Ava and Avery are a bonded couple from Kaya, a land where ancient magic ensures that, once bonded, one cannot live without the other. So when Avery isAva and Avery are a bonded couple from Kaya, a land where ancient magic ensures that, once bonded, one cannot live without the other. So when Avery is killed while on a mission to assassinate the evil queen of Pirenti, the northern country with which they have been at war for as long as anyone can remember, Ava is expected to die as well. But she does not, she lives on, though with only half a soul. Vengeance guides her back to Pirenti where, two years later, disguised as a boy called Avery, she is caught by the second prince, Ambrose, and sentence to life on the prison island. But when their ship is wrecked in a storm, Ambrose and Ava must work together to survive. In the process, despite their vast differences, a friendship develops. That friendship soon grows into love, even with Ambrose believing Avery is a boy - when their secrets come out, can their new-found connection survive? Is it possible to love your enemy, or love at all without betraying the man who took half your soul with him into death?
I have several problems with this book. First off, Avery is marketed as 'adult fantasy' but I cannot in good conscience call it anything other than Young Adult, despite the 'adult themes' and excessively violent, often gruesome scenes that occur. It's in the adolescent tone, the way the characters speak, especially. It's not just that they - well, the main character, Ava/Avery, in particular - sound so immature, it's that words like "whatever" and "gross" belong more to badly written teen fanfiction than published adult fantasy. That might make me sound like a snob, but it's not that - you write a novel set in another world, a fantasy world, which has its own, decidedly foreign, cultures. You cannot then make your characters sound like cliches from Clueless and hope that your fantasy world be taken seriously. The culture that created such colloquialisms as 'whatever' is not part of this world, and the effect is incredibly jarring. My ability to suspend disbelief was too often hampered by such lazy writing.
The writing is also lazy in the world-building. This was perhaps the biggest flaw of the novel. The details of this world just never quite made sense, or weren't adequately explained. Geography, as well, was out of whack. Pirenti is a northern country perhaps geographically akin to Russia or Canada; in the north are the 'ice caps', which appear to be a permanent, year-round hostile environment. Yet, at the same latitude is the prison island, which is described as a jungle. How does that work? While we're on the prison isle, world-building gaffes abound within the secret 'village' of escapee Kayan prisoners - it's not the incredible cliffside dwellings carved out of marble that they've brought from a nearby quarry that I struggled with, believe it or not, but the fact that they have glass in their windows, luxurious apartments (even for unwanted guests) and eat things like cheese. This place is home to Kayans who, they say, escaped the Pirenti prison. No one knows they're there and they can't leave. They have no animals or livestock (so, no milk for cheese), and if they want to remain undetected they would have to be careful of the amount of noise they make (quarrying for rock with no tools?? or do they use their sole Warder's magic - it's never explained what these people are actually capable of) and of smoke, say from a kiln or other super hot oven? Where do they get their clothes from, the materials for everything? All highly unlikely.
Distances and timeframes were also liberally dispensed with when required by the author to maintain her swift pacing. It all reminded me of cheesy action movies, as if they were used as the model for many of the scenes - especially the fight scenes. Plot holes abound here, too, such as when Ava escapes from a dungeon, taking not the guard's sword but his bow and arrows! A dungeon guard, carrying bow and arrows?? In the highly militaristic and violent country of Pirenti, they would know better.
I could keep going, but I think you get the drift. Really, though, this is a character-driven romantic fantasy, so I should be discussing the characters. When she isn't talking like a rather lame contemporary western teenager, Ava is solidly drawn and has some charisma, as does Ambrose. The other two main characters here are Ambrose's older brother, Thorne, and his wife Roselyn. All four alternate in first person narrative voice, and this is handled quite deftly. Roselyn is a nicely distinctive character, and Thorne is clearly a different person from Ambrose. The problem for me lies in the way domestic violence is handled. While it's wrapped up in a broader theme of power and women's rights, and while the denouement ensures that Thorne's violence towards his wife is not rewarded by the author, Roselyn's quiet, steadfast and loving loyalty to Thorne remains a distinct problem. While one fictional character should not a message make, Roselyn's refusal to leave her husband or do anything but love him makes her a difficult character to respect. That said, the characters are the strength of this novel, that and the swift pacing.
Pirenti is a violent country, so the violence does have some context, but it was a bit excessive and rather unrealistic at times. (Also, marble stains something shocking - how do you have a "killing room" lined in marble and keep it spotless?) Not being afraid of spilling blood and tearing minor characters apart does not make for a more mature novel or more sophisticated ideas. Rather, it becomes too much and, then, too ludicrous. My ability to suspend disbelief - necessary in all fiction, television and film, to varying degrees, but especially in fantasy - was tested time and time again, and often failed under the weight of plotholes, inconsistencies, over-the-top violence and I have no idea what was going on with Ambrose at the end. The romance aspect fell completely flat there (plus, it had finally started to drag by then).
A disappointing foray into a newish Australian voice in fantasy fiction, for me. ...more
In PC Cast's new fantasy series, climate change and polluting industries have devastated what we know of our world. The survivors have fled to new env In PC Cast's new fantasy series, climate change and polluting industries have devastated what we know of our world. The survivors have fled to new environs, living off the land in more harmonious methods. Those who wanted to keep their pets, their dogs, were forced to make their own way, finding sanctuary in the treetops. And those who refused to leave the ruined cities stayed, their bodies decaying and rupturing. These are now known as Skin Stealers, as they capture and skin living creatures - including other humans - in the belief that they will be made stronger from it. The humans they capture are the Tribe of the Trees and their canine Companions, with whom the Tribespeople have a lifelong, almost telepathic bond. If the Tribe are prey for the Skin Stealers, they in turn prey on the Earth Walkers, or 'Scratchers' as the Tribe dismissively calls them. Because they die from a rotting fungal infection when their skin is broken, the Tribe have long been abducting female Scratchers to work on their farm for them. But removing an Earth Walker from her clan means certain death, after long depression. Every month, all Earth Walkers - male and female - need to be 'washed' by their Moon Woman, who calls down the cleansing power of the moon in a secret ritual. Without it, the men turn into made, violent monsters lacking in rational thought, and the women fall into despair, ultimately dying of depression.
Mari is an Earth Walker, but one with a big secret. Her mother, the Moon Woman for the Weaver Clan, fell in love with a Tribesman: Mari is the result of their short relationship nearly two decades ago. Her father is long dead - executed by the Tribe - and Mari must disguise her features, the colour of her hair and even her skin in order to live among the Earth Walkers. Her heritage catches up with her, though, when a pup from the Tribe of the Trees finds her and bonds with her, making her a Companion - and a target for Hunters from the Tribe. One such Tribesman, desperate to find the young dog, is Nik, only child of the Tribe's Sun Priest, their leader, who can channel the sun's fire. It is through Nik's awakening understanding and compassion of the Scratchers' humanity that things between the Tribe and the Earth Walkers looks set to change, but not before the poisonous manipulations of the Skin Stealers finds its way in, taking advantage of a long history of entrenched dogma to destroy a promising new peace.
After a slow start, Moon Chosen becomes quite absorbing and enjoyable. The three distinct peoples have clearly differentiated perspectives and narrative voices: how they see the world and their place in it, and their view of the others. Each is rendered human and knowable through their separate focalisers: Mari, Nik and Dead Eye, who becomes the leader of the Skin Stealers in the nearby ruined city. It is one of the strong elements of the novel, the world-building and the writing, that Cast is able to make each of the main characters quite sympathetic, even if both the Skin Stealers and the Tribe do such horrific things to others. Amongst themselves, they experience tribulations and a painful history, but it shows quite clearly that, in order for one people to take charge of their destiny and create a new, more advantageous world to live in, another people must suffer for it. At the bottom of this world's class stratification are the Earth Walkers, who are rendered less than human by the Tribe and are deeply misunderstood. Their affliction - so far unexplained - only makes them more vulnerable and easily denounced. Their ongoing subjugation has clear parallels in our own world - take your pick, really - as well as representing the more feminised world of Nature and Paganism. Ultimately, the fact that Moon Chosen does not utilise a more traditional, medieval-Europe type setting, as does most epic fantasy written in English, enables it to present a more open-minded, egalitarian world view, free of the misogyny and heterosexuality that bogs down a lot of fantasy.
I've previously read a few of Cast's paranormal series, The House of Night, co-authored with her daughter Kristen, which began interestingly but soon grew to be rather perplexing to me. In those YA novels, the adolescent characters spoke with a strong teen vernacular, making them sound like stereotypical, urban high school students. It was rather over-the-top at times. It is one of the disappointments of Moon Chosen that many of the characters, especially Mari, use the same register and syntax as an American teenager might, today. It makes her sound too contemporary for this post-apocalyptic world, which is jarring.
The magic ("magick" here), the connections between humans, animals and the land itself are all compelling features; while it is similar in some superficial ways to Ambelin Kwaymullina's Tribe trilogy, the latter is by far the more superior story - though of a different sub-genre (and thus with a different audience in mind) to this. Cast's novel is more in the vein of epic fantasy, rich with details and a sense of place and time, slowly and carefully building a complex world of history, tradition, religion, fear and hope. The epilogue leads me to understand that the series will be structured much like a paranormal romance series: each volume the personal story of a different character. While Moon Chosen is predominantly Mari's story, the epilogue makes central a minor character vaguely introduced in the final chapters: Antreas, from a different Tribe, and his Companion, a Lynx called Bast. So, not every Tribe lives in the trees or bonds with dogs. I know I'll want to read his story, as I do love the big cats, and the larger plot involving the Skin Stealers has only just got started. What role Mari and Nik will play in it, I am also curious to see.
Overall, a successful foray into fantasy from Cast, with a slightly older audience in mind than her House of Night series. With an exploration of fear-based prejudice that highlights how easily - and how misguidedly - human nature falls into this pattern, Cast shows the predilections of humans to form societies based on mutual (shared) ideologies, and to exclude or even demonise those who represent differences. I am quite curious to see where she goes with this, in this setting and with this particular, gritty and often unpleasant world.
My thanks to the publisher for a copy of this book....more
Harry Potter needs no introduction, but this play needs some context. It is set several years after the events of the final Harry Potter book, HarryHarry Potter needs no introduction, but this play needs some context. It is set several years after the events of the final Harry Potter book, Harry Potter and the Deathly Hallows, when Harry and Ginny's children are getting ready to start a new school year at Hogwart's, alongside Ron and Hermione's children. The story revolves around young Albus, now eleven years old and embarking on his first year away from home. Albus is worried, soon with just cause: to the shock of everyone, he is sorted into Slytherin house - and comes to love it.
But Albus is no Tom Riddle or Draco Malfoy - he's a Potter-Weasley and adventure is never far away, nor good intentions. He becomes determined to save Cedric (he of the incredibly tragic ending in Harry Potter and the Goblet of Fire) by going back in time - more than once, causing disturbing changes in the present.
This is a wonderful coming-of-age story for young Albus, who is marginalised and judged as somewhat lacking by others. His new best friend is Scorpius Malfoy, son of Harry's old nemesis and also a disappointment to his family: Scorpius is a lovely kid, but not appreciated for who his real nature. It is also the story of Harry as a father, a loving father but a father who is floundering, struggling to connect with his youngest son and making some big mistakes. His hero status drops quite a bit, and you see the flawed human that is within us all.
While it is, in many ways, a homage to the novels, The Goblet of Fire in particular, it offers some wonderful new characters and a less polished glimpse into this world of witches and wizards. Harry is tarnished, a middle-aged bureaucrat who - perhaps because he never had a real father himself - is making a hash at connecting to Albus. Other beloved characters from the original series, now older and tired and less patient (that is to say, typical adults who frown upon the kinds of ideas, decisions and antics they themselves engaged in as children), seem more human than ever, which nicely balances the fantastical elements of the world and the story. It also does a sound job of using new crises to build strong relationships between friends, family and old enemies.
I loved this story, this play, but gosh it made me miss the full-length novels! It was just so damn short! A novella, really, in terms of length and how fast you can read it (give yourself a day or two, depending on distractions). Because it's a play it reads super fast, and I have always loved Rowling's writing and how she fleshes out her characters, settings and situations. Jack Thorne has done an admirable job here, and as I loosely string these pitiful sentences together, I am overtaken by an intense urge to re-read it straight away.
The Tribe trilogy has to be one of the best Young Adult fantasy series I've read in a long time - beginning with The Interrogation of Ashala Wolf anThe Tribe trilogy has to be one of the best Young Adult fantasy series I've read in a long time - beginning with The Interrogation of Ashala Wolf and then The Disappearance of Ember Crow, the trilogy is fresh and original, very well-written and peopled with characters I quickly came to love and care for. Not only that, but it interweaves Aboriginal culture and philosophy to present a less westernised view of the world, and as flawed and tragic as this post-apocalyptic world is, I actually want to live there, in this place where the trees and the spiders are just as valued as human life.
In The Foretelling of Georgie Spider the story comes to a satisfying conclusion. Georgie is Ashala's friend from her old life; the two fled rather than be captured and held forever in a detention centre. Yes, this series goes straight to the heart of a cruel and inhumane government policy of Australia's: holding refugees and asylum seekers in awful detention centres both on-shore and off-shore, where they are subjected to abuse and fall into severe depression. Here, the "mutated" children of this world are treated in this way, because they are different and declared "unlawful", again speaking so clearly to the ease with which white people decide who is worthy and who is not (I say "white people" deliberately, because this is an Australian series and speaks so empathetically to this cultural practice, and because the Aboriginal author, Ambelin Kwaymullina, is also directly addressing past government policy in which Aboriginal peoples were classed among the flora and fauna, not as human beings).
As political and philosophical as the story truly is, it is also the compelling story of human determinism, love and courage, trust and an appreciation for life in all its forms. Having finished the trilogy, I feel both bereft and impatient to re-read it (Which, sadly, will have to wait). If I could endlessly recommend any book or series to you, it would be this one. It has all the things I love in fiction, and the only negative is that Kwaymullina took it down from an original four-book series to a trilogy. But it was a good call; no drawn-out, padded and over-bloated story here! I'm eager for what she writes next, though, that's for sure!...more
Well, it's done. It's over. Finito. I think, after all this time, there was a part of me that never expected this series to actually end, and a part oWell, it's done. It's over. Finito. I think, after all this time, there was a part of me that never expected this series to actually end, and a part of me is in shock that it finally has. This is, after all, my absolute favourite series, a series that I have been reading since I was in primary school (the first book came out in 1988, and I read it two or three years later). Each book has required a lengthy, patient wait (George R R Martin fans think they have to wait a long time - he's got nothing on Carmody!!), and each time I have been well-rewarded for it. Because I began this series as a story-hungry, imaginative child, Carmody's words and ideas have had a long-lasting impact on me. Such is the way with childhood favourites, against which nothing negative can be said. Others I have talked to have Tolkien, To Kill a Mockingbird, Little Women or some other novel that they read as a child and absorbed into their soul. For me, it was Obernewtyn and Jane Eyre. Such stories stay with you as formative parts of your childhood, woven into your DNA, there to stay.
I don't know that it's possible to write a summary of this book or discuss it without spoilers, so I will simply say that I won't give out any spoilers for this final volume, but if you haven't read the first six books, there may be spoilers.
The sixth book, The Sending, ended with Elspeth Gordie and her companions finding the Beforetime city in the desert, and being rendered unconscious by a man in a silver suit. The Red Queen begins with Elspeth rising to consciousness, and discovering that someone - the man - is trying to put her into a cryopod, for a frozen sleep. Her Talent enables her to resist it, as she is deemed an anomaly. When next she wakes, it is to find herself reunited with four of her companions inside a place called Habitat, a strange, inescapable place inhabited by a passive, highly-regulated population of people who believe everything beyond its walls is gone. They speak to God, who grants wishes, and have a unique punishment for transgressions, of which there are few.
What seems at first to be a dangerous delay in the fulfilment of Elspeth's quest, turns out to be an important step: Habitat was begun by Hannah Seraphim, one of the two women from the Beforetime who left messages, clues and artefacts that Elspeth needs in order to find and destroy Sentinel, the computermachine that controls the Balance of Terror weaponmachines that caused the first Cataclysm - or Great White as it's known. A second one, triggered by Sentinel, would destroy absolutely everything and everyone, with no chance of recovery. Elspeth was tasked with this quest at the end of the second book, The Farseekers, by the giant Agyllian birds that saved her and healed her, and have since been watching over her. Her nemesis is Ariel, a mad boy from she knew when she first arrived at Obernewtyn, now a man hungry for power working closely with anyone who can further it.
While Elspeth's quest as the Seeker is the ultimate goal, she has been closely involved in other plots along the way; in The Red Queen, it is the return of the rightful queen of the Redport, a city far from Elspeth's Land which has long been ruled by Gadfian slavetraders. As with Habitat, Elspeth isn't sure if getting involved in an uprising in Redport is a distraction, a delay or a necessary part of her quest, but as everything seems to converge there - Ariel's presence, the location of Sentinel, the final message or clue left for her by the other Beforetime woman, Cassandra - helping her friend Dragon reclaim her throne is yet another piece of the puzzle.
I was worried about the gap between this book and the previous one which, while not as lengthy as such gaps usually are in this series, was still long enough for me to feel like I'd forgotten too many details. But even though I couldn't recall every character mentioned in The Red Queen, or every plot detail in full, Elspeth provides her usual introspection and exposition, as she strives to piece things together and come to understand all the new things she's learned about her world and its past, so that I was soon refreshed and caught up. The story might be slow for some, but I find the discussion and mulling necessary - it contributes to the solid and deep world-building and adds realism, for Elspeth is truly from a place and time in which everything from Before is gone, especially knowledge, yet she is dealing with things from the past which require understanding. The divide between her and the time of the Great White is so vast, she would never be able to succeed as the Seeker without puzzling everything out. And she is the Seeker, after all. It makes the story feel less like a fast-paced action film and more like a true story, putting you right there in her head, figuring things out with her - because her Beforetime is our future, or a possible one, and certainly a plausible one.
One of the things I absolutely love about Carmody's writing is her skilful way of incorporating philosophical insights regarding humanity, our place in the world, and human interactions. In The Red Queen, the slow buildup and intensely vivid world-building takes its next and final stage in some philosophical musings on the nature of humanity's dependence on technology, and the concept of intelligent, and even feeling, technology. For the most part, Elspeth is wary of the Beforetime technology they encounter, such as God, the impressive computermachine that runs Habitat, and its two 'andrones', the silver men. (Maybe that's a slight spoiler, but this is where the reader is a step ahead of the Misfits in figuring things out - it was an easy guess that God and the 'tumen' were artificial lifeforms from the Beforetime.) With their post-apocalyptic perspective, Elspeth and her companions discuss and raise questions around the seemingly infallible nature of computer programs - never more relevant than now, it seems, as computers become such an intrinsic part of our everyday lives. As Elspeth cynically but rightly points out (and I've lost the quote, sorry), computer programs are only as good as the humans that write them - mistakes and flaws can be written in, and since humans are inherently flawed, it's to be expected. The naming of the computer 'God' at Midland seems deeply ironic. The story is not a treatise against technology, but a cautionary one reminding us that the true nature of humanity is one rich in flaws.
Another element of this story that I love is the embracing of other and diverse life forms, from the Misfits strange and wonderful Talents - including empathy, farseeking (telepathy), coercion, beastspeeking, futuretelling and healing - to the range of intelligent and feeling beasts they work alongside. Animals are drawn to Elspeth not because she's also a beastspeaker, but because she is the Elspeth Innle of a beastlegend in which she leads them to freedom from humans. A deep sense of compassion and respect for animals and the land pervades the Obernewtyn Chronicles, weaving in animal characters into the story who become just as important as the human ones.
And really, ultimately, nothing beats the sheer pleasure of watching it all come together. It's an impressive weave of story threads, as small details, foretellings, dreams, characters, chance comments and all come together and are woven in. It rather boggles my mind, the amount of planning that must go into it! It's an exciting adventure, at its heart, and an utter joy to discover how it plays out. Especially with a heroine like Elspeth, who doesn't recognise her own charisma or charm, but comes across as quite serious and blind to the deeper emotions of those around her. She is without affectation or pretension, and has the right characteristics to be able to put her own desires aside in order to save the world. She's a lonely girl/woman, and I think that's another quality that drew me to her from a young age, as an introvert myself. For the longest time, Elspeth has been like a larger-than-life figure for me, a mythological heroine, a close relative about whose exploits you hear, wide-eyed and in awe. Reaching the end of this series is harder than finishing Harry Potter, say, because of how young I was when I began, and how long it's taken to write the series. But the best thing? I can keep re-reading. I've re-read earlier books in the series several times, and they never grow old. There's so much detail in them, and the writing is so riveting, for me, that it's always like reading them fresh, even when my mind can picture where it's going next. The tension is still there, the revelations, the excitement, the joy.
If there's one series you should start that you have yet to, it's this one. It might technically be a Young Adult series, but it's only a marketing technicality. There's plenty here for all ages. Read, enjoy, and tell me what you think. Mostly I just sharing the stories I love!...more
The best speculative fiction - if not, by its very nature, all speculative fiction - explores issues of social justice and ethics, often along the linThe best speculative fiction - if not, by its very nature, all speculative fiction - explores issues of social justice and ethics, often along the lines of discrimination, prejudice and, beyond that, cloning, robotics - all things that ultimately lead to that unanswerable question: what does it mean to be human?
In 2012, a young medical student was travelling on a bus with a male friend in Delhi, India, when the five men and one teenaged boy on board beat her friend and dragged her to the back of the bus, to endure forty-five minutes of rape and assault. She died. The incident isn't isolated, but it's very blatant cruelty sparked protests and women-driven calls for change all across India. India may have a more obvious patriarchal ideology than Western countries like Australia, but when the bus driver in this particular case said in an interview that women are to blame for being raped, well that's not an Indian attitude at all. You here people - not only men, sadly - say the same thing in Western countries. Around the same time, a young Melbourne woman was raped and killed while walking home. We have a long way to go yet, in gender equality and respecting women.
Out of tragedy often comes something good, though, and one such example is Eat the Sky, Drink the Ocean, an anthology of shorts stories, graphic novel shorts, and one script written in collaboration between Australian and Indian women writers and illustrators. The title, according to the editors,
"suggested impossibilities, dreams, ambitions and a connection to something larger than humanity alone. ... This collection of stories embraces the idea of not just eating pie but of taking big, hungry mouthfuls of life and embracing the world. It's about the desire to have and do impossible things, especially things that girls aren't meant to do. We asked our contributors to re-imagine the world, to mess with the boundaries of the possible and the probable. ... Ultimately, this is a book about connections - between Australia and India, between men and women, between the past, the present, the future and the planet that we all share. If we had to name one thing we learnt in the process of making this anthology, it's the fact that when you eat the sky and drink the ocean, you are part of the earth: everything's connected." (Introduction, pages vii-ix)
Some of the contributors will be familiar to you; for me, an Aussie, the fact that my favourite author - Isobelle Carmody - was a contributor meant that I had to move this right to the top of my to-read list (I started reading it as soon as I got it, and actually finished it three days later - quite a feat for me at present!). Other names I recognised included Justine Larbalestier (I loved Liar) and Margo Lanagan (ditto for Tender Morsels). But I was blown away by so many of these authors and illustrators, unknown to me; I was truly inspired.
The anthology starts off strongly with the graphic short story, "Swallow the Moon", written by Kate Constable and illustrated by Priya Kuriyan. It is an uplifting, mystical sort of story, a story of hope and renewal around a deep core of tragedy. Set in a post-apocalyptic future, everything we know - all our 'stuff' - is gone; all that remains is the rubbish that drifts onto the beaches. The story was articulately told and beautifully illustrated.
It is from this story that the stunning cover illustration comes, too. It sets the tone and expectations for the rest of the anthology, which shows an impressive diversity of ideas and imagination, all linked by this common thread of a girl's place - and often, a boy's too - in society. Some of the other stories that stood out to me include "Memory Lace" by Payal Dhar - I am so a product of my society that I didn't see the 'twist' in that story! - "Anarkali" by Annie Zaidi and Mandy Orr, a graphic short story about a farming girl who is entombed alive for falling in love with the prince. She discovers she has the strength to escape, if she becomes one with her surroundings. In "Cast Out" by Samhita Arni, the familiar trope of exile into certain death for girls who exhibit sorcery - simply because it is not allowed - is given a strong, encouraging and hopeful ending when Karthini discovers a world in which she can be herself. In fact, that idea of finding your place, accepting yourself and being accepted by others, recurs in a number of these stories.
Several flip the gender imbalance on its head, like "The Runners" by Isobelle Carmody and Prabha Mallya, which also explores the idea of what it means to be human. As in some of the other stories, the central message is that how we perceive ourselves affects how we are perceived by others, and vice versa. If you are seen as human (meaning you are treated as one), you will be human.
Larbalestier's short story, "Little Red Suit" is a post-apocalyptic retelling of "Little Red Riding Hood"; it's not the only story to play around with well-known storylines and tropes. Environmentalism is also a running theme throughout this anthology, and it ties in well with the editors' comment about being connected to the planet. It made me think, what would this anthology look like if, keeping the same purpose and ideas and focus on girls, it was written by male authors? Because sometimes I wonder at that gender gap, that difference in perception that seems so hard to shift. What insights would we get? How do they see us, really?
Two of the stories - "Weft" and "Mirror Perfect" - deal with our contemporary society's obsession with appearance, and what we are willing to sacrifice for it. "Cooking Time", which I loved, questioned the point of survival for the sake of it, if there's nothing to enjoy. "Back-stage Pass", by Nicki Greenberg, is a short graphic story about Ophelia, and why she threw herself into the water, and the power of self that we gain when we take control of how we're 'written': how others perceive us, and the direction our lives take.
Each story offers something different to the conversation, in different styles and from different perspectives and genres. Some I loved, a couple I didn't quite click with, but overall, they showed how diverse we all are, women and men, girls and boys. We all have something worthwhile to offer the world. We can find safety and harmony and joy in working together and loving each other. And, ultimately, change is possible. ...more
**spoiler alert** In our (predominantely) white, Western, ex-British world, we are still hung up on our colonial roots and a deep sense of shame and g**spoiler alert** In our (predominantely) white, Western, ex-British world, we are still hung up on our colonial roots and a deep sense of shame and guilt - no one really talks of it in that way but it's there, nevertheless. Whether you're Canadian, Australian, American, Kiwi or from any of the other ex-British Empire colonies (with perhaps the exception of India; slightly different scenario), we weren't exactly welcomed with open arms, and we've yet to really apologise or make amends (because that would mean, as far as we're concerned, returning land, and we are very resistant to this). This post-colonial, anxiety-riddled, ideological hang-up comes out in our fiction, of course, and never more so than in Fantasy Fiction. Which is just one of the reasons why I love the genre.
While some authors take the Big Guns approach, in which the heroes of their fantasy worlds bring 'freedom', 'democracy' and 'capitalism' to the 'oppressed', the 'enemy' or the 'savages' (a la The Sword of Truth series by Terry Goodkind), or forcibly unite the countries in order to defeat a greater enemy (American colonial history in a nutshell a la the Wheel of Time series by Robert Jordan) - and both push into the 'frontier' - others take the perspective of the 'indigenous' population being invaded, conquered and oppressed by another, arrogant force. Stories like Eric van Lustbaader's excellent Pearl Saga (which he's never finished and I fear, now, never will), for example, or any other Fantasy tale in which we side with the invaded rather than the invader, tells an interesting story of its own as we seek to empathise with our own indigenous populations, who we have and continue to oppress and denigrate.
Palmer's Ours is the Storm is a worthy entry into this body of ideologically-driven fantasy fiction, and unique enough to stand proud amongst them. It sets up fairly conventional expectations: the underdog hero with an epic purpose; the discovery of magic and a belief in its might and power; the Native-American-like plains people (Huumphar) who fight guerrilla style; the female hero of the Huumphar who, you think, will play the role of a great interracial love affair with the male hero; a great, perverted evil that corrupts and erodes those who wield it (always fun to pick what this trope is an analogy of: capitalism? colonialism? Depends what your views are...); and of course a might big showdown of power and ego in which our underdog hero much be triumphant. Like any genre, Fantasy has a formula - or several - but it is what authors inventively do with that formula that keeps us reading.
The boy has lived so long in complete darkness, in a stone cell somewhere, nowhere; he hasn't spoken to anyone in he doesn't know long, he has now lost his memories. He doesn't know who he is, who his parents are, what they looked like or how their voices sounded. He doesn't know where he's from or where he is now. This has become his life, his present, past and future.
Until, one day, an opening appears in the ceiling: a hatch has been opened, and a voice reaches down to him. The voice, the man, promises to release him, sounds outraged at his condition, and passes him a knife: the first of many tests. The boy, freed, learns that he is Revik Lasivar, son of a great man, a powerful leader in uniting Feriven, this land, under one strong leader: Halkoriv, the man who has freed him.
Halkoriv styles himself a king, and has lived for far longer than a normal human life span. He wields a magical force, a power that dominates and turns his servants into obedient mindless drones. Halkoriv is cunning, but at first seems merely fatherly to Revik. Revik, a poor starved boy driven nearly mad by being held captive in the dark of Cunabrel's fortress for so long. With no memories of his parents he latches onto Halkoriv and strives to please him - and to honour his father's legacy. Established as Halkoriv's heir, after years of training Revik is sent out on his final test: to lead an army to Cunabrel's door and defeat this nobleman who dares to separate himself from Halkoriv, and destroy the dream of a united Feriven in the process.
To get to Cunabrel's lands, Revik must pass through the plains: Huumphar land. He comes up with a brilliant strategy that changes the balance of power in the grasslands, and in the process of defeating Cunabrel, Revik comes into his own power. Seemingly invincible, he rides down a party of Huumphar on his own, but meets his match in the seeress Ahi'rea, who, with her Sight, can See that it is not a real magic Revik wields, but that he is being ridden by a monster that will devour him. The clash of swords and magic will have a devastating result for Revik, as he learns that everything he believed in was a lie. So who is Revik Lasivar?
This is just the beginning, really, and the deceptions and lies are handled with a magician's sleight-of-hand, a dexterity and skill that will surely surprise you. You think you've got it worked out, you think you understand more than poor Revik: that Halkoriv arranged for him to spend tortuous years in a dungeon cell so that he could pretend to save him; that Halkoriv set Cunabrel up to take the blame for it; that Revik is an ally to the Huumphar, by birthright, but this knowledge has been stolen from him; and so on. Who is Revik is a question that runs through the whole novel, and this theme of identity is pivotal to the plot. The turns in the plot are delicious, and one of the book's greatest strengths.
Ours is the Storm is well-written, visually arresting and fast-paced; the Huumphar are easily established, building upon our contextual knowledge of indigenous populations, specifically Native Americans. As an analogy for American colonialism and frontier-expansion, Ours is the Storm isn't particularly subtle, and by extension does seem to say the British Empire was rotten to the core, amongst other things. The one thing I would have liked more of was characterisation. Revik was well drawn, believable and oddly charismatic. In contrast, I never quite understood the key Huumphar characters, who are pivotal, such as Ahi'rea (not sure how to pronounce that either!). She was never fully fleshed out, so, while she was a strong character with whom you could place great faith, a believable character, I didn't get to know her as a woman or a Huumphar.
Alongside this theme of colonial invasion is the one of peace versus war, and the idea that the Feriven army is almost possessed by a hatred of the Huumphar - whom they dehumanise and fear - and an unnatural drive to fight. What it brings to mind, of course, is that our natural state of co-existence is one of harmony and peace, not bloodshed, and that, given a real choice, people would rather live peacefully and cooperatively than in terror. Thus, the thirst for blood, for whatever ideological reason, is largely manufactured. I can't help but think of the bloodlust and push for revenge that occurred in the mainstream media after 9/11, the repercussions of which are still being felt by many. Peace begins to seem like a fanciful dream, and Ours is the Storm posits the idea that you have to tackle the rotten core at the heart of it to finally find rest from the hatred and endless fighting. And, hopefully, to be happy with what you've got, appreciate differences rather than fear them, and respect others' right to live freely.
My thanks to the author for a copy of this book....more
The Tribe is my new favourite series, and I am eagerly, impatiently awaiting the next two instalments. Having devoured the first, The Interrogation oThe Tribe is my new favourite series, and I am eagerly, impatiently awaiting the next two instalments. Having devoured the first, The Interrogation of Ashala Wolf, in January this year, I quickly went out to get a copy of the second book, which did not disappoint in the slightest.
Following on from the events of the first book, the Tribe is somewhat more structured, involved and purposeful - maybe it's because I'm currently reading the final Obernewtyn book, but there are similarities between the two series, which only makes me cleave to this one all the more. They are young, they have unique abilities, and they have a deep and profound love and respect for the natural world - and this is a strong component of both the world-building and the Indigenous culture from which Kwaymullina comes.
Ember Crow is Ashala Wolf's best friend and, in effect, second in command of the Tribe. Now, suddenly, she is missing, and as Ashala and the Tribe track her down they learn incredible secrets about Ember and the 'family' she comes from, secrets that open up a whole new dimension to this post-apocalyptic world still in recovery, and reveal a threat they hadn't known existed.
I honestly couldn't recommend this series highly enough. It is riveting, engrossing, exciting, surprising, imaginative, intelligent and captivating. Can I squeeze any more adjectives into that sentence? I love the concept, I love the Aboriginal aspects and I love the world-building, but I especially love the characters, who are becoming as dear to me as the Obernewtyn cast is. Speaking of, it is a relief to have another excellent post-apocalyptic fantasy series like this one to go one with, now that the Obernewtyn Chronicles is finally complete. The Tribe books are already on my "I need to re-read ASAP" list, and I'm on tenterhooks waiting for the next two....more
I only learnt of this book this year, and I’m so glad I did! Set on a juggernaut called Worldshaker, in an alternate present in which the reign of QueI only learnt of this book this year, and I’m so glad I did! Set on a juggernaut called Worldshaker, in an alternate present in which the reign of Queen Victoria continues indefinitely, alongside the Victorian mentality. Col is the son of one of the elite families on the mobile city; his grandfather is the Supreme Commander and he is next in line. Everything in his neat, ordered world is right and good. But then one night a Filthy escapes from Below and hides in his cabin, a girl called Riff. The Filthies are barely human, he’s been taught, but this one challenges his understanding. His only other exposure to them are through the Menials, silent, tongueless and lobotomised servants ‘rescued’ from Below to serve the upper classes. Col’s encounter with Riff is the beginning of something new, dark and terrifying, as everything he believed in begins to fray.
This is a wonderful adventure story containing familiar elements and tropes but still a unique, standalone novel. While you will have a greater and more cynical understanding of the workings of this world than Col does, his path to understanding is rendered so vivid and nail-bitingly tense that it won’t matter. While it utilises the Victorian steampunk tradition, the story acts as an indictment on how we still treat others, even today, not only through class systems but through words and names alone.
At the back of the book are some great maps of the juggernaut, which I wish I’d known about sooner than I did, as they’re very helpful!...more
It's been many years since Assassin's Apprentice came out in 1995. Where was I in 1995? Finishing high school - grade 10 - and slowly starting to reIt's been many years since Assassin's Apprentice came out in 1995. Where was I in 1995? Finishing high school - grade 10 - and slowly starting to realise that Fantasy was the genre I loved. I read Assassin's Apprentice a year or two later, in college, and wanted so badly to love it. It had one of the new breed of Fantasy covers (click the link above to see it), and the genre, in the late 90s, was experiencing a true revival: fresh talent, new energy, original ideas and some beautiful covers by Voyager here in Australia (so different from those commonly associated with Fantasy thanks to publishers like Tor in the U.S. with their ugly, chunky fonts and often awkward-looking artwork).
But I digress. I wanted to love the first book set in the world of the Farseers - Hobb's first novel, if I remember correctly - but I couldn't. It wasn't long, but it was slow and uninteresting to me at the time; I couldn't get into it. I did give Hobb another go a few years later, when I was at uni and read The Liveship Traders. The first book took me a long time to get through, but it picked up at the end and the last two books were quite exciting. So it was with a mixture of excitement and trepidation that I received her newest, Fool's Assassin, in the mail. Not only was I leery of being able to enjoy Hobb's slower, more ponderous style (for such as it was from memory), but this is the start of a third trilogy set in the same world as her very first book, and the fact that I hadn't read the intervening books was a big looming ignorance which I feared would preclude any enjoyment at all.
Not so, on the last count at least.
The story reintroduces readers to FitzChivalry Farseer, bastard son of King Shrewd's oldest son, Chivalry, who abdicated the throne in favour of his younger brother, Verity. Fitz, son of a Mountain Kingdom woman, is the protagonist and hero of the previous trilogies, which see him being brought to Buckkeep Castle and trained as a spy and assassin - for the Farseer kings, if a bastard isn't useful to the throne, he's a threat. It is as a boy at the castle that Fitz first meets the Fool, a blonde boy in a land of dark-haired people who later, in the Tawny Man trilogy, figures prominently as a White Prophet, Fitz his Catalyst.
But Fitz has retired, as much as he's allowed to, and now lives incognito at Withywoods with his wife, Molly, and some of her children from her first marriage (to Burrich). Known as Holder Tom Badgerlock, Fitz is enjoying his quiet life, his wife, and being away from court politics. But on the night of Winterfest, three strangers appear at the manor house, a pale messenger he never gets to meet vanishes, and there's blood in his study - both the ground floor study where the messenger was waiting for him and his own, private study where Fitz does his real work. As angry as he is at the violation and the mystery, the trail soon goes cold, years pass and he forgets all about it. Until another pale messenger arrives, barely alive, with a message from the Fool that doesn't make sense, for all that its importance is clear. And just like that, Fitz is launched back into the world of intrigue, danger, adventure and death.
Fool's Assassin begins slowly, almost too slowly. It took me a while to get through the first few chapters, which seemed far too preoccupied in the minute details of Withywoods and Winterfest. Yet it does set the tone and pace for the novel to come, as well as ease you back into this world. And even though I can barely remember anything from Assassin's Apprentice, Hobb's gentle handling of exposition (including background information) meant that I never got lost. I'm not sure if readers who are more familiar with the earlier trilogies would appreciate the recapping and reminiscing as much as I did; it's hard to say. But all the details of who died, who was tortured, what happened to so-and-so from the previous books, didn't feel like spoilers to me; such details have actually motivated me to read the previous trilogies and catch up. In such a condensed form, the excitement and thrill of previous plots is forefront.
Fitz is technically an old man in this book: at the start he is forty-seven, and Molly, at fifty, is three years older. Twelve or thirteen years go by during the course of this book, but because of the intense Skill healing Fitz endured as a younger man, his body keeps healing and he looks younger than his true years. He'll need that boost of youth and vigour, as the end of this first volume is merely the beginning of a very personal adventure for Fitz. I would love very much to give some details, especially as the messenger plot-line I shared in the summary above is just one sliver of what happens in this, but I really don't want to spoil it for anyone. What I will say is that I loved Bee, she's a truly engaging heroine and fascinating too. It's interesting that Fitz doesn't realise a few things about her, especially considering I figured it out and I haven't even read the other books! Because of Bee, the slower pace and fine details of daily life became welcome, soothing almost, and intrinsic to the development of characters and plot. Sure it could have been slimmed down, but I wouldn't change anything: for all the pace, I found it exciting, gripping and immensely enjoyable.
It's also quite heartbreaking. There were several places in the story that set me crying, which I love: I love being that involved, that invested in the characters, that what happens to them affects me enough that I cry. Sure, I cry easily these days, but you still need that connection. One thing's for sure, Hobbs characters are alive, they're real, and the deceptive simplicity of the writing and plot draws you in in an organic, homely way. It fits well. It also makes you realise, in terms of the overall plot of the trilogy - which doesn't become clear until the very end of book 1 - how necessary it is to spend such a long time on establishing the characters, especially Bee. (And as a warning: this book ends on a cliffhanger.)
As for the world itself, Hobb builds on her previous work and as far as I can tell, nothing new has been added here. It's well established, but reminded me of one of the reasons why I struggled with the first book as a teenager: it's not the most interesting world. Following on the well-trodden path of modelling a fantasy world on medieval Europe, perhaps the most striking difference is the lack of religion. There's no religion in this world at all, at least not in the Six Duchies. There's magic and mystery, the supernatural, the long-gone Elderlings and newly-arisen dragons, but no religion. It's a surprising omission, once you note it, only because in our own world, religion is always there, even if you don't follow one or have personal beliefs. It still frames your world, shapes your experiences and your perspective. Without religion, the characters here need some kind of creed to follow, some shared understanding of how the world works and their place in it. Loyalty comes to mind, and the Farseer kings. They're not worshipped, but the lengths characters like Chade, Fitz's mentor, go to to protect the throne are almost worshipper-like.
Fool's Assassin is a successful re-entry into Fitz's world, I would say, and provides the pivotal beginnings to a new high-stakes plot. Even without having read the previous trilogies, I would say that this plot is the most personal for Fitz, I just can't say why without spoiling things. Am I eagerly awaiting the second book already? Absolutely! The best thing to do in the meantime, is go back to the beginning and read the Farseer Trilogy and the Tawny Man trilogy (I would love to read the Soldier Son trilogy too, while I'm at it). Hobb has reinvigorated my interest in this world, which I didn't think would happen, but considering how slow the pacing is here, how uneventful so much of this long book seems to be, that says a lot about her skill in developing characters, anticipation and momentum.
My thanks to the publisher for a copy of this book. ...more
Alex Caine grew up in foster homes and was a wild kid until he started learning martial arts; since then, he's had focus, discipline and a means of eaAlex Caine grew up in foster homes and was a wild kid until he started learning martial arts; since then, he's had focus, discipline and a means of earning a living in illegal cage fights. He always wins, too, because he has a secret advantage: he can see people's shades, and knows what his opponents are about to do. It isn't until he meets Englishman Patrick Welby that Alex learns there's a name for what he is: mage. Once Welby unlocks the door to the hidden world of magesign and the Fey, Alex is reluctantly drawn in. Welby has his sights set on a powerful magical book that he hasn't been able to read, but he thinks Alex can. He wants Alex to go with him from Sydney to London to try and read the book, being held by a cranky and unlikeable bookseller called Peacock.
Welby's hunch was right: Alex can read it, only with unexpected consequences. The book is actually a vessel for a trapped piece of a Fey god, a being of chaos that was driven from this plane with only this one little bit remaining, a piece that latches onto a mortal soul and drives them to destruction. Alex is no less a victim, and with his training is driven to lethal acts. He'll do whatever it takes to get rid of the indestructible book, even braving the dens of flesh-eating Kin, before any more people die at his hands.
With the help of an unlikely but beautiful, inhuman ally called Silhouette, and pursued by a ruthless and ambitious magical-artefacts dealer called Mr Hood, Alex finds himself traversing the globe to hunt down shards of the powerful stone that first rid the world of the godling, Uthentia. Time is running out and the stakes are getting higher. Even if he succeeds in his quest to find the long-hidden pieces, he has only a hunch and conviction that he will be able to use what took three powerful mages to wield long ago. But there's only one way to find out.
I'm not a big reader of Urban Fantasy, mostly because the majority of books that fall under that sub-genre always use mysteries or detective work as their plot, and mysteries tend to bore me. Character development especially, and also world-building, are all-too-often overlooked in a mystery (or detective or thriller or CIA) novel. I'm not sure why Urban Fantasy must contain some kind of mystery-detective plotline, but I'm guessing it's a way to explore the familiar-unfamiliar world for the sake of the audience. When it's not a mystery, it's romance - paranormal romance. I find the latter more interesting and engaging because romance, by dint of its nature, relies on characters, so you get plenty of character development (or you should). Bound pleasantly straddles several tropes common to Urban Fantasy, combining Fey and Kin with human, magic and mystery with crime and violence, love and obsession with murder and mayhem. It has more of a classic Quest structure than a detective one, and uses the trope of introducing a new, hidden and complex world to an ignorant human as a means of providing exposition at a gradual pace. Overall, it works.
Bound is a gritty, dark urban fantasy, full of violence and gore and visceral imagery. There are hints of other works here - or rather, certain scenes reminded me of other works, which is not to say Baxter lacks originality but that stories create a community of ideas and imagination, which I love. The golems reminded me of Jonathan Stroud, the island of malnourished worshippers and the obese dictator reminded me of Iain Banks' Consider Phlebus (the first of his Culture science fiction series). Other elements of the novel reminded me of less tangible stories, books I couldn't quite remember or grasp. Overall it makes Bound feel like familiar territory, one that doesn't need much exposition to understand.
Alex Caine is a good protagonist and hero-figure, leading us into this new world unwillingly, but never baulking at what he knows he must do. For the most part, he asks good questions and uses his head. I can only hope that his character is more fully developed and explained over the following two books, as we don't learn a whole lot about him here. Silhouette, likewise, is a shadowy figure (no pun intended), but an excellent one. She's only half-human, and Baxter does a good job of developing her inhumanity while at the same time giving us plenty to like and relate to. The world of the Kin and the Fey is an interesting one, and while it might not be the most original of storylines or worlds, it is quite entertaining, in a dark and often violent way.
Where I struggled some was with the writing. Baxter's prose is solid, his details are nicely placed, and the dialogue flows quite naturally. But what I got really tired of was the constant use of the rhetorical question. Baxter uses it a great deal when Alex starts reflecting and thinking and in general, trying to figure things out. The occasional rhetorical question works fine, but sometimes there were several in the one paragraph and it does weaken the writing (not to mention makes Alex a tad annoying in those moments).
I enjoyed Bound, both for its dark, twisted other-worldly creatures and, at times, downright terrifying scenes of violence and gristly murder (the scene with the children was particularly hard to read), as well as for the simple but layered world-building. Alex Caine starts off the series as an ordinary man with a couple of extraordinary talents; by the end, he's something more than human and forever changed by his experiences. It can only get more interesting from here on.
My thanks to the publisher for a copy of this book....more
In the kingdom of Ricalan, winter is a formidable force for many months of the year, as well as a useful ally in this time of invasion and attack. It'In the kingdom of Ricalan, winter is a formidable force for many months of the year, as well as a useful ally in this time of invasion and attack. It's not only the settlers from Mesentreia forcing the Ricalani tribes off their land as they've been doing for the last few decades, supported by Ricalan's Mesentreian queen. Now they must also contend with forces from the Akharian Empire to the west. The Empire is also feeling the pinch from Mesentreia and its settler-invaders, and is using Ricalan as a battleground. But the Empire are also slavers, taking every Ricalani civilian after attacking villages, and the Ricalani army is doing little to stop them.
For Sierra, the ongoing battles - both ideological and physical - are merely a backdrop for her own personal hell. In Ricalan, as in Mesentreia, magic is against the law, hunted down, eradicated. Sierra was hidden by her parents until a powerful Akharian Blood Mage, Kell, now working for the king of Ricalan and his mother, comes for her. Sierra's magical gift is fed by the emotions of others, particularly pain and suffering. And Kell, sadistic torturer that he is, has been using her to feed off his victims, store impressive amounts of power, all for him and his apprentice, Rasten. So she was there when Isidro was tortured, brutalised and defeated.
Isidro is foster-brother to the rightful king of Ricalan, Cammarian, the younger son of a minor southern prisoner of Mesentreian blood, Valeria, who was married to the Ricalani queen's brother. The queen chose Cam as her successor, and upon her death his own mother tried to have him killed. Instead, he fled with Isidro, leaving the throne for his older brother, Severian, to take. They have been on the run ever since, falling in with various groups, not staying too long on any one tribe's land lest they wear out their friends' welcome. Until Isidro is captured and then rescued, and Sierra sets herself free. All three of them are being hunted by Rasten and Kell, but it is Sierra who poses both the real danger, and a real hope for salvation.
After a bit of a slow start where I was strangely very confused over the three different nationalities and who was of which country and where the story was even taking place (there is a map but I read it weird, don't know how, and that started the confusion), Winter Be My Shield becomes a deeply engrossing, very interesting, solidly-constructed Fantasy story whose consistently measured pacing is nevertheless gripping due to the oodles of tension and anticipation throughout. I've spent a bit of time, in my summary, trying to provide some context and introduce the three nations, mostly because I had been so confused at first - in retrospect, it's hard to see how I could have been confused, but there you go. Spurrier actually does a very good job of doling out the exposition in manageable bites, at relevant points in the story. You never quite get to the end of understanding of this world, though: for as well-crafted as the world building is, there's always more to learn and reveal, and that helps add to the interest.
I enjoyed this story immensely, once I got into the swing of things and understood what was going on. There are several different 'sides' but only two main perspectives: Sierra and Isidro. Occasionally, Cam and Rasten get to share their perspective, and an Akharian mage called Delphine provides an absorbing Akharian perspective towards the end. The characters are fairly straight-forward, well fleshed-out, and realistically flawed and human. I was expecting Cam to be the main character - he's a typical protagonist, being heir to a kingdom, a fugitive, handsome, charming etc. Blonde, too - that always helps (his mother's blood; the Ricalani are described as being akin to Asian but very tall). So I was pleasantly surprised - and pleased - when it turned out that Isidro was a key protagonist alongside Sierra. Isidro is a more interesting character, more nuanced, and what happens to him - both at the beginning and at the end - adds to this.
Sierra could have been a bit of a formulaic character, but often manages to surprise. It's not the first Fantasy story to feature a character like her, and in some ways this story, and Sierra, reminded me of Kate Elliott's excellent Crown of Stars series. Rasten could be a stand-in for the deliciously evil Hugh, and so on. But I wouldn't go too far with such comparisons: the Children of the Black Sun trilogy stands clearly, solidly on its own feet, engaging with classic fantasy tropes while at the same time bringing new, or refreshed, ones to the genre. The magic system is uncomplicated yet intriguing, and Sierra's untrained ability is fascinating. You also really feel for her - and Rasten before her (a great villain is one you can sympathise with, even if slightly)- when you learn what kind of mage she is, and how much of a blessing her ability could be if Kell hadn't already started warping it for his own ends.
With a steady, slightly slow pace and a wealth of detail, Spurrier brings her wintery world to cold life. There's violence, gore and pain, but also simple pleasures and a complex history in the process of being unlocked, discovered and revealed. By the end of volume one, the stakes have only become immeasurably higher, and Sierra in a wary working relationship, of kinds, with Rasten. Everyone has their own motives, their own plans, which cris-cross messily over each other. I look forward to reading the next two books, Black Sun Light My Way and North Star Guide Me Home, and seeing what happens to these interesting characters in this intriguing world. A well-written, exciting Fantasy that only gets more absorbing the further you read.
My thanks to the publisher for a copy of this book. ...more