Michael Cummings
Book three of the Dagger and the Coin - it rises up like Ouroboros writ in words, the ending is the beginning and the beginning is the ending. This third installment brings us back to the world of Marcus and Kit as they go looking for a magical sword to kill a Spider goddess with. Meanwhile, in the sexy world of moneylending, Cithrin continues her struggle and education in service to the Medean Bank.
Orbiting like a love struck puppy - with a cadre of killer priests and a warring nation at his command - Geder Palliako continues down his self destructive path, the ridiculed, chubby nerd that now wields more power than he knows how to handle or deal with. Meanwhile, working her wily ways to bring all that Geder stands for down, Clara continues her secret campaign with the street urchins and disheveled of Camnipol.
While the book is not for newcomers - there is simply too much background to explain, about a book and a half to be exact - it is a worthy addition to the series on whole. The pace is fast, the action is tight, and the world, as always, teeters on an unseen precipice ready to dip even further into chaos. As the midway point in the series, I think it's sometimes hard to see the events that happen as the turning points they really are.
Recommended for epic fantasy readers, but don't start here.
I don't often reread books, but with a sequel coming out this month it seemed like a good idea. Just as frightening as I remembered, though all these years later I'd forgotten how loose King was with POV in this early novel. Still a classic in my book, and still just this side of creepy to make me jump a few times :)
I'd give it that extra half star if I could, but it's not up to 4 star material. We know why we come to King's books, and he delivers. Like many of King's works that were adapted for the screen, don't watch the show and expect to find that story here. In that regards, stick with the book, it makes more sense while still having definable beginning, middle, and end.
Like many Koontz books, this one had a great hook that gave a lot of promises, most - but not all - fulfilled. Bartender Billy finds himself trapped as a madman begins leaving him notes, suggesting that Billy is in control of choosing to take action and cause a grisly death, or side with inaction and still be responsible for something an equally horrific death. I don't think Koontz quite delivered on that promise, but he made a good run at it.
Folks that get here by way of the TV show Haven will be sorely disappointed - like many of King's work turned into film, the names are the same, the places are the same, but little else runs the way you expect it to. This book is a mystery - if the imprint didn't give that away - but it's less about solving the mystery than learning what makes it so mysterious. A fun quick read, told mostly like a ghost story (third person narration).
Tough call with this one - I actually wavered between 3 and 4 stars. It's good, not always great, but good. I think it would be more fair to say it was inspired by Wells' Time Machine than as a direct reboot, but with honest focus that was more on the character and his place in a far future society than on the technology that got him there (a mistake too often made). There is rarely room to doubt in this novel as to which direction the lead character is going to jump, a fact that makes the story comfortable and familiar and occasionally predictable. Having read through most of the Riyria books, I know from experience the author takes some time to ramp to full throttle, which is I think the what left this book a bit lacking. Without the breadth of pages to gain full speed, the book fell a little short for me.
I'd still be happy to recommend the book, especially if you were looking for a fun quick read with a faintly science fiction bend.
My first reaction when I finished this book: Imagine Brent Weeks had channeled Brandon Sanderson and you're halfway to knowing what kind of book this is going to be. McClellan has developed a magic system that is very reminiscent of allomancy - powder mages snort or consume gunpowder much like a cocaine addict, endowing them with powers physical and metaphysical. We also see magic in the more traditional sense (hand waving wizardry so to speak), Knacks (people with one off powers, X-menish but without the flair), all resting in a world we can almost recognize as being modeled after late 18th/early 19th century Europe. And like so many books I've stumbled into recently, a B plot centered around religion and gods.
The initial hook for this book is the calling in of a retired investigator to solve a riddle left by a dead sorcerer at the end of the coup that brought down the King, spiraling out from there to include rogue magi, betrayal among the coup's conspirators, and a civil war. Good stuff, to say the least, and where McClellan might be faulted for a lack of depth, he more than makes up for by keeping the novel at a brisk and relentless pace that hurtles the reader to the conclusion of the first volume far too quickly. A little cliche, but a lot of fun to read, and yet another author/series to add to the queue.
Readers of Ovid looking for something with a little more sex and magic would do well to dwell in these pages. Like A Guile of Dragons, Wrath-Bearing Tree is a book whose mood implies it is best savored on a stormy summer afternoon, or from the comfort of a stuffed chair on a cold and bleak autumn night.
Continuing the early adventures of Morlock Ambrosius, Wrath-Bearing Tree begins by giving us a taste of life in the kingdom of Kaen and how easy it is for one of the many city gods of this continent to be replaced by an usurper. It stands to reason, then, that when Morlock is thrust into the middle of this, his only way out is to kill a god and return home to the Graith.
But no sooner is he home than he is sent back to Kaen. Something more is going on on that scary continent, and more information is needed about the Two Powers, believed to be behind the fall of many of the city gods of Kaen recently. While readers of A Guile of Dragons will remember the role of the Two Powers in the return of the dragons, this second volume was still approachable as a stand alone novel. Before the novel ends, Morlock and his companion will face warring gods, living machines that grant apotheosis, and a wintry father figure named Merlin driving a sleigh led by eight tiny demons.
Morlock and his companion's journey reads like a medieval travelogue, cataloging the strange customs and unusual creatures and beliefs found along the way. I enjoyed the book, though it was a bit more graphic (NSFW) than expected. Enge again delivers a well written story set in a mythos that is so familiar to us, painted with the elements that have defined the landscape of fantastical stories for centuries, and yet delivered in a fresh and entertaining story.
Abaddon's Gate welcomes back James Holden and his motley crew in the third volume of the Expanse. At the end of Caliban's War the alien artifact that wreaked havoc emerged from the cloud cover of Venus, it's construction work complete. A giant ring is ejected into the outer solar system, where came to a rest, waiting.
The ring is a gateway, a portal to someplace else. Little is known about the other side, but our friend Miller is back from the dead again to urge Holden to take action. Readers familiar with the Expanse know that wherever Holden is, there is usually conflict. Earth, Mars, and the PTO are all racing to the ring, as much to make sure no one else can stake a claim as to find out what's on the other side of the ring.
And so our story begins.
The first two books reminded us that space opera didn't have to span a galaxy, that the story could be just as epic confined to our own heliosphere. Abaddon's Gate takes us back to the realm of the classic space opera, replete with the Big Dumb Object, bizarre changes in the laws of physics, and a glimpse at an ancient, cosmos spanning civilization.
In other words, pure awesome fun.
Working with both a few regulars and a new fresh cast of character perspectives, Abaddon's Gate is as much about what we find on the other side of the ring as what we bring through with us. Sometimes the greatest threat to humanity is humanity itself.
Where to begin with the second volume of the Dagger and the Coin? This is still the story of a brazen girl turned banker and a bookworm too afraid to know when to stop. It's still the story of a mercenary and an old defunct priest as they head out to deal with a goddess whose priests have spiders for blood.
But it's also so much more.
The second volume is no place to start the series, but it is definitely a good place to continue it. Some of the elements are almost reminiscent of Martin's Ice and Fire series - empire in turmoil, dragons, and (SPOILER - can't tell you that bit). The execution, though, is completely different, and where Martin draws a long, deep story out, Abraham punches you in the stomach runs away laughing maniacally.
It's books like this that make Daniel Abraham such a force to be reckoned with in the fantasy genre. I read this book on an e-reader, and more than once I found myself flailing with my free hand to find a bookmark before I remembered it would do me no good. The King's Blood is an engrossing novel that seems slow to suck you in at first, then races all the way to the finish line.
The fourth Lukien novel John Marco has published, “The Forever Knight” is a break from the format and story of the previous books, giving new readers an excellent opportunity to dip into this saga. Cursed with immortality by the spirit living within his sword, Lukien begins this novel restless and aimless. He's a man who lives a life without consequence. When the ancient spirit in your sword can heal you of any wound, mortal or benign, what challenge is there in living?
Despite the teaser for this book, this book does not dwell on the Inhumans or Lukien's roll as their protector. With the usual grace of a fantasy novel, Lukien is cast out into the world on a quest, sword in hand and companion at his side. While the stated goal of the quest is to find answers to his companion, Cricket's, past, it's obvious what is really the objective - to find a purpose and challenge to satisfy an immortal knight.
In my mind, two things set this novel apart from many fantasy novels. The first was the decision to present this tale in the first person. For new readers especially, this can be daunting in second world fantasy, where there is no frame of reference for understanding the environment and cultures around the POV. Marco succeeds here by painting with broad strokes, sketching a world and people we can almost see, without lingering on the details that aren't relevant. Not a common choice, but the first person worked well for this story.
The second factor that set this novel apart from so many other epic fantasy novels these days was breadth. At 282 pages, it's a relatively light contender compared to other tomes available. I would continue to argue that this isn't a bad trend to see in books these days. Presenting readers with a single, well drafted adventure can be so much more satisfying than a collection of adventures sewn together for the sake of bulk.
In both efforts I think Marco succeeded with “The Forever Knight.” An entertaining adventure story that was extremely accessible for a first time reader, and a well written introduction to a new chapter in this character's journey.
Despite being a Peter F. Hamilton fan, I have a confession to make – I never could get into the Reality Dysfunction. I loved the tech, I thought the characters were great, I just couldn't wrap my brain around the dead coming back through a dimensional rift. It just smacked of cheesy, especially when Al Capone made his appearance.
I started the Great Road North was some trepidation – Hamilton can be hit or miss in my experience – and was pleased to find a good story, if a touch repetitive of previous works. Hamilton has returned to the kind of story that made Paula Myo so awesome. Blending crime and aliens is a successful formula for Hamilton, so it's only natural that he would return to those roots in this story. The setting for this tale is familiar – set a century or so into the future, the advent of a portal technology has allowed man to spread across the galaxy. At the pinnacle of the economic paradise are the North's, a family of successive generations of clones. When a North washes up dead, it's big news. When it's the second clone to be murdered in a uniquely grisly way in twenty years, and the last suspect was an alien with knives for fingers, things begin to get interesting.
Hamilton deftly weaves together the stories of Sid, a Newcastle detective on the trail of a murderer, and Angela, the sole surviving witness of the first encounter, 9 light years from Earth on the trail of the alien monster that no one else believes exists. Hamilton litters the page with a small supporting cast that are rarely thin or cardboard, and always seem to offer us a little more insight into our main characters.
The only fault I have with the novel is that we've been here before. This isn't the Commonwealth, and these aren't the same characters, but the themes are reminiscent of Hamilton's other books. A great read, and definitely fills an itch for a space opera with killer monsters, but not his best.
I needed something that was fun to read, knew not to take itself too seriously, and was outside my usual reading circles without being just foreign. Horns fit the bill, and I'm glad I read it. While I think Hill played the devilish references a bit much (from the Evil Knieval trail to the number of times he throws 666 out there), the book was still a fun read and well worth the price of admission. To sum up, because we don't waste too many words: Horns is the story of a young man that wakes up one morning, a year after his love was raped and murdered, to discover a pair of horns growing out of his skull. In particularly, I kind of enjoyed the fact that the Devil can be a superhero in the right light.
There is a certain ineffable quality to Neal Asher's books. They are first and formost high tech, far future adventure stories. The rare scenes of an idyllic worldscape are usually shattered in moments by explosions, nanomanipulating alien technology, or the occasional AI trying to make the world a safer place. Line of Polity carries that burden well. Following shortly after the events of Gridlinked, Line of Polity continues to follow Ian Cormac, along with a small cast of characters working with and against him. Outlink station Miranda has been destroyed in a way that hints at Dragon, and if anyone is going to go after something related to the moonsized alien, it's Ian Cormac. Asher writes an action packed story well, and this book is no exception. There is a point about 3/4 of the way through that the action began to feel repetitive, but the last 1/4 of the book elevates the crescendo - and the stakes - bringing the book to a most satisfactory conclusion (read: couldn't put the book down for the last 100 pages, really dissapointed it was over).
Beware the gabbleduck, friends.
Prince of Thorns is the tale of a boy, scarred witness to the brutal murder of his mother and brother, who choses to turn his back on all things good in order to obtain vengence. This is a tale of revenge, as rich in its single mindedness as any classic by Dumas. Young Jorg forsakes every shred of his humanity to feed this desire, something initial reviewers were less than pleased with. Many lambasted this novel as dark and misogynistic, but I have to admit that I didn't see any of that when I read it. Maybe my perspective was tempered by interviews with the author and other commentators, but when I read Prince of Thorns what I saw in Jorg was a dark, disturbed boy, a sociopath created rather than born.
The first chapter sets the tone for the kind of book you have started. The razing of a village, the flippant use of violence to send a message, and all from the perspective of the instigator. The message to the reader is simple: this isn't going to be a light or cheery story. We are led through a world that's almost familiar - a map that looks striking like Europe, references to Jesus and Plutarch, Shakespeare and Rome. Confusing, at first, are the references to Nietzsche and other modern writers. Rest assured it will all make sense, begging more questions than are answered in this volume. This is a world familiar to us from our own history, familiar to readers of fantasy for its near medievalness, and yet somehow ajar to what we expect.
There is something else in this story, though, something lying beneath the layer of vengeance and hatred, beneath the blood and violence. This is a story you have to finish to realize just how sad it is. Its compelling, dark tale is written in the first person, drawing the reader into Jorg's warped, sick mind from the start. It is only through flashbacks peppered throughout the narrative that we begin to understand Jorg better. We understand the instigating moment with the briars, when he turned from ten year old boy to vengeful demon. We understand how in the course of only four years (because yes, the Jorg of book one is a young teen) Jorg could gather a band of cut throat, vile scum as his entourage. And only in the final pages of this book do we see what lies beneath the surface and what strings are really being pulled. As a reader, you have this perspective of watching Jorg take bite after painful bite from his heart, because it is bitter, and it is his.
This was a well written, easy to read debut novel. The best part? I've taken so long to read this book that the sequel is already out, so if you enjoy it, you can keep reading!
A bold, galaxy sweeping story where you're even willing to overlook how central humanity can be to Solving Everything(tm) - if only it wasn't underwhelmed by poor writing and execution. To be fair, I have the same opinion of other popular space operatic series, bringing to question my tastes and opinions, but between the constant info dump and poor writing technique, I was left bored and unintrigued for most of the book.
It's somewhat embarrassing to admit that I had ample opportunities to read this book when it was in two parts, independently published - and failed to do so until it was bought up by Orbit and reprinted.
That was a mistake.
Originally published separately, readers can see the divide between the events and repercussions of the first book (Crown Conspiracy) that lead into the second book (Avempartha), and how together they form the chapters of a much larger tapestry. Sullivan sites the story arcs of Babylon 5 as one of his inspirations, and in reading the novel you can see that play out as he gives the reader a simple, straightforward collection of fantasy tropes building up our expectations that this story is going in one direction, only to flip it at the climax and offer a resolution that both fits the story so far, and yet defies what we anticipated.
The curious thing about Sullivan's book is that he uses light strokes to paint a picture. He doesn't labor over info dumping, choosing instead to give us a who's who and a what's what at the start of the book, and a few short dumps initially to fill in the gaps. Nor does he rely on the shock that grittier fantasy authors have brought us lately; this book is very much a homage o the simple, well written adventure story. While its most basic elements are a variation of the quest and heist motifs, there are deeper motivations at play than just greed. The real strength in Sullivan's writing, though, is in his dialog, the repertoire and voice of his characters making them distinct enough to stand out from the backdrop. No, not all of the characters are well rounded personas with depth, but the characters with whom the story revolves live and breathe in the mind's eye even after you set the book down.
Theft of Swords is not high literature, with flowing, flowery passages evoking a deep sense of wonder. What it is is wonderfully entertaining. Case in point, I sat down and read the last 40% of the book in one day because I just couldn't put it down. Highly recommended to fans of epic fantasy, especially if you enjoy the “lighter” side such as a Brandon Sanderson or Daniel Abraham novel, you will enjoy this.
What could have been a four star book compromises its way up to three stars. First, the good. Tom Lloyd presents us with a world filled with gods and men, and all the fantastical tropes that walk in between. Lloyd tugs at all of the familiar strings – prophetically proclaimed saviors, curses, even vampires, and of course, the question of whether our protagonist will turn out to be the hero or the doom foretold. While a simple enough story, it is often the simple ones that speak truest to us. There is an appeal to these modern fairy tale, and Lloyd makes sure to pepper his story with just enough of these elements to intrigue us and keep us flipping pages.
So why the struggle up to three stars? This book failed for me on purely technical merits. It had all of the ingredients of the kind of book I normally devour – magic, prophesy, gods, big shiny swords with special names, world in peril, etc. Where did it lose me?
First, the list of characters, in addition to being too long to keep track of in such a short book, was tucked away at the back of the book. Literally. Readers of the paper edition might have seen it, by accident, when going to set the book down. Readers of the electronic edition, though, would suffer the entire length of the book before discovering that hidden away at the back there is a mild attempt at explaining who's who. Mild, because it isn't conclusive, and doesn't give us the information we need to fully appreciate the story that Lloyd is telling.
Tackling a new world, with politics and struggles between sides, with an obvious sense of depth and history, is nothing new to fantasy readers. Its part of what makes second world fantasy stand out, after all. As readers, we've come to expect that the author will use one of a few well trod mechanisms. The simplest, and least favored, is of course to just info dump, preferably somewhere near the start of the tale so we can get that nasty mess out of the way and move on. The more timid author will provide us with a glossary, or at least well populated and advertised appendixes, that explain the lay of the land, who the sides are, even a little cultural background. Some prefer this method as it leaves it up to the reader to determine what depth they're willing to explore and understand the underpinnings of the world they just engaged. Of course, the truly brave writer – and this is why epic fantasy is known for its lengthy tomes, I think – will layer their explanations and insights about their fantasy world through the telling of the novel, so that while you may start not knowing who Bahl is or what a white-eyes is, by the end of the story you'll catch yourself swearing in Bahl's name and cursing the blight that is a white-eye born man. These are the story tellers. And this is what is so infuriating about this book, because it is this final cusp that it fails to cross. Our understanding of the world is so incomplete we are left questioning what is happening for part of the book. Every time I felt I had a grasp, we were introduced to a new character that made me question whether we were speaking the same language.
In the end, I think this first book had potential, but never quite rises above these flaws to stand out. Recommended for genre readers looking for a new series, but be forewarned its rough around the edges.
When I reviewed Leviathan Wakes, I mentioned that I sat on that book for too long and was kicking myself for it. This time, I didn't make that mistake, and now I have to live with the repercussions - waiting another year for the third volume.
Readers of Leviathan Wakes will be able to step into the pages of this book without pause. The writing duo that makes up James S.A. Corey took an approach I have to respect - there's no backstory, no summation of the previous novel, not even an awkward chapter of “well, you remember when we did this thing just happened a day ago for us but was up to a year ago for the reader?” It also means that the 600+ pages of this book are written with the intent of making this story move forward.
Book two begins with the tensions between Mars and Earth still high. On the breadbasket and nursery of the outer Solar System, Ganymede, the tensions is broken with an attack by a creature that is very reminiscent of Eros. Is this a sign that the protovirus has spread out from Venus, or is this another example of greed gone wrong?
While Leviathan Wakes was well balanced between Holden and Miller, this second book is more wholly Holden's story. There are four other characters with POV time, but Holden is a solid 30% of the book, and like before, he doesn't always know when to keep his mouth shut - which is probably why we like him. He's the cocky know it all who's too busy trying to do the right thing to notice when he's totally messing it all up. Our new cast members, besides the always lovable band of rogues that is the crew of the Rocinante, include a Martian gunnery sergeant, an Earther politician, and a botanist from Ganymede, Pax.
Which, sadly, is why I reluctantly did not give this a full five stars. The story of Caliban's War begins and centers around the disappearance of Pax's daughter, Mei, which as far as plot devices go is a great one. I know as a father I wouldn't let a little thing like interplanetary hostilities or marauding alien viruses get in my way if one of my girl's was kidnapped. What bothered me, as readers of Leviathan Wakes will understand, is that this is the second time in a row we've used the missing daughter gambit to justify our adventure. I have nothing but respect for the collective brains that made this book, I just wish that they had done something a little different this time. Yes, without getting spoilerly, the plot device works, probably even better than it did it in the first book. It makes sense of what we learn and it fits - its just too bad we've done this before.
Is there fighting? Of course!
Are there starships on fire off the shoulders of Orion? Sort of, if by Orion you mean Jupiter.
Is it space opera? You bet. Spaceships whiz and the fate of worlds - and humanity - can be seen in the balance. If that's your thing, then there's no good excuse for why you aren't reading the Expanse series with me.
This was one of my most anticipated books this year. If you've enjoyed Weeks' other works, then you'll understand why. Even after talking with Brent this summer and learning that he planned on making the Lightbringer series a tetralogy, I couldn't help but start the next book in the series with some trepidation. Would it stand up to past excellence? Would it suffer second book slumps? In other words, is this a coasting book, or will there be actual depth to it?
The Blinding Knife takes us back into the world of Gavin and Kip and all of the other colorful characters of the Chromeria and Blackguard. Between a mounting war against the Color Prince, and dealing with the aftermath of the False Prism War from 16 years before, Gavin has his work cut out for him. Of course, readers of the first book in the series, The Black Prism, know that there is a lot more to that story than I can share without a big spoilers warning. Readers continuing the adventure should know that there are still ample surprises in this volume, and although we are given more background, its not always where we want it. This, of course, is the author's prerogative, but some of the mysteries can leave the reader wanting. Without revealing any spoilers, the entire ancient mythology and metamorphosis of the wight left a discordant feeling with me. From what we knew of the world so far, the concept of avatars just seemed at odds. It felt out of place and without context, making the color gods meme was a little confusing. It made sense in its own limited context, just like wights made sense as an extension of breaking the halo, but the blend of those two left me a little out of sorts, making it a distraction in this book.
So what did I enjoy? I still loved Kip – as a fat kid who grew up to be a fat man, I'm partial to the rotund polychrome, stereotypical as he can be. You can lament that he's got Harry Potter syndrome, but that's because Harry Potter had Magician's Apprentice syndrome himself – a magically capable youth in the role of student is going to fall into a trope or two along the way. Weeks does a good job when we're sitting on Kip's shoulders to show us the world Kip thinks he's seeing, even when every other character just sees a capable, headstrong Guile. Weeks tackled a few thorny subjects, including slavery, as well as introducing us to a card game who's rules we learned alongside Kip. The conflicts Gavin faces internally, maintaining the facade of the perfect leader and Prism while really fighting against his own self doubts and insecurities was refreshing.
The Lightbringer series isn't as dark or deep as the Night Angel trilogy, but fans shouldn't be put off by that. Weeks tells a compelling tale, and fans of epic fantasy will still find themselves with sleepless nights as they try and finish just one more chapter.
A special thanks to Orbit and Netgalley for giving me the opportunity to read this book, and the medium to do it in.
Saladin Ahmed's “Engraved on the Eye” offers a nice sampling of Ahmed's short fiction. Collected in this volume are three short stories set in the same world as his first novel, The Crescent Throne, as well as a western, sci-fi, bunnies with swords, and an urban fantasy. Readers unfamiliar with the Crescent Throne will find the stories a good starting point, while fans of Saladin Adhmed's will enjoy the additional background on a certain ghul hunter and his blue clothed dhervish.
Tying the eight stories of this volume are two themes existing fans will find familiar: the fantastical, told with a heavy Middle Eastern influence. If Bradbury had been Arabic and living in middle America, this is what his first story collection might have looked like, ghul's, djenn, and demons included.
In this final installment of the Aeon's Gate trilogy we journey to the island of Jaga. Death has followed, chased, and clung to our crew of adventurers, and a soujourn to Jaga won't change the fact that they are walking into the gaping maw of Ulbecetonth herself. An island surrounded by the statues of lost gods, occupied by lonely hostile warrior lizardmen, and under attack by wave after wave of longfaced purple warrior women who are only content in battle.
So, a lot more of the same, which isn't a bad thing. Sykes picked up the gauntlet where it lay when we finished Black Halo and carried it to an almost satisfactory conclusion. Some questions remained, and Sykes has all but admitted that's because he plans on writing more stories in this universe. The questions that did remain after reading this novel were the larger picture questions, the kind that are called “spoilers.”
What should returning readers look forward to? Expect to find resolution between Lenk and Kat (as much resolution as possible between a man with voices in his head and a shickt who's people are sworn to eliminate the human infection from the face of the planet). The answers you wanted for Denaos' history or Asper's hand are covered. We even get a glimpse of where the Netherlings come from.
All in all, this third book did a great job of bringing this chapter of the story to a conclusion, while still leaving room for expansion in the future. As the conclusion of a trilogy, this book was probably the least accessible to new readers, but that's not to be unexpected in a series. I think returning readers will find that this book balances well against the first book in terms of amounts of action and pace.
RHEGA!!!
High Fantasy often faces the criticism that it is a poor reflection of the works that have gone before it, most notably Tolkien. By employing the same basic mythos with a highly Western European (and generally, British) composition, many chide that too much of fantasy falls into this trap and needs to be refreshed with something edgier, or something more original. The end result is generally a poor facsimile that inevitably fails to shine in comparison.
“A Guile of Dragons” is not some mere copy.
Yes, it employs many of the elements that we might quickly label a High Fantasy trope - dwarves, dragons, ancient terrors, and the name Merlin (or at least his son, Morlock). Its important to remember that it is not what elements a writer uses, but how they use them, that brings distinction. Enge does not treat these elements lightly - the history and culture of the dwarves alone are an integral part of this story, hinting at a depth we never see a bottom to. The shortness of the work (@300 pages) is belied by the depth and fullness of the characters that populate it. These are thick characters, populating the pages not because they fill a need but because it is their story to tell.
Set as a prequel for Enge's character, Ambrosius, aka Morlock syr Theorn, “A Guile of Dragons” introduces us to a small cast of recurring characters, each of whom demonstrates a depth and fullness usually reserved for the titular character. Not having read the other books in this milieu proved to not be a problem - as a prequel, it is a well contained volume, beginning with the birth of Morlock, son of Merlin, and the circumstances that place young Morlock in the care of the dwarves of Thrymhaiam to the north. This is also the story of Morlock's first real adventure (other feats are alluded to, but nothing so grand), following a metre and pace that is reminiscent of a classic saga even when the story telling is modern.
For in the Northold, the dwarves find themselves cut off from the Graith of Guardians as a guile of dragons invades, reigniting the Longest War from before the dawn of history. Morlock, a thaen of the Graith, adopted son of the dwarves, trapped between both worlds, faces the failings of each as he is thrust into battling the dragons themselves.
Enge, who's unsecret real world identity is a classics professor, demonstrates that a writer is influenced by the books and life you lead. “A Guile of Dragons” is a worthy epic for any fantasy reader, containing a surprising depth and fullness that is rarely found in so short a book. I cannot say more about this book without spoiling it, so I will just say that I wholly and heartily recommend that it be read.
It was with a little trepidation that I began reading Wards of Faerie. It had been decades since I'd last read a Terry Brooks novel, and the Shannara series was never one I had gotten into too deeply, mostly for a lack of resources. I knew that over the years the breadth of the story had grown, and that series that didn't used to be related, like the Word and the Void, had been incorporated into the larger mythos. Still, most of my exposure came from a summer reading through the Magic Kingdom books. Could I jump in unscathed?
The Wards of Faerie, as it turns out, is very open to the new reader. A brief run through wikipedia wouldn't hurt the new reader, but Terry Brooks is ever the consummate story teller, and with almost no effort gives us a story that is very easy to fall into. It is a world where science and magic are at ends with each other, with many of the secrets of magic lost even to the Druids, caretakers of such knowledge. Aphenglow Elessedil, an elf and a Druid, stumbles upon a lost journal that hints at the whereabouts of the famed elfstones. The Druid's quest to recover the elfstones will mean the gathering of a party and following a vision beyond the known lands as they seek out the lost elfstones.
It's always a pleasure to read something written by a master of the craft, and this was no exception. Brooks has spent over thirty years developing this world, and the world-building shows. The world that this story is set in has a depth that we can see just beneath the surface without being dragged through it, which helps the story move along at a good pace. The characters that populate it are well developed and believable, rather than the stock two dimensional characters that seem to litter the genre so often.
Knowing in advance that this will be yet another trilogy, though, I do have to say I was a bit disappointed with where the book ended. This isn't just the poignant disappointment of a story that ended sooner than the reader may have wanted. The bulk of the book was spent developing characters and introducing us to the world as it is, but just as the party is formed and the real action began to start up, the book came to an end.
My rating of this book came after a lot of thinking, and ultimately was tied to the fact that the story, the meat of why we are reading, is cut too short too soon. Knowing that we are only looking at a trilogy, it seems as though too much time was spent developing characters rather than moving the plot along. Fans of the milieu will enjoy the book, knowing that it will lead somewhere in the next book. Casual readers, though, I think will be put off unless they are already committed to seeing the story develop in the next volume.
My thanks to Netgalley and Random House for giving me the opportunity to review this work and providing an advanced reader's copy.