Der Mond der brennenden Bäume

Vandarei #2

by Joy Chant, Tony Westermayr (Translator)

Seit Menschengedenken hatten die Khentorei auf ihren gewaltigen Einhörnern die Große Ebene durchwandert. Seit Anbeginn waren die Goldenen mit ihren feurigen Speeren aus Metall und ihren ummauerten Städten die Herren der Khentorei gewesen. Dass die Goldenen als Tribut die Frauen der Khentorei nahmen, war Sitte und Brauch. Aber nun war ihre Wahl auf Nai gefallen: Nai, die von den Göttern Erkorene, die Glücksbringerin ihres Stammes - und die
Schwester von Mor'anh, dem Speer des Himmels!
Die Goldenen hatten damit einen schwelenden Brand zum Lodern gebracht, hatten eine Kraft entfacht, die sie nicht verstanden und die in Flammenschrift ein Rachezeichen auf das Gesicht ihrer Welt schreiben sollte, um sie bis ans Ende aller Zeit zu zerschmettern.

Genres: Fantasy, Speculative Fiction, High Fantasy, Young Adult, Science Fiction Fantasy, Fiction

362 pages, Paperback

First published January 1, 1977

About the author

Joy Chant is the pen name of Eileen Joyce Rutter. She is a British fantasy writer, best known for the three House of Kendreth novels, published 1970 to 1983. Born in London, she started writing in her early teens. She began publishing her writing while working as a Schools Librarian in London. She attended college in Wales, where her father had been stationed during World War II. Later, she lived with her husband and children in Leigh-on-Sea, Essex.

Red Moon and Black Mountain won the Mythopoeic Fantasy Award in 1972. The Grey Mane of Morning was a runner for the same award in 1981, with tenth place in the Locus Poll Award the same year. When Voiha Wakes won the Mythopoeic Fantasy Award in 1984. The High Kings, which took second place in the Locus Poll Award, won the 1984 World Fantasy Special Award for Professional Work. lieutenant was also a nominee of the Hugo Award for Best Non-Fiction Book.

Reviews

[Brenda Clough · Rating 5 out of 5]

What a great fantasy novel this is -- a fully-realized world with at least three separate cultures (and more out on the edges that appear in the author's other fantasy novels). Chant was one of those authors who are the spiritual descendants of J.R.R. Tolkien. Works of this kidney have to be set in totally-imagined fantasy worlds, outfitted with different races, biota, cultures, gods and religions, and long elaborate histories. Most of them are mediocre to terrible (I am sorry to say that my first novel fits right in there) but every now and then a gem kicks up and this is one of them.

Moran'h is a perfect hero, Hugh Jackman-like in his all-aroundedness. And he has a grand story to move in, a mighty quest, and some delightful set-pieces. This is Chant's geatest novel, and I only regret she didn't write ten more like it.

[Gabi · Rating 4 out of 5]

Joy Chant certainly creates one of the best self-consistent Fantasy worlds I've read. Her Vandarei is peopled by at least three different tribes with their own social structure, rites and religious systems. When members of one of those tribes take more as tribut as was agreed to the fragile balance of the world starts to shift.

I was surprised how fast the reading was. I started yesterday night and this midday I already finished the 300something pages (and yes, I slept in between). Her prose lets the reader easily slip into her world and forget the time.

Reader who take on books with the nowadays feminist view better let this pass, the world is very patriarchic. Those who want to read about a well designed Fantasy world should give it a try.

[Benjamin Thomas · Rating 4 out of 5]

This book is a great example of a novel that I attempted several weeks ago and only made it through about 10 pages before putting it aside. It dates back to the late 1970’s and seemed like one of that era’s fantasy novels that was overly hung up on strange proper names. Most of the characters and places have hyphenated or, worse yet, random apostrophes and the book just wasn’t clicking for me. Thankfully, I only set it aside and didn’t discard it all together. I picked it up again this past weekend, invested a little bit of time in studying the helpful “People and Places” list at the front, and dived back in. Happily, I can now report that this read was well worth it.

Technically, this book is a prequel to Red Moon and Black Mountain, but it absolutely stands on its own. Events, evidently are centuries if not more apart. There were only two places where the city of “Ladrekor” or the larger world of the “Vandarei” is mentioned. I haven’t read any other books in this series but understand those places are key in them.

This novel demonstrates some of the finest natural world building of any fantasy novel I’ve read. In the “About the Author” section at the end of the book, she tells of how she grew this world in her mind from very early on in her childhood, refining it as she grew older. In this book, we are introduced to three distinct yet homogeneous cultures. The protagonist of the story is part of a sort of Plains Indian tribal society and it is his story that we follow. The plot is linear and the language descriptive and at times even lyrical. The plot is a bit of a coming-of-age story, often moving, and filled with triumphs and tragedy. It’s certainly thought provoking and I attribute that primarily to the outstanding realism of this fantasy world.

I’m very happy I went back and gave this book another try.

[Valerie]

Illustrated, with a glossary, character list, and detailed map (drawn, I think, by the author's sister, but it's not attributed).

Red Moon And Black Mountain had several elements about it that the author evidently thought needed more development. You might consider this book a 'prequel', but it's a 'prequel' in the way the Epic of Gilgamesh is a prequel to the Oddyssey. Set in the same world, yes. Set among the same peoples--somewhat. But centuries, or possibly millennia, apart.

The status of Khentorei women is rather more fully discussed in this book than in Red Moon And Black Mountain (where it's dismissed with a throwaway line implying that since the women are (it's implied necessarily) bound by the wagons, and (therefore, it's implied) defenceless), they have to be restrained from showing any spirit or individuality at all). The more thorough discussion in this book shows more than a few cracks in the foundation. This is true of a lot of the elements: the microscope reveals the benefits and costs of the Khentor lifestyle, sometimes mercilessly.

The messianic character at the center of this book is no cardboard cutout. He thinks things through (often to the puzzlement and dismay of other members of his tribe). He makes mistakes, and comes to conclusions that often disturb him, as well.

The central question is Mor'anh's, about fate--does the river choose its own course, or do the banks decide? The obvious anwer is 'both, and neither'; but Mor'anh has difficulty even getting people to understand the question, and never really gets a satisfactory answer.

I hadn't really paid attention to the homoerotic elements of the religious scenes in earlier readings. There's no explicit discussion of homosexuality in the book, though it's clear there must be some. Perhaps a lot.

There is, of course, no necessary connection between homoeroticism and misogyny. But both are found in this story. Mor'anh finds the notion of societies in which women have a public say in decisions (and even primacy in some cases) intruiging--but he doesn't even consider importing such ideas into his own society. That would be a more important reform than the importation of swords--but even people who do have other ways don't make any attempt to convince Mor'anh that his own people's ways are often abusive. It's Mor'anh himself who makes the critical comparisons--and who recognizes the different strengths and weaknesses of the social systems. But he doesn't take any explicit steps to implement his conclusions--and he still takes, and uses, the swords and knowledge of their use.

[Sandi · Rating 3 out of 5]

This is a reread of a book that I have long liked. Joy Chant's first book, "Red Moon Black Mountain" was a favourite when I was a teenager. This book delves even more into the culture of the nomadic Khentorei, which I find fascinating. I have put it on my Children's bookshelf, really to keep it with the others in the 'series' about the world of Vanarei, but really it contains concepts that are not childish at all.

The Khentor tribe are subject to the Kalnat, the Golden People, blond townsfolk of the mountain region, paying them an annual tribute. But when their priestess and sister of Mor'anh is taken then the world changes, as Mor'anh gradually realises that traditions can be broken and the Kelanat are not a superior race.

It is a pity that Joy Chant's output was limited to three novels and a short story about Vandarei, and another about King Arthur. Her writing was assured from the outset

[Marc · Rating 4 out of 5]

The first fantasy book I ever read. I must have been around 10. I can remember being a bit obsessed about it so I must have really enjoyed it. I may even still have my original copy seeing as I am such a book hoarder. Not sure if I would enjoy it as much if I re-read it now, so will let sleeping dragons lie.

[Robert · Rating 5 out of 5]

I started on the wrong foot: mounted nomads just do not lose to town dwellers - Genghis Khan, Timur Lenk. the Moghuls show the horsemen always win*. Before I had quite settled this in my mind, I was already held enchanted by the writing. It is quite a short book (332 pages in my edition) and suddenly I found myself clutching what felt like a handful of pages, thinking "This book's going to stop before the main hero even gets home," But, in the end, all was well and a satisfactory conclusion was reached. I must read more books by Joy Chant.

I did wonder why this book didn't spawn a swag full of sequels, but it think the author explains that in the Afterword: the Alnei are just too good, or at least too happy, so they don't actually do anything interesting unless driven to it by their god, so although she returns to this world, it is other cultures that she explores. An interesting idea in view of our human gods who, allegedly drive men repeatedly to commit atrocities, but that's another story.

* Mounted nomads always win? I can hear people screaming: "What about American Indians?" By the time most of the massacres took place, the white men had a much greater technological superiority. Did the "Indians" even have horses to start with? Some people don't even realise that a systematic genocide was planned and to some extent carried out - see General Sherman's diary which is available on line, where he lays his plans with Custer to help a railroad company get rid of an obstacle.

[HT Goodwill · Rating 4 out of 5]

One of the best books I have ever read. I lost my original copy and spent 15 years looking for a replacement. Definitely worth reading!

[Bradley Scott · Rating 5 out of 5]

This one was a slow starter for me, but I enjoyed it overall.

[Fraser Sherman · Rating 1 out of 5]

Far and away the weakest of Joy Chant's three Vandarei fantasies. The Khentor nomads have paid tribute to the Golden Men since forever, but oops, this tribute time the Goldens take The Wrong Woman, then proceed to capture and humiliate the Khentors' Chosen One... need I say this proves a catastrophic error? Plug in any cruel empire and any noble nomads, real or fictional, and you could have the same story without changing a thing. And I have a strong flinch factor against a story where the person who goes against centuries of tradition (one of the supporting female characters) is presumed to be wrong ("Perhaps her soul is crippled.").

[Sue Bridgwater · Rating 5 out of 5]

The grey mane of morning records events in the early history of one of the tribes of the plains people, the Khentors, in Chant's world of Khendiol. Mor’anh, the hero, is priest and Lord’s son of the tribe called the Alnei. He is destined to lead his people into new way of living and of relating to other peoples; and to the Khentors of later times, (see Red Moon and Black Mountain) he is a great hero of legend and his very name is used as an exclamation or oath. Besides being priest, Mor’anh is Har’enh of the God Kem’nanh, protector of the tribe – he is the one to whom the God speaks. Later in the book, he is told by Kem’nanh that he is the God’s own son, begotten by him in human form upon his mother, the priestess Ranuvai. The pattern of Mor’anh’s life is the pattern described by Lord Raglan in 1934 as the typical pattern for the traditional hero. He does not, in the course of the story, pass through all the twenty-two stages elaborated by Raglan, but as the story ends in his young manhood and with his triumph, this is not possible. Those points to which he does conform, or nearly conform, are:
1. Mother; Raglan says the hero’s mother is a Royal virgin; Mor’anh’s is
Priestess of the Moon Goddess and wife to the chief of the tribe.
2. His father is a king; Mor’anh’s earthly “father” is chief.
4 & 5. He is reputed to be the son of a god and the circumstances of his conception are unusual. Mor’anh’s fathering by a stranger to the tribe was against custom; and the stranger is later identified as the god.
8. He is reared in a far country. Mor’anh grows up in the tribe but makes an unprecedented journey to a far country where he broadens his ideas and strengthens himself.
10. He returns to his kingdom. Mor’anh’s return is of great significance to his people.
11. He wins a victory. Mor’anh frees his people from the Kalnat.
12. He marries – though Mor’anh breaks the rule by marrying a humble girl who loves him, not a princess.
13. He becomes king – Mor’anh succeeds his father as chief.
This gives Mor’anh a score of nine out of the twenty-two points, which is a fair correspondence when Raglan can apply only nine to Elijah, eleven to Apollo, twelve to Joseph, and only sixteen even to King Arthur . Mor’anh is one of the hero-figures who appear in the legends of all peoples, carrying with them in some way the story of their people’s growth to a sense of collective identity or nationhood. Chant is concerned to present clearly the inner growth of the hero to an understanding of his own identity and to a confidence in his own powers; but this is inextricably bound up with the crucial point in the history of his people which it is his main task, as chief, to oversee. The public commitment is the private growth. Identity and morality again cross – the question; “Who am I?” cannot effectively be answered without the related question; “What ought I to do?”
Mor’anh’s story is a story of enormous changes coming to a society that has been static for longer than any of its members can recall. “Years past reckoning had it been so, for generation upon generation beyond the reach of memory.” Mor’anh’s divine awareness is the catalyst for the changes, his insight and broader vision carrying the people into areas of behaviour that have never seemed to them before to be possible, desirable, or necessary. The good and the evil aspects of their nomad life have always been accepted without question. Mor’anh is slightly out of step with this from the beginning; “Right from the womb it seemed the Gods had marked him: ……” His closest friend Hran knows quite well that “……Mor’anh’s mind could go where Hran’s could never follow; …….” But Mor’anh is not spared the necessity for growth and development within himself; he has to mature to the point at which he can wield his full powers confidently and lead the tribe assertively, in order to carry out his purpose. For example, while the annual tribute paid to the Kalnat troubles Mor’anh, while he thinks about it more questioningly than the rest of the tribe, still his anger and his desire for action are not aroused until the custom inflicts a personal injury upon him. When his beloved sister Nai is taken forcibly by a Kalnat man for a concubine, the turning-point comes for man and tribe; “In a silent passion of range and grief, he closed himself in the Inner Tent of the God. There he beat at Kem’nanh’s ear with his fury and his pain, storming at the great God until far into the night, crying out against his loss, until the smothered hatred in his heart seared him with agony, and from his bitterness was pressed a cold desire for revenge.”
This personal agony is the motive force of social and economic revolution. All previous tributes, even previous thefts of women, have been accepted fatalistically by the tribe as just part of life’s pattern. Awe of the Kalnat induces fear and the strong desire to avoid trouble. Other individuals in the tribe cannot comprehend Mor’anh’s ability and desire to “lay hold on life” and attempt to reshape destiny. As Mor’anh’s obsession leads them further and further from the traditional ways, beginning to turn a hunting people into a fighting nation, his father protests;
“‘I want my tribe safe, my people safe,’ whispered Ilna. ‘I want the world as I have always known it.’” Mor’anh’s changing awareness is changing everything that his people had believed to be immutable.
Two of the signs of Mor’anh’s increased maturity are his meeting face to face the God Kem’nanh; and his long journey into Lelarik of the Cities, a journey which requires him to develop new skills none of his people has ever needed before. So unimaginable to the Alnei are the lands beyond the Great Plains that a tremendous degree of courage and self-confidence, of belief in the purpose he holds, are necessary to Mor’anh before he can achieve this feat. And from this newly-grown individuality and decisiveness come generations of development. Mor’anh wins for his people not only the short-term benefit of better arms to fight the Kalnat, but a whole new growth of trading and cultural exchange between themselves and the people of Jemaluth. All this is straightforward narrative, character revealed by action. By contrast, the confrontation with the God is pure myth, heavy with symbolism pertaining to self-knowledge and awareness and maturity. In facing Kem’nanh Mor’anh is facing the truth about his own nature. He is learning both his true individual identity and the purposes that are possible to or incumbent upon that identity. “For you were not born of desire but will, and by design, and the design was not mine …… because the Alnei and the Khentorei need a lord at this time who is more than just a man. …… It is the wild magic I put into your hands: power over winds, and over beasts, and the spirits of men, and much besides. …… The Wild Magicians will need strong spirits. …… That is why I put my blood into the Alnei, whom I have chosen to bear this burden. You will be first among the Tribes, Lords of the Plain; and every man of the Alnei so long as the Tribe endures, shall call himself the Son of Mor’anh.”
Mor’anh’s chosen, divine nature concentrates into itself an extreme example of how personal identity and group or public or moral identity cross. To know one’s father is to know something about oneself. To be told one’s capabilities, to have it suggested that one can and should carry out certain difficult and dangerous tasks which will benefit others, is to gain an even clearer picture of who and what one is. To find that one is really of noble or divine birth is a common motif in fairy-tale and folk-tale, and signifies coming into confident awareness of one’s own identity and to adult status. Bettelheim cites the example of The Goose Girl, whose true identity was concealed for a long time but who came triumphantly into her rightful place in society; this signifies, he suggests, the achieving of a sense of the autonomous self. Here as in the case of Mor’anh, the public, social, status identity – princess – is expressive of the integration or maturity of the private self. Mor’anh is the Lord, the chosen one; the chosen one is Mor’anh. His growth and his people’s development into a new stage of social evolution are bound together.

[Jennifer · Rating 4 out of 5]

Technically the second book set in this world, but I remembered it pretty much stands alone and is set long before. I especially liked the female characters in this one, from Manui to Runi to the princess of the City.

[Seth Tomko · Rating 2 out of 5]

My full video review of The Grey Mane of Morning can be found here: https://www.youtube.com/watch?v=EqFY_...

[Rachel · Rating 2 out of 5]

DNF

Not as good as Chant's previous work, Red Moon and Black Mountain. I like slow character dramas but this just wasn't it.

[K H · Rating 2 out of 5]

Maybe I've just been overloading too much on fantasy but I couldn't get more than twenty pages into this one. Perhaps I'll pick it up again someday, as I did like Red Moon and Black Mountain, but not for awhile.

The characterization that wasn't really there in RMaBM is evidently not in TGMoM either. Also crossing over is the apparent uselessness of women in the tribe. Despite how many First Nations in our world traditionally valued women for their input in politics as well as having a matriarchal line, Chant's plainspeople seem to have little value for women other than childbirth and limited 'priestess-ing'. This 'uselessness' could have turned into something positive -or at least sparked some character development- but as in RMaBM it appears to be just a statement to explain what the women do while the men are our hunting and fighting and doing exciting man stuff.

Ugh. But it is in the same well thought out world of RMaBM so perhaps it would be worth a complete read one day.

[Leila · Rating 5 out of 5]

One of my all-time favorites. This book is out of print, and I was thrilled to find a copy after I grew up!

[Charles · Rating 4 out of 5]

A really believable and inventive world.

[Kendra · Rating 5 out of 5]

Enjoyed this $1.00 find, though apparently there's a short series, maybe a trilogy? It's written like a prequel, and can be a stand-alone, but there are other books. Enjoyed it, easy fast read.

[Trish · Rating 5 out of 5]

I loved the Grey Mane of Morning. Joy Chant is one of the best world builders I have ever read. Her characters are memorable and her plot lines stay with you long after the book is finished.