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Long Price Quartet #1-4
The Long Price Quartet: The Complete Quartet
"There is much to love in The Long Price Quartet. It is epic in scope but character centered, with a setting both unique and utterly believable. The storytelling is smooth, careful, and—best of all—unpredictable." —Patrick Rothfuss
The unforgettable fantasy epic series that marks Daniel Abraham, one half of the writing team behind The Expanse, as one of the most enthralling fantasy writers to emerge in recent years
In a world of ancient empires and immortal magics, one man stands at the crossroads of history.
The aggressively expansionist Galt empire has already conquered lands across a huge continent. But the cities of the Khaiem resist Galt's power with the andat creatures of magic with godlike powers. But magic and treacherous politics have brought a bitter harvest of violence and sorrow.
Otah Machi, caught between ancient wonders and a modern empire, has survived more than most men endure in two lifetimes. He is the culmination of a complex inheritance, and his own existence is the fulcrum around which the wheels of epic history rotate through achingly poignant cycles of life and death, love and betrayal.
Now, when the world seems utterly lost, all depends on Otah, and the lost loves and found family he has desperately hoped to protect from the tragedy that beckons. If they can summon the courage and power to forgive and resist darkness, all their hopes could be salvaged—along with their world.
The Long Price Quartet includes:
1. A Shadow in Summer
2. A Betrayal in Winter
3. An Autumn War
4. The Price of Spring
The unforgettable fantasy epic series that marks Daniel Abraham, one half of the writing team behind The Expanse, as one of the most enthralling fantasy writers to emerge in recent years
In a world of ancient empires and immortal magics, one man stands at the crossroads of history.
The aggressively expansionist Galt empire has already conquered lands across a huge continent. But the cities of the Khaiem resist Galt's power with the andat creatures of magic with godlike powers. But magic and treacherous politics have brought a bitter harvest of violence and sorrow.
Otah Machi, caught between ancient wonders and a modern empire, has survived more than most men endure in two lifetimes. He is the culmination of a complex inheritance, and his own existence is the fulcrum around which the wheels of epic history rotate through achingly poignant cycles of life and death, love and betrayal.
Now, when the world seems utterly lost, all depends on Otah, and the lost loves and found family he has desperately hoped to protect from the tragedy that beckons. If they can summon the courage and power to forgive and resist darkness, all their hopes could be salvaged—along with their world.
The Long Price Quartet includes:
1. A Shadow in Summer
2. A Betrayal in Winter
3. An Autumn War
4. The Price of Spring
976 pages, Paperback
Published November 13, 2018
21 people are currently reading
2234 people want to read
About the author
Daniel Abraham
224 books3,078 followersDaniel James Abraham, pen names M.L.N. Hanover and James S.A. Corey, is an American novelist, comic book writer, screenwriter, and television producer. He is best known as the author of
The Long Price Quartet
and
The Dagger and the Coin
fantasy series, and with Ty Franck, as the co-author of
The Expanse
series of science fiction novels, written under the joint pseudonym James S.A. Corey.
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Displaying 1 - 27 of 27 reviews
October 12, 2021
One of the best series I've ever read, with some of the best characters I've ever read. Seriously, if you haven't read this series, read it. Daniel Abraham has done something incredible.
August 8, 2025
5/5
Unique magic system. Very political but with littel action.
truly, a sum is better than its parts and should be read as one book.
There is a 16 year time jump after each part.
Very good characters that you get to see grow through there lives. Lots of family drama and court politics.
Each book has a romance.
Unique magic system. Very political but with littel action.
truly, a sum is better than its parts and should be read as one book.
There is a 16 year time jump after each part.
Very good characters that you get to see grow through there lives. Lots of family drama and court politics.
Each book has a romance.
June 15, 2020
This contains all four novels in the Long Price series. While they each have their own arc, they form one continuous story with largely the same characters. Overall I liked this very much, despite some unconvincing characterizations and plot holes.
These books are low on magic, but what they have is pretty unique: the Khaiem have “poets” who are able to create and enslave something called “andats”, which are “ideas translated into a form which includes volition”. The andats are essentially gods, only limited to a very specific power. Removing-The-Part-That-Continues, a.k.a.Seedless, can remove the seeds from cotton (a mundane but extremely valuable ability), but it can also abort fetuses. Stone-Made-Soft is very useful in the mining industry, but could also be used to bring down mountains. The andats take human form and they are very creepy.
These dangerous creations give the Khaiem a great advantage over their rival nation of Galt, but the andats are becoming increasingly difficult to capture and hold, and the Khaiem rely on them too heavily. Their rivals in the country of Galt are working on technology the Khaiem haven’t bothered with.
The conflict between the Khaiem and the Galts form the overall plot of the series, but this is very much a character-driven story; almost to a fault. Most of the writing concerns the individuals involved and how they feel about everything. The focus is often on people finding good reasons to do terrible things. I sometimes felt that the characterizations were awkwardly forced in order to create profound philosophical differences for the sake of conflict.
Daniel Abraham is one of the writers of the Expanse series, and I noticed some common, discomfiting elements between this series and that one. In both series the reader often gets the point of view of the villain, and is tempted to empathize with their goals. They both have characters who commit horrific crimes and are largely forgiven by the protagonists and seen as sympathetic. There is a jarring disconnect, in both series, between the cozy dynamic of the core characters and the shocking death toll outside their group.
One of my favorite things about this series is the language of the Khaiem, which is only half expressed in words, the rest in meaningful gestures and poses. This seems to annoy some readers but I thought it was handled amazingly well.
These books are low on magic, but what they have is pretty unique: the Khaiem have “poets” who are able to create and enslave something called “andats”, which are “ideas translated into a form which includes volition”. The andats are essentially gods, only limited to a very specific power. Removing-The-Part-That-Continues, a.k.a.Seedless, can remove the seeds from cotton (a mundane but extremely valuable ability), but it can also abort fetuses. Stone-Made-Soft is very useful in the mining industry, but could also be used to bring down mountains. The andats take human form and they are very creepy.
These dangerous creations give the Khaiem a great advantage over their rival nation of Galt, but the andats are becoming increasingly difficult to capture and hold, and the Khaiem rely on them too heavily. Their rivals in the country of Galt are working on technology the Khaiem haven’t bothered with.
The conflict between the Khaiem and the Galts form the overall plot of the series, but this is very much a character-driven story; almost to a fault. Most of the writing concerns the individuals involved and how they feel about everything. The focus is often on people finding good reasons to do terrible things. I sometimes felt that the characterizations were awkwardly forced in order to create profound philosophical differences for the sake of conflict.
Daniel Abraham is one of the writers of the Expanse series, and I noticed some common, discomfiting elements between this series and that one. In both series the reader often gets the point of view of the villain, and is tempted to empathize with their goals. They both have characters who commit horrific crimes and are largely forgiven by the protagonists and seen as sympathetic. There is a jarring disconnect, in both series, between the cozy dynamic of the core characters and the shocking death toll outside their group.
One of my favorite things about this series is the language of the Khaiem, which is only half expressed in words, the rest in meaningful gestures and poses. This seems to annoy some readers but I thought it was handled amazingly well.
January 3, 2022
I don’t typically feel the urge to write full-length reviews; as a matter of fact, I’ve never written a full-length review. Yet in the month following the completion of its final book, I’ve felt compelled to write one for The Long Price Quartet, largely due to its relatively underrated status. I cannot only say it was one of my favorite reads of 2021, but now one of my favorite fantasy series of all time.
The Long Price Quartet is a fantasy epic on an intimate scale. This is a story that thrives in quietude and lingers in the melancholy of twilight. The plot is influenced by outside actors — at least initially — but the narrative is anchored by the point-of-view characters and shaped by the choices they make. The saga almost entirely takes place across the cities of the Khaiem, vestigial remnants of a once-united empire that nevertheless remains a formidable force due to the magic they wield. The might of the Khaiem is tested by the Galts, an expansionist state desiring the end of Khaiate dominance. It is on this geopolitical stage the drama is set.
Central to the Long Price Quartet are the andat — concepts bound to human form, captured and held by “poets” in service to the cities of the Khaiem. This is far and away my favorite depiction of magic in a fantasy series to date. Essential to the Khaiate economy and defense, the andat are not only central to the plot and worldbuilding, but inexorably entwined with the characters who bound them. They have the power to reshape the world — or to break it. They are spellbinding, manipulative, and downright unnerving, the uncanny valley achieved in literary form. They’re also among the series’ most memorable characters.
Indeed, it’s the characters, their dynamics, and their dilemmas that are the beating heart of the Quartet. I love the way Abraham handles character and the messy complexity of human relationships. There’s a peculiar mundaneness to his approach that makes them feel lived-in, down-to-earth and real to me, even as he plays with classical high fantasy tropes such as the secret noble. These are characters that can truly grow on you as the series progresses. You’ll feel for them and question them. At times, they will frustrate you in the most wonderful way.
Otah, Maati, Eiah, Heshai, Ana, Seedless… these are just some of the characters that inhabit Abraham’s dramatic stage and impressed on me as a reader. I must give special mention to Amat Kyaan, however. Introduced in A Shadow in Summer, Amat is the 58-year-old overseer of the Galtic House Wilsin — a decidedly atypical fantasy point-of-view. Amat is measured, skilled at her job, and tough as nails. She’s a character grounded in the society she lives in, but bound by her own personal principles and suffused with a civic pride for Saraykeht, the city she calls home.
One of the more unique structural aspects of the series is the length of time it spans: each book is followed by a fifteen year time jump. Abraham employs this diachronic framework to poignant effect, enabling us not only to watch but feel the central characters age, reckon with the paths they’ve tread, and witness the consequences of their choices — for themselves, for their families, for their world. It lends a deep sense of melancholy to the story, that can prompt one to reflect upon their own mortality and roads not taken. This structure also renders the Quartet into a generational saga of sorts, as characters who are conceived in the first and second books are notable figures in the third and fourth.
Abraham shines at moral complexity, presenting his characters with dilemmas that have no clear or easy answer. What happens when the pursuit of justice risks unleashing a greater injustice? What does it mean to love without trust? How does one best rebuild after catastrophe — by seeking to reverse the damage done and return to the status quo, or by accepting the new reality and forging a new path ahead in a shattered world? Moreover, he crafts antagonists with understandable motives; more than once did I find myself sympathizing with their perspective.
Other small things I loved about the Quartet: intercultural dynamics; the role of language; the anticipatory dread which precedes real or potential horrors. I was also impressed by the author’s restrained, mature handling of a decidedly triangular relationship dynamic at one point in the story.
Abraham’s worldbuilding is minimalistic compared to the likes of Jordan or Martin; he generally eschews lengthy asides about history and culture, preferring to reveal details as they relate to the characters and their day-to-day experiences. While this occasionally inspires questions about the broader setting, I believe it works for the story he’s telling. The only element that feels a tad undercooked in this regard is perhaps religion.
Each volume of the Quartet is relatively self-contained with its own central plot. If I had to identify a weak link in the saga, it’d probably be A Betrayal in Winter, the second book in the series. I didn’t find the central conflict quite as challenging as those in other volumes, and the denouement felt rather simplistic, even if the road to get there was not. And although Abraham continued to deliver great character work with returning faces (and a couple new ones), the main antagonist didn’t quite land for me in the way I’d hoped in this book. That said, this isn’t a bad novel in the least — even my least favorite LPQ is a solid read.
“If there’s any justice, this should be a contender for all the major awards,” George R.R. Martin once wrote of An Autumn War. Unfortunately, it didn’t; despite positive critical acclaim, the series failed to garner any nominations, and from what I can tell, wasn’t exactly a sales hit either. Fortunately, if chatter is anything to go by, it appears I’m not the only reader who fell for this series in 2021, which is lovely to see.
This is a unique, solid, slow-burn high fantasy that eschews action sequences for most of its run. While it won’t be to everyone’s tastes, I’d recommend giving it a shot if you’re looking for…
— character-focused, slow-burn storytelling with world-changing and personal stakes
— a novel magic system central to story, worldbuilding, and characterization
— intrigue, both between and within polities and individuals
— a rather short epic fantasy series: I read the omnibus edition, but the four books are only around 350 pages each individually
The Long Price Quartet is a fantasy epic on an intimate scale. This is a story that thrives in quietude and lingers in the melancholy of twilight. The plot is influenced by outside actors — at least initially — but the narrative is anchored by the point-of-view characters and shaped by the choices they make. The saga almost entirely takes place across the cities of the Khaiem, vestigial remnants of a once-united empire that nevertheless remains a formidable force due to the magic they wield. The might of the Khaiem is tested by the Galts, an expansionist state desiring the end of Khaiate dominance. It is on this geopolitical stage the drama is set.
Central to the Long Price Quartet are the andat — concepts bound to human form, captured and held by “poets” in service to the cities of the Khaiem. This is far and away my favorite depiction of magic in a fantasy series to date. Essential to the Khaiate economy and defense, the andat are not only central to the plot and worldbuilding, but inexorably entwined with the characters who bound them. They have the power to reshape the world — or to break it. They are spellbinding, manipulative, and downright unnerving, the uncanny valley achieved in literary form. They’re also among the series’ most memorable characters.
Indeed, it’s the characters, their dynamics, and their dilemmas that are the beating heart of the Quartet. I love the way Abraham handles character and the messy complexity of human relationships. There’s a peculiar mundaneness to his approach that makes them feel lived-in, down-to-earth and real to me, even as he plays with classical high fantasy tropes such as the secret noble. These are characters that can truly grow on you as the series progresses. You’ll feel for them and question them. At times, they will frustrate you in the most wonderful way.
Otah, Maati, Eiah, Heshai, Ana, Seedless… these are just some of the characters that inhabit Abraham’s dramatic stage and impressed on me as a reader. I must give special mention to Amat Kyaan, however. Introduced in A Shadow in Summer, Amat is the 58-year-old overseer of the Galtic House Wilsin — a decidedly atypical fantasy point-of-view. Amat is measured, skilled at her job, and tough as nails. She’s a character grounded in the society she lives in, but bound by her own personal principles and suffused with a civic pride for Saraykeht, the city she calls home.
One of the more unique structural aspects of the series is the length of time it spans: each book is followed by a fifteen year time jump. Abraham employs this diachronic framework to poignant effect, enabling us not only to watch but feel the central characters age, reckon with the paths they’ve tread, and witness the consequences of their choices — for themselves, for their families, for their world. It lends a deep sense of melancholy to the story, that can prompt one to reflect upon their own mortality and roads not taken. This structure also renders the Quartet into a generational saga of sorts, as characters who are conceived in the first and second books are notable figures in the third and fourth.
Abraham shines at moral complexity, presenting his characters with dilemmas that have no clear or easy answer. What happens when the pursuit of justice risks unleashing a greater injustice? What does it mean to love without trust? How does one best rebuild after catastrophe — by seeking to reverse the damage done and return to the status quo, or by accepting the new reality and forging a new path ahead in a shattered world? Moreover, he crafts antagonists with understandable motives; more than once did I find myself sympathizing with their perspective.
Other small things I loved about the Quartet: intercultural dynamics; the role of language; the anticipatory dread which precedes real or potential horrors. I was also impressed by the author’s restrained, mature handling of a decidedly triangular relationship dynamic at one point in the story.
Abraham’s worldbuilding is minimalistic compared to the likes of Jordan or Martin; he generally eschews lengthy asides about history and culture, preferring to reveal details as they relate to the characters and their day-to-day experiences. While this occasionally inspires questions about the broader setting, I believe it works for the story he’s telling. The only element that feels a tad undercooked in this regard is perhaps religion.
Each volume of the Quartet is relatively self-contained with its own central plot. If I had to identify a weak link in the saga, it’d probably be A Betrayal in Winter, the second book in the series. I didn’t find the central conflict quite as challenging as those in other volumes, and the denouement felt rather simplistic, even if the road to get there was not. And although Abraham continued to deliver great character work with returning faces (and a couple new ones), the main antagonist didn’t quite land for me in the way I’d hoped in this book. That said, this isn’t a bad novel in the least — even my least favorite LPQ is a solid read.
“If there’s any justice, this should be a contender for all the major awards,” George R.R. Martin once wrote of An Autumn War. Unfortunately, it didn’t; despite positive critical acclaim, the series failed to garner any nominations, and from what I can tell, wasn’t exactly a sales hit either. Fortunately, if chatter is anything to go by, it appears I’m not the only reader who fell for this series in 2021, which is lovely to see.
This is a unique, solid, slow-burn high fantasy that eschews action sequences for most of its run. While it won’t be to everyone’s tastes, I’d recommend giving it a shot if you’re looking for…
— character-focused, slow-burn storytelling with world-changing and personal stakes
— a novel magic system central to story, worldbuilding, and characterization
— intrigue, both between and within polities and individuals
— a rather short epic fantasy series: I read the omnibus edition, but the four books are only around 350 pages each individually
June 7, 2019
Whew. I just finished this wonderful series last night (stayed up late to finish) and this definitely ranks as one of the best series I have read in a long, long time. I came to the Long Price Quartet via The Expanse series. After devouring all the available books by James S.A. Corey, I wanted to seek out some of the previous works by those authors. I chose this series randomly but also based on the reviews and the description. Also, I was just in the mood for a really long, epic, well-written Fantasy series that I could fall down a hole into. Check, check, check and check.
The Long Price Quartet is almost a thousand pages, and while that's just one book for someone like Peter Hamilton or Neal Stephenson, the way Daniel Abraham moves the story along, over the course of two or three generations was pretty much perfect. Between each book, a certain number of years passes, which allows you to move across the decades more quickly and see the results of actions taken in previous books. There are a few particular things about these books that are (to me) unique and are reasons that this series really stands out above most others.
First off the conceit of the "Andat." The single Fantasy element and main driving force of the narrative, the Andat are physical beings brought into reality by "Poets" who use a combination of personal will, the crafting of poetic description and an undefined magical element to distill and solidify descriptive ideas about the nature of reality into a human form who then has control over this aspect of reality. Each Andat is controlled by a Poet and these two are locked in a lifelong battle of wills, as each Andat is held against its own will and is forever seeking ways to get free and/or betray its master. Some are more devious and malicious than others. This depends partly on the nature of the Andat and partly on how they are bound. Each Poet ends up incorporating underlying aspects of his/her own nature into the Andat, many times aspects that have been ignored or suppressed. The Andat often use these as a weapon against the Poets. For example, two Andat discussed in detail during the course of these books are: Water Moving Down (who can control the flow of rivers, rainfall and any other movement of water) and Removing the Part That Continues (who is used to remove the seeds from cotton plants, allowing it's owners to corner the cotton market as well as the trade in ending pregnancies.) While each Andat is created for a specific purpose, the definition of each Andat's power can be amorphous and used to fit several different potential scenarios. That very amorphous nature combined with the problem of having a mortal being "controlling" a superhuman power is the heart of the conflict at work in The Long Price Quartet. It allows Abraham to explore a great deal of deep and affecting human issues, including the nature of power, the nature of relationship, institutional sexism and classism, loyalty, sacrifice, forgiveness... and ultimately love. I won't go into too much more detail because the main thing that's beautiful about these books is how each character takes their journey and what they learn along the way.
Not only is this a diverse and vibrant cast of characters, but you also get to see most of them grow and evolve over many years and how their individual journeys intersect with their relationships, weaving, and un-weaving again and again over decades. Besides great characters, Abraham is very adept at differentiating each character through the way they communicate. The main set of characters the reader follows are in the cities of the Khaiem of the southern region of this world. You also spend time in Galt which is the northern region. The people who inhabit the southern region communicate with body postures, poses, and hand signals as much as though verbal means. This is an ingenious writing device and allows for another layer of communication and emotion to carry on between these characters. This is always super effective and often devastating in its ability to get across deeper meanings of pain, confusion, agreement/disagreement, affection, anger, etc... It's something I haven't seen done before and makes The Long Price Quartet stand out to me as utterly unique in its storytelling. This technique really comes into play during the climax of each novel, and especially during the climax of the last novel, The Price of Spring.
It's nice when starting a series to know that it's "going somewhere." Or in other words, that the author knows where the characters and the story are going - and that they get there in the end. In this series, Abraham knows what he wants to do and he gets it done spectacularly. This is NOT an action-packed story, in terms of battles and fighting. There is a giant battle at one point and some violence peppered throughout, but this series is mostly quieter and about intense and urgent political, interpersonal and familial entanglements that threaten the existence of an entire culture. Things are not always what they seem in these books and change can come very quickly indeed. These books require close attention, as sometimes a small point of dialogue or gesture will have huge implications later on.
So to sum up, this is by far one of the best series I have ever read. I would say as far as Fantasy goes it's up there in the Top 5 or even Top 3 for me. I am not a serious Fantasy reader but I have read the entire Wheel Of Time series so when I dedicate to a series, I go all in. If you are looking for an epic Fantasy series that you can fall into and get lost in, that has a unique magic element and superior characters/dialogue, plus intricate, involving plotting - you will be wowed by The Long Price Quartet. I recommend this Omnibus edition, as you can get totally immersed and immediately pick up the next book after completing the previous one. The story is subtle and nuanced so reading them all back to back really helps to keep the intricate plot lines fresh in your head and makes the ultimate payoff that much better.
Five stars all the way around.
The Long Price Quartet is almost a thousand pages, and while that's just one book for someone like Peter Hamilton or Neal Stephenson, the way Daniel Abraham moves the story along, over the course of two or three generations was pretty much perfect. Between each book, a certain number of years passes, which allows you to move across the decades more quickly and see the results of actions taken in previous books. There are a few particular things about these books that are (to me) unique and are reasons that this series really stands out above most others.
First off the conceit of the "Andat." The single Fantasy element and main driving force of the narrative, the Andat are physical beings brought into reality by "Poets" who use a combination of personal will, the crafting of poetic description and an undefined magical element to distill and solidify descriptive ideas about the nature of reality into a human form who then has control over this aspect of reality. Each Andat is controlled by a Poet and these two are locked in a lifelong battle of wills, as each Andat is held against its own will and is forever seeking ways to get free and/or betray its master. Some are more devious and malicious than others. This depends partly on the nature of the Andat and partly on how they are bound. Each Poet ends up incorporating underlying aspects of his/her own nature into the Andat, many times aspects that have been ignored or suppressed. The Andat often use these as a weapon against the Poets. For example, two Andat discussed in detail during the course of these books are: Water Moving Down (who can control the flow of rivers, rainfall and any other movement of water) and Removing the Part That Continues (who is used to remove the seeds from cotton plants, allowing it's owners to corner the cotton market as well as the trade in ending pregnancies.) While each Andat is created for a specific purpose, the definition of each Andat's power can be amorphous and used to fit several different potential scenarios. That very amorphous nature combined with the problem of having a mortal being "controlling" a superhuman power is the heart of the conflict at work in The Long Price Quartet. It allows Abraham to explore a great deal of deep and affecting human issues, including the nature of power, the nature of relationship, institutional sexism and classism, loyalty, sacrifice, forgiveness... and ultimately love. I won't go into too much more detail because the main thing that's beautiful about these books is how each character takes their journey and what they learn along the way.
Not only is this a diverse and vibrant cast of characters, but you also get to see most of them grow and evolve over many years and how their individual journeys intersect with their relationships, weaving, and un-weaving again and again over decades. Besides great characters, Abraham is very adept at differentiating each character through the way they communicate. The main set of characters the reader follows are in the cities of the Khaiem of the southern region of this world. You also spend time in Galt which is the northern region. The people who inhabit the southern region communicate with body postures, poses, and hand signals as much as though verbal means. This is an ingenious writing device and allows for another layer of communication and emotion to carry on between these characters. This is always super effective and often devastating in its ability to get across deeper meanings of pain, confusion, agreement/disagreement, affection, anger, etc... It's something I haven't seen done before and makes The Long Price Quartet stand out to me as utterly unique in its storytelling. This technique really comes into play during the climax of each novel, and especially during the climax of the last novel, The Price of Spring.
It's nice when starting a series to know that it's "going somewhere." Or in other words, that the author knows where the characters and the story are going - and that they get there in the end. In this series, Abraham knows what he wants to do and he gets it done spectacularly. This is NOT an action-packed story, in terms of battles and fighting. There is a giant battle at one point and some violence peppered throughout, but this series is mostly quieter and about intense and urgent political, interpersonal and familial entanglements that threaten the existence of an entire culture. Things are not always what they seem in these books and change can come very quickly indeed. These books require close attention, as sometimes a small point of dialogue or gesture will have huge implications later on.
So to sum up, this is by far one of the best series I have ever read. I would say as far as Fantasy goes it's up there in the Top 5 or even Top 3 for me. I am not a serious Fantasy reader but I have read the entire Wheel Of Time series so when I dedicate to a series, I go all in. If you are looking for an epic Fantasy series that you can fall into and get lost in, that has a unique magic element and superior characters/dialogue, plus intricate, involving plotting - you will be wowed by The Long Price Quartet. I recommend this Omnibus edition, as you can get totally immersed and immediately pick up the next book after completing the previous one. The story is subtle and nuanced so reading them all back to back really helps to keep the intricate plot lines fresh in your head and makes the ultimate payoff that much better.
Five stars all the way around.
April 7, 2022
Five stars are not enough to express the tragic, beautiful journey this series takes the reader on. From the very first page Abraham weaves a masterful tapestry of consequences for the characters we follow for nearly their entire lives. Each action no matter how long ago, how careless, how well thought out, how well intentioned has an impact not only the lives of these characters, but on cities, nations, the world.
This will not be a series for everyone; it's very unique, sometimes slow, and very focused on the long term. That said, if you make the journey, I can't help but think you won't be disappointed.
This will not be a series for everyone; it's very unique, sometimes slow, and very focused on the long term. That said, if you make the journey, I can't help but think you won't be disappointed.
July 1, 2019
It's hard to give such a depressing series of books five stars. Because as brilliant as it was, it really made me miserable. But it was so, so clever and thoughtful and thought provoking and memorable that I can't really give it anything else.
I rate the quartet as a single book, even though the books are also sold individually rather than as a compilation, because the series was clearly designed as a single unit. Yes, there are four plots. Yes, each book concludes and does not rely on what follows to reach resolution. But the way that they build upon one another and fit together means that something would be lost by considering them as anything less than a single unit.
Abraham does a masterful job of creating tragically flawed characters and setting up plausible entanglements that force them to work against the ones they love and the things they care about. He gives the perspectives of all sides of the story, and the "villains" are nearly as relatable as the heroes. You root against the villains, but mostly you pity them (and you pity the heroes too). The characters feel real, and the reader really gets to know them. They are highly memorable, and very compelling.
This is a dark world, and a dark story. Not gritty, but depressing. There are resolutions, but no happy endings. It feels very true, despite being a significantly harsher world than what I think we live in. That said, the culture is interesting - it has enough relation to cultures in the real world to feel plausible and familiar, but with enough novelty to leave the reader in awe of Abraham's creativity and attention to detail.
The writing is generally good, with some wisdom and wit that made me smile. It could have used a bit of an edit to cut down some superfluous detail - I don't need to know how every bowl of tea tastes (and it always is over-brewed... apparently nobody in his world knows how to make tea) - but it was never tedious. Well, never tedious past about page 50 - the introduction is the worst part of the book... necessary, but not a great opening. By page 50 the plot twists start, and they hit you every 20 pages or so until the end, 1000 pages later... very few are predictable, but all of them were well set up.
Another masterful series by Abraham.
I rate the quartet as a single book, even though the books are also sold individually rather than as a compilation, because the series was clearly designed as a single unit. Yes, there are four plots. Yes, each book concludes and does not rely on what follows to reach resolution. But the way that they build upon one another and fit together means that something would be lost by considering them as anything less than a single unit.
Abraham does a masterful job of creating tragically flawed characters and setting up plausible entanglements that force them to work against the ones they love and the things they care about. He gives the perspectives of all sides of the story, and the "villains" are nearly as relatable as the heroes. You root against the villains, but mostly you pity them (and you pity the heroes too). The characters feel real, and the reader really gets to know them. They are highly memorable, and very compelling.
This is a dark world, and a dark story. Not gritty, but depressing. There are resolutions, but no happy endings. It feels very true, despite being a significantly harsher world than what I think we live in. That said, the culture is interesting - it has enough relation to cultures in the real world to feel plausible and familiar, but with enough novelty to leave the reader in awe of Abraham's creativity and attention to detail.
The writing is generally good, with some wisdom and wit that made me smile. It could have used a bit of an edit to cut down some superfluous detail - I don't need to know how every bowl of tea tastes (and it always is over-brewed... apparently nobody in his world knows how to make tea) - but it was never tedious. Well, never tedious past about page 50 - the introduction is the worst part of the book... necessary, but not a great opening. By page 50 the plot twists start, and they hit you every 20 pages or so until the end, 1000 pages later... very few are predictable, but all of them were well set up.
Another masterful series by Abraham.
January 29, 2026
Daniel Abraham’s LPQ has turned my world upside down. This irresistable masterpiece has immediately become one of my instant favourites and is without a doubt the best fantasy I’ve read this year. Outstanding character work, an absolutely unique setting and wordlbuilding, and prose that’s as sweet as lemon drops have made reading this a pure joy. But y’all know how much I need character work and prose in a favourite book, don’t you? So why has this series turned my world upside down?
„I’m saving the world,“ Balasar said. „So, now. Say you’d rather drown than help me.“
Let me tell you, my young padawans. The LPQ is the best example for the fact that even the worst tropes can work if they’re well-written – and Abraham even managed to include various love triangles that I enjoyed reading. There are love triangles and time jumps, and there isn’t a single action scene in the entire first book. And I love it. I love everything because it’s all executed so incredibly well. Absolutely chef’s kiss. How did he do it? By being the perfect architect writer.
Once upon a time there was a city by the sea, and it lived in prosperity and innocence. But it didn’t anymore.
There are two types of writers: architects who plan everything before they start, and gardeners who just dive straight into it and let things grow. Abraham is an architect, and he may be the best architect I’ve ever seen. He has built this series with so much love for detail, with such an extraordinary idea that slowly unfolds both over the course of the series and the individual books – reading this has been one of the best reading experiences I’ve ever had. So you may ask yourself: why haven’t I heard of this series before? Why hasn’t it ever been on the NYT bestseller list?
"Everything I wanted to do has already been destroyed. (…) There isn’t a solution to this. Not anymore. I’m reduced to looking for the least painful way that it can end. I don’t see how we take these pieces and make a world worth living in.“
The hard answer is: because the average modern SFF reader has no patience and the attention span of a goldfish. Most readers nowadays expect books to be like Hollywood action movies: fights and explosions all along, and in the end the hero gets the girl. There is no patience for grand internal conflict and tragedy – what people want is entertainment, innuendo, and big battles. To sum it up: people want more GoT season 5 following and less GoT season one.
"The boy I knew and the man we knew has become a stew of bitterness and blind optimism. He wants the past back, and no sacrifice is too high.“
The entire first and second books, A Shadow in Summer and A Betrayal in Winter, remind me so much of the first half of A Game of Thrones. That long, tense phase when everybody was sharpening their knives and making alliances in secret. That moment right before all of those tensions erupted like the volcano that the War of Five Kings was. This is what happens in the first half of the quartet: the board is set, the pawns prepared. So much perfect buildup, so much careful character study, and yet such high stakes. As I said: there isn’t a single action scene in the entire first book. And yet the stakes and the tension are just outstanding. They are right there below the surface, like that monster in the lake at the Doors of Moria. And then that monster strikes in An Autumn War. And oh boy, what a strike it is.
At heart, he was not a conqueror. Only a man who saw what needed doing, and then did it. Or else he would fail and every Galtic man and woman would be a corpse or a refugee.
I’ve talked about internal conflict already, but I have to elaborate on that. Because the internal conflicts these protagonists have to face over the course of their lives aren’t like anything you’ve ever read. Just believe me: you’ve never seen any characters in any fantasy book being faced with these decisions to make. You’ve never seen people that have to deal with these implications. Because sometimes, there is no right or wrong decision to make. Sometimes, it’s just about the lesser evil – and that lesser evil might still destroy everything you hold dear in the long run. Because actions have consequences.
"You don’t understand,“ he said. His voice wasn’t angry, only tired. "I want to be a good man. And I’m not. For a time, I thought I was. I thought I could be. I was wrong.“
„Good men shouldn’t be able to make mistakes with prices this high.“
There has never been a series that deserved its name like this one does: in the long run, you’ll have to pay the price. And you’ll have to live with these decisions for the rest of your life. You’ll look back on them years and decades later, and you’ll realise where you went wrong – but by then, it’ll be too late. You’ll have to live with your decisions, and with the implications. And that’s what Abraham does. He shows you the entire lives of these protagonists, how they start out as children, and how their decisions shape the world they live in.
"All over the world, in every land, men do this. They slaughter each other over money or sex or power. The Khaiem do it to their own families.“
The worldbuilding is oustanding as well. Abraham’s story takes place in a world that’s dominated by the central conflict between the European-steampunk-inspired Galt and the Asian-inspired Cities of the Khaiem with their tea houses and baths, and with the sons of its nobility who need to kill their brothers if they want to follow their fathers.
"The Galts have been doing more and more with their little devices, and we’d be fools to ignore what they’ve managed.“
The Galts have science and modern technology, but the Khaiem have magic – they have the andat: thoughts and abstract concepts captured into djinn-like beings. And while the Galts try to remove the andat in order to finally conquer the rich cities of the Khaiem, the andat struggle against their keepers, the poets, as well. Daniel Abraham’s worldbuilding is better than Brandon Sanderson’s. Yes, I’ve really said that. Because it’s true. Sanderson technically informs you on hundreds and hundreds of pages about each aspect of his world – Abraham doesn’t. Abraham paints this world elegantly and perfectly measured.
For a moment, she saw herself through his eyes – cutting, ironic, cruel. It wasn’t who she had been with him. Once, before they had made this bargain with Chaos, she had had the luxury of being soft and warm. She had always been angry, only not with him. How lost he must feel.
The character work isbetterthanjoeabercrombie’s. Each of these protagonists is so fleshed out, so incredibly human, so tragic. Abraham is the Shakespeare of fantasy. To follow these protagonists through their entire lives has been a journey I’ll never forget. And the prose? Outstanding. I’ll admit it: I’m a huge prose snob. And while reading this, I’ve been an extremely happy prose snob.
If there were an earthquake, the towers would certainly fall. For an instant, he imagined the stones pattering down in a deadly rain, the long, slumped piles of rubble that would lie where they fell. The corpses of giants.
To sum it all up: I highly recommend this series to anyone who is willing to tackle a challenging, intelligent, slow Fantasy series that spends a lot of time carefully building up an enormous conflict. Believe me, all of this buildup is worth it in the end. The ending of An Autumn War is better than the ending of Hero of Ages. The stakes that Abraham installs throughout this series are higher than Mount Doom. It’s an incredible masterpiece, highly underrated. This series deserves so much more love than it gets. . . Five stars. At least. Easily an all-time favourite for me, the best finished Fantasy series I’ve read in a very long time.
„I’m saving the world,“ Balasar said. „So, now. Say you’d rather drown than help me.“
Let me tell you, my young padawans. The LPQ is the best example for the fact that even the worst tropes can work if they’re well-written – and Abraham even managed to include various love triangles that I enjoyed reading. There are love triangles and time jumps, and there isn’t a single action scene in the entire first book. And I love it. I love everything because it’s all executed so incredibly well. Absolutely chef’s kiss. How did he do it? By being the perfect architect writer.
Once upon a time there was a city by the sea, and it lived in prosperity and innocence. But it didn’t anymore.
There are two types of writers: architects who plan everything before they start, and gardeners who just dive straight into it and let things grow. Abraham is an architect, and he may be the best architect I’ve ever seen. He has built this series with so much love for detail, with such an extraordinary idea that slowly unfolds both over the course of the series and the individual books – reading this has been one of the best reading experiences I’ve ever had. So you may ask yourself: why haven’t I heard of this series before? Why hasn’t it ever been on the NYT bestseller list?
"Everything I wanted to do has already been destroyed. (…) There isn’t a solution to this. Not anymore. I’m reduced to looking for the least painful way that it can end. I don’t see how we take these pieces and make a world worth living in.“
The hard answer is: because the average modern SFF reader has no patience and the attention span of a goldfish. Most readers nowadays expect books to be like Hollywood action movies: fights and explosions all along, and in the end the hero gets the girl. There is no patience for grand internal conflict and tragedy – what people want is entertainment, innuendo, and big battles. To sum it up: people want more GoT season 5 following and less GoT season one.
"The boy I knew and the man we knew has become a stew of bitterness and blind optimism. He wants the past back, and no sacrifice is too high.“
The entire first and second books, A Shadow in Summer and A Betrayal in Winter, remind me so much of the first half of A Game of Thrones. That long, tense phase when everybody was sharpening their knives and making alliances in secret. That moment right before all of those tensions erupted like the volcano that the War of Five Kings was. This is what happens in the first half of the quartet: the board is set, the pawns prepared. So much perfect buildup, so much careful character study, and yet such high stakes. As I said: there isn’t a single action scene in the entire first book. And yet the stakes and the tension are just outstanding. They are right there below the surface, like that monster in the lake at the Doors of Moria. And then that monster strikes in An Autumn War. And oh boy, what a strike it is.
At heart, he was not a conqueror. Only a man who saw what needed doing, and then did it. Or else he would fail and every Galtic man and woman would be a corpse or a refugee.
I’ve talked about internal conflict already, but I have to elaborate on that. Because the internal conflicts these protagonists have to face over the course of their lives aren’t like anything you’ve ever read. Just believe me: you’ve never seen any characters in any fantasy book being faced with these decisions to make. You’ve never seen people that have to deal with these implications. Because sometimes, there is no right or wrong decision to make. Sometimes, it’s just about the lesser evil – and that lesser evil might still destroy everything you hold dear in the long run. Because actions have consequences.
"You don’t understand,“ he said. His voice wasn’t angry, only tired. "I want to be a good man. And I’m not. For a time, I thought I was. I thought I could be. I was wrong.“
„Good men shouldn’t be able to make mistakes with prices this high.“
There has never been a series that deserved its name like this one does: in the long run, you’ll have to pay the price. And you’ll have to live with these decisions for the rest of your life. You’ll look back on them years and decades later, and you’ll realise where you went wrong – but by then, it’ll be too late. You’ll have to live with your decisions, and with the implications. And that’s what Abraham does. He shows you the entire lives of these protagonists, how they start out as children, and how their decisions shape the world they live in.
"All over the world, in every land, men do this. They slaughter each other over money or sex or power. The Khaiem do it to their own families.“
The worldbuilding is oustanding as well. Abraham’s story takes place in a world that’s dominated by the central conflict between the European-steampunk-inspired Galt and the Asian-inspired Cities of the Khaiem with their tea houses and baths, and with the sons of its nobility who need to kill their brothers if they want to follow their fathers.
"The Galts have been doing more and more with their little devices, and we’d be fools to ignore what they’ve managed.“
The Galts have science and modern technology, but the Khaiem have magic – they have the andat: thoughts and abstract concepts captured into djinn-like beings. And while the Galts try to remove the andat in order to finally conquer the rich cities of the Khaiem, the andat struggle against their keepers, the poets, as well. Daniel Abraham’s worldbuilding is better than Brandon Sanderson’s. Yes, I’ve really said that. Because it’s true. Sanderson technically informs you on hundreds and hundreds of pages about each aspect of his world – Abraham doesn’t. Abraham paints this world elegantly and perfectly measured.
For a moment, she saw herself through his eyes – cutting, ironic, cruel. It wasn’t who she had been with him. Once, before they had made this bargain with Chaos, she had had the luxury of being soft and warm. She had always been angry, only not with him. How lost he must feel.
The character work isbetterthanjoeabercrombie’s. Each of these protagonists is so fleshed out, so incredibly human, so tragic. Abraham is the Shakespeare of fantasy. To follow these protagonists through their entire lives has been a journey I’ll never forget. And the prose? Outstanding. I’ll admit it: I’m a huge prose snob. And while reading this, I’ve been an extremely happy prose snob.
If there were an earthquake, the towers would certainly fall. For an instant, he imagined the stones pattering down in a deadly rain, the long, slumped piles of rubble that would lie where they fell. The corpses of giants.
To sum it all up: I highly recommend this series to anyone who is willing to tackle a challenging, intelligent, slow Fantasy series that spends a lot of time carefully building up an enormous conflict. Believe me, all of this buildup is worth it in the end. The ending of An Autumn War is better than the ending of Hero of Ages. The stakes that Abraham installs throughout this series are higher than Mount Doom. It’s an incredible masterpiece, highly underrated. This series deserves so much more love than it gets. . . Five stars. At least. Easily an all-time favourite for me, the best finished Fantasy series I’ve read in a very long time.
January 16, 2024
A fantasy novel focusing on trade and medieval banking, following a group of characters over their entire lifetime. Daniel Abraham wrote this book specifically for me and I'm glad that he did. The world has a unique magic system, but Abraham is content to make it a part of the setting rather than the reason you read. The real story is the growth of its narrator, watching two young men be shaped and shape in turn the world they live in, changing with the seasons but never becoming unfamiliar to the reader.
I read the entire series back to back, and would recommend doing so for anyone else, as each book is just a long chapter in the full story.
Would recommend for: Game of Thrones fans who read for the court intrigue
I read the entire series back to back, and would recommend doing so for anyone else, as each book is just a long chapter in the full story.
Would recommend for: Game of Thrones fans who read for the court intrigue
January 10, 2019
This is four novels in an omnibus volume: A Shadow in Summer, A Betrayal in Winter, An Autumn War, and The Price of Spring. I'd never read any of them before, so I'll do a single review of the omnibus.
The novels are set in a fantasy world, with exactly one fantasy element: the andat. The andat are "concepts made flesh": within their conceptual domains, they exercise essentially unlimited power. The andat are bound by "poets", who train all their lives for the task. For instance, in the first novel, the primary andat is Seedless, who can remove seeds from cotton, but also cause crops to fail or induce abortions. The main character is Otah Machi, who is initially sent to poet school but leaves early to make his own path. Politically, the book focuses on the conflicts between the Khaiate Empire, who control the andat, and the Galts, who have no andat.
There was a lot to enjoy here. In general, I felt the world was pretty well thought out. I'm a fan of "introduce one fantastical element and explore the implications settings." Another aspect I really enjoyed was that the novels feature many of the same characters, but are set approximately 15 years apart, so in the first novel the main characters are barely adults having their first real adventure, and in the final novel the characters are old to the point of infirmity trying to accomplish their last deeds. Yet another aspect I loved was that the conflicts made sense: the antagonists had different goals and sometimes suffered from some mental afflictions, but the antagonists were fundamentally believable.
I'm giving four stars rather than five as I felt the books could've been a little shorter, and the writing was occasionally just a little self-indulgent, ponderous and pretentious, but I did enjoy the set.
The novels are set in a fantasy world, with exactly one fantasy element: the andat. The andat are "concepts made flesh": within their conceptual domains, they exercise essentially unlimited power. The andat are bound by "poets", who train all their lives for the task. For instance, in the first novel, the primary andat is Seedless, who can remove seeds from cotton, but also cause crops to fail or induce abortions. The main character is Otah Machi, who is initially sent to poet school but leaves early to make his own path. Politically, the book focuses on the conflicts between the Khaiate Empire, who control the andat, and the Galts, who have no andat.
There was a lot to enjoy here. In general, I felt the world was pretty well thought out. I'm a fan of "introduce one fantastical element and explore the implications settings." Another aspect I really enjoyed was that the novels feature many of the same characters, but are set approximately 15 years apart, so in the first novel the main characters are barely adults having their first real adventure, and in the final novel the characters are old to the point of infirmity trying to accomplish their last deeds. Yet another aspect I loved was that the conflicts made sense: the antagonists had different goals and sometimes suffered from some mental afflictions, but the antagonists were fundamentally believable.
I'm giving four stars rather than five as I felt the books could've been a little shorter, and the writing was occasionally just a little self-indulgent, ponderous and pretentious, but I did enjoy the set.
December 19, 2020
We say that the flowers return every spring, but that is a lie.
It is true that the world is renewed. It is also true that that renewal comes at a price, for even if the flower grows again from an ancient vine, the flowers of spring are themselves new to the world, untried and untested.
The flower that wilted last year is gone. Petals once fallen are fallen forever.
Flowers do not return in the spring, rather they are replaced. It is in this difference between returned and replaced that the price of renewal is paid.
And as it is for spring flowers, so it is for us.
Without any doubt I can honestly say that The Long Price Quartet is one of the most under-hyped, unknown gem of a fantasy series that I have read in recent memory.
Like many readers, I started reading this series through its shared author with The Expanse- another phenomenal series I mistakenly let gather dust on my bookshelf for entirely too many years. While some of Abraham's talent with characters, plot progression, and payoff for reader investment are highlights of why I love the Expanse, I had no idea what to expect coming into this series with that as my only insight into the limitless potential of his creative genius. Despite the fact that this series are completely different genres and follow the trends and tropes of science fiction and fantasy, respectively, they almost feel as if they were written by two different authors. As silly as this may sound, rather than the instant, explosive addiction of James SA Corey, I'd liken the writing style of Daniel Abraham to the slow burn crescendo and luscious prose of one of my other new favorite authors, Guy Gavriel Kay.
If you have read Tigana by GGK that is where I think this comparison makes the most sense. The focus and intent feel directed more towards developing the characters, their relationships, and how the political inner workings of warring nations can be impacted by the whims and beliefs of a few radically powerful individuals. Add this on to the multi-generational gem and cultural deep dive that is The Dandelion Dynasty- another criminally underrated series- and *voila* that's the closest approximation to The Long Price Quartet that I can imagine.
My only real recommendation is to read all four books as a single large story (perhaps in a conveniently available omnibus format). The slow start would have merited only a 3 or 3.5 star rating; however, by the end I was 100% invested and satisfied with the well-deserved 4.5 star rating overall. If you'd like any insight into the breakdown of the individual ratings it would be as follows:
A Shadow in Summer: 3.5 stars
A Betrayal in Winter: 4 stars
An Autumn War: 4.5 stars
The Price of Spring: 5 stars
It is true that the world is renewed. It is also true that that renewal comes at a price, for even if the flower grows again from an ancient vine, the flowers of spring are themselves new to the world, untried and untested.
The flower that wilted last year is gone. Petals once fallen are fallen forever.
Flowers do not return in the spring, rather they are replaced. It is in this difference between returned and replaced that the price of renewal is paid.
And as it is for spring flowers, so it is for us.
Without any doubt I can honestly say that The Long Price Quartet is one of the most under-hyped, unknown gem of a fantasy series that I have read in recent memory.
Like many readers, I started reading this series through its shared author with The Expanse- another phenomenal series I mistakenly let gather dust on my bookshelf for entirely too many years. While some of Abraham's talent with characters, plot progression, and payoff for reader investment are highlights of why I love the Expanse, I had no idea what to expect coming into this series with that as my only insight into the limitless potential of his creative genius. Despite the fact that this series are completely different genres and follow the trends and tropes of science fiction and fantasy, respectively, they almost feel as if they were written by two different authors. As silly as this may sound, rather than the instant, explosive addiction of James SA Corey, I'd liken the writing style of Daniel Abraham to the slow burn crescendo and luscious prose of one of my other new favorite authors, Guy Gavriel Kay.
If you have read Tigana by GGK that is where I think this comparison makes the most sense. The focus and intent feel directed more towards developing the characters, their relationships, and how the political inner workings of warring nations can be impacted by the whims and beliefs of a few radically powerful individuals. Add this on to the multi-generational gem and cultural deep dive that is The Dandelion Dynasty- another criminally underrated series- and *voila* that's the closest approximation to The Long Price Quartet that I can imagine.
My only real recommendation is to read all four books as a single large story (perhaps in a conveniently available omnibus format). The slow start would have merited only a 3 or 3.5 star rating; however, by the end I was 100% invested and satisfied with the well-deserved 4.5 star rating overall. If you'd like any insight into the breakdown of the individual ratings it would be as follows:
A Shadow in Summer: 3.5 stars
A Betrayal in Winter: 4 stars
An Autumn War: 4.5 stars
The Price of Spring: 5 stars
January 22, 2020
Confession-I find trilogies and long series tedious. Can’t I just read a damn book without having to read several more in the same universe to get any kind of a conclusion? And my experience has been that the further you get in the series, the weaker they get-kind of like cloning.
This series is the exact opposite of that.
Book 1, A Shadow in Summer, which we read for our discussion group and all loved, is a great, fascinating and unique book. The world-building is unsurpassed, and the characters are unique, flawed, and beautifully written. Book 2, A Betrayal in Winter, is even better, book 3, An Autumn War, is brilliant, and book 4, The Price of Spring, is incredible. Everyone-read this series.
This series is the exact opposite of that.
Book 1, A Shadow in Summer, which we read for our discussion group and all loved, is a great, fascinating and unique book. The world-building is unsurpassed, and the characters are unique, flawed, and beautifully written. Book 2, A Betrayal in Winter, is even better, book 3, An Autumn War, is brilliant, and book 4, The Price of Spring, is incredible. Everyone-read this series.
July 5, 2021
An Asian-inspired fantasy epic, wrestling with themes of forgiveness and revenge, the exercise of power, and what gets passed on to future generations. The worldbuild is nifty (one nation has imperial ambitions, and the only nation that can completely resist it does so with the threat of a scarce but world-altering magic), as is the conceit of tracing the protagonists through four different crises over the course of their lifetimes, and the thematic content is often powerful, but the plot and characters often fall short, with poor decision-making, failure to anticipate other characters, and Hamlet-esque dithering driving much of the story.
April 30, 2020
Two boys. One ten, the other six. Both younger sons of noble families. They have been sent to what is essentially a monastery to learn the discipline necessary to be a poet. A poet is not as we think of, but one who, by the intricacy of his words, bring imagined power into tangible being. So a poet is essentially a sorcerer. One of the two leaves the monastery, rejecting the poetic call. The other chooses the line of the poet. The story traces their lives as they intertwine over the decades and the changes that result for the ancient empire as a result. Involving and deeply fascinating.
June 14, 2021
It's been two years since I read this but I could not put it down. Daniel Abraham is one of my favorite new authors. I discovered him as one half of The Expanse authors and everything he has written has been an absolute joy to me.
His writing is extremely approachable and easy to get into. He maintains a great pace and gives a strong amount of detail to make everything feel worth reading. You really can't wait to get to the next page.
His writing is extremely approachable and easy to get into. He maintains a great pace and gives a strong amount of detail to make everything feel worth reading. You really can't wait to get to the next page.
August 26, 2021
The story was good and the characters well developed but at the end of the book I felt as though something was missing and I can't put my finger on it. It just didn't speak to me the way other books have.
December 5, 2023
This 4 novel collection is almost 1,000 pages long. It is a monumental epic with astounding world building and character development. The same chewy plot style from The Expanse is evident here, and it is lush and complicated. It really pulled me in.
October 8, 2025
It's been 15 years since I've read this series, but I was very glad to find it in audio form. The author's writing style translates to audio so well. Vivid descriptions and complex characters with a unique magic element. Truly a classic.
June 14, 2020
I may never have read anything better!
June 17, 2020
What a beautiful book! Highly recommended for fantasy readers.
November 17, 2020
this book made me uncomfortably aware of my own mortality 5/5
May 7, 2022
First book: 4/5
Second: 3.5/5. I wasn’t a big fan of the romance in this one
Third:5/5
Fourth: 3.5/5. Lacked the emotional punch of the third and the plot was the least gripping of the series
Second: 3.5/5. I wasn’t a big fan of the romance in this one
Third:5/5
Fourth: 3.5/5. Lacked the emotional punch of the third and the plot was the least gripping of the series
October 21, 2024
Some of the best writing I've encountered in years! Twists and turns, beautiful imagery fantastic characters. This is one of my favorite books series ever
March 2, 2025
A unique magical perspective but a better tale about the struggle between two friends and their beliefs in its use.
August 31, 2025
I loved this series. My ex and I read it out loud to each other alternating chapters or handing it over to the other if through a quick scan thought the other would sound better. Delightful.
March 23, 2019
A very slow burn but well written and engrossing. Worth the investment of time. Will continue to search out and enjoy Abraham’s work.
March 15, 2022
Amazing, favorite series to date. Dramatic, tragic, every decision matters. A story of character interactions over a lifetime. Insane stakes in the last book.
Also, best character introduction I've ever read (first book, chapter 2)
Also, best character introduction I've ever read (first book, chapter 2)
Displaying 1 - 27 of 27 reviews