OK, what now?
Having nicely established a setting and populated her world in this series' opening book, "Karavans," Jennifer Roberson seems to struggle with just what to do with it in the follow-up, "Deepwood." I'm not accusing Roberson of having no plan, but you know what they say about the best-laid plan of mice and ...
To be fair, it's not as if Roberson just drops the ball here. "Deepwood" is a decent, competent sequel. It just doesn't go where most readers probably want it to go.
Roberson established a nice central premise in the first book, even if it didn't really appear on stage until the end: a sentient dark wood called Alisanos populated with demons and other beings, but a forest that can move. The end of "Karavans" had Audrun, her new baby (Alisanos induced it four months early) and her four other children trapped in the wood and its world of two suns. "Deepwood" features a few snappy demon encounters, but in some ways the concept of a dangerous wood you can't escape and that's populated by all sorts of nasty beasties, seems like false advertising. There's not much of that. "Deepwood" deals more intensively with the two god-spawns who had lived among humans, their god-mandated rites of passage and the machinations of Alisanos' gods themselves. More dark demon action, please! Roberson continues to bounce back and forth among characters; Audrun and her children are conveniently scattered into three groups that have no contact with each other.
I'm also not entirely sure what the "rules" of Alisanos are. At times you wonder how humans can survive there; other times they wander around totally unhindered by the wood's denizens. I know the demons primarily wanted Audrun's baby, but how dangerous is it to others?
Roberson also chronicles ably the lives of those not caught in Alisanos: Audrun's husband, the lesbian courier Bethid, hand-reader Ilona and others trying to restart their lives after Alisanos' move disrupted their encampment.
Roberson seems not as committed to this story, as if she didn't have as much of a plot as she thought she'd had. That applies to her writing, as well, which seems less sharp, rushed, and prone to an odd tendency to repeat words. From the point of view of a boy: "He ran. He ran and ran." And, very shortly thereafter: "Screaming. Screaming." Gets a little old. A little old.
"Deepwood" certainly is worth reading, for those who were engrossed by "Karavans." But when Roberson should be ratcheting up the action, the sequel feels thinner and less committed.
And another thing ... the paperback's back-cover description is very odd. Almost every word is a synopsis of the first volume. Hey man, what's this book I'm holding about?