hence, fragility: a chain of events that starts with minor skirmishes among the noble houses turns into all-out civil war. A confluence of independent choices made by characters scattered across the Seven Kingdoms makes matters worse.
For all my praise about Martin's depiction of medieval society and its political intrigue, A Game of Thrones is curiously deficient in its portrayal of religion. Oh, we get the exposition. There are two religions in Westeros: the "old gods" are still prevalent in the North and are worshipped through the trees of a godswood; the seven gods are worshipped in aptly-named churches called "septs." Religion is not absent from A Game of Thrones, but its presence and its influence on the state of affairs is a lot more subdued than I would expect in an otherwise full-featured work of fantasy such as this. The High Septon gets mentioned a few times and shows up once or twice, and that's it. Does the church have money? Does it exert influence on matters of state? How did it feel about the deposition of the Targaryens?
Viserys Targaryen might be my least favourite character in A Game of Thrones because he is so obviously mad. The first few chapters featuring Viserys and Daenerys are a little painful, since the dynamic between them is both obvious and creepy. I sympathize with Daenerys, for she's about to get prostituted by her brother in return for an army, and she's only thirteen years old (not that prostituting one's siblings is acceptable at any age). And Daenerys undergoes considerable growth in this book, quickly becoming a formidable person who embraces her sex and sexuality and heritage with gusto. There is nothing sympathetic about Viserys. He's just insane. While I sympathize with Daenerys and, to some extent, even like her, I can't help but hope she fails at her plans to retake Westeros and the Seven Kingdoms, because that just means more bloodshed.
The unfortunate and wonderful truth about what George R.R. Martin has wrought, however, is that there will necessarily be more bloodshed. There is no way all the characters I like can escape unscathed or even alive from the madness that has descended upon them. The way shall indeed be steep and thorny and almost as tough for us as readers as it will be for the characters.
I'm probably a GRRM fanboy. I love this series, both because of its associations with my youth and its depiction of medieval society. Keep all those things in mind, though, if you consider my enjoyment a recommendation. This is a long book—and by no means a perfect one—so as well as being a doorstopper, it embodies the idea that "your mileage may vary." As with plenty of popular titles, A Game of Thrones suffers from its hype as well as benefiting; I think a lot of people build up an idea about this book in their minds, and when it fails to conform to that idea, they become disillusioned and kick it to the curb.
I'm just as guilty for building up illusions of what this book is and isn't, though in my case it's because I read the first three books in grade seven and haven't returned to them since. Re-reading A Game of Thrones was mostly a happy experience; plenty of times I found myself giggling gleefully or scowling at some turn of events. It's also been useful, because now I am free from the burden of memory and hazy recollection: when I talk about this book, and when I laud it, I can do it with the confidence instilled by having read it recently and finding it every bit as good as it was the first time around. A Game of Thrones isn't the best book ever written (it probably won't even make this year's top ten list), but it still holds a special place in my heart. Ultimately, it helped encourage me to continue reading fantasy. If it weren't for this book, I probably wouldn't be the person I am today.
To call something the exemplar for an entire genre is foolish and snobbish, and although I am at times both, I am seldom both at the same time. I think it's fair to say that A Song of Ice and Fire has had an influence on fantasy comparable to Tolkien and The Lord of the Rings. Neither is the master template for the genre, however, and I won't join the fanboys who call it such. There's something special about A Game of Thrones that keeps people coming back and keeps people reading, despite the notorious lengths of the books and lengths of time between publication. Whether that brand of special matches your personal brand of madness will have to be for you to decide.
My Reviews of A Song of Ice and Fire:
A Clash of Kings →
(less)
My tastes as a child ran decidedly toward mysteries: first I devoured the Hardy Boys and Nancy Drew, then I discovered Arthur Conan Doyle and Agatha Christie. I read Lord of the Rings in grades five and six, along with Dune, but I view those experiences as separate from when I truly became enchanted with science fiction and fantasy a year later. They were mere dalliances, flirtations with the field prior to my actual deflowering. I read them and enjoyed them, but they did not inspire me to read more widely in their respective genres.
That all changed in grade seven. A classmate and friend lent me a massive book containing the first three volumes of The Belgariad , by David Eddings. It blew my mind, and with all the enthusiasm an impressionable 12-year-old boy can muster, I thought it was the best thing ever. My evaluation of the series' quality has mellowed over the years, but I cannot discount the importance it has as my gateway book into fantasy. After I devoured The Belgariad, I was like a zombie starved for braaaaains. I needed something more, and my local library delivered up to me exactly what I wanted.
I read the first three books in the Ice and Fire series in their hardcover editions. It would be an exaggeration to say I could barely lift them, but they definitely stood out from your average hardcover novel, and are much more remarkable than the mass market paperback edition I read this time. The sheer doorstopper physicality of these books made an impression on me that lasts to this day.
A Game of Thrones and the two sequels that existed at the time were not my first foray into fantasy, nor were they what got me hooked on the genre. They were the crucial second series that cemented my love of fantasy, confirming to me that I had made the right choice. The intrigue among the characters fascinated me, and I couldn't wait to see what happened to them next. (I do not recall what I thought about the sexuality, if indeed I noticed it at all.) And, as with The Belgariad, I brought my unhoned ideas of literary quality to the table when I read A Game of Thrones, and I'm sure I thought it was among the best books I've ever read.
So we come, in the most direct route possible however meandering it may seem, to my point. I do not still rank these books among "the best I've ever read;" I'm lucky enough to have read quite a few good books since then. Although I still love this series and really enjoyed re-reading this book, my adult self is better equipped to evaluate it critically. That's why I re-read books that made a difference for me as a child or adolescent, such as this one, A Wizard of Earthsea , and Fifth Business . I don't do it to destroy the illusions I hold about how great they are but to put my childhood admiration for them in a context my adult self can understand. The story I told above is a great memory, but it's just a story. It's not what actually happened, just a fragmentary recollection of how it might have happened. I have romanticized not just books themselves but their place in my younger life, and this is a way of bringing them down off their pedestal and making them more real to me.
A Game of Thrones is also kind of a reality check for the romanticization of medieval fantasy in general. The book is not so much realistic—it is, after all, set in an alternative world where there be dragons—but the way Martin depicts life in a medieval setting is a lot more reminiscent of British historical fiction than classic epic fantasy. It's one thing to have a story set in a monarchy with knights and nobility and peasantry; it's quite another to claim one's setting is "medieval" or "feudal" in a true sense of those words. Reading this book, I'm reminded of something David Brin wrote in his afterword for Glory Season:
While I have the floor, here's a question that's been bothering me for some time. Why do so few writers of heroic or epic fantasy ever deal with the fundamental quandary of their novels . . . that so many of them take place in cultures that are rigid, hierarchical, stratified, and in essence oppressive? What is so appealing about feudalism, that so many free citizens of an educated commonwealth like ours love reading about and picturing life under hereditary lords?
I remember thinking at the time, and I still think, that Brin's entirely right to question the status quo in this way. I don't know if there is a proper name for this type of folly—we could call it "the pastoral illusion" after all those people who think we should return to "a better way of life" by returning to a past level of technology—but it is not present in A Game of Thrones. Life in the Seven Kingdoms is not all that pleasant by our standards, and it mostly has to do with a fundamental lack of freedom—a lack of choice.
I have come to understand, in no small part thanks to my awesome Medieval & Tudor Drama prof, how fundamentally different life was in a feudal society compared to what we experience today. The cognitive dissonance Brin finds so distasteful is a result of our attempts to map our own cultural conceptions onto feudal society. In particular, our Enlightenment-driven ideas about individuality and self-determination often tend to get in the way. It goes deeper, however, extending beyond how we live to how we think. The society of the Seven Kingdoms of Westeros captures this lack of individual choice by showing us the obligations the characters have to their family, their positions, and the realm itself.
The Stark children are a great example. Robb Stark is destined to succeed his father as Lord of Winterfell, and he seems rather suited to the role. His brother Bran suffers a fall that leaves him paralyzed from the waist down. This shatters Bran's life and his understanding of his place in the world. Westeros has precious few slots in society for thinkers and sedentary people, and the masculine role is very much one of activity, and for nobility, fighting and hunting. Bran will never be a warrior now. He has alternatives, of course, which Eddard Stark lists for Arya when she asks what Bran can do now. Then she asks:
"Can I be a king's councillor and build castles and become the High Septon?"
"You," Ned said, kissing her lightly on the brow, "will marry a king and rule his castle, and your sons will be knights and princes and lords and, yes, perhaps even a High Septon."
Arya screwed up her face. "No," she said, "that's Sansa." She folded up her right leg and resumed her balancing. Ned sighed and left her there.
Arya, bless her heart, does not want to conform to the role of women among Westeros nobility. It's not that women are powerless—Cersei Lannister and Catelyn Stark belie that idea—but they have to be very careful in how they wield their power, for there is quite a bit of misogyny present even among the "good" characters, like King Robert. The phrase "just a woman" and its ilk gets repeated throughout the book. Women have power, but they lack the respect (or fear) that accompanies such power when wielded overtly, martially.
Sansa Stark is almost the exact opposite of her younger sister. And while it's impossible not to have a special place in one's heart for Arya, who is well on her way to being a Lady of War, I also feel for Sansa. She's not likeable: she's naive, selfish, and self-absorbed. Yet she almost feels as if he's a stand-in for the reader: she's constantly looking for a hero, and every time she thinks she has found him, her hopes are betrayed. Joffrey is not Prince Charming; Ser Loras Tyrell is not the chivalrous knight in shining armour; her father cannot save her. There are no heroes in A Game of Thrones, just fallible human beings.
This is a book which truly embraces the idea of an ensemble cast. Some characters shine more than others, but there is no single character one can isolate as "the main character" or "the hero." I won't go so far as to suggest that every character is morally ambiguous or that there are no protagonists or antagonists. The conflict is pretty clearly between House Stark and House Lannister. The former are the "good guys" who stand for truth, honour, etc.; the latter are "the bad guys" who manipulate, deceive, betray, and so on. Martin makes us want to cheer for the Starks and boo the Lannisters—but that doesn't mean the Starks are all good people who only do good things and who are above manipulation or deceit. In many ways, they remind me of Houses Atreides and Harkonnen from Dune . There's the same mixture of epic scope with intimate family relationships.
The conflict also draws from the real-life Wars of the Roses. Martin, like Bernard Cornwell, portrays not only the harsh realities of feudal society in terms of relationships and choice but also the political instability often present in such systems of governance. I'm enamoured with British history, because it's just so juicy, and if you read enough about it, one of the overwhelming themes is one of fragility. The country gets invaded quite often, kings fall, new dynasties arise, and then those ones fall too. The idea of a single, unified army is a myth; armies consist of a few knights but mostly conscripts whose day jobs are much less militant, and the conscripts are loyal to their lords, not to the king. Martin reminds us of this fact several times throughout A Game of Thrones, notably in the relationship between Robb Stark and the force he raises to march upon the Lannisters. Later, when Arya overhears a conversation among some common people about King Robert, we are reminded that these folk don't really care who is king. One ruler will likely be just as bad as another.
So the causes for which the nobility, and in particular House Stark, fight are actually rather divorced from the concerns of the common people. Toward the end of A Game of Thrones, Lord Eddard has to choose between supporting a false claimant to the throne, which would save his family and supposedly preserve the stability of Westeros, or supporting the "rightful" king, even though he's probably not the best guy for the job. I love this dilemma, and I love Martin for putting Eddard in this situation where there are no good choices. It's great to see characters forced to choose between two bad alternatives—and it's even better if the character can somehow come up with a third option.
Eddard's choice, as I'll call it, brings to mind two things. Firstly, nobody in power today got there unless that person or a predecessor took power from someone else. Today's "rightful" leaders are yesterday's revolutionaries; history makes this abundantly clear. Eddard considers House Baratheon the "rightful" ruling house of Westeros—this is after he was instrumental in the rebellion against the previous "rightful" kings, the Targaryens. Viserys Targaryen, likewise, considers himself the rightful king of Westeros and is rather bitter about it. Secondly, in the chaos that quickly unfolds throughout A Game of Thrones, Martin has created a delightful downward spiral of events. The kingdom is well on its way to civil war before Eddard's choice, and any suggestion that by choosing to support one claimant to the throne over another he'll be preserving the stability of Westeros is a lie. Hence, fragility: a chain of events that starts with minor skirmishes among the noble houses turns into all-out civil war. A confluence of independent choices made by characters scattered across the Seven Kingdoms makes matters worse.
For all my praise about Martin's depiction of medieval society and its political intrigue, A Game of Thrones is curiously deficient in its portrayal of religion. Oh, we get the exposition. There are two religions in Westeros: the "old gods" are still prevalent in the North and are worshipped through the trees of a godswood; the seven gods are worshipped in aptly-named churches called "septs." Religion is not absent from A Game of Thrones, but its presence and its influence on the state of affairs is a lot more subdued than I would expect in an otherwise full-featured work of fantasy such as this. The High Septon gets mentioned a few times and shows up once or twice, and that's it. Does the church have money? Does it exert influence on matters of state? How did it feel about the deposition of the Targaryens?
Viserys Targaryen might be my least favourite character in A Game of Thrones because he is so obviously mad. The first few chapters featuring Viserys and Daenerys are a little painful, since the dynamic between them is both obvious and creepy. I sympathize with Daenerys, for she's about to get prostituted by her brother in return for an army, and she's only thirteen years old (not that prostituting one's siblings is acceptable at any age). And Daenerys undergoes considerable growth in this book, quickly becoming a formidable person who embraces her sex and sexuality and heritage with gusto. There is nothing sympathetic about Viserys. He's just insane. While I sympathize with Daenerys and, to some extent, even like her, I can't help but hope she fails at her plans to retake Westeros and the Seven Kingdoms, because that just means more bloodshed.
The unfortunate and wonderful truth about what George R.R. Martin has wrought, however, is that there will necessarily be more bloodshed. There is no way all the characters I like can escape unscathed or even alive from the madness that has descended upon them. The way shall indeed be steep and thorny and almost as tough for us as readers as it will be for the characters.
I'm probably a GRRM fanboy. I love this series, both because of its associations with my youth and its depiction of medieval society. Keep all those things in mind, though, if you consider my enjoyment a recommendation. This is a long book—and by no means a perfect one—so as well as being a doorstopper, it embodies the idea that "your mileage may vary." As with plenty of popular titles, A Game of Thrones suffers from its hype as well as benefiting; I think a lot of people build up an idea about this book in their minds, and when it fails to conform to that idea, they become disillusioned and kick it to the curb.
I'm just as guilty for building up illusions of what this book is and isn't, though in my case it's because I read the first three books in grade seven and haven't returned to them since. Re-reading A Game of Thrones was mostly a happy experience; plenty of times I found myself giggling gleefully or scowling at some turn of events. It's also been useful, because now I am free from the burden of memory and hazy recollection: when I talk about this book, and when I laud it, I can do it with the confidence instilled by having read it recently and finding it every bit as good as it was the first time around. A Game of Thrones isn't the best book ever written (it probably won't even make this year's top ten list), but it still holds a special place in my heart. Ultimately, it helped encourage me to continue reading fantasy. If it weren't for this book, I probably wouldn't be the person I am today.
To call something the exemplar for an entire genre is foolish and snobbish, and although I am at times both, I am seldom both at the same time. I think it's fair to say that A Song of Ice and Fire has had an influence on fantasy comparable to Tolkien and The Lord of the Rings. Neither is the master template for the genre, however, and I won't join the fanboys who call it such. There's something special about A Game of Thrones that keeps people coming back and keeps people reading, despite the notorious lengths of the books and lengths of time between publication. Whether that brand of special matches your personal brand of madness will have to be for you to decide.
My Reviews of A Song of Ice and Fire:
A Clash of Kings →
16 likes · like · see review
Ben Babcock
Jocelyn wrote: "This is such a brilliant review. Thank you for sharing. You expressed everything I thought about this book, and more, very eloquently....more
Jocelyn wrote: "This is such a brilliant review. Thank you for sharing. You expressed everything I thought about this book, and more, very eloquently."
Thanks! I see you had a review up, but no longer? :S Maybe mine will help you organize your thoughts and inspire you to write another. :)(less)
Mar 22, 2013 07:11pm
Thanks! I see you had a review up, but no longer? :S Maybe mine will help you organize your thoughts and inspire you to write another. :)(less)
Mar 22, 2013 07:11pm
Jocelyn
Yeah, I had one up, but it was pretty dumb, so I deleted it. Yes, your review was quite inspiring. Always the kind of insight I try to come up with, b...more
Yeah, I had one up, but it was pretty dumb, so I deleted it. Yes, your review was quite inspiring. Always the kind of insight I try to come up with, but somehow never can. ;)(less)
Mar 22, 2013 07:43pm
Mar 22, 2013 07:43pm

Winter is finally returning after years of summer and it brings its horrors with it.
"Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north. Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods."
The lords and the armies prepare for a war that seems in...more

Winter is finally returning after years of summer and it brings its horrors with it.
"Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north. Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods."
The lords and the armies prepare for a war that seems inevitable, children are forced to grow up before their time, men are forced to choose between honor and heart, women are forced to choose the easy road or fight and yet the greatest threat is coming from beyond their land, beyond the Wall and is greater than their petty quarrels.

"There are no heroes, in life the monsters win."
Lies, betrayals, treasons, battles, tricks, fights, wars. You can never know friend from foe when everybody has a secret agenda. A family of wolves as bold and cold as ice, clear, honorable but hard to the core. A family of lions, vain, arrogant, with a lust for power greater than their honor. A king lost in his pleasures and delusions. A dragon prince and princess without a kingdom.

They plot, they trick, they go to war and still they fail to understand...
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I'm somewhat disappointed by this. I found it fun and entertaining for the first couple of hundred pages. It was interesting and engaging, and I could see why it's being filmed. But as the book progressed my enjoyment waned. It may be mostly me.
First, I've come to fantasy from science fiction, and expect writers to be logical and consistent in their world-building. I love Martin's idea of a climate where winter can last for years and summer can last for years, but he doesn't seem to have thought...more I'm somewhat disappointed by this. I found it fun and entertaining for the first couple of hundred pages. It was interesting and engaging, and I could see why it's being filmed. But as the book progressed my enjoyment waned. It may be mostly me.
First, I've come to fantasy from science fiction, and expect writers to be logical and consistent in their world-building. I love Martin's idea of a climate where winter can last for years and summer can last for years, but he doesn't seem to have thought it through or developed it at all. What does it mean for a medieval agricultural and economic system? what happens to trade if there's no harvest? Does he mention granaries, or stockpiling of foodstuffs? If so, I must have missed it.
Then, perhaps I'm not really a fantasy lover, because the more fantastic elements don't sit well. I don't mind a little magic or supernatural phenomena. I should like dragons, shouldn't I? But that whole plot thread was rather dull and hackneyed; and then veered off into the bizarre. Symbolic stones that are actually long-dormant eggs, ok. Newly hatched dragons that suckle their human 'mother'? That was a bridge too far. Even in fantasy, there must be some internal logic.
And then there were the characters. Did the bad guys have to be cartoon villains? Incestuous, maniacal; rapists and sexual abusers? Aren't venality, duplicity and murderous ambition evil enough characteristics?
And the good guys; why is nobility wedded to stupidity? Why would a senior politician in possession of information about treason reveal his hand to the traitor and then share his escape plans with a misguided child? Can one not have both integrity and intelligence?
By the time I got halfway through I realised Martin was unlikely to significantly advance the story in one volume- another feature of fantasy novels nowadays. So different plot threads were started, but none of those dozens of characters could be well-developed. A pity; some of them were promising. I liked the dwarf, the climbing (and falling) child, the wayward tomboy and, of course, the bastard. And the wolves! :-)
I'm not all prudish, but I didn't like the sex either. It's all bad sex. Pain and humiliation are inflicted on somebody, usually a woman or girl. Or else it's illicit and dishonourable and distasteful. None of it seemed to me to advance the plot, or illuminate the characters in any way. It felt like Martin was updating Tolkien, so, there had to be sex. I admit fetishistic is too strong a word, but it was always forced and unnatural. Perhaps its violence and misogyny are due just to the medieval culture? Hmmmn.
Overall, I'm dissatisfied.
(less)
First, I've come to fantasy from science fiction, and expect writers to be logical and consistent in their world-building. I love Martin's idea of a climate where winter can last for years and summer can last for years, but he doesn't seem to have thought...more I'm somewhat disappointed by this. I found it fun and entertaining for the first couple of hundred pages. It was interesting and engaging, and I could see why it's being filmed. But as the book progressed my enjoyment waned. It may be mostly me.
First, I've come to fantasy from science fiction, and expect writers to be logical and consistent in their world-building. I love Martin's idea of a climate where winter can last for years and summer can last for years, but he doesn't seem to have thought it through or developed it at all. What does it mean for a medieval agricultural and economic system? what happens to trade if there's no harvest? Does he mention granaries, or stockpiling of foodstuffs? If so, I must have missed it.
Then, perhaps I'm not really a fantasy lover, because the more fantastic elements don't sit well. I don't mind a little magic or supernatural phenomena. I should like dragons, shouldn't I? But that whole plot thread was rather dull and hackneyed; and then veered off into the bizarre. Symbolic stones that are actually long-dormant eggs, ok. Newly hatched dragons that suckle their human 'mother'? That was a bridge too far. Even in fantasy, there must be some internal logic.
And then there were the characters. Did the bad guys have to be cartoon villains? Incestuous, maniacal; rapists and sexual abusers? Aren't venality, duplicity and murderous ambition evil enough characteristics?
And the good guys; why is nobility wedded to stupidity? Why would a senior politician in possession of information about treason reveal his hand to the traitor and then share his escape plans with a misguided child? Can one not have both integrity and intelligence?
By the time I got halfway through I realised Martin was unlikely to significantly advance the story in one volume- another feature of fantasy novels nowadays. So different plot threads were started, but none of those dozens of characters could be well-developed. A pity; some of them were promising. I liked the dwarf, the climbing (and falling) child, the wayward tomboy and, of course, the bastard. And the wolves! :-)
I'm not all prudish, but I didn't like the sex either. It's all bad sex. Pain and humiliation are inflicted on somebody, usually a woman or girl. Or else it's illicit and dishonourable and distasteful. None of it seemed to me to advance the plot, or illuminate the characters in any way. It felt like Martin was updating Tolkien, so, there had to be sex. I admit fetishistic is too strong a word, but it was always forced and unnatural. Perhaps its violence and misogyny are due just to the medieval culture? Hmmmn.
Overall, I'm dissatisfied.
(less)
69 likes · like · see review
Ceridwen
I would also like to note that past Ceridwen was somewhat hilarious when she prognosticated that the sex would be less icky on the HBO show. She was r...more
I would also like to note that past Ceridwen was somewhat hilarious when she prognosticated that the sex would be less icky on the HBO show. She was right that the show is awesome though, icky sex notwithstanding.(less)
updated Jan 26, 2013 08:36am
updated Jan 26, 2013 08:36am
Florentína Ariza
I do respect the reasons for your dissatisfaction and found some thought provoking questions, especially where agriculture and trade are concerned. I...more
I do respect the reasons for your dissatisfaction and found some thought provoking questions, especially where agriculture and trade are concerned. I guess blatant logic plays less of a significant role in fantasy novels such as these. No less of a good review yours was.(less)
Apr 19, 2013 03:02pm
Apr 19, 2013 03:02pm
A friend and I were talking about Tolkien one night after a sesh of Call of Cthulhu and he came at me with the insane standpoint that George RR Martin's breed of fantasy is superior, though indebted to, Prof. Tolkien. I immediately informed my friend that he was once again proving the ineptitude of his intellect. Tolkien is the father of modern fantasy and the ultimate writer within the genre. This is not opinion but fact.
That said I was intrigued and promised said friend to look into this infi...more A friend and I were talking about Tolkien one night after a sesh of Call of Cthulhu and he came at me with the insane standpoint that George RR Martin's breed of fantasy is superior, though indebted to, Prof. Tolkien. I immediately informed my friend that he was once again proving the ineptitude of his intellect. Tolkien is the father of modern fantasy and the ultimate writer within the genre. This is not opinion but fact.
That said I was intrigued and promised said friend to look into this infidel that he was willing to prop up above the Professor.
And well, I am fucking hooked. I recently started book four in the series and then after about 100 pages put it down because I new that after I voraciously devoured yet another volume in the series (to my surprise I read the first three volumes in about three months. with each volume being in the neighborhood of 800 pages this was quite a feat for little ole slow readin me.) I would have nothing to follow it up with. That prospect is unbearable. So I will continue reading book four when Ii find out that book five is near published. I hope that Martin doesn't journey off to the great beyond previous to finishing the series. Odin forbid that another door is left open for Kevin J. Anderson to step in and finish a series for someone. Seriously, does that guy not have original ideas?
Anywho, I think the best description I gave of this book to a friend was "equal parts LOTR and DUNE with a heavy dose of Penthouse letters. Seriously. Lines about glistening wet
members and quivering quim. Well maybe not the quim. But isn't quim an amazing word?
Because Martin wrote for television (new Twilight Zone and Beauty and the Beast among others) the books have this nice episodic feel. Each chapter is driven by a different character. Really great plot twists. He loves killing off the characters that you love and forcing you to love the characters that you hate.
If you have any even cursory interest in the fantasy genre read these books. He may not be Tolkien, but the hobbit looking mother fucker is damn close.
Quim.(less)
That said I was intrigued and promised said friend to look into this infi...more A friend and I were talking about Tolkien one night after a sesh of Call of Cthulhu and he came at me with the insane standpoint that George RR Martin's breed of fantasy is superior, though indebted to, Prof. Tolkien. I immediately informed my friend that he was once again proving the ineptitude of his intellect. Tolkien is the father of modern fantasy and the ultimate writer within the genre. This is not opinion but fact.
That said I was intrigued and promised said friend to look into this infidel that he was willing to prop up above the Professor.
And well, I am fucking hooked. I recently started book four in the series and then after about 100 pages put it down because I new that after I voraciously devoured yet another volume in the series (to my surprise I read the first three volumes in about three months. with each volume being in the neighborhood of 800 pages this was quite a feat for little ole slow readin me.) I would have nothing to follow it up with. That prospect is unbearable. So I will continue reading book four when Ii find out that book five is near published. I hope that Martin doesn't journey off to the great beyond previous to finishing the series. Odin forbid that another door is left open for Kevin J. Anderson to step in and finish a series for someone. Seriously, does that guy not have original ideas?
Anywho, I think the best description I gave of this book to a friend was "equal parts LOTR and DUNE with a heavy dose of Penthouse letters. Seriously. Lines about glistening wet
members and quivering quim. Well maybe not the quim. But isn't quim an amazing word?
Because Martin wrote for television (new Twilight Zone and Beauty and the Beast among others) the books have this nice episodic feel. Each chapter is driven by a different character. Really great plot twists. He loves killing off the characters that you love and forcing you to love the characters that you hate.
If you have any even cursory interest in the fantasy genre read these books. He may not be Tolkien, but the hobbit looking mother fucker is damn close.
Quim.(less)
Apr 12, 2011
Brad
rated it
4 of 5 stars
·
review of another edition
Shelves:
fantasy,
sword-and-sorcery-opera
I am nearly half way through now, so I thought it was time to put up the second installment of my reading journal. My star rating is always where I at in the book at the time of writing. It's going to fluctuate. Since I am writing about the book as I go, there will necessarily be spoilers, so don't continue if you want to avoid them.
My Game of Thrones Journal: volume ii
Tyrion--I really enjoyed his discussion with the Lord Commander, and Mormont’s request for more troops. The others are coming,...more I am nearly half way through now, so I thought it was time to put up the second installment of my reading journal. My star rating is always where I at in the book at the time of writing. It's going to fluctuate. Since I am writing about the book as I go, there will necessarily be spoilers, so don't continue if you want to avoid them.
My Game of Thrones Journal: volume ii
Tyrion--I really enjoyed his discussion with the Lord Commander, and Mormont’s request for more troops. The others are coming, me thinks. But the best part of this chapter is Tyrion’s relationship with Jon Snow. It feels like it will be the most important relationship in the book – a world changing alliance. Their time together on the top of the wall and their declaration of friendship came at just the right pace. Very nice. But then there’s the 700’ wall. What the fuck? It’s supposed to be the height of the Met Life Tower? Really? C’mon, GRRM. That’s just fucking stupid.
Arya-- Oh , Ned. You’re such a good dad ... to the girl you love. Where’s your parenting with Sansa? There is nought, and you will lose her just as you should, and her betrayal will be well deserved by you; it will be your fault; it will be no betrayal at all. You deserve it, Ned. Don’t day I didn’t warn you.
Daenerys-- She’s turning into a sassy, bad ass. It’s nice to see characters embracing sexuality. It may be my favourite part of this book, really. Martin handles it with respect, and, much like Guy Gavriel Kay, he doesn’t trivialize the lovemaking. Gotta say, though, that I feel bad for Viserys. In context of his life, what he has been bred to expect, the world he lives in, his expectations for himself and others are not unreasonable – even if he is a nasty piece of work – and the humiliation he is beginning to suffer may be a little too much (in context, mind). Certainly it’s going to bite Dany in the ass. I have a feeling the dragon is going to be seriously dangerous when he has nothing to lose.
But the clichés are continuing to pile up. Dany is suddenly too strong too quickly. Her nasty little brother will surely do evil. And then there is the exile with the heart of gold. Yet, even with these clichés, the Daenerys chapters are my favourites. I feel like this is the real story.
Bran-- Nan’s story of the Others was a nice reminder of what lies beyond the wall and what set this story in motion. I want more of that. No surprises here, what with Tyrion’s gift to Bran and the bad attitude of the Starks. Good on Tyrion for turning down Robb’s “hospitality.” He’s already as big a jerk as his Dad.
Eddard-- I’m not a big fan of Ned as the Fantasy detective. The whole murder mystery seems out of place to me, and I honestly can’t see how it matters or how Ned can even remotely believe that the “truth” would matter. His naïveté knows no bounds. Petyr, however, is super cool. I love that he ends the chapter by essentially telling Ned that he himself can’t be trusted. He can’t be, and he will be at the root of Ned’s fall. I can feel it. And I will be cheering him on the whole time.
Jon-- There’s an Ender’s Game feel in the parts with Jon at the Wall, which isn’t a bad thing, but then did we really need the fat cowardly friend who is destined to find his courage at just the right time? If people really did applaud this book for its lack of cliché, they were sorely mistaken. Still, it is satisfying and fun stuff. I can’t deny that.
Eddard-- Rife with bastards. I like Gendry already; plus, it’s nice to hit upon a chapter wherein Ned doesn’t instantly piss me off. Good stuff. The plot thickens. Who’d have imagined bastards at the heart of court intrigue?!The originality blows my mind. Sarcasm aside, though, I do like this story (particularly Martin’s gift for characterization), despite the misplaced claims to the story’s originality. One last thing: who else figured, as soon as Gendry appeared, that Joffrey’s parentage (clearly he is the son of Jaime and Cersei) was going to be exposed at some point and that Gendry would be in line for King?
Catelyn- Here’s another moment I can see being emotionally satisfying onscreen, but it remains an idiotic move that highlights the stupidity of Catelyn Tully-Stark. Blind vengeance motivates her, and the implications for everyone else she loves must be cruel and harsh, all because she couldn’t control herself, and wasn’t willing to play the “game.” Justice is not something the kingdom she lives in knows. To beat the Lannisters she needs to play their way, not her way. As Littlefinger pointed out, the dagger could easily have been lost, and that is all Tyrion has to say to cast enough doubt to get off. Catelyn heard these words and still moved unilaterally. Foolish woman.
Sansa-- My favourite part of the book so far has to be Sandor Clegane’s admission of how he was burned. If it’s true, it is a marvellous piece of character building and a true motivation for cruelty, which is important since we’ve not seen any valid motivation yet. Moreover, this entire chapter makes me love Sansa, very much. I feel that she is going to be pivotal in the way everything plays out. How she reacts to Joffrey, how Littlefinger reacts to her, how Ser Loras influences proceedings, and what side the Hound will eventually choose all comes down to Sansa. She is an interesting character.
Eddard-- It’s all happening now. Ultraviolence between the Hound and the Mountain. Sansa’s loyalty to the former already becoming apparent. Robert talked down by Ned and showing himself to not be a complete tit. And if that wasn’t enough Varys reveals himself as the coolest customer, and maybe the most loyal, in the entire kingdom. Thumbs up to eunuchs everywhere. So are you going to be smart enough to listen to Varys, Ned? Or are you going to fall back on your usual self-righteous idiocy?
Tyrion-- Some good, old fashioned, hack & slash to break up the court intrigue. I loved the way Tyrion proved himself to have the brains to fight smart, particularly his ability to quench his desire to call out “Casterly Rock!” when everyone else was screaming oaths, and instead to just flit from rock to rack hacking at legs and tendons. Breaking the bard’s hand was a nice touch too. Plus, we get him turning Catelyn’s assurance and arrogance into doubt and indignance. I love the Imp.
Best line of the book so far: “I never bet against my family.” Wise man.
Arya-- Listen to people, Ned. Listen to your children, you fool. But you will probably only keep listening to the wrong people if you listen to anyone at all.
I hope Arya lasts into the next book. She’s groovy, will be groovier as time goes on, and I bet she’s going to be one of the baddest ass swords in all the Kingdom. I just hope she doesn’t take her cross-dressing ways into Eowyn territory because I think she deserves better than that.
Eddard-- For once, Ned’s unswerving righteousness was almost endearing, but then he had to go thinking and doing a very poor job of that. His lack of imagination drives me crazy, but it is a typical trait of a man like Ned, thus totally believable. The deciding factor in keeping me calm when Ned is an ass in this chapter, though, is the critique of Ned that Littlefinger voices. Petyr’s as smart as Varys & Tyrion – or at least he’s in their league – and I dig the way he’s playing the game. He provides an interesting dynamic, and I really wish we had some writing from his perspective.
Catelyn--As frustrating as Catelyn can be, just for a second she gave me hope, reminding me why I liked her when the book commenced: “… Tyrion betrayed no hint of fear. Could I be wrong? Catelyn wondered, not for the first time. Could he be innocent after all, of Bran and Jon Arryn and all the rest. And if he was, what did that make her? Six men had died to bring him here?” I love that Martin has her asking herself the question, and I love that she asks it. (less)
My Game of Thrones Journal: volume ii
Tyrion--I really enjoyed his discussion with the Lord Commander, and Mormont’s request for more troops. The others are coming,...more I am nearly half way through now, so I thought it was time to put up the second installment of my reading journal. My star rating is always where I at in the book at the time of writing. It's going to fluctuate. Since I am writing about the book as I go, there will necessarily be spoilers, so don't continue if you want to avoid them.
My Game of Thrones Journal: volume ii
Tyrion--I really enjoyed his discussion with the Lord Commander, and Mormont’s request for more troops. The others are coming, me thinks. But the best part of this chapter is Tyrion’s relationship with Jon Snow. It feels like it will be the most important relationship in the book – a world changing alliance. Their time together on the top of the wall and their declaration of friendship came at just the right pace. Very nice. But then there’s the 700’ wall. What the fuck? It’s supposed to be the height of the Met Life Tower? Really? C’mon, GRRM. That’s just fucking stupid.
Arya-- Oh , Ned. You’re such a good dad ... to the girl you love. Where’s your parenting with Sansa? There is nought, and you will lose her just as you should, and her betrayal will be well deserved by you; it will be your fault; it will be no betrayal at all. You deserve it, Ned. Don’t day I didn’t warn you.
Daenerys-- She’s turning into a sassy, bad ass. It’s nice to see characters embracing sexuality. It may be my favourite part of this book, really. Martin handles it with respect, and, much like Guy Gavriel Kay, he doesn’t trivialize the lovemaking. Gotta say, though, that I feel bad for Viserys. In context of his life, what he has been bred to expect, the world he lives in, his expectations for himself and others are not unreasonable – even if he is a nasty piece of work – and the humiliation he is beginning to suffer may be a little too much (in context, mind). Certainly it’s going to bite Dany in the ass. I have a feeling the dragon is going to be seriously dangerous when he has nothing to lose.
But the clichés are continuing to pile up. Dany is suddenly too strong too quickly. Her nasty little brother will surely do evil. And then there is the exile with the heart of gold. Yet, even with these clichés, the Daenerys chapters are my favourites. I feel like this is the real story.
Bran-- Nan’s story of the Others was a nice reminder of what lies beyond the wall and what set this story in motion. I want more of that. No surprises here, what with Tyrion’s gift to Bran and the bad attitude of the Starks. Good on Tyrion for turning down Robb’s “hospitality.” He’s already as big a jerk as his Dad.
Eddard-- I’m not a big fan of Ned as the Fantasy detective. The whole murder mystery seems out of place to me, and I honestly can’t see how it matters or how Ned can even remotely believe that the “truth” would matter. His naïveté knows no bounds. Petyr, however, is super cool. I love that he ends the chapter by essentially telling Ned that he himself can’t be trusted. He can’t be, and he will be at the root of Ned’s fall. I can feel it. And I will be cheering him on the whole time.
Jon-- There’s an Ender’s Game feel in the parts with Jon at the Wall, which isn’t a bad thing, but then did we really need the fat cowardly friend who is destined to find his courage at just the right time? If people really did applaud this book for its lack of cliché, they were sorely mistaken. Still, it is satisfying and fun stuff. I can’t deny that.
Eddard-- Rife with bastards. I like Gendry already; plus, it’s nice to hit upon a chapter wherein Ned doesn’t instantly piss me off. Good stuff. The plot thickens. Who’d have imagined bastards at the heart of court intrigue?!The originality blows my mind. Sarcasm aside, though, I do like this story (particularly Martin’s gift for characterization), despite the misplaced claims to the story’s originality. One last thing: who else figured, as soon as Gendry appeared, that Joffrey’s parentage (clearly he is the son of Jaime and Cersei) was going to be exposed at some point and that Gendry would be in line for King?
Catelyn- Here’s another moment I can see being emotionally satisfying onscreen, but it remains an idiotic move that highlights the stupidity of Catelyn Tully-Stark. Blind vengeance motivates her, and the implications for everyone else she loves must be cruel and harsh, all because she couldn’t control herself, and wasn’t willing to play the “game.” Justice is not something the kingdom she lives in knows. To beat the Lannisters she needs to play their way, not her way. As Littlefinger pointed out, the dagger could easily have been lost, and that is all Tyrion has to say to cast enough doubt to get off. Catelyn heard these words and still moved unilaterally. Foolish woman.
Sansa-- My favourite part of the book so far has to be Sandor Clegane’s admission of how he was burned. If it’s true, it is a marvellous piece of character building and a true motivation for cruelty, which is important since we’ve not seen any valid motivation yet. Moreover, this entire chapter makes me love Sansa, very much. I feel that she is going to be pivotal in the way everything plays out. How she reacts to Joffrey, how Littlefinger reacts to her, how Ser Loras influences proceedings, and what side the Hound will eventually choose all comes down to Sansa. She is an interesting character.
Eddard-- It’s all happening now. Ultraviolence between the Hound and the Mountain. Sansa’s loyalty to the former already becoming apparent. Robert talked down by Ned and showing himself to not be a complete tit. And if that wasn’t enough Varys reveals himself as the coolest customer, and maybe the most loyal, in the entire kingdom. Thumbs up to eunuchs everywhere. So are you going to be smart enough to listen to Varys, Ned? Or are you going to fall back on your usual self-righteous idiocy?
Tyrion-- Some good, old fashioned, hack & slash to break up the court intrigue. I loved the way Tyrion proved himself to have the brains to fight smart, particularly his ability to quench his desire to call out “Casterly Rock!” when everyone else was screaming oaths, and instead to just flit from rock to rack hacking at legs and tendons. Breaking the bard’s hand was a nice touch too. Plus, we get him turning Catelyn’s assurance and arrogance into doubt and indignance. I love the Imp.
Best line of the book so far: “I never bet against my family.” Wise man.
Arya-- Listen to people, Ned. Listen to your children, you fool. But you will probably only keep listening to the wrong people if you listen to anyone at all.
I hope Arya lasts into the next book. She’s groovy, will be groovier as time goes on, and I bet she’s going to be one of the baddest ass swords in all the Kingdom. I just hope she doesn’t take her cross-dressing ways into Eowyn territory because I think she deserves better than that.
Eddard-- For once, Ned’s unswerving righteousness was almost endearing, but then he had to go thinking and doing a very poor job of that. His lack of imagination drives me crazy, but it is a typical trait of a man like Ned, thus totally believable. The deciding factor in keeping me calm when Ned is an ass in this chapter, though, is the critique of Ned that Littlefinger voices. Petyr’s as smart as Varys & Tyrion – or at least he’s in their league – and I dig the way he’s playing the game. He provides an interesting dynamic, and I really wish we had some writing from his perspective.
Catelyn--As frustrating as Catelyn can be, just for a second she gave me hope, reminding me why I liked her when the book commenced: “… Tyrion betrayed no hint of fear. Could I be wrong? Catelyn wondered, not for the first time. Could he be innocent after all, of Bran and Jon Arryn and all the rest. And if he was, what did that make her? Six men had died to bring him here?” I love that Martin has her asking herself the question, and I love that she asks it. (less)
Sep 09, 2012
Jonathan
rated it
3 of 5 stars
·
review of another edition
Recommends it for:
adults who want a gritty fantasy read
2-Star book review
The world building may be brilliant, the writing may be fine but ultimately there feels at times as if there is little to distinguish this novel from among fantasy novels. That is apart from the gritty nature of the book and also the fact that George R.R Martin loves to talk about body parts and kill main characters. Hang on other fantasy authors have written equally gritty novels and they also kill off main characters in similar ways. Is this book actually just a blown up vers...more
2-Star book review
The world building may be brilliant, the writing may be fine but ultimately there feels at times as if there is little to distinguish this novel from among fantasy novels. That is apart from the gritty nature of the book and also the fact that George R.R Martin loves to talk about body parts and kill main characters. Hang on other fantasy authors have written equally gritty novels and they also kill off main characters in similar ways. Is this book actually just a blown up version of the modern fantasy novel craze of having ambiguous characters? The characters aren't too likeable and to be honest there's not as much enjoyment in this novel as Tolkien's Lord of the Rings or even Steven Erikson's Gardens of the Moon. So while it is well written it could be seen as standard fare and just okay.
4-Star book review
The world building and the writing in this novel were brilliant, hence revealing that fantasy can also be fine literature. This was an epic novel with an extensive character list and a plot following the scheming and machinations of seven great houses as they fight over the throne. It's clear that Martin is a fan of historical epic sagas and it appears his aim is to construct a fantasy story that stretches on in such a manner: where individual after individual takes control of the kingdom until some conclusion that ends with perhaps the total destruction of the dynasties and great houses. Who knows? I am a little worried that this series won't have a proper conclusion. The story spun here is somewhat fascinating however, even if most characters are unlikeable.
--------------------------------------------------------------------------------------------------------------------------------------------------------
All in all my contradicting views are there to reveal what I roughly percieve as the best and worst aspects of this book and how it could be viewed. Ultimately while I see that there are many positives in the book there are also many negatives. I liked the fact that it was a fast paced read and that I could note some noble characters. I didn't like the dominance of ignoble characters and the fact that Martin thinks he needs to create a gritty atmosphere by incredibly detailed description. There are better artisans who can create tone without that kind of description and less shock and awe. I also have to say that Martin is not the next Tolkien even though his book is so hyped up. Therefore I give it a 3-star rating and say that I have no other comment to give, any other comments can be found in the multitudes who have read this book and loved it. (less)
Apr 21, 2011
Becky
rated it
5 of 5 stars
·
review of another edition
Recommended to Becky by:
Chris&Dawn
Shelves:
fantasy,
nook,
2011,
highly-recommended,
leg-hump_worthy,
favorites,
political,
reviewed,
to-buy,
blog_etb,
challenge-1010
Before I read this book, I had read some reviews which had me wondering if this one would be something I'd like, reviews from people whose opinions I trust. I am willing to read anything though, so the book stayed on my "TBR Someday" mental list... Until I decided to read it along with some friends. Friends who then got me so excited to read this that all of my reservations were hanging by a thread and blowing in the breeze.
And I can honestly say that not only did this book not suck, but that I...more Before I read this book, I had read some reviews which had me wondering if this one would be something I'd like, reviews from people whose opinions I trust. I am willing to read anything though, so the book stayed on my "TBR Someday" mental list... Until I decided to read it along with some friends. Friends who then got me so excited to read this that all of my reservations were hanging by a thread and blowing in the breeze.
And I can honestly say that not only did this book not suck, but that I loved it so much that I feel like other books I've loved should now be re-evaluated on this new scale in my head. I love it when a book exceeds my expectations and leaves me kind of lonely afterward because it's over. But luckily, this story isn't over... I've only just begun. SQUEEE!
I'm not going to discuss the story in this review. I wouldn't even know how to do it justice anyway. I will say that it kept me completely enthralled all the way through. Reading this book was less like reading and more like living it vicariously through the characters. I loved the characters, and reading about them had me a bundle of anxiety almost from the very beginning. I HAD to know what would happen, and at one point I had my fists so tightly clenched in nervousness that I left fingernail marks on my palms. One event was so gut wrenching to me that it took about 10 minutes to fully hit me, and then I was lost. I was so angry and shocked and hurt by this event that I had to vent and let it out and I was left seething and miserable... and then the sadness hit.
THIS is the kind of thing I read for. All of those feelings and reactions are why I read. The bar has been raised.
I loved the writing as well. In fact, it worked so well for me that I barely even noticed it - which to me is a great thing. I don't want to notice the writing - I feel like if I do, the author should have done better at making it invisible. The subtleties in the writing were awesome, especially the voices of the characters in their point of view narration - not their dialogue, but their interpretation of things going on around them. The foreshadowing was so perfectly done that I didn't even realize it was being used, even though it was serving its purpose and making me into that little bundle of nerves, until it was mentioned.
I loved this book. I cannot wait until the next one. Fantastic. (less)
And I can honestly say that not only did this book not suck, but that I...more Before I read this book, I had read some reviews which had me wondering if this one would be something I'd like, reviews from people whose opinions I trust. I am willing to read anything though, so the book stayed on my "TBR Someday" mental list... Until I decided to read it along with some friends. Friends who then got me so excited to read this that all of my reservations were hanging by a thread and blowing in the breeze.
And I can honestly say that not only did this book not suck, but that I loved it so much that I feel like other books I've loved should now be re-evaluated on this new scale in my head. I love it when a book exceeds my expectations and leaves me kind of lonely afterward because it's over. But luckily, this story isn't over... I've only just begun. SQUEEE!
I'm not going to discuss the story in this review. I wouldn't even know how to do it justice anyway. I will say that it kept me completely enthralled all the way through. Reading this book was less like reading and more like living it vicariously through the characters. I loved the characters, and reading about them had me a bundle of anxiety almost from the very beginning. I HAD to know what would happen, and at one point I had my fists so tightly clenched in nervousness that I left fingernail marks on my palms. One event was so gut wrenching to me that it took about 10 minutes to fully hit me, and then I was lost. I was so angry and shocked and hurt by this event that I had to vent and let it out and I was left seething and miserable... and then the sadness hit.
THIS is the kind of thing I read for. All of those feelings and reactions are why I read. The bar has been raised.
I loved the writing as well. In fact, it worked so well for me that I barely even noticed it - which to me is a great thing. I don't want to notice the writing - I feel like if I do, the author should have done better at making it invisible. The subtleties in the writing were awesome, especially the voices of the characters in their point of view narration - not their dialogue, but their interpretation of things going on around them. The foreshadowing was so perfectly done that I didn't even realize it was being used, even though it was serving its purpose and making me into that little bundle of nerves, until it was mentioned.
I loved this book. I cannot wait until the next one. Fantastic. (less)
64 likes · like · see review
Michael
When it comes to the epic series, I have to let them breathe a bit between one installment and the next. So I've read the first two and am now getting...more
When it comes to the epic series, I have to let them breathe a bit between one installment and the next. So I've read the first two and am now getting to a point where I can pick up book three.
I liked book two more than book one...but that's just me I guess.(less)
Jun 02, 2011 07:50am
I liked book two more than book one...but that's just me I guess.(less)
Jun 02, 2011 07:50am
Dustin
For me, this epic series just gets better-and more intense-with each book.:)
Jun 02, 2011 10:22am
Jun 02, 2011 10:22am
Sep 21, 2011
The Flooze
rated it
4 of 5 stars
·
review of another edition
Recommended to The Flooze by:
Laura Lulu
**4.5**
I got the first book of A Song of Ice and Fire for free at last year’s New York Comic Con. I’d heard wonderful things about the series, yet I held off on reading it.
I’m not one for traditional fantasy. Swords and sorcery call to mind my experiences with Tolkien: the exhaustive descriptions of landscapes, the sweeping battle scenes filled with incomprehensible strategic maneuvers, the jumping around between characters and places that had me constantly flipping to the included map. It wasn...more **4.5**
I got the first book of A Song of Ice and Fire for free at last year’s New York Comic Con. I’d heard wonderful things about the series, yet I held off on reading it.
I’m not one for traditional fantasy. Swords and sorcery call to mind my experiences with Tolkien: the exhaustive descriptions of landscapes, the sweeping battle scenes filled with incomprehensible strategic maneuvers, the jumping around between characters and places that had me constantly flipping to the included map. It wasn’t a pleasant read for me, and since many fantasy authors use Tolkien as a guide I’ve steered relatively clear of the genre. I feared a similar experience with A Game of Thrones.
And then I watched the show.
Of course, many readers will cringe at the fact that I watched HBO’s rendition prior to reading. But it gave me the impetus I needed to dismiss my fears and dive into Martin’s saga. The show enthralled me. Sure, there were battles and strange lands and too many characters to count, but they were all presented in such an accessible and compelling way. There was no confusion and no tedium, the characters were well fleshed out, and the political machinations were fascinating. I was utterly sucked in.
I’m pleased to say that the book was even better.
Martin creates a world that’s easily comprehended and a plot that unfolds smoothly and briskly over the course of 807 pages. Admittedly a hefty tome, but Martin fills his chapters with action and emotional development in such a way that I wished the book were even longer. His writing style is clean and flowing, utterly lacking in pretension. His dialogue is realistic and runs the gamut from poignant to comedic. (The show is a testament to this; it seemed like most of the characters’ lines were lifted directly from the book.) His descriptions of people and places give us enough to picture the scene while still leaving room for imagination to work its magic. I found it to be an effortless read that entertained me from beginning to end.
I do wonder, though: having come into A Game of Thrones after watching the series, was the vast cast of characters more manageable because I already had faces to put to names? I’m not sure, but I like to think Martin’s characters are each so distinct that I wouldn’t have had much trouble.
Jumping between points of view might sound daunting to some, but Martin does an excellent job of distinguishing between personalities. No two characters are alike, and they all face such disparate trials that it was easy to keep track of the plot threads. Also, the story shifts allowed for a deeper understanding of each event and its repercussions, and of each person as they‘re viewed through different eyes. It prevented the plot from becoming too bogged down by any one theme - a little lying and scheming here, a little bloodshed there, and some touching moments of familial bonds to round the whole thing out.
I had definite favorites while watching the series; I’m pleased to say the same characters stood out during my reading. The most notable was Tyrion. Known as The Imp, he’s complex and intelligent, ever-observant and possesses a great deal of sympathy. He strikes me as the most relatable character as he attempts to fly under the radar while the whole kingdom goes to pot. My interest in his story is only furthered by his incredibly dry wit. He had me snickering one moment, fearing for his life the next, and all while cheering him on as he dared declare aloud all the things I was thinking myself. His sections had me riveted.
A Game of Thrones is a must-read for any fantasy fan. It’s even a must-read for those of us who usually shy away from sweeping power struggles. More than a political chronicle, Martin’s work presents mystery and betrayal, love and friendship, disappointment and tragedy, mixed with a healthy dash of the supernatural unknown. I became invested in the characters, curious about the paranormal elements, and excited about what’s to come. Martin makes this game of thrones personal, and I’m eager to discover who will win…and who will die. (less)
I got the first book of A Song of Ice and Fire for free at last year’s New York Comic Con. I’d heard wonderful things about the series, yet I held off on reading it.
I’m not one for traditional fantasy. Swords and sorcery call to mind my experiences with Tolkien: the exhaustive descriptions of landscapes, the sweeping battle scenes filled with incomprehensible strategic maneuvers, the jumping around between characters and places that had me constantly flipping to the included map. It wasn...more **4.5**
I got the first book of A Song of Ice and Fire for free at last year’s New York Comic Con. I’d heard wonderful things about the series, yet I held off on reading it.
I’m not one for traditional fantasy. Swords and sorcery call to mind my experiences with Tolkien: the exhaustive descriptions of landscapes, the sweeping battle scenes filled with incomprehensible strategic maneuvers, the jumping around between characters and places that had me constantly flipping to the included map. It wasn’t a pleasant read for me, and since many fantasy authors use Tolkien as a guide I’ve steered relatively clear of the genre. I feared a similar experience with A Game of Thrones.
And then I watched the show.
Of course, many readers will cringe at the fact that I watched HBO’s rendition prior to reading. But it gave me the impetus I needed to dismiss my fears and dive into Martin’s saga. The show enthralled me. Sure, there were battles and strange lands and too many characters to count, but they were all presented in such an accessible and compelling way. There was no confusion and no tedium, the characters were well fleshed out, and the political machinations were fascinating. I was utterly sucked in.
I’m pleased to say that the book was even better.
Martin creates a world that’s easily comprehended and a plot that unfolds smoothly and briskly over the course of 807 pages. Admittedly a hefty tome, but Martin fills his chapters with action and emotional development in such a way that I wished the book were even longer. His writing style is clean and flowing, utterly lacking in pretension. His dialogue is realistic and runs the gamut from poignant to comedic. (The show is a testament to this; it seemed like most of the characters’ lines were lifted directly from the book.) His descriptions of people and places give us enough to picture the scene while still leaving room for imagination to work its magic. I found it to be an effortless read that entertained me from beginning to end.
I do wonder, though: having come into A Game of Thrones after watching the series, was the vast cast of characters more manageable because I already had faces to put to names? I’m not sure, but I like to think Martin’s characters are each so distinct that I wouldn’t have had much trouble.
Jumping between points of view might sound daunting to some, but Martin does an excellent job of distinguishing between personalities. No two characters are alike, and they all face such disparate trials that it was easy to keep track of the plot threads. Also, the story shifts allowed for a deeper understanding of each event and its repercussions, and of each person as they‘re viewed through different eyes. It prevented the plot from becoming too bogged down by any one theme - a little lying and scheming here, a little bloodshed there, and some touching moments of familial bonds to round the whole thing out.
I had definite favorites while watching the series; I’m pleased to say the same characters stood out during my reading. The most notable was Tyrion. Known as The Imp, he’s complex and intelligent, ever-observant and possesses a great deal of sympathy. He strikes me as the most relatable character as he attempts to fly under the radar while the whole kingdom goes to pot. My interest in his story is only furthered by his incredibly dry wit. He had me snickering one moment, fearing for his life the next, and all while cheering him on as he dared declare aloud all the things I was thinking myself. His sections had me riveted.
A Game of Thrones is a must-read for any fantasy fan. It’s even a must-read for those of us who usually shy away from sweeping power struggles. More than a political chronicle, Martin’s work presents mystery and betrayal, love and friendship, disappointment and tragedy, mixed with a healthy dash of the supernatural unknown. I became invested in the characters, curious about the paranormal elements, and excited about what’s to come. Martin makes this game of thrones personal, and I’m eager to discover who will win…and who will die. (less)
21 likes · like · see review
Marilyn Carr
I watched the HBO series first too. I also decided to listen to the audio book version because I have a long commute to work everyday and thought it w...more
I watched the HBO series first too. I also decided to listen to the audio book version because I have a long commute to work everyday and thought it would be fun to listen to the books. The narrator is fantastic and does such a great job with all the characters. Having watched the series first made a huge difference when it came to remembering who was who. Normally I like to use my imagination, but it really made a difference in this case. I haven't decided if I want to read/listen ahead or wait for season 2 on HBO this summer. I will definitely be watching Season 1 again. What are you planning on doing? Reading or waiting?(less)
Oct 28, 2011 09:11am
Oct 28, 2011 09:11am
The Flooze
I think I'll be reading first, then watching. I'm now absorbed in the story enough that I want to continue reading.
However, I'm still going to wait t...more I think I'll be reading first, then watching. I'm now absorbed in the story enough that I want to continue reading.
However, I'm still going to wait til just before season 2 because I want to pace myself. After all, the man only releases books every 5 years!(less)
Oct 28, 2011 03:22pm
However, I'm still going to wait t...more I think I'll be reading first, then watching. I'm now absorbed in the story enough that I want to continue reading.
However, I'm still going to wait til just before season 2 because I want to pace myself. After all, the man only releases books every 5 years!(less)
Oct 28, 2011 03:22pm
Sep 03, 2012
Melissa (ladybug)
rated it
1 of 5 stars
·
review of another edition
Recommends it for:
no-one
I had originally given this book 2 stars, but while writing this review; I realized that while the book had kept my attention somewhat, I hated it.
Goodread's description of A Game of Thrones:
Goodread's description of A Game of Thrones:
The book kept my attention through out reading it, and I wanted to find out what happened with some of the characters, but others were boring or just too unbelievable. I enjoyed each chapter being about a different POV and found myself skipping ahead so that I could read about one particular character than coming back to the beginning of the book.
Although I like fiction and/or science fiction that contain the evils of society (rape, evil, betrayal, murder, or horror, etc...) such as The Chronicles of Thomas Covenant, the Unbeliever, horror books such as The Tommyknockers, suspense such as Odd Thomas or Dean Koontz's Frankenstein series, or The Lord of the Rings and non-fiction books (I believe) like the Holy Bible, I just could not bring myself to like this book. There just didn't seem to be any redeeming qualities to some characters and Martin had no rhyme or reason for killing off who he did. Some scenes were even sickening to me. (view spoiler)[such as Jaime pushing a 7 year old child out a window purposely or Catelyn's sister breast feeding her son (who isn't a baby) (hide spoiler)]
Another problem for me, in this book, is (apparently) Martin's fetish like fascination with women's body parts, rape, sexual abuse of ALL kinds, incest and bigotry. Now, granted these may not be Martin's idea of good things, but he sure describes them in excruciatingly detail. He sure didn’t want you to miss what women’s breasts are called or other body parts.
Finally George R.R. Martin in an interview on program Q (from Canada), stated that his intention was
As my friend Michael on Goodreads noted about me: my problems maybe because of the "vast difference between glorying in violence... and using it as a device". This explains it perfectly!
One last question to consider. A commenter (Mary) of the previous mentioned article had this to say:
Goodread's description of A Game of Thrones:
"In a land where summers can last decades and winters a lifetime, trouble is brewing. The cold is returning, and in the frozen wastes of the north of Winterfell, sinister and supernatural forces are massing beyond the kingdom's protective Wall. At the center of the conflict lie the Starks of Winterfell, a fa...more I had originally given this book 2 stars, but while writing this review; I realized that while the book had kept my attention somewhat, I hated it.
Goodread's description of A Game of Thrones:
"In a land where summers can last decades and winters a lifetime, trouble is brewing. The cold is returning, and in the frozen wastes of the north of Winterfell, sinister and supernatural forces are massing beyond the kingdom's protective Wall. At the center of the conflict lie the Starks of Winterfell, a family as harsh and unyielding as the land they were born to. Sweeping from a land of brutal cold to a distant summertime kingdom of epicurean plenty.The "Song of Ice and Fire" series is suppose to be great. Most all my friends gave it high ratings (and many more). I was so looking forward to reading it, but it turned out to be a disappointment for me. I love high fantasy such as The Lord of the Rings and others and I really wanted to read this series for a challenge, but I don't know now if I will or not.
The book kept my attention through out reading it, and I wanted to find out what happened with some of the characters, but others were boring or just too unbelievable. I enjoyed each chapter being about a different POV and found myself skipping ahead so that I could read about one particular character than coming back to the beginning of the book.
Although I like fiction and/or science fiction that contain the evils of society (rape, evil, betrayal, murder, or horror, etc...) such as The Chronicles of Thomas Covenant, the Unbeliever, horror books such as The Tommyknockers, suspense such as Odd Thomas or Dean Koontz's Frankenstein series, or The Lord of the Rings and non-fiction books (I believe) like the Holy Bible, I just could not bring myself to like this book. There just didn't seem to be any redeeming qualities to some characters and Martin had no rhyme or reason for killing off who he did. Some scenes were even sickening to me. (view spoiler)[such as Jaime pushing a 7 year old child out a window purposely or Catelyn's sister breast feeding her son (who isn't a baby) (hide spoiler)]
Another problem for me, in this book, is (apparently) Martin's fetish like fascination with women's body parts, rape, sexual abuse of ALL kinds, incest and bigotry. Now, granted these may not be Martin's idea of good things, but he sure describes them in excruciatingly detail. He sure didn’t want you to miss what women’s breasts are called or other body parts.
Finally George R.R. Martin in an interview on program Q (from Canada), stated that his intention was
“to take epic fantasy, which I love, and combine it with some of the gritty realism and ambiguous morality of, I think, the best historical fiction, with layers of complexity, and real human characters, sexuality, violence, all of that good stuff.” (emphases my own)I really do not think I like the authors idea that this is a realistic view of society. To tell the truth, he even caused me to feel biased against him by basically saying that his book was on the par with or even better than J.R.R. Tolkien's books.
also "the Q fill-in host, Brent Bambury, suggested that Martin might indeed outstrip (J.R.R. Tolkien). Bambury repeated the claim of Time magazine, that Martin is the American Tolkien. But made it even more provocative: “Many feel it’s an accurate comparison. Others say no, it’s not accurate, because he 'Martin's' better.” Though Martin went on to spend a good deal of time recalling his reading of The Lord of the Rings as a young man, maintaining that “the books had a profound effect on me,” he did not demur.
(Quotes from http://www.mercatornet.com/articles/v...)
As my friend Michael on Goodreads noted about me: my problems maybe because of the "vast difference between glorying in violence... and using it as a device". This explains it perfectly!
One last question to consider. A commenter (Mary) of the previous mentioned article had this to say:
"Do you want your fantasy to inspire you, or to drag you down into the dirt with it?... From LOTR to Narnia to Star Trek, all of these worlds provided me with a sense of hope. [me too]... [after reading 3 of the books in the series; she said that she] was left feeling disgusted with humanity (men in particular). There may be more cruel people in the world today, but that's not a reality that I'm willing to accept as unchangeable."I personally want my fantasy to inspire me in the end.(less)
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A Game of Thrones (A Song of Ice and Fire, #1)
isbn: 0553588486
isbn13: 9780553588484
format: Hardcover
isbn: 0553588486
isbn13: 9780553588484
format: Hardcover
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A Game of Thrones (A Song of Ice and Fire, #1)
First Edition isbn: 0553573403
isbn13: 9780553573404
format: Mass Market Paperback
First Edition isbn: 0553573403
isbn13: 9780553573404
format: Mass Market Paperback
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A Game of Thrones (A Song of Ice and Fire, #1)
isbn: 0553381687
isbn13: 9780553381689
format: Paperback
isbn: 0553381687
isbn13: 9780553381689
format: Paperback
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A Game of Thrones (A Song of Ice and Fire, #1)
isbn: 000647988X
isbn13: 9780006479888
format: Paperback
isbn: 000647988X
isbn13: 9780006479888
format: Paperback
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A Game of Thrones (A Song of Ice and Fire #1)
Nook edition isbn: 0553897845
isbn13: 9780553897845
format: ebook
Nook edition isbn: 0553897845
isbn13: 9780553897845
format: ebook
George R. R. Martin was born September 20, 1948, in Bayonne, New Jersey. His father was Raymond Collins Martin, a longshoreman, and his mother was Margaret Brady Martin. He has two sisters, Darleen Martin Lapinski and Janet Martin Patten.
Martin attended Mary Jane Donohoe School and Marist High School. He began writing very young, selling monster stories to other neighborhood children for pennies,...more George R. R. Martin was born September 20, 1948, in Bayonne, New Jersey. His father was Raymond Collins Martin, a longshoreman, and his mother was Margaret Brady Martin. He has two sisters, Darleen Martin Lapinski and Janet Martin Patten.
Martin attended Mary Jane Donohoe School and Marist High School. He began writing very young, selling monster stories to other neighborhood children for pennies, dramatic readings included. Later he became a comic book fan and collector in high school, and began to write fiction for comic fanzines (amateur fan magazines). Martin's first professional sale was made in 1970 at age 21: "The Hero," sold to Galaxy, published in February, 1971 issue. Other sales followed.
In 1970 Martin received a B.S. in Journalism from Northwestern University, Evanston, Illinois, graduating summa cum laude. He went on to complete a M.S. in Journalism in 1971, also from Northwestern.
As a conscientious objector, Martin did alternative service 1972-1974 with VISTA, attached to Cook County Legal Assistance Foundation. He also directed chess tournaments for the Continental Chess Association from 1973-1976, and was a Journalism instructor at Clarke College, Dubuque, Iowa, from 1976-1978. He wrote part-time throughout the 1970s while working as a VISTA Volunteer, chess director, and teacher.
In 1975 he married Gale Burnick. They divorced in 1979, with no children. Martin became a full-time writer in 1979. He was writer-in-residence at Clarke College from 1978-79.
Moving on to Hollywood, Martin signed on as a story editor for Twilight Zone at CBS Television in 1986. In 1987 Martin became an Executive Story Consultant for Beauty and the Beast at CBS. In 1988 he became a Producer for Beauty and the Beast, then in 1989 moved up to Co-Supervising Producer. He was Executive Producer for Doorways, a pilot which he wrote for Columbia Pictures Television, which was filmed during 1992-93.
Martin's present home is Santa Fe, New Mexico. He is a member of Science Fiction & Fantasy Writers of America (he was South-Central Regional Director 1977-1979, and Vice President 1996-1998), and of Writers' Guild of America, West.
http://us.macmillan.com/author/george...(less)
More about George R.R. Martin...
Martin attended Mary Jane Donohoe School and Marist High School. He began writing very young, selling monster stories to other neighborhood children for pennies,...more George R. R. Martin was born September 20, 1948, in Bayonne, New Jersey. His father was Raymond Collins Martin, a longshoreman, and his mother was Margaret Brady Martin. He has two sisters, Darleen Martin Lapinski and Janet Martin Patten.
Martin attended Mary Jane Donohoe School and Marist High School. He began writing very young, selling monster stories to other neighborhood children for pennies, dramatic readings included. Later he became a comic book fan and collector in high school, and began to write fiction for comic fanzines (amateur fan magazines). Martin's first professional sale was made in 1970 at age 21: "The Hero," sold to Galaxy, published in February, 1971 issue. Other sales followed.
In 1970 Martin received a B.S. in Journalism from Northwestern University, Evanston, Illinois, graduating summa cum laude. He went on to complete a M.S. in Journalism in 1971, also from Northwestern.
As a conscientious objector, Martin did alternative service 1972-1974 with VISTA, attached to Cook County Legal Assistance Foundation. He also directed chess tournaments for the Continental Chess Association from 1973-1976, and was a Journalism instructor at Clarke College, Dubuque, Iowa, from 1976-1978. He wrote part-time throughout the 1970s while working as a VISTA Volunteer, chess director, and teacher.
In 1975 he married Gale Burnick. They divorced in 1979, with no children. Martin became a full-time writer in 1979. He was writer-in-residence at Clarke College from 1978-79.
Moving on to Hollywood, Martin signed on as a story editor for Twilight Zone at CBS Television in 1986. In 1987 Martin became an Executive Story Consultant for Beauty and the Beast at CBS. In 1988 he became a Producer for Beauty and the Beast, then in 1989 moved up to Co-Supervising Producer. He was Executive Producer for Doorways, a pilot which he wrote for Columbia Pictures Television, which was filmed during 1992-93.
Martin's present home is Santa Fe, New Mexico. He is a member of Science Fiction & Fantasy Writers of America (he was South-Central Regional Director 1977-1979, and Vice President 1996-1998), and of Writers' Guild of America, West.
http://us.macmillan.com/author/george...(less)
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