Grasping for the Wind

Book Review: Midnight Never Come by Marie Brennan

* Genre: Historical Fantasy
* ISBN: 031602029X
* ISBN-13: 9780316020299
* Format: Paperback, 400pp
* Publisher: Orbit
* Pub. Date: June 2008

Historical Fantasy is a difficult subgenre in which to write. The author must both create a story using the elements of fantasy, like wizards, elves, and faerie beings, and must try to maintain historical accuracy for the period of history in which the novel is set. It is a tricky business, but Marie Brennan, a relatively new author whose books are being published by Orbit, manages to pull it off rather well in Midnight Never Come, her tale of Elizabethan intrigue and faerie power.

The author, who has a degree in archeology and folklore, is uniquely suited to write a book of this stripe. She has the research acumen and the creative spark to write such a tale. And Midnight Never Come is the better for it.

Midnight Never Come is set in the latter days of the reign of Elizabeth the First, Queen of England, sometimes called Gloriana. Her court has been one of internal peace, even as outside enemies have threatened, but under her reign England has prospered. Michael Deven is a young man who has come to Elizabeth’s court to seek personal advancement. Coming from humble beginnings, he has managed to become one of the Queen’s personal bodyguards. But that is not quite enough to make his fortune in a court where one’s job can cost more than to maintain that what one makes. So Deven seeks out Sir Francis Walsingham, queen’s spymaster. What occurs brings Deven into a close contact with the realm of the Fae, a shadow court that exists beneath the streets of London, and separate from it in time and space. Lune is a courtier of that shadow court, a Machiavellian world whose queen derives great pleasure from causing emotional and physical pain in her subjects. Lune is very much like Deven, seeking advancement in her own court. But the two of them soon discover a secret that could destroy both courts, as well as Lune herself, and they must race against time to solve a riddle and overthrow the evil Faerie Queen Invidiana.

Many readers of historical fantasy will enjoy this novel, as the Elizabethan courts are not an area of history in which very many fantasy writers have set their novels, preferring the court of another queen, Victoria, as seen in books like Jonathan Strange and Mr. Norell and the steampunk subgenre. Brennan worked very hard to both use characters from history, make them a large part of the story, but without compromising our understanding of them as historical personages. Walsingham and Elizabeth are not just background characters placed on the back cover blurb to generate reader interest, but take real, actual roles in the story. Brennan also manages to make historical facts, such as the beheading of Mary Stewart and the attack of the Spanish Armada integral parts of the story. Both are necessary to the story, and Brennan doesn’t shy away from telling the whole story of Elizabeth’s reign. This is no slice of history story, which ignores all that has come before to tell a tale in a particular historical setting but without reference to its causes. Brennan has done the research, and her history is accurate.

Brennan’s wholly made up characters, and her fictional Faerie Court will appeal to readers of Neil Gaiman. Like him, Brennan has brought the magical into the mundane, and interwoven it into the very fabric of what we know to be true. Her characters Deven and Lune are believable and easy to become attached to. Their fates become ones the reader will care about, even as they try to reconcile her magic to his practicality.

If the book falls down a bit, it is in Deven’s rather casual acceptance of the Faerie Realm. Although he had been searching for it without knowing it, when he discovers its existence, his reaction was overly subdued, and Brennan might have done better to show the reaction of a character who up until that point had never believed such a thing existed. Readers may also find the ending unsatisfying. Brennan does not go for a typical destruction of the evil as might be found in a standard epic fantasy, and those looking for a story in which the evil villain dies horribly will likely be left unsatisfied. That is not to say that the ending is disappointing, in fact, it comes in line with many of the folk tales and legends on which it is based in many ways replicating the sense of sadness mixed with hope many of them evoke.

And that, ultimately, is the true feel of this novel. It is a protracted fairy tale. Readers familiar with Andrew Lang or the Brothers Grimm will notice that Midnight Never Come has much the same tenor as their works. It could also be likened to some of the Greek myths. In fact, Brennan makes a nod to some of those myths by having some of the characters share names with some of the human heroes of the Greek sagas.

Written in five acts (really sections of the book), it also brings to mind comparisons to Shakespeare and Marlowe's fantasy plays. Brennan has chosen to write the tale a sequence of scenes, each introduced by a particular date, sometimes current and sometimes past. Although written in prose, the reader can almost see the novel being staged, with scenes moving in and out from the wings, or even relying wholly on the power of the actor's to evoke the imagination.

I highly recommend Midnight Never Come to any lover of stories about the Fae, those interested in historical novels of Elizabethan England, or those who enjoyed or still enjoy fairy tales and myths. Brennan’s ability to maintain historical accuracy while writing an exciting and fast-paced novel filled with elves, fairies, the Wild Hunt, and brownies makes this story worth reading.

More about Marie Brennan can be found at her website. Or you can check out supplemental material for the novel at the Midnight Never Come website.

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Book Review: The Court of the Air by Stephen Hunt

* Genre: Steampunk, Fantasy
* ISBN: 0765320428
* ISBN-13: 9780765320421
* Format: Hardcover, 592pp
* Publisher: TOR
* Pub. Date: June 10, 2008

The Court of the Air by Stephen Hunt is a steampunk tour de force. Endlessly inventive and as intricately plotted as George R. R. Martin’s A Song of Ice and Fire, The Court of the Air is a tale no reader should miss.

On the surface, this stand-alone tale is ostensibly about two orphans, Molly and Oliver. Gifted in different ways (one through science, the other through magic) these two are forced on the run. These two story arcs move separately from each other, only crossing paths indirectly for most of the novel, although they the do meet once, near the end of the story. They strange gifts of each must be called upon when they find they are the last, best hope for the salvation of mankind from the forces of evil.

Part Fahrenheit 451, Animal Farm, and Victorian era novel, The Court of the Air is both a challenging and entertaining read. The former is most evident early in the book. Hunt wastes no words in trying to explain the history of the setting, nor does he try to give reasons for the technology the reader will encounter. For the reader this may cause some difficulty, since the setting is wildly different from our own, and Hunt throws a lot of creative word usage at the reader right from the beginning. The latter is a result of Hunt’s action. It is almost non-stop, and as the byline on the front of the novel states, the tale truly is “a fantastical tale of high adventure, low life rouges, and orphans on the run.” The reader can’t help but be excited as Molly and Oliver move from scene to scene, finding dangers ever more harrowing. Their ultimate triumph comes all the more sweetly as a result.

Like most steampunk novels, the story is based on a Victorian technology, the era of steam and gas, when most machinery was mechanized and humanity yet lacked the silicon chip. Robots exist, but they are sentient and are known by the name “steammen” for the way they survive by eating coke and giving off steam from their boilers, much like a semi from its exhaust pipe. Other, stranger races exist in The Court of the Air but in this story, they are mostly background, with only a few characters from those races (graspers, craynarbians) rising to the level of actually being named. There is also magic, a sort of fairytale type that creates strange powers in humans who are affected by it, as in Oliver’s case.

Although the technology is Victorian, the politics are not. The majority of the story takes place in Jackals, described in the novel as a people having “the power to overrun the whole continent, but they would rather potter about their gardens cutting their hedges into fanciful shapes, slap each other with debating sticks, and stop every our to brew pot of caffeel.“. Sounds a lot like England, which is also the home of Hunt. Rather than take the Victorian period politics and reproduce them, Hunt has actually taken the politics of the time of the French Revolution, and readers will see an obvious corollary in the politics of the “communityists” and that of the revolutionaries of France, as well as those of the Russian Revolution. It is here that the comparisons to Fahrenheit 451 and Animal Farm come about.

Like all great English novels, The Court of the Air is partly a satire. Many of the great novels point out fallacies or inconsistencies in the lifestyle of the period. Dickens, Austen, Defoe, and Trollope all in their own way made evident the good and the bad of the time of England’s history in which they wrote. And The Court of the Air does much the same. Readers of English classics will notice many references to characters or events from those same novels. In fact, Molly’s story in some way echoes that of Moll Flanders a work by Daniel Defoe and Oliver’s has some similarities to Oliver Twist by Charles Dickens. Many of the names in the The Court of the Air will remind the reader of other novels.

In essence, there are two story arcs occurring in The Court of the Air. One is a political satire, pitting capitalism against Marxism. The second, and by far the one with the most page time, is the adventures of Molly and Oliver, as they race against time to save their world from a horrible death. And yet, though these two plots may be strange bedfellows, they are interwoven so cleverly, that they seem as one.

Hunt does have some difficulties in his writing. Readers will notice the use of a few deus ex machina. Oliver is saved by the appearance of a Loa, and while exciting, was an obvious way for Hunt to change the direction of the story. And his sudden change from confused boy to superhero is a bit abrupt, especially as its occurrence coincides with a gift he receives that seems to make him brave. Molly is once saved by a character who makes an appearance in the early pages of the book, and then disappears forever, and at the end of the novel I was left wondering where she went, especially as she was not the type to shrink from a fight (Hunt’s second book The Kingdom Beyond the Waves does revisit this character, but this is not made clear in this book). But although Hunt uses these salvations from above, they don’t detract from the story. Readers will also note that at the beginning of the tale, Hunt doesn’t seem to know what story he is trying to tell. Molly’s story especially wanders around until Hunt finally settles on her role in the adventure. But although the reader may feel that some of the scenes are unnecessary and wonder why Hunt included them, by the end of the tale it becomes a little clearer, and Hunt does manage to redeem what seems to be the plot meandering.

The Court of Air is a complex and convoluted novel. Hunt’s world building is exquisite, and I’ve never read another novel like it. It is exciting and fast paced, with myriad plot twists and turns, interesting characters, and fantasy world that manages to blend the modern and the fantastical all into one package. The best comparison to make is not to another novel, but rather to a video game. The Final Fantasy games (especially VII, X and X-2) kept coming to mind as I read Hunt’s novel. Like them, The Court of Air is always full of adventure, with a unique and detailed world. I highly recommend this book to all readers. It is already on my best of the year list. I think the only way to top it will be with the next book by Stephen Hunt, set in the same world and with some of the same characters, but still a stand alone novel, called The Kingdom Beyond the Waves.

Stephen Hunt is also the chief editor of SF Crowsnest, a monthly e-zine of news and articles in the Science Fiction and Fantasy genre. Full disclosure – some of my articles have appeared at SF Crowsnest.

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Book Review: Shadowmarch by Tad Williams

* Genre: Epic Fantasy
* ISBN: 0756402190
* ISBN-13: 9780756402198
* Format: Hardcover, 672pp
* Publisher: DAW Hardcover
* Pub. Date: November 2004
* Series: Shadowmarch Series, #1

When Tad Williams left epic fantasy to write is Otherland series, I was deeply saddened. Williams is an excellent author of the standard epic fantasy. And while his books are long, they are never dull. When I tried to read the Other land series (and remember, I was a young boy at the time) I just couldn’t reach the same level of enjoyment as in reading the Memory, Sorrow and Thorn trilogy. So when I found out that Williams was returning to true, straightforward epic fantasy with the publication of Shadowmarch, I was excited.

Shadowmarch is everything an epic fantasy should be. It is grand in scope, has characters that grow and change over the course of its length, and includes fairies, dwarves, and a medieval setting. Shadowmarch is the common name for the castle that stands on the edge of the Shadowline, a barrier erected by the Quar, a conglomeration of fantasy species fleeing the steady onslaught of man. Barrick and Briony Eddon are the twin children of Olin, King of Shadowmarch (more properly known as Southmarch). As the narrative begins, we find that Olin has been captured by a rival king, and the twins’ brother Kendrick fills the vacancy as prince regent. Barrick and Briony are therefore free to be young children. But through a sequence of terrible events, the rule of Southmarch is thrust upon Barrick and Briony’s shoulders. Something they are very much unprepared for.

Williams weaves many plots and subplots into the story. The most pressing is the fact that the fairies are leaving their home behind the Shadowline and seeking revenge on mankind for taking away the land that once was theirs. But woven into and throughout these tales are several subplots, which as the narrative unfolds in later books, may become a much larger piece of the puzzle. There are at least two significant mysteries, one having to due with what happens to Kendrick, and the other with the strange madness that seems to beset Barrick. And behind it all is the story of Chert, a Funderling, and the foundling Flint. I suspect that Flint and Chert’s story may be much more than what occurs in this first novel.

In fact, it is Chert and Ferras Vansen who provides the true hero for the story. Briony and Barrick, while brave, are befuddled and confused, in many ways still selfish children who are easily led by others. Those two have to grow into the ruling of Southmarch, and it is a painful process to read. But Chert the Funderling and Ferras Vansen the captain of the guard are the true heroes. Selfless, giving, brave, loyal and honest, it is the simplicity of Chert’s love for Flint and Vansen loyalty to the crown that are the most uplifting parts of Shadowmarch. Chert’s and Vansen’s characters made the novel a great read, even if they are but minor characters in the whole of the story, at least for now.

Williams continues to write with grace, and on occasion he brings his characters to philosophical insight that resonated with me, as in the following lines from the novel:

[Barrick] realized that every one of these men lived inside his own head just as Barrick lived in his, and that all of the hundreds of people waiting anxiously on the stairs outside the temple for a glimpse of the nobility of Southmarch lived within their own thoughts as well, as completely and seperately as Barrick himself did. It's as if we live on a thousand, thousand different islands in the middle of an ocean, he thought, but with no boats. We can see each other. We can shout to each other. But we none of us can leave our own island and travel to another.

You will perhaps understand Barrick’s depression. Williams captures the feel of it eloquently and accurately. And you will understand the skill with which Williams creates characters who we can relate to, even if we think their actions foolish or brash. (As I often did about Barrick and Briony.)

There are a few times where Williams’s narrative falls apart. In one instance, Briony forgets to do something significant, and her forgetfulness felt somewhat contrived. There are several times when two characters in different subplots – Chaven and Beetledown - who have been gone for several pages (and their absences are explained and purposeful, it is their reappearances I am questioning) appear at just the right time to make things right. It feels too convenient in both cases, although that might be me being too critical.

And Shaso’s (a minor character) inability to relate certain events because of a word of honor lacks believability, especially in light of the events and the elevation of Briony and Barrick to the regency of Southmarch. Even the most honorable of men would have told the story outright to his supreme rulers, no matter his debt of honor. For one of the subplots, and a significant event near the end of the book, it was necessary that Shaso not say what he knew, it is just that Williams doesn’t make Shaso’s unwillingness to talk believable enough, although it is easy enough to let slide in a suspension of disbelief. This is especially egregious since Williams so often makes his characters so believable and compelling. Were it not for that, then this incongruity might have slipped the reader’s notice.

Shadowmarch is an epic fantasy in all respects. It breaks no new ground (although the ending is surprising in its details, if not an unexpected outcome) but uses all the elements of a Tolkienesque world to present themes of coming of age, friendship, heroism, and loyalty. All are themes that readers of epic fantasy expect from their novels and that they will find in abundance in Shadowmarch. If you enjoy epic fantasy, or enjoyed Williams prior epic fantasy trilogy, you will find reading Shadowmarch a pleasure. I did.

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E-zine Review: Flashing Swords #9

An e-zine for fans of swashbuckling adventure and sword and sorcery, Flashing Swords is in its Renaissance. Several years ago, this little quarterly e-zine was spearheaded by Howard Andrew Jones, now an editor at the critically acclaimed Black Gate, but through a series of unfortunate circumstances, was forced to shut down. When a new editor (who goes by the name Crystalwizard) stepped up to the plate, Flashing Swords was able to see a small revival, even top the point of spawning its own small press, Flashing Swords Press, whose first anthology The Return of the Sword I reviewed recently.

(In the interest of full disclosure, Flashing Swords republishes some of the material from this blog on its homepage.)

Flashing Swords Issue #9 is a wonderful collection of stories. Purchasable either as a print-on-demand title, or at a much cheaper rate in e-book format, ($9.97 for a print version, $7.00 for a pdf) this issue demonstrates why sword and sorcery can be much more than Conan style stories (although it is that too). The collection contains 12 stories, 4 poems, 2 interviews, and one nonfiction piece about the British in Zululand. (See a complete list at the end of this review.)

Although due to time constraints I was unable to read the entire zine, I did pick out a few of the most interesting stories, which I review below.

First is Wesley Lambert’s poem “The Reluctant Viking” a funny little poem, one could almost see the wolves of the sea chanting this tale in their mead halls during long winters.

“The Plague Ship” by Liane Whittier is a pirate story with ghostly elements, this tale borrows heavily from The Pirates of the Caribbean franchise. Even so, Whittier writes well, and her story is able to have its own unique twist. This story does not have a lot of action, but rather relies on the reader’s desire to know what happens next to keep the story moving. Although the ending is anticlimactic, Whittier does create enough sense of danger throughout the story to keep the reader’s attention.

Joseph A McCullough V writes a historical fantasy tale called “Death’s Head”. It is a story about the narrow line between demons and angels. While not answering the question, it wonders at why God would allow demons to exist. It is a different take on demonology stories, and for that it is worth reading. It has lots of action at its ending, and its sharp shooting protagonist makes for an interesting character.

“Tyler’s Bed and Breakfast”, by Lyn Perry is ghost story set in our own time. Its action comes from a retelling of past events, but in The Sixth Sense style, it has a spooky ending. It is a good ghost story for reading aloud around a campfire.

As you can see from the stories I’ve spotlighted, Flashing Swords e-zine is more than what is generally considered sword and sorcery. And they do that as well, as well as publish longer novellas in serialized form. The stories are illustrated with excellent black and white art throughout, by several talented artists and they add panache to the story.

The editors might need to be more careful about ensuring the stories are spell-checked, as I saw several instances of homonyms or homophones being were their counterpart should be, but for the most part the stories are very well laid out and edited. Flashing Swords doesn’t publish just anything that is submitted, and it is obvious they are careful to weed through their slushpile for short story gems.

If you enjoy action/adventure stories, sword and sorcery, or enjoy stories like those found in Black Gate here is a regular way to get those tales. Flashing Swords' Renaissance is a in full swing, and I suggest that all fans of adventure fiction get on board.

What follows is the Table of Contents for Flashing Swords #9:

"The Shores of Limbo" by SC Bryce
"The Reluctant Viking" by Wesley Lambert
"Mightier Than the Sword" by Bill Ward
"The Plague Ship" by Liane Whittier
"And the Wind Sang" by Bradley H Sinor
"An Eyrieman Foresees His Death" by Elizabeth Barrette
"Offering" by Aurelio Rico Lopez III
"Will, the Maniac" by Washington Allston
"Zeerembuk" by Steve Goble
"Duel Song: Ahrzhuna Lux" by David M Pitchford
"The Porvov Switch" by Seth Skorkowsky
"Death’s Head" by Joseph A McCullough V
"Tyler’s Bed & Breakfast" by Lyn Perry
"Interview with Janrae Frank"
"Cold Fire" by Brian Dolton
"Like Ink in Rain" by Elizabeth Barrette
"The British Redcoat in Zululand" by Joseph A McCullough
"Interview with Bruce Durham"
"The Night of the Meld" by Bruce Durham

Posted by John at 02:08 PM | Comments (1) | TrackBack | Posted to Anthology/Short Fiction | Fantasy
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Book Review: Bloodheir by Brian Ruckley

* Genre: Epic Fantasy
* ISBN: 0316067709
* ISBN-13: 9780316067706
* Format: Paperback, 528pp
* Publisher: Orbit
* Pub. Date: June 2008
* Series: The Godless World, #2

Often, the second book in a trilogy is accused of something called “Middle Book Syndrome”. The idea is that the second book in most trilogies is mostly filler and very little plot movement really happens. And often it is true. But if anyone accuses Brian Ruckley’s second book in The Godless World trilogy, Bloodheir of suffering from middle book syndrome, I’m afraid I will have to scoff in his face.

Bloodheir moves the story from the personal to the epic. In the first book of the trilogy, Winterbirth most of the story was about the harrowing near escapes of its protagonists, with occasional insights into the minds of the villains. While that sort of writing style continues in Bloodheir the action moves out from the immediacy of survival for the heroes and catching them for the villains into grand political machinations and sweeping battles. Some of the minor characters who were encountered in the first book, such as Taim Narran and some of the Inkallim, move out into the fore, and add more dimensions to this epic fantasy.

As the story begins, Orisian is now Thane of the Lannis–Haig Blood, but his lands have been overrun by the forces of the Black Road. He and his sister Anyara are all that is left of his Blood, and very few of his people are still free. Meanwhile, the na’kyrim Aeglyss – one of the few people in the world able to access the Shared – survived his torture at the hands of the White Owl kyrinin and appears to have become more powerful. But his mind is broken, and he begins to use his power to try and take of control all the world. Orisian is forced to choose between fighting for his people and fighting for all people everywhere. It’s a hard choice, and his eventual decision may have disastrous results.

Whereas in the first novel, Ruckley focused on the battle between the Black Road and the True Bloods, to the point where the reader almost forgot about the magic aspect of the story, this second novel centers much more on the magic of the Shared and the rise of the strange and powerful race known as the Anain. Those who read the first book hoping and finished it hoping to find more magic will get a healthy does of it here. The Shared is an interesting concept, the idea that the magic is a part of everyone, but only a few, the blending of two races known as na’kyrim, are able to tap its power, and even then only in limited fashion. The reader begins to see that the battle Orisian and Anyara are fighting is much more a dispute over land, it is a struggle against a horror once known and vanquished that appears to be rising again.

Ruckley’s characterization continues to be good. He refuses to have his characters make sudden, abrupt changes in personality, instead opting for slow changes. They way they change, and the way they behave becomes believable, and they continue to react to their environment in believable fashions. That is not to say that some of the characters, mostly in supporting roles, are two-dimensional – like Aweult – but for the most part their reactions are believable. In particular, the way that Ruckley describes two loves intrigued me as a reader. Orisian’s love from afar of E’ssyr reminds me very much of myself as a youngster, and Orisian’s reaction and behavior are very much in line with how a young man might act when he feels desire for a woman he respects and whom he refuses to force into love with him. Mordyn Shadowhand and Tara’s love for one another as a married couple is well-written as well. The passion and loyalty they feel for one another is a tangible thing, and anyone who has ever experienced it in real life will see that Ruckley was able to capture that feeling in truth. And these are but minor parts of characterization in the grand scope of the story.

For those who felt that there was an excessive amount of description in the first book, they will find that the sequel has toned down the descriptions of grand vistas, and instead focused much more on action and battle sequences. These are described in bloody and violent detail from the point of few of the characters, and there is enough gore to satisfy any bloodlust.

The events described continue to get progressively worse for the supposed heroes as they move forward. Rather than leave a light at the end of the tunnel, as many books with middle book syndrome do, Ruckley chooses to leave his characters on the edge of a precipice, having few successes and almost no resources. I thought this to be refreshing, as the reader still is unsure who will win in this story, the villains or the heroes. If the novel fulfills the standard epic fantasy trope, our heroes will win, but just how and if are still very much in question by the end of this novel, which is much of the reason why I enjoyed it so much.

I highly recommend you read Bloodheir and its prequel Winterbirth. This second book cannot be read without reading the other, but ach one has its own strengths and weaknesses, although of the two, I think Bloodheir the stronger. It is full of the action one expects of an epic fantasy. Ruckley’s novels are some of my favorites, and I have little bad to say about them. If I did, it would be a critic being a nitpicker, trying to find something wrong with the novel so he could be said to have fairly reviewed it. Ruckley’s novels are some the few that I can find nothing wrong with whatsoever, in my own not-so-humble opinion. If you enjoy epic fantasy, you should not be disappointed by Winterbirth or Bloodheir.

Visit Brian Ruckley's website for supporting information for the books, read an interview I did with him here, or listen to him read from Bloodheir here.

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Book Review: Misspelled edited by Julie E. Czerneda

* Genre: Short Fiction, Fantasy
* ISBN: 0756404754
* ISBN-13: 9780756404758
* Format: Mass Market Paperback, 48pp
* Publisher: Penguin Group (DAW)
* Pub. Date: April 2008

I like themed anthologies. I like it when and editor takes a topic or notion and collects a series of stories around it. It allows me as a reader to have general background on the tale, and provides for easier reading of short fiction. In Misspelled, Julie E. Czerneda has collected 17 humorous tales about what happens when a spell goes wrong. The collection has some creative tales, as well as several brand new voices who have never been published before. It is an entertaining collection.

Lesley D. Livingston takes the title of the anthology literally and writes a story that is both about a spell going wrong and Freudian slips of the tongue. “Trippingly Off the Tongue” works out well in the end for the protagonist, although its ending is a surprise. Livingston’s tale is probably not the one I would have chosen to lead the anthology off with. The plot is a little difficult to follow (it’s a bit like trying to listen to that Micro Machines guy back in the early nineties) due to its speedy dialogue. Too many ideas are introduced all at once, and I was a bit overwhelmed.

Kristine Smith writes a tale about preparing a house for sale in “8rms, full bsmt.” Some houses just happen to have doors to hell, and that’s where wizards come into play. Smith’s tale is appropriately humorous in this day of the subprime crisis, but I’m not really sure where the spell goes awry in this tale.

“Eye of the Beholder” by Kevin G. Maclean is a cautionary tale about getting what you ask for. Sometimes, you see, beauty really is in the eye of the beholder. Maclean has written a fairy tale turned on its head. I can honestly say, I didn’t see his ending coming (though I should have).

“Cybermancer” by Janet Elizabeth Chase mixes together the worlds of technology and witchcraft. An interesting combo, as in there are so many ways both can go wrong. Chase’s protagonist is not the most likable character, but she does do the right thing when her poor sister is dragged into Hell. I like this one for its particular creativity, and it is one of the few to incorporate technology in this anthology.

Marc Mackay writes a schoolyard tale about messing with things you know nothing about. “Eye of Newt” shows how two young girls learn that sometimes just because something is traditional, doesn’t mean it is useless. This story had a superfluous (implied) lesbian relationship that was unnecessary to the story and ultimately distracting. Had Mackay left it out, his story would have been stronger.

“Chafing the Bogey Man” by Kristen Britain is a hilarious take on the sport of golf. Britain’s poor protagonist makes a huge gaff in his struggle for retaining lost glory, with hilarious results, including the appearance of a rather strange garden gnome.

“A Perfect Circle” by Kent Pollard is another story that incorporates technology. This one does poke a little fun at the MMORPG culture. Having played more than one of them myself, I smiled at Pollard’s good-hearted jabs. His story takes the meaning in misspell literally, with the problem of the story being caused by a spelling error.

First time author Kell Brown’s “Reading, Writing, Plagues” suffers a bit from his lack of explanation. I understood the action as he related it, but I’m still not sure exactly how the misspell took place, even if I am able to identify its results. Brown would do well to work on setting the stage a little better in his tale. Still, it is a classic wizard’s spell gone awry tale, and I’m sure readers will like it.

John Zakour’s “bubblegum for the brain” style of writing holds true in his story “Totally Devoted 2 U” in which a love spell gives the conjurer more (or less, depending on your take) than she bargained for. Like Maclean’s tale above, Zakour’s is a cautionary one. I have liked Zakour’s writing for some time, and he is an excellent humor writer. This one does not disappoint in any respect.

“The Mysterious Case of Spell Zero” is a Sherlock Holmes style mystery tale. Except in this case, the two protagonists solve mysteries involving spells. I found Rob St. Martin’s tale to simple for the genre it is emulating, lacking in any real mystery. The solution is arrived at almost as soon as the problem exists, and so lacks any drama.

“Crosscut” is a story about a fantasy writer who is down on her luck. Demons and writing don’t always mix well, but for the writer protagonist in this tale, the misspell ends up much improving her life. S. W. Mayse’s tale finds laughter in the joy of relief from worry. This is one of my favorites of the collection.

“Bitch Bewitched” tells its entire story from the perspective of a dog. Doranna Durgin’s story is cute, and has puppies and babies in it, so it plucks a little at one’s heart strings. The ending leaves room for more of the story to be explored, and I wonder of Durgin plans to write more stories about the magical border hounds. I'd be sure to read them.

Morgan S. Brilliant’s tale of young adults and their parents is apropos. Relationships are quirky little things as “The Witch of Westmoreland Avenue” knows all too well. For a first-timer, Brilliant writes a solidly entertaining tale.

Being a Quality Assurance Mage isn’t all it’s cracked to be as Kate Paulk makes painfully clear in “A Spell of Quality”. Sometimes Mages call up forces they just can’t handle, and it isn’t even their fault. This story is a bit on the gruesome side to be truly funny, but is still an enjoyable tale.

“Demon in the Cupboard” reminded me too much of my own life. I’ve been told more than once to leave my wife’s kitchen alone and suffered to consequences for not listening. Imagine how much worse it might be if your wife was a which. Nathan Azinger’s protagonist doesn’t listen to his wife, and trouble ensues.

Jim C. Hines should be a familiar name to many of you by now. “Untrained Melody” is another of his humorous tales. I had never thought that a bard could be an accordion player too. Worse yet, his heroine is an untrained bard. It takes the help of a flute playing dwarf to undo the evil the heroine has done. As always, Hines stories bring a smile to my face.

The concluding tale, “Yours for only $19.99”, was another favorite in the anthology. Shannan Palma tells a story about what happens when doing magic without first reading the instructions. Fortunately, it all works out for the young girl who wanted a fairy tale life. Sometimes, reality is better than any story.

Misspelled was an enjoyable and entertaining collection of stories. Even those tales that I had trouble with were still creative enough to entertain. The stories cover a wide spectrum of thoughts on the topic of spells gone awry. I recommend Misspelled as excellent escapism.

Posted by John at 04:24 PM | Comments (0) | TrackBack | Posted to Anthology/Short Fiction | Fantasy
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Book Review: Obsidian Ridge by Jess Lebow

* Genre: Sword and Sorcery, Media Tie-In, Forgotten Realms
* ISBN: 0786947853
* ISBN-13: 9780786947850
* Format: Mass Market Paperback, 313pp
* Publisher: Wizards of the Coast
* Pub. Date: April 2008
* Series: Forgotten Realms Citadels Series, #2

In a writing style throwback to the adventure stories of Robert Howard and others of his generation of sword and sorcery writers – light on dialogue, big on action - Jess Lebow has brought some of the adventure back to the Forgotten Realms campaign setting in his latest novel, Obsidian Ridge. Foregoing character introspections (except to a limited extent) Lebow allows the action to drive his narrative. It is much like the early Ed Greenwood, when he first began writing media tie in novels for his Forgotten Realms campaign setting.

Obsidian Ridge tells the story of three primary heroes. The Claw is the king’s assassin, whose bladed gauntlets remind me of nothing less than Wolverine. And the Claw uses them to equal effect. Mariko is the king’s daughter, but she is also a budding spellcaster and damsel in distress. Korox, King of Erlkazar - a newly formed nation that broke off from Tethyr - is forced to make a decision about whether or not to give up his daughter to the arch magus Xeries, master of a floating mountain in the sky called the Obsidian Ridge. Twisted in body and mind, Xeries threatens to destroy all of Erlkazar if he does not receive Mariko for his payment. But there are other forces at work. The criminal underworld of Lhorbauth – capital of Erlkazar – has captured Mariko and holds her for ransom from a desperate king. The king and the Claw must find Mariko, all the while wondering whether or not to turn over Mariko to the evil Xeries.

As you can see from the synopsis in the previous paragraph, there is a lot of potential for action in the story, and Lebow leverages it to the hilt. The story is light on dialogue, and instead moves from action sequence to battle scene, from battle scene to fight scene, with a dose of mystery thrown into the mix rather than conversation to move the narrative forward. The identity of the Claw, and the king of the underworld both remain a significant mystery for a large part of the story, although the astute reader will guess their identities quickly.

Although it is action that drives the plot, there is some time given over to introspection. Korox especially wrestles with what it means to be king. But Lebow’s skill is not in getting us to emotionally connect with the characters, rather it is in giving us heroes that we cannot help but cheer for. Reading Obsidian Ridge was like watching a football game in which you know nothing of the players except their names. As you watch, the announcers give you little tidbits of information about the players, and you appreciate them, but that isn’t why you tuned in. You tuned in because you needed something to cheer for, to watch one team beat another. In Obsidian Ridge you want to watch the team of Korox, Mariko, and the Claw beat Xeries and the criminal underworld. What you learn of their characters in the meantime is interesting, but is not why you choose to read the book.

The novel has flaws. It is a simple plot, and Lebow uses deus ex machina a few times. The Claw and Mariko get out of a few scrapes a bit too fortuitously and this can seem a little contrived. When the plot tries to zig or zag, it is usually pretty obvious where the author is going, and when a surprise does occur, it is because the reader had little foreshadowing and so had no reason to expect it.

If you enjoy dialogue as part of the story, Lebow uses only what he must. The story is mostly told through a description of events as they unfold. Characterization is simplified and the motivations of the characters are not in any way complex – except for Korox. He alone really struggles with himself.

I don’t think that this novel makes a good entry point for new Realms readers. It explains little of the Realms mythos, and in fact only has a very few mentions of the standard races and denizens of the realms. Even those are usually part human, part something else. A little prior knowledge of the Realms would stand the reader in good stead for understanding the Realms story Lebow has written. The book could have been placed in another setting other than the Realms and still have been essentially the same story. I do recommend it for all Realms readers to add to their collection. It is not a stand out novel, but neither is it mediocre, and so it fits snuggle into that area of fiction that is best classified as an enjoyable read.

In Obsidian Ridge Jess Lebow took a difficult topic - it is part of the Forgotten Realms The Citadels series, where the writers try to write a story about fortresses and castles - and made an interesting story of it. It has inescapable dungeons, a love story, truly evil villains, battle and fight scenes, and a hero who uses gauntlets as weapons. What more could you ask for from a sword and sorcery novel?

Posted by John at 10:33 AM | Comments (2) | TrackBack | Posted to Fantasy | Forgotten Realms
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Book Review: Return of the Sword edited by Jason M. Waltz

* Genre: Sword and Sorcery, Short Fiction
* ISBN: 097957885X
* ISBN-13: 9780979578854
* Format: Paperback, 344pp
* Publisher: Flashing Swords Press, an imprint of Cyberwizard Productions
* Pub. Date: March 2008

The Return of the Sword is the first anthology published by the newly minted Flashing Swords Press, itself the publishing arm of the formerly defunct and recently revitalized Flashing Swords e-zine. Giving itself the byline “An Anthology of Heroic Adventure” Return of the Sword is editor Jason M. Waltz’s collection of 19 new stories, one classic reprint, and one article that look at the character of the hero, particularly as he appears in the sword and sorcery subgenre of fantasy. In Waltz’s introduction to the anthology, he writes that “heroes continue to do the ordinary in extraordinary times and do the extraordinary in ordinary times.”

The stories contained in Return of the Sword manage to show that truth in many ways, with varied success.

The anthology begins with a female protagonist in “Altar of the Moon” a story by Stacey Berg that thinks about the problems inherent in the magical weapons that heroes use. What this hero is forced to do to quell the magic in her sword may surprise you. Berg’s writing is fluid, and this very short story is an interesting take on the magical weapon trope.

“The Wyrd of War” by Bill Ward is a graphic battle story. It is sad for its protagonist and the ending will wrench you heart. Ward has his protagonist make a fearsome decision, one I hope no one in this modern age must face, although I fear that in some ways it is more common than you think. The story has repercussions in the euthanasia debate. (Likely this is something the author did not foresee, but I came away thinking about it.)

“The Last Scream of Carnage” by Phil Emery uses strange word placement, replacement of quotes with italics, and a sense of raw emotion to tell the story of a heroes sacrifice. Waltz’s “editors choice” it is the most groundbreaking story in the anthology. Although groundbreaking in style, I found its narrative difficult to follow and I did not enjoy this story, for all its creativity.

I also disagree with Waltz’s decision to have an “editor’s choice” since in reality, he chose all of the stories contained in the anthology, and to elevate one above all the rest is unnecessary and distracting. His job as editor is to choose stories readers will enjoy, not tell us which one we should like best, as our tastes are not necessarily going to conform to his. His “editor’s choice” decision led to this story being the only one that is illustrated and I’d like to say I feel slighted on behalf of the other writer’s who contributed work to this anthology.

“The Battle of Raven Kill” by Jeff Draper is a story of self-sacrifice. The story is one man’s last stand against a horde of barbarians. Draper weaves an elegant and protracted fight scene that is thrilling to read.

Nicholas Ian Hawkins’ “What Heroes Leave Behind” is about an aged warrior. Tolasun is a hero who has lived longer than his legend. Hawkins writes a believable tale about a warrior who comes full circle, and how when heroes die, there are those who will pick up the mantle. The “shadow” that is part of the story is nicely woven in, and Hawkins makes that spectre an interesting and unique foe.

“Fatefist at Torkas Nahl” is an alright tale. David Pitchford pits the leaders of three opposing armies against each other, a unique type of battle, but it was overly complex, and the Fatefist himself was inexplicably obtuse. This story was neat to read, but I turned its final page not feeling that I had really been told much of a story, just a sequence of events.

Ty Johnston delves into the hero versus fate story with “Deep in the Land of Ice and Snow”. It is a story that has some of the feel of legend. Ultimately though, this story would have better served as a prologue to a larger novel or novella.

“Mountain Scarab” looks into the “knight in shining armor” story. Although in this case, the knight is less than shining, and his reasons for saving the fair damsel are unknown even to him. Jeff Stewart is reprising a character that he has used before, but he story is enjoyable and the way the protagonist wins his battle is quite different if a little too much deus ex machina.

Angeline Hawkes “Lair of the Cherufe” was the least likable story of the anthology. There are glaring plot holes in her story (such as the need for the blood of royal virgins to satiate the monster’s desire. If this were true, it is unlikely the king would ever have let his daughter near the man who worshiped the monster!) It is also is two stories crammed together into one. One is about the search for a sword and the other the killing of the monster. The sword is necessary for the second to be completed, but the tale of its finding either needed to be expanded to hold more interest or done away with altogether. Hawkes also throws in new confrontations with no foreshadowing. (The guardians of the lava monster.) The story ended up being poorly written even in a subgenre that is deeply tolerant of such things as I have mentioned.

“To Be a Man” by Robert Rhodes is a little crude in its content, but it is an interesting flip-flop of the barbarian chases damsel tale. The laughs Rhodes gets for his tale are more likely ones of discomfort that true laughter. Still, it is unique and there are many men who would not have done as the protagonist did for the entire world.

A collection and expansion of some of his blog posts, “Storytelling” is a nonfiction article by E. E. Knight which has a lots of very specific tips and tricks for the budding writer. With several novels to his credit, Knight’s advice is worth reading for any aspiring writer.

James Enge gives readers of Black Gate a new Morlock Ambrosius story in “”The Red Worm’s Way”. Though not as strong a story as those in Black Gate is still true to form and continues to entertain. New readers of Morlock should go back and read the first stories in Black Gate.

“To Destroy all Flesh” by Michael Ehart is another story with female heroes. Though this story is not particular exciting, it serves as an excellent introduction to Ehart’s characters, stories if whom have recently been collected into a single volume. I was intrigued enough that I might want to read Ehart’s other stories. His writing is fluid and his characters heroic with a twist.

Thomas M. MacKay looks at the use of rage by the hero in “Guardian of Rage”. MacKay is using a character from other stories he has published and unfortunately what results is a character that those who have not read those prior stories can get attached to. While I applaud the protagonist’s heroic actions the element of rage that MacKay introduces is not distinguishable from the standard behavior of the hero and so adds little to the story.

Christopher Heath tackles the stereotype of the “brute barbarian” in “Claimed by Birthright”. Heath’s story owed as lot to the Conan tales (he even uses the word “Cimmerian”) but twists it just slightly to allow wit combined with brute force to win the day. Not a stand out story, but still solid and entertaining.

Nathan Meyer’s “The Hand that Holds the Crown” is a story about betrayal. There is actually no clear hero, and I am a bit surprised it was included in this anthology. Still, it is a story with not one, but two surprising twists, and I enjoyed how it ended.

“The Dawn Tree” by S.C. Bryce is another story about betrayal, but this time about a hero being tricked into betraying himself. This was an excellent story, and Bryce’s concept of the Dawn Tree ushering in the new epoch is creative.

Allen B. Lloyd and William Clunie’s collaborative story “An Uneasy Truce in Ulam-Bator” is the only truly humorous tale in this collection. It introduces two characters that Clunie and Lloyd plan to write more about. I look forward to the stories these two will tell with this unlikely pair of companions.

Steven Goble writes a tale of a heroes driving force in “The Mask Oath”. In this case, it is not revenge that drives the hero. This is a tale of the noble hero, whose heroism comes from honor, justice, and love of country. It subtly praises the characteristics we prize so highly in our own armed forces.

“Valley of Bones” by Bruce Durham is a story about the front line soldier. The heroism and selflessness displayed by the protagonist is the same we all would aspire to have in our own lives. Durham’ story exemplifies how anyone may be a hero given the right motivation and the right set of circumstances, the type of hero who says that “I only did what anyone would do.”

The final story in this anthology is one of Harold Lamb’s Cossack historical fantasy stories. This is good story for people unfamiliar with Lamb to read to get a sense of those prolific but until recently forgotten author. Now, thanks to Howard Andrew Jones and Bison Press we can read the stories of Lamb again, or for the first time.

Overall, this anthology is enjoyable. It has some stories that are less the stellar and I have pointed them out as well as I could. Readers should also know that although this story is about heroes, it is also mostly about heroes of the sword and sorcery variety. These are the heroes who most often tend to fight for gold, women, and glory. So in some ways, the stories can get repetitious because the same tropes are encountered again and again. This does not mean that he stories are poorly written, quite the contrary, but the reader might want to break up the reading of these stories.

If you like sword and sorcery fantasy, you will like this anthology. If Conan style stories bore you or seem to simplistic, there are no stories here for you. Everyone who writes will benefit from E. E. Knight’s writing suggestions, but they can be found in another form on his blog. Overall, I enjoyed the anthology and read through it quite quickly, proving to me that I was having fun. And that is what this first offering from Flashing Swords Press is meant to do. Return of the Sword is meant to entertain, and it succeeds, for the most part.

Posted by John at 10:50 AM | Comments (7) | TrackBack | Posted to Anthology/Short Fiction | Fantasy
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Hidden Reality: An Interview with Michelle Sagara West

Michelle Sagara West is a prolific author under several pen names. In our interview, she talks about being a bookseller, writing a prequel, and how she wants to write characters who are real and behave in realistic ways. A very knowledgeable writer who employs beautiful language even when she is just doing an interview with a lowly blogger like me, Michelle West is an author you should look into reading.

Be sure to read my review of The Hidden City, where Michelle comments on my review and talks more about writing real characters.

Grasping for the Wind: Besides being a writer, you are also a bookseller at Bakka-Phoenix in Toronto. Do you find that rewarding? Any memories of a favorite sale you made?

Michelle West: I love, love, love working in a bookstore. I think I always have (I've worked in bookstores, changing employers, without a break since I was sixteen years old.)

Part of the reason that I started writing novels was indirectly because of that. I had taken creative writing before, in both high school and university, and I had mostly concentrated on poetry or the type of dense prose that is almost poetry, but as I wasn't going to follow an academic career track, this didn't seem like anything I could do as a career; I still write poetry, but with one exception, have never tried to get any of it published.

I knew that I would never make enough to live on as a bookseller; the income is middling retail, even working full-time, and while it seemed like a lot at sixteen, once I actually had to pay rent and do things like eat, it wasn't.

So... I thought about the things I could do, and love, that I could combine with bookselling so that I could pull my own weight, and I decided that I would try to write fiction, for publication.

But yes, I find it rewarding. Because it's a job that involves books. Books and reading have always been enormously important to me. I love being able to figure out what customers like to read, and I love being able to match them with books they will love (even if they're books that I personally don't or can't love in the same way). It's the best part of the job. It does mean, though, that I'm thoroughly broken of the habit of shoving my books into the hands of people whose taste I don't have any sense of, because I feel, on some level, that I should only be giving them things I have some sense they'll love. And frankly, Military SF readers are not going to love my books, as a single example.

I think possibly one of my favorite sales -- and these blur over time -- was to a retired older gentleman who came into the store when the three people working were all women who were significantly younger than he was. He was polite, but he was so very hesitant because we were all girls.

I understand that some people would find this irritating; we didn't because he was of a generation in which it was probably extremely rare to run across women who adored the genre he loved -- and he approached with that hesitance to ask me if maybe I had heard of a couple of authors (Alfred Bester, A.E. Van Vogt, Asimov), and of course, I had. When I started to answer, he relaxed completely, and just started to talk. His grandson was interested in SF, and he was hoping to find some of the books that he'd loved and read in the original to give to his grandson. We did find a couple of those (with some argument over the best of the Besters, but it was a friendly argument), and then I gave him a few more recent novels as well.

He bought those, and he thanked us for our time, and he left -- but for some reason that particular sale stays with me.

For more of West's thoughts on bookselling read her interview with Jim C. Hines.

GFTW: Your latest novel, The Hidden City, is a tragic novel. Why did you decide to write a novel so filled with tragedy, but with the faintest hint of hope?

MS: I'm not quite sure how to answer this, because I had no intention of writing a novel that -was- a tragedy.

I've written the six-book series, THE SUN SWORD, and one major plot thread was not addressed by the end of it: the House War, which would be the war for control and rulership of House Terafin, the most powerful of the Houses in the Empire. I wanted to write about the House War, and I intended to write in the present of the current time-line, with flash- backs to the early years of the den, as a braided narrative.

This was the plan, but when I started to write the first book of what I thought was two books, the start of the book was from Rath's viewpoint. A little bit about this.

I will start a novel many times, from different viewpoints and during different events, trying to find my way into the book. I have false positives sometimes, if I'm writing something I really like, but when I actually have the start of the book in hand, I know. With HIDDEN CITY, the start of the book, unfortunately, was Rath's viewpoint.

For a variety of reasons, and attempting not to spoil, this meant that the braided past/present narrative structure was not going to work. Which meant that I could either give up on writing about the den's past, or I could write a book (or two) about it. And in the end, I chose to write about the den's past.

You will probably think this is slightly funny, but when I started the book, I felt that readers would find it less stressful because they already know who lives and who dies. My husband, however, pointed out that new readers wouldn't know this up front.

I never considered the book itself a tragedy, possibly because I've written so much about the den in the 'present'. I knew that where they came from was not by any stretch of the imagination what we would call a good life, but I also knew that they would see it from a different cultural context. So what I was concerned with, as a writer, was making their situation, and the subsequent way they came together as a family, more real.

You and I have talked a bit about action and consequence before. I don't feel the need to invent a new and interesting way to kill people, because I think the tragedy of death, and the way in which we're scarred by the things that don't kill us, don't require the All New Interesting Death option. What I do want, though, is some sense of the emotional aftermath of actions, because it's our -reaction- to tragedy that illuminates who we are. So, in your review, when you talk about the lack of actual action, you're touching on something that probably annoys some readers; it's not the action itself that interests me so much as what comes -of- the action.

And what comes of action is often the thing that is elided, so the actions themselves, which might be the same -- or far worse -- don't hit us as hard.

I also don't feel that I am doing anything darker in these books than other fantasists do; I think the possible difference is the protagonists live in their lives. They are not living quiet, happy lives when you find them, and they have no easy way of rising above the lives they lead because of their age and their situation. What they can do, though, is privilege the positive over the negative in the lives they are leading.

What Jewel offers them, and what they offer each other, is a better way of living, or a more hopeful one.

GFTW: Rath’s character was the most difficult for me as a reader to understand. What was your intent in writing about a character who could be so kind as to allow Jewel’s children to live with him, yet ignore them otherwise?

MS: I've learned, over time, that I can't actually predict which of my characters readers will love, and which they will hate, so I simply try to make the characters as real as I can, and let them stand on their own.

In this case, Rath is a person who has survived by wits and skill for a number of decades, in a variety of different social circumstances; he is not a very social man, and Jewel was therefore a surprise, to him. His reactions to her, which, over the course of the book become clear, stem from his past and his inability to accept that past for what it was.

But, it's less simple than that. What she is, he doesn't see clearly at first, because no two people understand each other perfectly on first meeting. Or second. I could argue that there are some people who can live with each other for years and never understand each other completely, because it takes a certain amount of will, intent, and attention. In part, and against his better judgment, he allows her to build her den because he's curious about where, and how far, she's willing to take things, and because he tells himself he can get rid of her -- and them -- at any time.

I'm not sure if I'm answering your question, because I'm not sure I entirely understand it =/. He was willing to take her in, but unwilling to let her get in the way of his life -- because, if he were being true to his own vision of himself, she wouldn't be part of his life. At all. And also because the type of work he does, if it can be called work, requires long stretches of time away from his home.

He ignores them because he doesn't want them to know, or be involved, in his work. He doesn't feel that this is cruel - why would he? He's not living in a society in which cruelty can be defined by neglect of this nature. Jewel's father loved her, but when the docks and ports were open, he was -never home- because if he were home, it would mean he had -no work-, which would mean starvation and death for the two of them. Even when her Oma died, and Jay was alone in the home for hours on end, nothing about her isolation could change the truth of that fact; her father -could not be home-.

Rath is somewhat similar, but were he inclined, he might use cash reserves to stay home; he's not. He uses the money for other elements (often unexpected) that his business might require (hiring Harald and his men, for instance).

In modern day life, this type of neglect might seem horrific. But even when my parents were children, it was frequently a fact of life.

GFTW: The Hidden City is a prequel to the other novels you have written set in the same world. Was it difficult for you to go back and write a story set in the history of your established characters? Did you have to do a lot of research back into what you had written before in order to remain consistent with the story you had already told, or was it easy to remember since you had been intimate with these characters for so long?

MS: The first word I wrote about Jewel and her den was sometime in 1994. I'm still writing about them now (the current work in progress is HOUSE NAME, sequel to HIDDEN CITY) in 2008.

So, fourteen years, more or less, and I think it would not be inaccurate to say that I'm not quite the same person I was fourteen years ago, because life experience does change the way you think and view the world.

I've always written -- usually briefly -- about elements of the den's past from the present. This is not hard because the past, the scene or scenes that I write, are not connected to anything -but- the character in the present; they're meant to underline emotion.

Since I had intended to write a braided narrative of past/present, to give readers a stronger sense of when the den was formed, and how, and why the current House War was so relevant to them as a whole, I didn't worry too much. When it became what it is now, however, it was significantly more difficult.

The whole paradigm of the past changes, because it's -no longer- the past; it's not used in small glimpses as a way of underscoring emotion in the now. The past -becomes- the now. And the now of story makes stronger demands on narrative structure because it has to work as a novel, it has to have the power of story and causality behind it.

Before I started, I read all of the books, and I made notes about anything I said. I missed a couple of things, and as usual, minor details shifted because I'm not very good at remembering things that are physical. I also discovered, to my surprise, that my writing style has changed over time; I hadn't expected this, although I probably should have, because what -I- remember about these books are the key emotional scenes that drove me to write them in the first place.

I then made a time-line of known events, and dropped those which simply didn't work. I didn't overwrite them, but there are a few places over the years where I have changed ages by a year =/.

But the hardest part about writing something like this? I know what's going to happen. Not only do I know (and this is not unusual), but I'm - stuck with it-. It's -already happened-.

So anything that the characters reveal, anything they grow into, ways in which they present themselves that I didn't expect or didn't fully anticipate can't actually -change- the events that are already writ in stone.

It's this last that makes it challenging and very difficult, because my normal writing process allows anything at all to change within the context of what I know about the world. Even if the story at the time requires that something in the middle of the book -has to- happen... I change it. I need to feel that the book itself is organic, and that
what happens is a natural extension of character and reaction.

Which, in books of this nature, I can't freely do with nearly the openness. Which is not to say that things did not occur which surprised me. Rath was a surprise to me.

GFTW: You have written many reviews for The Magazine of Fantasy and Science Fiction. How do you approach review writing, and what do you do while reading a book to ensure that your review is well-written and thoughtful?

MS: First, I started reviewing because I needed to read, and every time I sat down with a book, I would look at the mess of my house or the words that needed writing or the children that wanted time, and I would put it down. A review column meant that it was work, so I could read without guilt.

Sadly, I am not making this up.

Both of my kids are older now, and I get much more of a chance to read, but because I still can't read as much as I used to before I had children, I don't finish anything I don't like. This means that in general, I'm going to be reviewing books for which I'm in some part the natural audience; I liked them enough to finish them, flaws aside.

So I start with a pile of new books and ARCs, and I just open them up and start reading. If for some reason I didn't care enough to finish a book, I obviously won't be reviewing it.

I consider the reviews I do to be entirely different creatures from critiques, the long and more detailed look at a book's themes, influences, and history. I love these, by the way -- but they're not, in general, what I write. I write reviews in large part as an extension of what I do at the store when someone asks for a book recommendation. Which means I have to have enough plot synopsis to give a reader an idea of what the book is about, without spoiling anything that might otherwise surprise them.

What I try to do with each review is think of who I'd be recommending it to, in store, because obviously I have no face-to-face time with the readers of these reviews. The review only has to (hopefully) speak to the possible audience for the book (or what I think is the possible audience, because after all is said and done, a review is simply an opinion).

I also try to match tone to content; if a book requires a great deal of thought and concentration, like Hal Duncan's VELLUM, I try to make that clear; if the book is possessed of strong narrative ticks (see VELLUM again), I also try to make that clear, because if you're doing things with narrative structure that don't follow a relatively straight line, that's where (in my bookstore experience) you'll lose the most readers; it's not the prose, and it's not even the felicity of characterization. But I adored that book, and it ate my brain for a couple of weeks, and I also made that perfectly clear.

For something like a Patricia Briggs book, which you can read at the end of a long and frustrating day, none of these things (except that I really liked the book) are going to be a problem; these reviews tend to emphasize the nature of the entertainment, and they deal with flaws (if there are flaws) that make the book less entertaining than it might otherwise have been.

Which is a long way of saying, it depends on the book .

If I were reviewing books I didn't particular care for, I would approach things differently.

GFTW: Finally, what has been a response from a reader that you particularly enjoyed getting?

MS: I think one of my favourite emails was one I received for BROKEN CROWN many years ago. In it, the reader thanked me because she said the book was the first fantasy novel she had read in over ten years in which the characters never felt out of character; that all of their many actions seemed entirely true to who they were, and none of those actions seemed to be undertaken at my convenience.

Actually, let me give you another: email I received after HUNTER'S OATH had been published. The email was not actually -about- HUNTER'S OATH, but it was written by a young woman who lived in Oregon. She had seen OATH, had picked it up, had put it down, had come back and picked it up, had put it down, and while she was in the process of doing this, she remembered the last book that she had done this with: my very first published novel, INTO THE DARK LANDS. It was a book that she'd read at 16 years of age, and she adored it.

So she picked up HUNTER'S OATH, and read the copyright page. And saw that it was, in fact, written by the same author as INTO THE DARK LANDS. Which is when she hunted down an email address for me. The email was long, and she'd read all of my novels, which she used as incentive to get through her exams. We corresponded for a number of years after that, before we finally fell out of touch -- but that first letter that she wrote almost justified the entire SUNDERED series for me, and at a time when I needed it.

Because in the end? I write books that I hope will move and affect readers in the same way that I am moved and affected by books that I've read and loved. I know that it's not possible for me to move everyone this way, but when it does work, it makes me feel as if I've achieved something that is valuable, or meaningful.

GFTW: Thank you very much for your time.

Posted by John at 12:18 PM | Comments (0) | TrackBack | Posted to Fantasy | Interviews
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Godspeaker: An Interview with Karen Miller

Karen Miller, is the author of the bestselling Kingmaker,Kingbreaker trilogy, a couple of Stargate SG-1 novels, and of several more novels in those worlds as well as all new ones to come, as she elucidates in this interview. One of my favorite authors, Karen's stories are the kind readers of epic fantasy will love. For more of my thoughts you can visit these other pages on my site.

Now, on to the interview.

Grasping for the Wind: You have stated elsewhere that you were trying to write a very different novel from the Kingmaker, Kingbreaker duology with Empress. How is it different?

Karen Miller: I think the main differences are found in the setting, which is a long way away from a medieval/renaissance/European influence, and in the tone, and in the central character. And the journey the reader takes with that central character, Hekat, is very very different from the one readers of the Kingmaker, Kingbreaker books undertake. There’s also less lightness, less humour, which is sad, but that’s the way the world turned out in the writing. This is a much tougher book to read, I think, because the world is harsh and the characters are pretty confronting. It’s risky, there’s no doubt about it.

GFTW: You have also said that you felt that Empress was a necessary addition to its sequels in order that we might better understand Hekat. Your sequels to Empress are supposed to be more like the Kingmaker, Kingbreaker duology in mood and tone. Why not just let the sequels to Empress stand alone as another duology?

KM: Well, the short answer to that is: Because that’s the way the story wanted to be told! *g* When the idea for this story first came to me, Hekat’s role in it was much briefer, but I quickly realised that wasn’t working. Basically, she demanded the stage. And I wanted to explore this culture, I wanted to show it in all its savagery and mystery. I wanted to do something different in the genre, and stretch my wings a bit. There was no way I could explore Hekat as a character if I didn’t make her the focus of the first novel, and show her in the context of her culture. And from the entire trilogy’s point of view, when we shift location to the cultures that flourish elsewhere, the reader knows exactly what’s coming. The threat has been made viscerally real. Now, whether or not that gamble pays off isn’t for me to decide, of course. I just have to keep my fingers crossed that readers are happy to go along for the ride!

GFTW: Empress is a very violent, very blood filled novel. This is different from your previously published work. Was it difficult to write something so very different from your previous imaginings?

KM: It was difficult in the beginning, yes. The writing style in Empress is different from my other work, the narrative rhythm is quite distinct, and many of the characters are quite challenging people to embrace. I battled my way through much of the first draft, coming to grips with the shifts in my regular approach and style, and in the vastly different tone of this story. But once I’d nailed down the first draft and turned to rewriting, I found the process went much more smoothly. I will say that the levels of violence and blood weren’t any part of the challenge. They are such an integral part of the culture that once I immersed myself in that world, it all flowed very naturally. When it came to writing Hekat, basically I just went to my dark side and abandoned all social restraints. In an odd way, that was very cathartic, once I’d given myself over to it!

GFTW: Although Hekat is a sympathetic character at the beginning of the novel, we have come to dislike her very much by the end. How were you able to write a character that rather than having an upward spiral toward a “happily ever after” instead moved on a downward spiral filled with selfishness and hate? Was it a conscious choice to send Hekat down that path, or was in a natural outgrowth of her character?

KM: Ah ha! My dastardly plan has been revealed! *g* Yes. Hekat was never intended to be ‘the good guy’ in this story. And that’s another reason for focusing so strongly on her in the first volume of the trilogy – one of the story threads is her downfall. Things could’ve worked out very differently, for everyone, if she’d made different choices. So yes, it was a conscious choice to send her down such a dark road. What she does affects her country, her people, and the people around her. It has an effect on the whole world. I wanted to explore what it’s like to take that kind of personal journey, and what happens to the people around you when you do. And she’s such a strong personality, she just forged ahead. There was never any question, for me, that she’d suddenly wake up one morning and renounce her bloodthirsty ways. She was never destined for happy ever after … and I find that quite sad, really.

GFTW: For all Hekat’s faults, she does produce a good son. Will we see more of him in the sequels?

KM: Absolutely. Zandakar has an integral role to play in this story, which is tied to the mystical vision his father had of him, in the godhouse of Et-Raklion. He’s massively important, and I’m very fond of him.

GFTW: Did you do a lot of research into historical cultures in order to create the barbarian society and religion of Mijak? Any society you particularly based it on?

KM: Yes, I did do a great deal of research, melding a lot of ancient cultures to come up with Mijak. The Hittites, Sumer, Mesopotamia, Persia, Babylon and Sparta, basically. I did a lot of reading, watched a lot of History Channel documentaries, and visited the University of Chicago’s antiquities museum (which is splendid, everyone should go there). And then I kind of mashed them all together and let them percolate into what became the world of Mijak. It was a lot of fun! Especially finding out about the Hittites. They were an amazing people.

GFTW: Why did you entwine your “magic system” so closely with religion? And why does the blood sacrifice requiring, scorpion worshipping religion play such a large role in Empress?

KM: Well, one of the themes of this trilogy is the role of religion in the life of a people. It gets explored in the sequels, too. I think religion, of any stripe, is a phenomenally powerful force for good and evil in the world, depending on how it’s presented, interpreted and acted out by the people practising it. In Empress, I wanted to make religion an absolutely indisputable fact, I wanted the idea of doubt to be impossible, and then to look at how that certainty might impact a culture. The supernatural elements of the Mijaki religion reinforce its power and its existence, so it was important to show it that way. Again, I don’t want to give too much away in terms of what’s revealed in the other two books … but I will say that my intention was not to push the idea that religion is a bad thing. I don’t believe it is. But I do believe it can be used badly, and Mijak is a prime example of that.

GFTW: Your Godspeaker trilogy is complete, having already been published in your native Australia and being published in the US and UK over the next year. What can you tell us about what you are writing right now?

KM: Well, right now I’m working on the next book in a new series that’s just launched here in Australia, and will be coming out in the US/UK next January. It’s written under a pen name, K.E. Mills, but it’s still me! We decided to go with the pen name because it is a series – standalone adventures with a continuing cast of characters – instead of a two, three or five book self-contained story arc. Also, the tone is very different again, especially from Empress, and the cultural background is more closely aligned with the Victorian era. This isn’t epic historical fantasy. It’s not comic fantasy, either, serious things still happen, there’s a lot of drama, but there is a lot more humour – mainly because of the way the characters interact with each other. Lots of banter. It’s called the Rogue Agent series, and the first book is titled The Accidental Sorcerer. I’m having a lot of fun with it, and getting back to that world is enormously entertaining for me.

After that, I return to the Kingmaker, Kingbreaker world for the first of the two-part sequel that explores what happened after the Wall came down. That’ll be followed by a standalone prequel, in which I’ll tell the story of Barl and Morgan. Plus there’s the third Rogue Agent novel to write, and another Stargate SG-1 novel … basically, I’m chained to a computer for the next two years! *g*

GFTW: You wrote a media tie in novel for the Stargate SG-1 TV series. Did you have to approach writing this novel differently from your other works? In what way?

KM: Yes and no. I take the Stargate books very, very seriously. I know there are people out there who think folk who write media tie-ins are hacks without standards, but I utterly refute that claim. I’ve been a fan of the show ever since it started airing, and I consider myself enormously fortunate to be allowed to play in that sandbox, with those characters. I believe I have a huge obligation to do the very best job I can – I owe it to the producers, the actors, the crew and the fans to pour my heart and soul into the Stargate stories I write. And I do. At the end of the day I might come up short, in some fans’ eyes, but if I do it’s not because I didn’t take the work seriously. So in terms of being rigorous in the writing and rewriting process, it’s exactly the same. It’s absolutely not the case of chucking down any old sentence and letting it sit there on the page like suet. I polish and rewrite till the very last gasp!

I do a lot of research. Some of that involves rewatching pertinent episodes (there’s a hardship!) and sometimes it’s regular-style research. I’ve just done my second Stargate novel, Do No Harm, which is out in a few weeks, and I had to do a lot of medical research for that one. I just can’t stress enough – I don’t look at media tie-in work as some kind of poor relation. It’s as valid as any kind of storytelling, in my eyes, and I work as hard at it as I do at my mainstream fantasy novels.

Probably the biggest difference is that with the Stargate novels, you’re working in a shared world with a common frame of reference. So there’s less world-building, less exposition, because the writer and the reader already have an understanding of the environment. So that simplifies the writing process to a certain degree. But to balance that is the complexity of getting the characters right, keeping them true to the characters we see on screen. That’s the biggest challenge, and the most fun.

GFTW: What has been a response from a reader that you particularly enjoyed getting?

KM: I had a lovely letter from a gentlemen recently, who wrote to tell me that his wife had thoroughly enjoyed the two Kingmaker, Kingbreaker books, was very disappointed that there were only two, and would I kindly rectify that as soon as possible. That really did tickle my funny bone! And of course, I was thrilled to be able to write back and say yes, there are more on the way.

GFTW: Thanks for your time!

Check out The Book Swede's interview on with Karen on Empress and various other topics.

Posted by John at 01:22 PM | Comments (3) | TrackBack | Posted to Fantasy | Interviews
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Book Review: Empress by Karen Miller

* Genre: Epic Fantasy
* ISBN: 0316008354
* ISBN-13: 9780316008358
* Format: Mass Market Paperback, 717pp
* Publisher: Orbit
* Pub. Date: April 2008
* Series: Godspeaker Trilogy

Empress, Karen Miller’s new novel, is shockingly different from her previous duology, the Kingmaker, Kingbreaker series. Where The Innocent Mage began sadly, but moved on to be more pleasant and into the eventual triumph of the hero, Empress does not. Empress begins on a low note, and progressively gets worse.

What Miller has done with Empress is show us the rise of a barbarian warlord. The culture she has created is violent, worshipping a scorpion god who craves bloody ritual sacrifice. The godspeakers, those who perform the sacrifice, are a police force, and a political entity separate from the warlord’s control, are the only people able to hear the god. But Hekat, a runaway slave girl, upsets that balance when she discovers that she can hear the god as well. Believing herself special, Hekat begins a slow climb up the social ladder of Mijak, seeking power both to satiate her lust for it, and as protection for herself.

In the meantime, a fellow slave, Vortka is also making the climb into the realm of the powerful, but through a slow process, unlike Hekat’s clawing. His rise is slower, and ends up intertwined with Hekat’s for better or worse.

Empress is a bloody, violent novel. Ritual sacrifice is common, and participants drink blood as part of the ritual. Others swim in pools of blood as they seek the will of their violent, unforgiving god. All “magic” comes only through the god’s power, and while it gives power and knowledge, just as often it arbitrarily won’t. It is a fickle god, seen as an impersonal force by its supplicants. Hekat revels in it, and although at the beginning of the book she is a sympathetic character, by the end we want to hate her. Yet she for all her success, she is a small child inside, her emotions are stunted and all she can feel is fear or hate.

The society that Miller has created is like the ancient Assyrian or Babylonian empires, with their city states that eventual become powerful nations. And the plot similarly follows their rise into power. Mijak eventually becomes a conquering nation, a barbarian horde subjugating all peoples.

Karen Miller’s next two novels are actually going to tell the central story of the trilogy. This first is the history of the character that will become the villain in the sequels, or at least so it seems. By the end of the novel, you will want to see Hekat’s destruction, along with her sons and Vortka. You know the ending is coming, and the final betrayal of Hekat results in some interesting possibilities for the sequel.

The novel is extremely long, and the style of writing can get annoying. Miller is writing a completely different novel from those she has previously published, and the structure of the world she has created has a lot of ritual dialogue which can get repetitious at times. Phrases like “may the god see you in its eye” or arrogant words that tell of the speaker’s triumphs or skills tend to wear on you after a bit. The reader would do well to take this novel in slow spurts, rather than trying to read it all at once. Otherwise, the repetitious dialogue that, while logical for the society Miller has created, is still a bit much to take.

The story itself is fascinating. Miller has replicated a culture that is difficult for modern people to understand. It is a culture where religion rules much of everyday life. And yet there is always the possibility present that this religion is actually a twisting of what might be a natural phenomena. Miller gives no answers as to the origin of the religion of Mijak, only presents its effects, but some of the elements of the story leave the veracity of that religion open to discussion.

Miller has really gone out on a limb to make Empress different from her Kingmaker, Kingbreaker duology. Although she continues to write a character driven novel, her characters are less enviable, and her world much more barbaric. It was fascinating to read the story of how an evil warlord comes to be an evil warlord. In this trilogy, the villain is not going to come into being fully evil, but slides down into it through a long, slow process, as a result of very human traits.

I enjoyed the novel. Although it could be repetitious at times, and the cadence of the story could be tiresome, it was still interesting to read. The idea behind it is different from the average epic fantasy novel. Rather than either celebrating heroism or evil, it shows the real, human emotions behind what we call “good” and “evil”. AS I’ve mentioned, it is extremely violent and bloody, so those with a weak stomach ought to avoid it. As well there is a liberal does of swearing and a few sex scenes (including a rape of a man!) so anyone offended by that ought to avoid it.

But for all that Empress is creative enough and different enough to make it enjoyable. I did not enjoy it as much as The Innocent Mage and The Awakened Mage perhaps because there was no character I was really able to root for, but its characters were interesting enough that I wanted to know what might happen to them. I recommend this novel, with the few caveats stated above, and look forward to seeing how its sequel looks at the enemies of Hekat and its portrayal of their characters.

For another interesting take on Empress, check out Chris, The Book Swede.

Posted by John at 03:32 PM | Comments (2) | TrackBack | Posted to Fantasy
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Book Review: Before They Are Hanged by Joe Abercrombie

* Genre: Epic fantasy
* ISBN: 1591026415
* ISBN-13: 9781591026419
* Format: Paperback, 448pp
* Publisher: PYR
* Pub. Date: March 2008
* Series: First Law Trilogy

Say one thing for Joe Abercrombie, say he writes good fiction. Joe Abercrombie’s second novel in the First Law trilogy, Before They Are Hanged, continues the black humor and sardonic wit of his debut novel The Blade Itself.

In this second novel, the reader continues the stories of Glokta, Logen, Luthar, Ferro, West and Bayaz. Glokta has been sent to the far edges of empire to try and save a remote but important colony from being overrun by the Gurkish, a competing empire. Logen, Luthar, Bayaz, Ferro and several others are searching for the mythical Seed, a portion of the spirit world made real and solid in their own. West has been sent to the front lines in Angland to try and prevent its conquest by Bethod’s barbarian tribes.

These three stories move along apace, each separate from the other, but in some way connected that the author understands, but the reader has yet to. Before They Are Hanged will provide no answers, only more questions. Some of the events surprised me as a reader they would go one way when I expected quite another. Since this is a middle book in a planned trilogy, a few questions are answered (particularly about Bayaz’s history) although many more are created, and the final scene defied tradition by not wrapping up the narrative into a neat bundle for the next book. It leaves us still at loose ends, craving the next volume.

Say another thing for Joe Abercrombie, say he is funny. His twists on traditional fantasy tropes continue to entertain. Glokta continues to be my favorite character. His self deprecation and black humor (his personal thoughts are side splittingly funny) make his portion of the narrative Abercrombie’s strongest and finest. Logen is funny too. In his realistic and pragmatic view of the world, he is becoming less and less the traditional barbarian hero and more and more the world weary hero, desiring only to fight no more. By plumbing the depths of the characters, Abercrombie finds opposing aspects to our traditional understanding of the evil or good characters and brings them into the light in a humorous way.

The narrative surrounding Logen Ninefingers, Ferro, Bayaz and Luthar was perhaps the dullest. The companions are traveling across the world to seek the stone, and while Abercrombie does not dwell on their travel, most of the action sequences seem to be thrown in just to hold the reader’s interest, rather than being necessary to the plot. As well, what seems to be an interesting plot development between Ferro and Logen fizzles out by the end of the book, and what first appeared to be an attempt by Abercrombie to create strife between the companions turns out to do nothing other than allow an explicit sex scene.

West’s story is quite surprising. West is slowly transforming from the prim and proper soldier into a true hero, and the transformation takes a few unexpected turns. He develops relationships with the barbarians who are fighting against Bethod, and his discovery of nobility in them changes him profoundly from a good soldier to a great leader.

Say one more thing for Joe Abercrombie; say he is a master of character development. All of his characters change a lot over the course of the story. Although by the end of the novel, the characters seem to be back were they started at the beginning of the book in terms of action and sequence, their psyches have been developed, and significant changes have occurred in their reactions to events. The characters are never at a standstill, even if this book doesn’t seem to move the plot forward very much.

Although I know that Abercrombie continues to seek that all elusive ten of ten from reviewers, I have a couple of reasons not to give it to him for this novel. The first and most obvious is that I don’t use such a rating system for my reviews, so to do so know would really have little meaning. Secondly, Before They Are Hanged is a middle book by a debut author, and for this reviewer, if a writer cannot conclude his trilogy or series well, all that comes before might be fun to read, but will be forgotten by the reader. It is the epic conclusion that makes a series, and it will take a reading of Last Argument of Kings before such a determination can truly be made.

If you enjoyed Abercrombie’s first novel, then you will want to read this one. I don’t think Before They Are Hanged was quite as good as The Blade Itself although it still an entertaining read. Readers will need to read the first book in the series, as this is one of those trilogies that make no sense unless begun from the beginning. If you have been waiting to pick up this series, I recommend you don’t wait. Abercrombie’s debut trilogy (so far) is better than the work of many seasoned authors, and anyone widely read in the fantasy genre will enjoy his twisting of fantasy tropes. I continue to highly recommend The First Law Trilogy to all readers of fantasy, and many more readers besides. Say one thing for Joe Abercrombie; say his writing is worth the reading.

Posted by John at 12:39 PM | Comments (3) | TrackBack | Posted to Fantasy
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Free Fiction: The Cambist and Lord Iron by Daniel Abraham

Bantam Spectra has made available the 2008 Hugo award nominated story "The Cambist and Lord Iron: A Fairy Tale of Economics" by Daniel Abraham to read for free. Personally, the subtitle is what intrigues me the most, and I plan to read this story in the very near future.

Posted by John at 08:49 AM | Comments (0) | TrackBack | Posted to Anthology/Short Fiction | Business | Fantasy
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Book Review: Goblin War by Jim C. Hines

* Genre: Humorous Fantasy
* ISBN: 0756404932
* ISBN-13: 9780756404932
* Format: Mass Market Paperback, 336pp
* Publisher: Penguin Group (DAW)
* Pub. Date: March 2008
* Series: Jig the Goblin Series

Goblin War is a completely different novel from the first two novels in the Goblin Series, Goblin Quest and Goblin War. Those two books were constrained by the small world of the lair and its surrounding caves. The goblins never left the caves under their mountain, for all the adventures that they had. This meant that the second novel, while having a different set of circumstances, was much like the first in plot and style, and didn’t add too much that was new to Jig the Goblin’s story. But in Goblin War, author Jim C. Hines has Jig and many of his fellow goblins leave the cave for the wider world, a world that pretty much wants to destroy them.

Jig is trapped between two competing factions, both intent on wiping out he and his goblin clan. The first, the human rulers of the upper world, need slave labor to perform various tasks too dangerous for the morally superior humans. The second, and army of orcs, trolls, goblins, and one human hating tree (humorously likened to Shel Silverstein’s giving tree) bent on destroying the so-called “goodly” people.

In Goblin War Jig’s god, Tymalous Shadowstar, plays a much more significant role in the story. Each chapter begins with a history of how the forgotten god came to be forgotten, and why his worship was never picked up by some cult or other. They are so forgotten that even other gods have forgotten their existence. Hines’ explanation of the nature of the forgotten gods is one of the cleverest yet simple ideas I’ve seen in fantasy. The way that part of the story hinges on a clever loophole caused by word choice appeals to my own love of wordplay. It was wonderful to watch how Tymalous Shadowstar is revealed throughout the book, and he becomes a truly three dimensional character, not just an occasion for a disembodied laugh.

Jig, of course, continues to be in fine form. Whereas in Goblin Quest Jig is simply learning bravery, and then in Goblin Hero he is learning how to perform the actions of a hero, that selfless sacrifice so common the hero archetype, Goblin War relates how Jig steps into the mantle of leadership. He is no longer the lone hero, solving all problems on his own or with minimal help from a few companions. Now he is directing and changing the course of events by intentional decisions. Reading the progression of Jig over the course of the three books, you get a sense of how great men become great men (even when they are blue, pointy-eared goblins).

All in all, I think Goblin War is Hines' best novel so far. He has stepped out of the small confines of the goblin lair, and opened up a new world for Jig to experience. This novel has more elements for humor, more action, and more plot threads. Hines is growing as a writer. This growing skill and comfort with writing is allowing him to write more complex and funny novels. It is sad to think that for now, Jig is on a well-deserved hiatus. Hopefully Hines will return to Jig’s world, or in some way connect the novels he is currently writing now to Jig’s story. Either way, I would like to see more of Jig.

Goblin War is humorous adventure fantasy. It is lighthearted and fun to read, and is a safe purchase for older children who like to read fantasy. In fact, once I have my own children, I may use Hines novels to teach about the nature of heroism to them, because of the way he shows its natural progression throughout the book, while still being extremely entertaining. You will still need to know some of the tropes of fantasy to enjoy this tale, and it would be best to read the entire series from the beginning, else Jig’s decisions and some of the character references in the novel might not make sense. The second novel does have some repetitious characteristics from the first, but Goblin War is a different tale altogether.

Jim C. Hines Goblin Series are highly recommended as fun adventure tales, safe for kids, which will also leave many an adult with a smile on their face.

Posted by John at 01:08 PM | Comments (1) | TrackBack | Posted to Fantasy
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Book Review: The Name of the Wind by Patrick Rothfuss

* Genre: Epic Fantasy, Coming of Age Fantasy, Literary Fantasy
* ISBN: 0756404746
* ISBN-13: 9780756404741
* Format: Mass Market Paperback, 736pp
* Publisher: DAW
* Pub. Date: April 2008
* Read an Excerpt

The Name of the Wind is a book that has been on everyone’s lips ever since its release last year. Patrick Rothfuss’ debut novel has become the standard by which a lot of other books are being judged, an unusual event for a writer who had only published a few short stories before writing a novel that in the mass market paperback edition amounts to over 700 pages. But these accolades are well-deserved, as I found out to my own great joy when I was given the opportunity (and I was to find, privilege) to read the paperback edition of The Name of the Wind.

The primary character of the story is Kvothe, an epic hero, a powerful fighter and wizard. But Rothfuss, rather than simply relating his tale in the traditional third person omniscient, has instead decided to relate the story as a history (a memoir if you will) of Kvothe himself.

Kvothe has risen from the mean streets to the highest levels of power, and all before his thirtieth year. Born to a family of traveling performers, Kvothe shows his genius early. After a tragic event occurs to his family, Kvothe is forced to survive on the mean streets of Tarbean, begging for his food. But an opportunity opens up, and he is able to seek an education at the University. Overshadowing all of this is Kvothe’s desire to find the Chandrian; evil beings who he believes had something to do with what befell his family. Intertwined into the narrative are a love story, petty rivalries, and the troubles the overconfidence of a young boy can cause.

Rothfuss novel is exceptionally written. The prose is never dull, pedantic, or obvious. The story flows naturally from Rothfuss’ pen, and its large size seems almost too short by its end. The Name of the Wind is the first book in what appears to be a trilogy, or perhaps a quartet of books, and readers should know that its ending leaves more questions than answers.

Some of Rothfuss transitions were difficult for me as a reader. They tended to be short and abrupt, with little or no foreshadowing of their coming (In a way, much like real life, but unusual for a story). In particular, the transition from Tarbean to the University, and then the transition from University to the events surrounding the dragon and back again all seem disconnected from each other. It’s as if the story of Kvothe at the University is a completely separate story from Kvothe of Tarbean and the dragon. The former is like a Harry Potter schoolyard coming of age novel, and the other, an epic fantasy in the Arthurian mold. Rothfuss has tried to mesh the two, and done a decent job of it, but the reader’s conception of Kvothe the student and Kvothe the hero are disconnected. This is something Rothfuss will need to address in the sequels.

But the strange transitions and slight disjointedness of the two sides of Kvothe’s character are the novel's only real flaws. Kvothe is a compelling character, the type of genius we all wish we could be. Rothfuss hits all the popular elements of epic fantasy. He has a gypsy corollary in the Edema Ruh, Kvothe’s people (always popular among epic fantasy readers). He has the poor boy living in squalid conditions learning street smarts and toughness. He has the schoolyard, an element that has become very popular since the Harry Potter novels. He has dragons (although their form is quite different that what you might expect) and he has magic.

The magic system Rothfuss has created is exceptional. Rather than trying to ignore science, as many epic fantasists do, or make magic an inborn ability where power is easy and comes cheap, Rothfuss has instead meshed the two into one. Magic in The Name of the Wind is a blending of science and miracle. Logic and skill play a large part, but there is also a sort of inborn ability which must be trained and honed to be able to do magic. Rothfuss uses scientific fact about chemistry, technology, and biology with mystical powers to allow his characters to have a systematized and codified magic, rather than a wild magic that happens at random. Magic is a learned trait, not the result of accident of birth, and Rothfuss’ magic system is a unique one, and makes the reading of The Name of the Wind a breath of fresh air among the sometimes repetitious and trope filled epic fantasy subgenre.

I highly recommend this book. I’ve already mentally added The Name of the Wind to my best reads of the year list, and it will take a truly exceptional work to supersede it. None of this novel really disappoints. It is full of adventure, intrigue, a complex love story, and a powerful magic. Its supervillians are truly evil, and although they appear but rarely in the story, Rothfuss has intertwined so many other plots filled with rivalry and jealousy that Kvothe never lacks for an evil to fight. The book has so many subplots and containers for the narrative that the reader never lacks for an exciting event. And Rothfuss writes so smoothly that your mind glides over the words like a swan through water. Don’t miss this one. In fact, put aside whatever you are reading now, and read The Name of the Wind. Everything else can wait.

Posted by John at 10:34 AM | Comments (7) | TrackBack | Posted to Fantasy
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Book Review: Heroes Adrift by Moira J. Moore

* Genre: Romantic Fantasy, Adventure Fantasy
* ISBN: 0441015980
* ISBN-13: 9780441015986
* Format: Mass Market Paperback, 352pp
* Publisher: Penguin Group (ACE)
* Pub. Date: February 2008

Romantic fantasy often goes over the edge when it comes to sex. It usually ends up having at least one or more explicit sex scenes for its characters, and honestly, never real deals with the romance side of things. In essence, “romantic fantasy” is a euphemism for “bodice-ripper set in a world with magic”.

But occasionally an author avoids falling into that trap. Heroes Adrift by Moira J. Moore is such a novel. That is not to say the Heroes Adrift is a great novel, but it is good entertainment in the romantic fantasy subgenre. It’s the fantasy version of Ann Aguirre’s Grimspace.

Heroes Adrift is something of a misnomer of a title. It might make you think that the book is about heroes being on ships out at sea. (Yes, I get the subtler subtext, but I think that the title combined with the front cover make it misleading. A different cover with the title might have helped.) In reality, the story is about two heroes who are trapped on an island with a strange culture and what they must do to survive it. So rather than “adrift” it might be better to say “awry” or “astray”.

At any rate, this third book in the Heroes series leaves Dunleavy Mallorough and Shintaro Karish stranded on one of the Southern Islands. Sent their by the Empress to find long lost royal kin, Lee and Shintaro find themselves in a strange situation when they learn that their status as Source and Shield does not provide for their every need on this backwater island. Forced to gain coin, Lee and Shintaro join a traveling circus. Adventure ensues.

Told entirely from Lee’s point of view (a rather pessimistic but funny one) the plot is predictable. When the long lost descendant is revealed, it will come as no surprise to the reader. What makes this book enjoyable is the black humor of the culture shock Lee and Shintaro undergo. In addition, Moore has done a good job at focusing on the burgeoning romantic relationship between Shintaro and Lee, creating sexual tension without devolving into bodice-ripping.

The reader would do well to read the first books in the series, as there are multiple references to prior events with little or no explanation of the history. And if you are looking for a sword and sorcery novel, this isn’t for you. The story moves forward on the wings of Lee and Shintaro’s relationship, and their complete shock at finding themselves in a culture so different from their own. Heroes Adrift is well-paced, never bogging down, and not wasting time on unnecessary description. I was able to read it in an evening, and it was a pleasant way to spend the time.

Posted by John at 02:09 PM | Comments (2) | TrackBack | Posted to Fantasy
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Book Review: Small Favor by Jim Butcher

* Genre: Urban Fantasy, Paranormal Fantasy
* ISBN: 0451461894
* ISBN-13: 9780451461896
* Format: Hardcover, 432pp
* Publisher: Penguin Group (ROC)
* Pub. Date: April 2008
* Series: Dresden Files Series
* Read an Essay by Jim's editor on Small Favor.

How does a pragmatic Chicago wizard take on one of the most powerful Fallen angels? It is this question which drives the action packed new novel from Jim Butcher, Small Favor. A novel of the Dresden Files, an urban fantasy series, Small Favor is the continuing adventures of Harry Dresden, modern wizard, and his host of friends as they take on the evil forces of Nicodemus and his wife Tessa. Forced by Queen Mab to fulfill one of the favors he owes her, Dresden comes up against the very creatures that have nearly killed him before, namely, the Fallen. Meantime, Titania, Queen of Summer, has ordered a hit on Harry, and her agents keep showing up at the most inopportune times.

Harry is a sardonic character, usually shooting his mouth off when he is in danger. But it seems to work for him as he escapes one trap after another. Although the marketing people have called The Dresden Files a fantasy/mystery blend this particular novel in the series is less mystery and more of a spy novel. Harry is a rough amalgam of James Bond and Jason Bourne, with a bit of Jack Ryan thrown in. He is loyal to his friends, deadly to his enemies, and for one reason or another, always in trouble with someone.

The novel is an enjoyable one. There are few plot twists, and even though this is the eleventh novel of the Dresden Files, as someone who had never read any Jim Butcher before, it was relatively easy for me to pick up. The story moves from action to action, with only a few pauses for introspection, rest, and even a little romance. Perhaps the most difficult part of reading a series so well-established was the references to past occurrences, and the introduction of characters whose background had been established in previous books. However, to recreate the backgrounds of some of the characters (Harry’s brother Thomas and his situation is still something of a mystery to me) would have unnecessarily slowed down the story. So as reader, I just picked up what I could, and enjoyed the story’s action otherwise.

Butcher’s writing is straightforward. He doesn’t delve into linguistic flourishes, or spend overmuch time on the setting. He doesn’t have to, as it is relatively easy for a reader to imagine a modern city like Chicago, whether or not we have actually been there. This is a novel that is read for entertainment purposes, something best read on the plane, the train, or a rainy afternoon.

Of particular interest to me, as a religious person, was Butcher’s integration of the Catholic faith into the story. Two of his characters are Knights of the Cross, who carry swords designed to fight evil, but whereas other writers of urban fantasy often use this as an opportunity to denigrate faith and elevate reason, Butcher instead give faith a fair shake. Harry respects the Knight of the Cross (one of them is a good friend) and although he doesn’t understand their beliefs, he respects them. This is rare in the paranormal/urban fantasy subgenre, where such characters either end up being evil, stupid, or an object of ridicule. Not in Small Favor, and my respect for Butcher as writer rose, especially when at a critical moment in which Harry finds himself wrestling with the issue of a good God allowing bad things to happen, Butcher doesn’t have his character simply write God off as a masochist. It’s nice to see faith having real power in a paranormal/urban fantasy novel.

I recommend this novel as one the best of the few paranormal/urban fantasy novels I have read. It’s right up there with Neil Gaiman’s Neverwhere in creativity, even if its quality is a little lower. Butcher writes an entertaining tale, easily picked up and enjoyed. I would like the opportunity to read some of his epic fantasy novels, The Codex Alera series. If his urban fantasy novel (a subgenre I am not always enthusiastic about) can keep my interest and entertain me, then I think his works in my favorite subgenre are sure to excite me. If you’re looking for an easy, sit-on-the-couch-and-eat-chips book for a Sunday afternoon, Jim Butcher's Small Favor is a good way to go.

Watch the Dresden Files on the Scifi Channel. Or watch the trailer at Youtube.

Posted by John at 11:17 AM | Comments (1) | TrackBack | Posted to Fantasy
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E-Zine Review: Flash Fiction Online

Flash Fiction Online is a brand new e-zine, edited by Jake Freivald, which publishes fiction of 1,000 or fewer words. They began publication in December of 2007. But even though they are a young e-zine (with possible print anthologies on the horizon) their commitment to meet the SFWA guidelines for being a professional market, results in Flash Fiction Online publishing work by some known authors, such has James Van Pelt, Carl Frederick, and Bruce Holland Rogers, that really doesn’t have place in other short fiction magazines due to the extremely short length of the stories.

Now, some of you reading this review are probably skeptical about the ability of any author, no matter how good a writer, to tell an entire story in under 1,000 words. I was until I read the April Issue of Flash Fiction Online. In the span of twenty minutes, my preconceived notions about story were challenged, and I was able to read five great stories. And each one took no longer to read than the average blog post.

Readable online in either HTML or PDF format, these stories are laid out clearly, in a readable format, with clever and excellent illustrations by R.W. Ware (who, by the way, is also a tattoo artist) to add to the panache of the e-zine. Additionally, each story has a short bio on the author, with a clever author photo that I think underscores the whole concept of the fiction being “flash” in nature. The entire site is very polished and professional, and even is set up with an RSS feed to allow readers ease of access to the stories.

In the April issue of Flash Fiction Online, Freivald collected five stories that were humorous in their content, playing on the fact that this month begins with April Fool’s Day.

“The Dyslexicon”, by Carl Frederick is a story written about a dyslexic robot that can’t fulfill his function due to his dyslexia. The story is populated by spoonerisms, homographs, and misspellings. In way, this story is both funny and sad, as it allows the reader to get a glimpse into the world of dyslexia sufferers. But it isn’t preachy, just funny. Sometimes the word equivalencies are hard to discern, and Fredrick might have done better to only play around with the words most obviously incorrect to readers.

“How Not To Stage a Play in the Aftermath of a Zombie Apocalypse” by Kurt Bachard wonders what life would be like after a zombie apocalypse in the world of the theatre. A “woe is me” type of story, it says an awful lot while using a true economy of words. In keeping with the economy of words, Bachard’s explanation of the directors special situation and retention of his humanity might have been better integrated into the narrative, rather than being separate paragraph. It is out of place and makes the narrative slightly choppy. Any theatergoer or amateur thespian will enjoy Bachard’s wry humor about the world of the stage.

“Call of the Wild, Line Three” by Dalton Keane was the funniest of the five. The idea of stockbrokers as a pack of wolves is apt and funny. Keane has transposed the hierarchy of the animal kingdom onto the world of business, and it results in a hilarious story. Of the five, this one was the only one that made me laugh out loud.

“Fast Living” by Hank Quense, while only a quarter of a page in length tells a story that (no insult intended) is like stories you read in the Reader’s Digest humor sections. The story may be short, but the punch line brings a smile to your face. It's a type of story called a Feghoot.

“Quiet Please” by Kevin Scott is a reprint of a classic story that qualifies as flash fiction, but that is now in the public domain. Each issue of Flash Fiction Online includes on of these classic reprint stories, many of them from authors that are obscure. “Quiet Please” was probably the most difficult of the stories to read, and I had to read it twice in order to get why the story ended the way it did. Once I did, I thought it a neat, quirky story about language barriers from the November 1961 issue of Word of If.

Flash Fiction Online is one of the few e-zines I plan to read regularly. The length of the stories makes it ideal for reading on the small screens of internet capable cell phones, iPhones, and any PDF capable eBook reader.

Additionally, Freivald is not overambitious, and doesn’t try to print every story he receives. This allows the reader to get a few good stories at the beginning of each month, but without having to sift through a lot of stories to find ones that interest them. Plus, you don’t have to wait overlong to get new stories (and a few articles) since publication is monthly. Lots of e-zines publish either bimonthly or quarterly, and it is often easy to forget check them. Flash Fiction Online has made that easy. I hope they are able to stay in business, as their unique style of fiction is a breath of fresh air, in the overburdened Internet.

With the easy to use RSS feed, I can read these short stories at the office on my coffee breaks. They only take five minutes or less to read, no matter your speed, and you can step back into your office work not feeling guilty about taking your employers time, but with the smile and feeling of refreshment that fiction lusually brings to your face.

Jake Freivald and Flash Fiction Online are providing an excellent service to all fans of short fiction, and I encourage you to take advantage of it.

Artwork © 2008, R. W. Ware

Posted by John at 04:12 PM | Comments (1) | TrackBack | Posted to Anthology/Short Fiction | Fantasy | General Fiction | Humor | Science Fiction
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Book Review: The Hidden City by Michelle West

* Genre: Epic Fantasy, Tragedy
* ISBN: 0756404703
* ISBN-13: 9780756404703
* Format: Hardcover, 615pp
* Publisher: Penguin Group (DAW)
* Pub. Date: March 2008

A lovingly written yet very depressing novel, The Hidden City is unlike any fantasy novel I have encountered. A tragedy with no pretensions to the contrary, this new novel by acclaimed author Michelle West visits pain upon its protagonists for over 600 pages.

The Hidden City is the beginning of a prequel to the events in West's earlier books in the Hunter series and Sun Sword series. It relates the events leading up the war for House Terafin.

Two characters drive the plot of The Hidden City. Rath is middle aged man who has turned his back on his family’s house, and now lives in the slums of Averalaan, scraping out an existence by discovering artifacts in the hidden city beneath the bustling metropolis. Jewel “Jay” Markess is an orphan, a ten year old girl to whom Rath is strangely drawn. After Rath takes her in, he discovers that she has an extraordinary ability, and ability which causes her to gather to herself other orphans, all damaged in some way. Rath, a solitary person by nature, and psychologically damaged himself by a sister much like Jay, find Jay’s gathering of other orphans an awful state of affairs, until she manages to save a young girl from the clutches of a renegade magician. This begins a sequence of events that leads to great pain for Jay, whom Rath has come to love, and an awakening of courage within Old Rath that he had long thought lost.

The story takes place entirely within the city of Averalaan, and while sitting squarely in the category of epic fantasy, with its medieval setting and magic use, it takes a turn and incorporates some of the darker nature of the urban fantasy subgenre. The young orphans of the tale are broken, one almost to the point of being irredeemable, but Jewel, the one bright light in the story, wants to heal them all. And with her assertiveness and confidence, such a thing is possible. It is Jewel who really makes this story a worthwhile read. Thoroughly human, she has the one thing that those around her do not have, hope. She is optimistic, even in the face of some of the worst powers of darkness, and when her own spirit could have been shattered by the events around her, she is able to stay strong.

Some readers have complained about West’s writing style. She tends to use a lot of semicolons and commas, making her sentences have a run-on feel, and requiring careful attention to their structure by the reader. This style makes the reader really have to focus all of his or her attention on the book, and even then the structure of the sentences can cause one’s mind to wander. The point of the sentence is sometimes lost or missed in all of the prepositional phrases and additions to the sentence. Readers should go into this book knowing that careful attention will be required to the book, and this is no easy or light read.

The story is dark and unforgiving. This is not an epic fantasy where all goes well or you can expect an ending that leaves the heroes happy and healthy. Of course, I expect that this is not the end of Jewel or Rath’s story, and it is left open ended so we know West will be continuing the tale. But for now, this tale is anything but happy, although it has its bright moments.

Much of the tale is about the characters learning about themselves or about dealing with their hurts or the hurts of others. Much of the story is about emotion and in reality there is little action to the story. There were perhaps three fight scenes, none described in any detail, but the repercussions and the personal insights taken from these events would continue on for the rest of the book.

The length of the story is daunting, and I think if I had known what the story would entail, I’m not sure I would have picked it up. This was also my first exposure to Michelle West, so I didn’t know what to expect in terms of style and content. But I am glad I read it. It is out of the ordinary for a fantasy tale, and is a Hamlet rather than a Henry V. Fans of tales of tragedy and loss will enjoy West’s new release, and I’m sure she will continue to please her legions of fans. Fans of epic fantasy that are looking for a tale where all is well at the end should shy away from The Hidden City. All though hope is ultimately the theme of the book, the sloth of despond that the characters must go thorough to get there is harrowing and depressing. For all its faults, it is a worthy addition to the fantasy canon, both for its unusual nature, and its deep meanderings into the human psyche on the subjects of pain, loss, and hope in adversity.

Posted by John at 02:39 PM | Comments (2) | TrackBack | Posted to Fantasy
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Book Review: Madhouse by Rob Thurman

* Genre: Paranormal Fantasy
* ISBN: 0451461967
* ISBN-13: 9780451461964
* Format: Mass Market Paperback, 337pp
* Publisher: Penguin Group (ROC)
* Pub. Date: February 2008

Madhouse is one of those novels that you think has potential when you look at it, but just doesn’t quite meet your expectations after you read it. Rob Thurman is a good writer, and his writing style is easy to read and pleasant on the eyes and mind. Unfortunately, this third book about Cal and Nik Leandros is not well-plotted and suffers from an excess of innuendo.

The story is basic. Cal and Nik run a sort of supernatural detective agency in NYC. Nik is a ninja and Cal is a half monster/half human strong-arm. Together they are a pretty powerful pair. When a murderer from the past is reconstituted and begins his murderous rampage anew, they are hired to hunt him down and kill him (he isn’t human, although humans once thought he was). In the meantime, their friend the puck, Robin Goodfellow, is being hunted for a crime he committed nearly 8,000 years ago. Nik and Cal must save their friend and destroy the monster before they end up dead themselves.

The story is mostly action sequences punctuated by introspections from Cal Leandros. The novel is told entirely from his point of view. Cal suffers from having to live a life as a half monster and this is the primary motivation for the events in the books since Cal is doing his best to be a good person while avoiding becoming the monster his genetics says he is. Unfortunately for the reader, most of the angst is over events that occurred in the first two books, and while Thurman is able to relate the events that lead to the angst, he fails to re-build the requisite emotional aspect. In essence, readers know why Cal Leandros suffers so, but don’t emotionally connect with him in his troubles. (Unless the reader has read the first two books, which I hadn’t.)

The story is entertaining if you are the type of person who goes to movies to watch the fight sequences. Thurman is not attempting to write the next great novel, and to impose such standards on the book would do it a great disservice. But even as escapism it failed for me as a reader.

For one thing, Thurman never really explains how the monster underworld manages to stay undetected from the human world around it, especially since so many bodies end up lying around. There are too many monsters around for them not to be noticed. This may have been addressed in the first two books, which is all the more reason to read them in order, but it was not in this novel.

For another, the plot was overly simple and I got tired of the fight scenes being pretty much the same, albeit with different characters involved. There is little actual mystery in the story, although it is billed by the marketers in that way. The villain is known from the start, and other than Cal Leandros’ internal musings, the rest of the plot is fight scenes and characters teasing one another.

Finally, I did not enjoy the crude humor of Robin Goodfellow (honestly, there is only so many times an author can make the same joke before it gets tiresome) and there was rampant cursing and swearing. The latter is not so much a problem, as it makes sense for the life that Nik and Cal live, but it still could have been less common and still be a interesting.

The plot moves quickly. Thurman’s fight scenes are interesting. He is especially good at bringing the reader from a quick laugh down into the depths of despair. Other reviewers have called his novels roller coaster rides, and that metaphor holds true in Madhouse. In a way, the novel is a strange mixture of The Silence of the Lambs and the Tom Hanks Dragnet movie. It is both funny and deeply disturbing. That makes the novel unique, as does Thurman’s attempt to make the supernatural monsters different from their commonly accepted versions. Zombies are a naturally occurring species, not dead people come back to life, and other angels don’t exist, but a form of life that looks like them does. Hell is just another dimension, not a supernatural place, but it does have its monsters. This scientific take on the existence of monsters is different from the usual, and is something I think Thurman should be applauded for writing.

I thought this book to be merely okay. It could be funny in parts, and it has lots of action, so that is on the plus side. But the repetitiveness of the fights, the plot holes, and the need to have read the previous novels makes Madhouse a novel that I don’t recommend reading.

Posted by John at 11:22 AM | Comments (2) | TrackBack | Posted to Fantasy
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Book Review: The Death of the Necromancer by Martha Wells

* Genre: Steampunk, Fantasy
* ISBN: 0380788144
* ISBN-13: 9780380788149
* Format: Mass Market Paperback, 544pp
* Publisher: HarperCollins Publishers (Eos)
* Pub. Date: July 1999

Nicholas Valiarde is a young man bent on revenge. His adoptive father was executed for the horrendous crime of necromancy through the machinations of a crime lord in the Il-Rien city of Vienne. Since that time Valiarde, under the pseudonym Donatien, has been subverting the crime underworld to his own ends to take revenge on his father’s murderer. But Valiarde is forced to turn away from thoughts of revenge when bodies begin to turn up and they appear to have been used for necromantic magic. Further incensed by the fact that Nicholas’ foster father’s inventions seem to have been used to assist the evil necromancer and his cronies, Nicholas uses his wealth and influence to root out the evil sorcerer.

Set in a lush and vivid Victorian fantasy world, Martha Wells' novel, The Death of the Necromancer is a 1998 Nebula Nominee and the quintessential steampunk novel. Although /I have never liked the title of this subgenre, Wells’ novel does fit it. Vienne is very Victorian in setting, with carriages, underground trains, guns and other such items of that strange age, but with sorcery, the realm of faerie and strange doings mixed in. In a lot of ways, Vienne reminds me of London, with close knit streets, sharp divisions between upper and lower classes, and a criminal underworld unsurpassed in its evil.

Nicholas is a compelling character. Except for a few side forays into events surrounding his female companion Madeline, the story is told entirely from his point of view. Nicholas has also surrounded himself with an oddball cast of characters, from the actress who rejects her magical heritage, to the safecracker, to the not-so-disreputable former cavalryman. Add in some interesting enemies, including a spiritualist and a detective/doctor duo reminiscent of Sherlock Holmes and Dr. Watson and you get some interesting characterization.

Wells style of writing will seem a little odd. Although her prose is full of action, it is also wordy and has lots of commas and conjunctions, creating long sentences that slow the pace of the tale down considerably. Add in exquisite descriptions of the myriad settings and you get a slow-moving novel. But the descriptions are carefully written and not overdone, so while the tale has a slow cadence leading up to the climatic flourish, The Death of the Necromancer is not a tale that will bog the reader down. And yet, for all the description and wordiness of the tale, the action never lets up.

Nicholas and company move from one problem to the next, and Wells weaves several plots together, sometimes bringing in new information from unlikely sources, and creating events the reader would not have expected. For instance, in a mundane piece of foreshadowing, Nicholas’ birth family is mentioned. In the course of a normal novel, this would be an interesting fact, but only essential to the plot if it where a case of pig farmer turning king. Not so in this story. Wells then makes Nicholas’ family background a significant turning point much later in the book, a thing which leaves his life hanging in the balance.

Where the novel fails is in partly in Wells writing style, and partly in the rather unexceptional ending to both of Nicholas’ problems. Wells writes in such a way that I found myself easily distracted from her book even though I wanted to keep reading to find out what was to happen next. At times, my eyes would pass over a section of the novel, and I wouldn’t be able to remember what I just read. Not because nothing was happening, but because the way Wells writes requires more attention than the average mindless story. I found the ending to both of Nicholas’ problems to be rather anticlimactic. The final confrontation with the necromancer by Nicholas and Madeline didn’t really seem like much of a triumph and Nicholas final confrontation with his nemesis and father’s killer is was rather ho-hum to my mind. Others will likely disagree.

Even if I didn’t enjoy the ending overmuch, I did enjoy the ride. The Death of the Necromancer has so many plot twistings and turnings, and such interesting characters; it is easy to see why this novel made it on the Nebula ballot. I do recommend this novel for all readers who enjoyed Jonathan Barnes The Somnambulist or Gregory Maguire’s’ Wicked. Like those books, The Death of the Necromancer will appeal to those folks who like the blending of magic and technology that is so much a part of the steampunk subgenre.

I recommend it as a book that is out of the ordinary and unusually creative. If you are looking for something outside the traditional tropes of fantasy, Martha Wells The Death of the Necromancer is a good place to start.

Posted by John at 12:22 PM | Comments (6) | TrackBack | Posted to Fantasy | Science Fiction
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Blood is Deeper than Water: An Interview with Pamela Freeman

Pamela Freeman is a noted Australian author of children's fiction. Her first adult novel, Blood Ties (my review), is set for release in April 2008, with the sequel, Deep Water, in September or October of the same year. The final book in The Castings Trilogy, Full Circle, does not yet have a release date. As well as being a skilled epic fantasy writer, she is a mom, wife, and educator. She is also fastest responder I have ever interviewed. After I sent the questions to her publisher, Orbit, I had a response the very next day. And yet her answers are intelligent and full, suggesting to me that she is one sharp woman. I'm sure you'll agree.

GFTW: You are an experienced children’s fiction writer with seventeen books to your name. Is your approach to writing children’s fiction and adult fiction different? In what way?

Pamela Freeman: The main difference, I think, is length! That sounds facile, but it actually makes a big difference to how you work. Most of the children’s books I have written are under 30,000 words. Blood Ties is around 150,000. I can keep all the details of a 30,000 word story in my head quite clearly, but with a larger and far more complex narrative I needed to spend a lot more time thinking about plot and timing, particularly as I had two main narratives running over several years. I am learning so much through the Castings Trilogy about writing long complicated stories!

GFTW: Recently the blog SF Signal asked a few authors of young adult fantasy and science fiction about the explicitness of sex in young adult fantasy and SF. Where do you draw the line in your fiction?

PF: The only YA fantasy I have written was for the Quentaris series, which doesn’t emphasise that aspect of storytelling, so it didn’t arise for me. In my other fantasies, I have been writing for younger children and I don’t put much about sex in them because I don’t think they’re really all that interested in it – they want a different kind of action! I think the line for me is about storytelling – when the details about the sex get in the way of the story, then it’s bad writing. Are the details relevant to the character’s development? Do they illuminate aspects of character or do they set up further developments in the plot? Then, by all means, put them in. But if they’re just there to be ‘exciting’ then it’s bad storytelling.

GFTW: Blood Ties is your first novel for adults. Was there any fear or trepidation in making the jump from children’s fiction to the more critical adult world?

PF: Absolutely. That was why I wrote the book as part of a doctorate in creative arts – because I wanted some help in making the transition and I knew I’d get intensive supervision through a doctorate. I was lucky to have Debra Adelaide as my supervisor – a wonderful writer and editor. But don’t think that the children’s lit world isn’t critical! You are scrutinized and reviewed far more in children’s literature – every one of my books has been reviewed extensively, which is very unusual in adult writing, as you know.

GFTW: Blood Ties includes several vignettes of characters who are incidental to the story, but to whom you give a past or a future aside from their encounter with one of the three main characters. Where did the idea for this germinate?

PF: In fact, the stories came first, and the longer narrative came out of them. The very first story in the book, "The Stonecaster’s Story", was written in 1996! I gradually, over a number of years, wrote a collection of stories set in the same world and often with the same characters, but it wasn’t until much later that I realised the larger story which they fitted into.

GFTW: What do you think the vignettes add to your story?

PF: There are three things. Firstly, I wanted to give a sense of what it might really be like, living in a world where fortune telling is reliable and ghosts appear three days after the person dies. How would that affect ordinary people and their lives? The stories explore that.

Secondly, fantasy novels traditionally concentrate on people who are ‘special’. I wanted to show that everyone has a story, that everyone is worth listening to. It’s a democratic impulse, I guess.

And thirdly… well, there is a larger structural reason I have those stories there, but you won’t find out what it is until the third book! But I promise, there is a thread connecting them all.

GFTW: Blood Ties began its life as a paper you were writing for your Doctoral degree in Creative Arts. Did you have to make significant changes to it to get it ready for publishing as a marketable novel? What kind of reception did you get from your advisors?

PF: I did have to make changes to it to get it ready for publication – but probably not more than I would usually do once a manuscript goes to an editor. Mostly it was about pace – my advisor was far more interested in character than pace and I had to tighten up the first third of the book. I was worried at one point in the doctorate that I was writing a story no one would want – it would be too ‘literary’ for the marketplace and too genre for the literati. But fortunately that was just nerves, and I know that I am a much better writer after being challenged by my advisor to improve things like character development.

GFTW: The Travelers of your story are a race of people oppressed by the stronger and more prolific Actons. Why is racial oppression and the reactions to it the central theme of Blood Ties?

PF: Because I hate racism, I guess. Because I live in a society in which racism is alive and well, because decisions which affect people’s wellbeing are still made on the basis of race and culture, because it’s just not fair – and that is an anger that can keep me interested in a 450,000 word story, which is what the trilogy will eventually be.

GFTW: What is your response to some reviewers who might say that you resort to a little deus ex machina to give your characters powers not previously foreshadowed, or to get the characters to encounter one another?

PF: It’s deus ex lith or aqua with me! Yes, I do that, partly because I’m also interested in what it would be like to live with active gods, where you didn’t have to take deity on faith. Partly for fun – and you’ll note that I do it quite openly, that the interference is understood by everyone, rather than using some vague concept of ‘destiny’ which is the same thing working behind a screen, like the Wizard of Oz. I’d rather have the machinery showing, as it were, because it feels more honest to me.

GFTW: Your inclusion of ghosts has a mystical, ancestor worship feel. That, and the divination from the casting of the bones, is the extent of the magic use in the story. Why did you avoid writing a complex magical system?

PF: Why is hard to answer. I started the stories by writing about stonecasting, and that just popped into my head and sat there, fully formed. Everything else followed from that. I suppose the other, technical answer is that one of the issues I am exploring is about the oppression of hierarchy, through the warlords, and for that to work they have to be unchallenged in power. Any complex magical system suggests an ability to harness power, which sets up another hierarchical system (the whole wizard’s college/guild thing) which would be in opposition to or in cahoots with secular power… it starts becoming another story altogether, one which I am not currently interested in writing. Maybe another day…

GFTW: The ghosts are an interesting part of the story. You require that characters who cause death return to the spot where the killed, lest they be haunted by the specter of those murdered. What was your intent in including such a requirement for your characters?

PF: There are two intents, the main one being the necessity for personal responsibility for violence. It’s not enough to just come back – you have to acknowledge your role in the person’s death and offer reparation. The other intent is story-driven – the army of ghosts which is raised in Blood Ties must be laid to rest, and there has to be a way of doing that which gels with the rest of that universe.

GFTW: Bramble comes from a good family, Ash from one that couldn’t take care of him, and Saker from one that was destroyed. Family has a great deal of effect on the characters, even if most of the story occurs away from them. Why such focus on these relationships?

PF: ’Cause that’s how humans work. We are the results of our backgrounds, mediated by our own character and ability, and we take our memories with us wherever we go and whatever we are doing. I’m not sure I could write a fully convincing character if I hadn’t thought about their family and backstory.

GFTW: What has been your favorite reaction from a reader?

PF: Someone emailed me and told me I was now their favourite writer! That was a real buzz. I’ve always wanted to be the kind of writer where people wait expectantly for the next book, and a number of people have told me that they are hanging out for Deep Water to be published, so that is very satisfying – one of the good things about writing a trilogy.

GFTW: How do you balance raising your son and writing fiction?

PF: I write while he is at school. I have an alarm which goes off half an hour before I have to pick him up, so I don’t forget because I am caught up in a scene (which almost happened once). Occasionally I write on weekends, but mostly just when he is out of the house. And I teach at night, when his dad is home (BTW, I also teach an online writing course at the Sydney Writers Centre.)

GFTW: What can you tell us about the sequel to Blood Ties, Deep Water?

PF: In Deep Water, the Well of Secrets sets our characters off on new journeys, some physical and some mental. Bramble learns a lot more about Acton and the invasion of the Domains by his people. Things are not as history has represented them! Ash must discover why his father has withheld songs from him which are crucial to the safety of the Domains. We meet new characters who will play big roles in the story and discover new kinds of beings and powers operating in the Great Forest and the deep waters… and Saker’s ghost army is growing larger and stronger. It’s a more complex story and a faster pace than Blood Ties, and I hope it is full of surprises.

GFTW: Thank you for taking the time to answer my questions.

PF: My pleasure!

Posted by John at 01:48 PM | Comments (2) | TrackBack | Posted to Fantasy | Interviews
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Book Review: The Golden Cord by Paul Genesse

* Genre: Epic Fantasy; Coming-of-Age Fantasy
* ISBN: 1594146594
* ISBN-13: 9781594146596
* Format: Hardcover, 399pp
* Publisher: Thomson Gale Group (Five Star Imprint)
* Pub. Date: April 16, 2008
* Series: Book One of the Iron Dragon Series

In his first full length fantasy, Paul Genesse straddles the line between young adult and adult fiction. The Golden Cord is the first novel in a planned five book series called The Iron Dragon series. In it, a young man by the name of Drake (foreshadowing, anyone?) has his life turned upside down by two events. The first is the loss of friends at a young age, the second the arrival of two dwarves to his remote village, dwarves who are traditionally hostile to humans like Drake. Acting as their reluctant guide, Drake must help the dwarves Bellor and Thor find a lost mine. Meanwhile, Drake is fighting his own internal demons over the loss of his friend Ethan.

The world of The Golden Cord is an interesting one. Genesse has made humans and dwarves the prey of such mythical creatures as dragons, manticores, griffins and wyverns, as well as creating a few interesting hybrids (like wingaturs, a dragon/minotaur mix). Humans and dwarves live in fear of the more powerful winged creatures, which can drop out of the sky at will on the ground bound peoples. I found this to be a creative setting, and I think Genesse does a good job in creating his plateau world. He struggles a bit with distances, or at least his map and his narrative don’t always coincide, but this is easily glossed over.

Like a similar novel for teenagers, Christopher Paolini’s Eragon, the author has tended toward over explanation, especially in dialogue. Genesse writes tight dialogue, but like many new authors he is afraid that his readers may not get the subtler subtexts of the dialogue and so will through in a following sentence explaining the fears and rationales of the characters, even though the dialogue was quite clear enough. In some ways, this will stand him in good stead with younger readers, as they have more difficulty with the nuances of story, but to adults I think it might be a turn off, especially since it might make the reader feel like Genesse doesn’t trust him to understand the story. Such trust is essential in fantasy fiction, where an author must bring his reader to a state of belief in his creation. But for the less abstract teens, such explanation will likely be of benefit.

Genesse himself admits that his story is on the border of young adult and adult fiction. This is partly because there is a love story intertwined into the narrative, and secondly because there is at least one rather sexual scene. Although the two characters don’t sleep together, one tries to tempt the other with her body, and Genesse doesn’t shy away from describing the reaction of the male character to the female one. This is not something a reader of twelve or fourteen should read, although a sixteen or eighteen year old should have no trouble. The male character ultimately does the right thing and his restraint is a good example of what a person should do in the face of temptation. There is some swearing in the story as well, so the novel works best for children in their latter teens and adults looking for an epic fantasy with the same simplicity of plot as Paolini.

The Golden Cord is a pretty good first effort from an author who had only written some good short stories in several Daw anthologies, as well as being a full time nurse in Salt Lake City. I enjoyed reading as Drake came of age, became a hero, and developed friendships with his racial enemies. There is only partial resolution of the events in this novel as it is part one in a trilogy, but it is still a satisfying one. The big picture of the Iron Dragon series becomes clearer and clearer as the plot moves along and I think the final battle, and the resultant heroism of Drake is likely to be enjoyable to most fans of epic fantasy.

The Golden Cord is an average novel, neither particularly bad nor particularly good. There are some plot inconsistencies (although I read an ARC copy, so these may have been rectified by time of publishing) but Genesse is a good writer, and his story never plods, nor does it get heavy handed or pedantic. The Golden Cord is a pleasant read, enjoyable and interesting. Drake is an interesting character, both broken and heroic all in one. Genesse has the potential to be a great writer in the future, although this novel is only giving us hints of that potential. I think young adults will enjoy The Golden Cord more than adults due to their ability to suspend disbelief more readily, so I recommend giving this novel to your teen who needs more reading material like Eragon.

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Book Review: Sojourn Volume 6 - The Bezerker's Tale by Ian Edgington and Greg Land

* Genre: Fantasy, Graphic Novel
* ISBN: 1933160721
* ISBN-13: 9781933160726
* Format: Paperback, 172pp
* Publisher: Checker Book Publishing Group, LLC
* Pub. Date: October 2007

I should have been prepared for this. After all, CrossGen did go out of business and that is hardly Checker BPG’s fault, but I am disappointed that Sojourn Volume 6: The Bezerker’s Tale did not complete the Sojourn story.

In this final (?) volume of the Sojourn graphic novel, Arwyn and friends go into the North, to seek the final piece of Adyn’s arrow. In the meantime, Mordath sets a bounty hunter on Arwyn’s trail, and then sets off on a mission all his own. In this volume of the Sojourn tale Arwyn really makes use of her arrows against a bezerker, an enspelled troll. The action in this volume is greater than in the last, and the fight against the bezerker long and protracted, ending in a way I could not have predicted.

This volume collects issues #31 through #34 of the original comic. Additionally, it also contains the prequel for the series, which introduces us to Mordath the warrior, who is later resurrected as Mordath the sorcerer. The prequel is interesting and really turns Adyn the Archer into quite an enigmatic character. I’d like to know more a lot more of his history, and his relationship to Arwyn.

The final issue (#34) lacked the coloring depth of the previous issues. The color reminded me more of original comics from the 1940’s than the more vibrant comics of our current age. The artwork seemed all washed out, rather then having the detail and vibrancy of the previous issues. This was something of a disappointment to me, since I had come to equate the Sojourn series with very vivid coloring. The rest of the comics continue that tradition, and I think that the impending bankruptcy of CrossGen might have had something to do with it.

The story is also incomplete. I’m sure that Ian Edgington and Greg Land have completed the tale, but unfortunately we do not have a complete story for the reader in printed form. My hope is that Checker will work to have the tale finished, now that they have the rights to the story.

Still, all in all, Sojourn Volume 6: The Bezerker’s Tale continues to provide great artwork and an interesting story with several plot twists, including new and unexpected characters. Although we are left wondering at the fate of Arwyn, Cassidy, and Gareth, characters whose stories I have come to enjoy, it doesn’t detract from the story, it only makes me wish it could be completed. I continue to recommend reading the Sojourn series to anyone who enjoys good comics with great color but who prefers traditional fantasy to the popular urban fantasy, manga, or the superhero tales more often found in graphic novels.

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Book Review: Blood Ties by Pamela Freeman

* Genre: Epic Fantasy, Literary Fantasy
* ISBN: 0316033464
* ISBN-13: 9780316033466
* Format: Paperback, 400pp
* Publisher: Orbit
* Pub. Date: April 7, 2008
* Series: Castings Trilogy

More often than not, writers of fiction for adults will make occasional forays into novels written for younger adults (Neil Gaiman, Terry Pratchett, even George R. R. Martin) but rarely does it go the other way around. When it does happen, these books from writers of young adult fiction are derided as childish or overly simplistic. But sometimes, a jewel rises to the top. In the this new offering from publisher Orbit, Australian author Pamela Freeman has managed to make the leap from young adult to adult narratives effortlessly.

Blood Ties is the first novel in what is being called The Castings Trilogy, an epic fantasy set in a world where ghosts and prophecy are a part of everyday life. The story follows three characters: Bramble, Ash and Saker, all children of a subjugated race called Travelers. They have been oppressed for a thousand years by the blond haired and blue eyed Actons. As the story progresses, each character is forced to deal with what it means to be a part of a reviled race, while also coming to terms with what they can do about it. This sense of what to do about racial oppression. The little and big reactions to it are the primary motivators for the characters in this first book of The Castings Trilogy.

Bramble is of mixed blood, Traveler and Acton, but she looks like a Traveler. Forced to leave home for a crime she committed but would get no justice for, she takes the Road, as her ancestors have done ever since their subjugation. In essence, Traveler’s are like the gypsies many readers will be familiar with, and they are just as reviled in the world of Blood Ties. Much of Bramble’s struggle is about learning self-worth in the face of such aggression toward her. She also is seeking to avoid powerful men who use power simply for the sake of exerting control. Her aspect of the theme racial oppression is its effect on the weak.

Ash is a young man of full Traveler blood. Unable to learn his parent’s craft of music due to a horrible singing voice, he is apprenticed to a woman who trains guards named Doronit. Ash thinks he is being trained to provide safety for others, but he is in fact being trained to become a for-hire killer. His conscience causes him to struggle with this, but his gratitude to Doronit and lust for her keep him tied to her. In the meantime, he discovers he has powers over the ubiquitous ghosts that appear after the death of all people. Ash was my favorite character in Blood Ties. He is a little lost boy searching for a home.

Saker is the least explored character. His chapters are very short and his nature is little explored. He is the character that seeks revenge for past injustices. His skill as an enchanter makes that possible, and it seems that he is being prepared to become the face of evil for the trilogy.

Although by no means a slow novel (it does have quite a bit of action, although not usually of the sword and sorcery type), its primary focus is on character building and world building. Each primary character acts and reacts separate from the other, moving toward an ending where they finally encounter each other. The conclusion of Blood Ties is not any sort of climatic finale or final battle. The story simply ends by introducing us to a new character and preparing the set up for the next novel with an act that will likely lead to a confrontation of epic proportions in the next book.

Nor is there a primarily evil character. For the most part, evil is faceless and sense of racial oppression and injustice. By the end of the novel, evil begins to gain a face both Acton and Traveler. However, evil is in the eye of the beholder, and Freeman has worked hard to make her characters truly rounded by using the “stories” of the minor characters.

What makes Blood Ties so unique and makes it better reading than the average coming of age or standard epic fantasy, is the vignettes Freeman includes in the tale. In between the stories of Ash, Bramble and Saker are short stories that give the reader either a prehistory or post-history of some of the minor characters whose lives touch those of the primary ones. Each “story” as they are titled in the volume, is written as if the person writing it were telling you, the reader, the events that happened to them either before of after their encounters with Ash, Bramble and Saker. This unique writing technique does a great deal to flesh out the history of some of the minor characters. The chapters’ containing these “stories” are almost as exciting to read as the primary tale.

I loved reading Blood Ties. Although the majority of it is given over to character and world building, the world it builds is fascinating and the characters extremely compelling. The plot has a very nice ebb and flow of action and introspection, and Freeman has done well in keeping the reader’s interest. There is little wrong with the book, although some readers will likely be turned off by its pace, and the fact that there is no definable evil character, at least initially. Some readers will also be turned off by the theme of racial oppression. Yet I think that Freeman gives a rounded view of the topic and avoids becoming myopic. Travelers are not all good and Actons all bad.

The story contains a couple of rapes (not overly explicit, but key to understanding some of the characters) so it is not for children and Freeman likes to use the word “shagging” a lot. Of course, in the US it has less meaning than in Freeman’s native Australia. Finally, Freeman does resort to adding magical elements to her world just to get her characters out of dire situations. While consistent with the world, it sometimes seem like some of them were just a way for Freeman to get her characters out of tight spot.

If you like epic fantasy this is a good book to read. It is not preachy like Terry Goodkind and its world is unique from many others in the genre. It has none of the dwarves or elves you might expect from such but doesn’t really fit into another categorization. It is comparable in style to Jeffrey Overstreet’s Auralia’s Colors in its literary form. Fans of Karen Britain and Karen Miller will also like it, as it has a lot of horses and also has the same sort of mood in its feel. I highly recommend Blood Ties and I look forward to its sequel Deep Water.

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Book Review: Dragon Outcast by E. E. Knight

* Genre: Epic Fantasy
* ISBN: 0451461851
* ISBN-13: 9780451461858
* Format: Paperback, 368pp
* Publisher: Penguin Group (ROC)
* Pub. Date: December 2007
* Series: Age of Fire Series, #3

If you missed last year’s release of Dragon Outcast, turn around, go back to the bookstore and pick up this third novel in the Age of Fire series by E. E. Knight. As always, Knight brings us an action/adventure story filled with everybody's favorite fantasy creature, dragons.

One thing I have especially enjoyed about the Age of Fire series is that you could pick up any of the novels and start with it. You could easily read Dragon Outcast without having read Dragon Champion or Dragon Avenger and still enjoy it completely as a stand-alone novel. Yet if you have been fortunate enough to read the other books, then this it only increases the depth and breadth of the one you took off the shelf.

Each of the books begins at the exact same time and location, yet each follows a different dragon. In Dragon Outcast, we learn the story of the Copper, Auron and Wistala’s sibling who was denied the egg shelf. In the previous two books the Copper was given a villainous cast, as it was he who led the Dragonblade and the Dwarves to his family’s cave. But in Dragon Outcast, we learn that all is not as it seems, and that the Copper’s motivations were purer than you think. And most especially, we learn the fate of the Dragonblade, an enigma from the first two books.

Dragon Outcast follows the Copper as he grows from hatchling to full fledged dragon. Hideously scarred and damaged by being outcast from his family, the Copper is forced to make his own way in the world. Hearing of a glorious place called the Lavadome, where dragons live in peace together, the Copper seeks it out. His journey takes him underground from his parent’s cave to the very feet of the Tyr, the leader of the Lavadome. Yet his journey has damaged his body (eye, leg, and wing), and acceptance is hard to find in the body conscious society of the Lavadome. The Copper must make a name for himself, and what follows makes for an interesting story as he grows from drake into dragon.

Ironically, where in the previous two books E. E. Knight has Auron and Wistala spend a great deal of time seeking the company of other dragons and not finding it, the Copper, an outcast, finds it rather easily. Yet he is the least suited for it with his damaged body. Knight weaves and interesting dragon society, one that is believable based on the traditional nature of dragons. Their ferocity, their territorial nature, and their intelligence are all weaved into a culture that is both believable and perched on a precipice, ready to collapse at any moment. The Copper provides the catalyst for its change with his arrival.

This was probably the strongest book of the Age of Fire series. Knight has woven the plot tightly so that the story does not have the elongated feel of Dragon Champion or some of the random plot elements of Dragon Avenger. Knight perhaps could work on his action sequences a bit, as it was occasionally hard to understand how the action related to the space around the character.

I think at times that Knight also assumes we have knowledge we do not. His dialogue will sometimes be structured to hint at prior knowledge that he failed to give us earlier in the novel. Usually, I was able to infer the information, and it was usually something to do with dragon society that was not really important to the story anyway, but I would have appreciated an explanation.

All in all, Knight continues to be a wonderful writer. He has taken dragons and made them both more and less than what the fairy tales had given. Many stories of dragons make them majestic and helpful, or split them into “good” and “evil” dragons usually dependent on scale color. But Knight’s dragons are all of a whole, and color has nothing to do with personality. Good and evil designations are dependent on the nature of the dragon in question. The Copper is our hero, and anyone who has ever felt marginalized by the society in which they live will find they are very able to identify with the Copper’s struggles for recognition. I highly recommend you read Dragon Outcast. And if you have trouble finding the first two books, don’t worry, you can read this one and go back to the other two. The whole series is one of those rare ones that I will actually and go back and read, because each novel adds depth to the other. A re-read will only heighten the enjoyment of the first two novels. Here’s to the Age of Fire, a series of extraordinary novels!

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Book Review: Confessor by Terry Goodkind

* Genre: Epic Fantasy
* ISBN: 0765315238
* ISBN-13: 9780765315236
* Format: Hardcover, 608pp
* Publisher: Doherty, Tom Associates, LLC (TOR)
* Pub. Date: November 2007
* Series: Sword of Truth Series, #11

Confessor is the last book in Terry Goodkind’s epic fantasy/philosophy series The Sword of Truth. When the series began, many readers thought this book would be a great fantasy trilogy, short and sweet. It quickly blossomed into eleven novels, each 500 or more pages in length, and one novella Debt of Bones. Throughout that time, it generated a lot of criticism from fans of speculative fiction and professional critics. Yet each novel has consistently stayed at the top of many bestseller lists, alongside many “mainstream” books. It is a strange sort of situation. The series is both widely popular and particularly reviled.

This is, I think, because Goodkind placed a great deal of his personal philosophy of Objectivism into the books. Many of the characters stop often to extemporize on the virtues or faults of faith, reason, force and prophecy. Many readers objected to this, while others enjoyed it, and so the series became a sort of like it or hate type of reading. I always liked it. When I started reading the novels, I accidentally began with Stone of Tears, the second novel. But I was drawn in by both the story and the philosophy.

Confessor continues that trend, but as I have grown older and more critical (I was in my teens when I read the first books) I have begun to see why critics have so disliked Goodkind’s novels. Confessor concludes the story, finally solving the riddles of the chimes, the boxes of Orden, Jagang the dreamwalker, and Richard Rahl’s wizardly heritage. Yet it is also the culmination of Goodkind’s philosophy, and all the questions raised in the previous novels are finally given an answer in this final volume. But that answer was very unsatisfying to me. It exalts reason over faith, and it finally came to me why people so dislike the novels. Reason has been shown in this age of postmodernism to not be what people want anymore. They want both reason and faith, and since Goodkind rejects the notion that a person can have both, many readers are upset.

Confessor still draws the reader in, bringing up philosophical puzzles that agile minds will want to think about and address. The story continues to show Richard Rahl, the everyman, succeeding against impossible odds through his own force of will and not through mystical power (although that is part of the tale). This is compelling, especially to fantasy fans, who always want to imagine themselves as such a hero. This then explains some of Goodkind’s success. Yet Goodkind has given himself over to too much philosophizing. In the earlier books, the philosophy and the action was much better integrated than in Confessor. For instance, when Nicci is captured by Jagang she spends several pages berating the man and denigrating his philosophy. Jagang, the rapist and murderer just sits there ant takes it. He lets her finish and then brutalizes her. I just don’t see it happening that way. Jagang wouldn’t allow Nicci to speak ill of him, if he is as evil as Goodkind tries to make him.

Additionally, Jagang has gone from being the antithesis to Richard Rahl to being little more than a petulant child. His character is reduced to little that is interesting, and this bogs the story down.

In wrapping up the series, Goodkind is also forced to do a two-step to try and wrap up all the threads of his narrative. While he does so in most cases and everything does weave together in the end, I think he had to make some convolutions to get there, and it is relatively obvious to the reader. And, of course, Goodkind relies on his Richard rescues Kahlan, Richard loses Kahlan plot outline for this story as well. His problems for the character are once again regurgitated into the story and follow the same old plot line, if with new solutions and situations. It is still the same, and I find I have tired of Richard being successful in one thing and then losing again. Fortunately this was the conclusion to the series so for once Richard’s successes stay successes, albeit with a couple of setbacks.

I found the final conclusion rather unsatisfying. But then, I don’t really like the philosophy Goodkind espouses, so the triumph of reason over faith left me feeling a little hollow. And the heavy handed way he judged our world was annoying rather than motivating. Confessor was particularly full of philosophy, had a lot less action than previous books, made all faith blind and always on a level with brute force, and was simply too long.

Still, if you have been reading the series, you probably ought to finish it, but if you have not been reading the series, you could probably let it go entirely. If you are thinking of reading it, read Wizard’s First Rule and then the last three books Chainfire, Phantom, and Confessor and you would have essentially read the entire series. What happened in between those books is fluff and philosophy, and while interesting to some extent, you will rapidly burn out on rehashed plot. Sure, you wouldn’t have all the characterization or quite all the facts surrounding the tale, but it would be enough.

Confessor is the logical conclusion to the series, it just isn’t really all that fun. There are a few good action scenes, and of course we are glad for Kahlan and Richard, but sadly, Goodkind misses the point of faith. His disdain is a big turn-off and anyone who believes that faith is part of life is unlikely ever to enjoy the story. I appreciated the opportunity to read the series, and as a teen it was in some ways motivating, but as an adult I see the fallacy of the philosophy, the recycling of the plots, and the out-of-character actions of some of the characters. Would I go back and read The Sword of Truth series again? Yes, but only out of nostalgia, not because I believe the novels are of great value.

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A nicely done book trailer

I recently reviewed Maria V. Snyder's Poison Study. I was putzing around Youtube this afternoon (slow day) and found this neat little promo video for the novel.

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Book Review: The Prodigal Troll by Charles Coleman Finlay

* Genre: Epic Fantasy; Coming-of-Age Fantasy
* ISBN: 1591023327
* ISBN-13: 9781591023326
* Format: Paperback, 357pp
* Publisher: Prometheus Books (PYR imprint)
* Pub. Date: June 2005

Although many cultures have a similar story, the most famous prodigal is that of the parable of Jesus told in Luke 15:11-31. In it, a young man takes his inheritance, leaves his family and seeks his fortune in the wider world. He soon learns that the world is a cruel place and ends up returning to his father. The term “prodigal” eventually came to mean one who returned after a long absence, usually when after finding trouble apart from their families. The prodigal in Charles Coleman Finlay’s The Prodigal Troll is Maggot, a young man heir to power who ends up being reared by a lowly troll.

Similar to Edgar Rice Burroughs’ Tarzan of the Apes, Maggot is a human reared by a more bestial race. Finlay’s trolls are what we expect. Although not savage, they live in a primitive, subsistence life, and with the constant push of humanity into their territory, are slowly dying out. Maggot, being human finds that his nature is different from those of the trolls who raised him, as the find within his nature the desire to improve his life and those of the trolls who have become his family. Yet trolls do not seek to improve their lives, and when Maggot finds that trolls would rather keep the status quo than change, he leaves seeking both a mate and encounters with human culture.

Although Maggot’s seeking a mate drives much of the plot (the first true woman he sees he falls in love with, and his search for her is a great deal of the motivation for his continued interaction with humanity) it is really his interaction with the different societies of Finlay’s world that is most intriguing. This can really be broken up into three different cultures. The first is his life among the trolls. The second his life among the Gaelic/Native American tribal culture that is being overrun by the third culture, a western style medieval monarchy. Maggot interacts with characters from each and his feeble attempt to impose what he knows of troll culture onto human interactions creates both humor for the story and sympathy for his character.

Finlay’s exploration of the way humans interact with each other and the effect of war, love and the exotic on the human psyche is fun to read. Written in epic fantasy style, Finlay proves that epics do not have to take twelve volumes, or even a trilogy, to delve into the enigma that is humanity. Finlay writes with a wonderful cadence, inserting action at just the right moments, but allowing his characters time for introspection as well, but never so much has to slow the pace. The ebb and flow of the plot makes The Prodigal Troll a stay up all night read.

Although the novel is an epic fantasy in its formula, it is not formulaic. There is no pat answer to the questions it raises, and even the ending does not resolve in the way a reader comes to expect from epic fantasy. This is not to say that the ending is not satisfying (although in my opinion, it is a bit abrupt) just different from the standard. The concept of the “prodigal” has a lot to do with how the story is resolved.

At times, in battle scenes, I got a little lost as to the placement of characters, as perhaps too much is happening at one time. There are some elements, like the magic and the “Old Ones” that aren’t really explained, but in a sense that actually enhances the feeling of Maggot’s bewilderment. It is a violent novel, gruesomely describing some the horrors of sword and bow warfare. Weak stomachs beware. Maggot also learns languages a little too quickly to my mind, either that, or Finlay has failed to adequately make clear the length of time that has passed in which he learned it. This is a minor thing, but it stood out to me as a reader.

Readers of Black Gate will recognize some portions of the The Prodigal Troll, as it partially appeared in that magazine’s pages. Fans of Tarzan or the man-raised-by-wolves genre of story will love this addition to the canon. Finlay takes this genre and really uses it to explore and decry some of the excesses of the human race. Maggot is a part of humanity by nature, but very different form it by nurture and his outsider’s perspective on both human cultures glaringly portrayed humanity’s faults.

At the end of his acknowledgments to The Prodigal Troll, Charles Coleman Finlay asks if anybody is up for another book. My only answer to this question can be “yes, please.” Finlay writes entrancingly, and The Prodigal Troll, the first novel by this prolific short story writer, is a gem of the fantasy genre.

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Book Review: Goblin Hero by Jim C. Hines

* Genre: Humorous Fantasy
* ISBN: 0756404428
* ISBN-13: 9780756404420
* Format: Mass Market Paperback, 343pp
* Publisher: Penguin Group (DAW)
* Pub. Date: May 2007

Jig Dragonslayer has a new quest in Goblin Hero. This time, an ogre has come looking for his help. This is, of course, the last thing the diminutive Jig wants. Nonetheless, spurred on by his god, Tymalous Shadowstar, Jig finds he must accept the ogre’s request. But fighting pixies is not Jig’s idea of a good time, and in this sequel to Goblin Quest Jig must once again rely on his pusillanimous goblin brain to save everyone (including hobgoblins!) from the pixie invasion into the cavern complex the goblins, hobgoblins, and ogres call home.

Jim C. Hines uses his unique brand of humor to tell this funny adventure tale. Jig is his old self, a reluctant but effective hero. Yet Hines has also branched out and given the reader some new characters to enjoy. There is Grell, the ancient goblin nursery maid; Braf, the dumbest but biggest goblin in the lair; Veka the wannabe goblin wizard; and Slash, the hobgoblin with a strange fear for a warrior. Each of these characters will pluck a chord with readers of fantasy, and once again Hines has played with the tropes of fantasy to create a humorous look at what it means to be a hero.

Jig is once again the reluctant hero that readers of Goblin Quest will remember. But the new character that makes this story fun is Veka. A reverse Jig, Veka very much wants to be a hero, although she would like to be a wizard hero as opposed to Jig’s warrior one. As the story progresses it is Veka’s character that changes the most. She grows in her understanding of heroism throughout the novel, even with several misfires along the way. Watching the interplay between Jig and Veka, and the two different ways they approach saving the lair, made this book have more depth than its “humorous fantasy” label would imply. Hines is exploring the theme of heroism in Goblin Hero and Jig and Veka’s approaches show that often “there’s no wrong way to eat a Reese’s.”

Still, it is hilarious. Jig has a common sense approach to solving problems. This, when placed in juxtaposition to the idiocy of his fellow goblins, creates a lot of laughs. There is also the slapstick humor, especially when Braf hurts himself with his own weapon, or when Grell smacks the idiot goblins around with her canes. Smudge continues to play his role of sidekick to Jig, and the little fire-spider gets him out of one particularly tight situation.

Hines still suffers a little bit when it comes to describing the space around his characters. By that I mean that it is not always clear who is standing where in relation to whom, and that it is not always clear which tunnel is branching off from which and in what direction. This was especially a problem for me in the first bottomless pit scene. I was not clear on how the action was flowing, and had a difficult time picturing the events in my mind. This was because I wasn’t sure who was where and whether tunnels were above or below one another, where the bridge was in relation to the action, and so on. Of course, other readers may have no problem, or be able to fill in the blanks with ease. For me, this was a difficult scene to enjoy, because I simply didn’t understand the spatial relationships.

And some readers may not find Hines humor all that humorous. You have to like the sort of “woe is me” attitude of Jig. Since you know all will turn out well in the end (it is a heroic fantasy, after all) you can smirk and smile at Jig’s complaints. I find this kind of thing funny, but others may not. Hines humor is not the satire of Terry Pratchett, or the sardonic thoughts of Robert Asprin. But if you enjoyed Pratchett’s Going Postal or Making Money the main characters share a lot in common, and the humor plays out similarly. Of course, Goblin Hero is a funny look at the dungeon crawl, whereas Pratchett is satirizing the postal service and banking world.

I recommend that any reader who thinks this book is interesting first read Goblin Quest. It will be necessary for the reader, as the back-story is an important part of Jig and Veka’s relationship. Goblin Hero is not one of those sequels that can be read without reading the first book. Besides, after reading those, you will be set up to read Goblin War the third book in the series, set for release in March. (Read an Excerpt) I do recommend that you read Jim C. Hines work. He is funny, his characters are ones you'll easily identify with, and his story has all the elements that make a dungeon crawl fun. The Goblin Series is a fun interweaving of a Dungeon and Dragons setting, Mark Twain’s wit, and Steve Martin’s slapstick all from one gifted author, Jim C. Hines.

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Jim C. Hines Week - Day 4

Continuing our trend of celebrating all things Jim, here are a few more things you may not have know about the man.

Congratulate Jim on his first Publisher's Weekly Review.

He has not one, but two stories up at AnthologyBuilder, the do-it-yourself site for fans of short fiction. I've been waiting on enough stories from folks I like to do my first personal anthology, with Jim's two I'm getting real close. If you haven't checked out AnthologyBuilder yet, it is a must.

Do you Librarything? So does Jim.

Watch this guy draw his version of a pic of Jig the Goblin on his computer screen!

Or check out this recent reading and interview with Jim at the Time Traveler Show.

For reviews of Goblin Hero check out: Monsters & Critics, Curled Up, and ScifiChick. Mine will be posted on Friday.

And of course, check out Jim's Site and LiveJournal Blog.

And for those of you who scrolled down this far, we have a special treat. Around noon pacific coast time, Fantasy Book Critic will begin a giveaway of all three of Jim's Goblin books. It is such a wonderful coincidence that FBC and I would be highlighting Jim at the same time.

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Never Challenge a Goblin to a Game of Rakachak: An Interview with Jim C. Hines

Jim C. Hines, author of the incredibly witty and full-of-pizazz* Goblin trilogy (Goblin Quest, Goblin Hero, and the forthcoming Goblin War, all from DAW books), talks with me about Jig Dragonslayer, writing, and a favorite role playing session.

Grasping for the Wind: Why is humor such an important part of a story?

Jim C. Hines: Without humor, the goblin books could get awfully depressing. Goblins are the underdogs. They lose nine out of ten battles, and they live short, violent lives. If I wrote the stories without humor, it would be nothing but a band of depressed emo goblins singing the blues while they wait to die. You need humor and ... let's call it pluck. Jig is far from thrilled about his situation, but he never gives up. The goblins are always scheming and plotting and defying their role as the underdogs of fantasy. That makes them a lot more fun to write about, and hopefully to read as well.

GFTW: Jig Dragonslayer is a self-deprecating character. His own heroism comes as a surprise to him. Why do you think causes characters like Jig to resonate with readers?

Jim: We might enjoy the superheroes, the unstoppable barbarians and uber-powerful wizards, but I think we can relate more to characters like Jig. He's the Charlie Brown of fantasy. Watching this poor runt fight and somehow manage to survive is a lot more inspiring than when Rambo-with-a-Broadsword does the same thing.

GFTW: Smudge is a non-speaking character, but he has a lot of personality. Did you find it difficult to make sure he didn’t drop out of the story?

Jim: I love that fire-spider, but there were a few times when I'd finish a scene and realize I had completely forgotten about poor Smudge. He's a great character, but he's also limited in what he can do, plotwise. I mean, there's only so much for him to set on fire. But Smudge is important, not only as a kind of organic Zippo lighter, but also because he's Jig's best friend. I might forget about Smudge, but Jig never will.

GFTW: How would you describe your writing process?

Jim: Ugly? Unstable? Painful? My path from idea to finished manuscript varies a bit depending on the story, but usually it involves a few outlines, a first draft of pure chaos and confusion, and several rewrites to finally figure out what the story's about and get it down right. But it works for me.

GFTW: Where did the idea come from to do the Monday LOL books at your blog?

Jim: Heh ... I had just discovered Cat Macros, and I was bored, so I decided to slap a few captions on books by myself and my friends. I posted them on LiveJournal, and the reaction was very positive, so I did a few more. If something makes people grin or laugh, I tend to keep doing it. I think I've done about 40 books all total. It's gotten to the point where I'll meet people at booksignings who say, "Nope, I've never heard of the goblin books. But aren't you the LOL Book guy?"

GFTW: Why do you choose to write primarily fantasy, even though your mainstream fiction has been well-received?

Jim: I haven't actually written a lot of mainstream stuff. One novel and a handful of short stories. I'm proud of them, but I have a lot more fun with fantasy. I love the magic and the wonder. I even love the clichés, the dragons and the shiny swords and the wizards. There are other genres and subgenres where I might be able to make more money, but I figure you've got to write what you love.

GFTW: You have said that you are taking a break from the Goblin stories to work with different characters. How are The Stepsister Scheme and the other Princess novels different from the stories of Jig?

Jim: The princess books are a bit more serious. Not completely serious, of course. I'm basically writing a mashup of fairy tale princesses and Charlie's Angels. But the characters are more complex, and I think the stories have a little more depth and power. Also, it was kind of fun to switch from Jig the anti-warrior to one of my princesses who's skilled enough to kill an armed and armored warrior with a spoon.

GFTW: You attend a lot of conventions. What do you like most about attending?

Jim: I mostly do the local conventions, for budgetary and family reasons. I've always been a bit of an introvert, so the first few times I went, I felt completely overwhelmed. These days, having met some of my fans and fellow writers, I love the cons. I love getting together with "my people," being able to make goofy jokes about Babel fish or quote Firefly with people who actually get it and don't look at you like you're from another planet. Watching your book sell out in the dealer's room is a nice bonus, and a good boost for the ego.

GFTW: You have mentioned that you used to play role playing games quite often. What is your favorite role playing game memory?

Jim: A friend spent a long time planning a major battle between our party and a Kraken. We had our little charms to let us breathe and move underwater. Each player was allowed to choose one other magical item for the battle. So after watching the rest of the party hack, slash, and fireball this huge monster to little effect, I swam up and tapped it with a wand of polymorph. Kraken fails magic resistance and saving throw, and I turn him into a butterfly. The gamemaster glares at me, hate searing the air between us, and mutters, "It drowns." I'll leave it to the reader to figure out which scene was partly inspired by that game.

GFTW: Any parting thoughts?

Jim: If a goblin challenges you to a game of rakachak, just say no. Trust me on this. Thanks for the great questions. I hope folks enjoy the books!

Keep the belly laughs coming by reading Jim's blog.

Also, read a pdf excerpt from his forthcoming novel Goblin War, set for release in March 2008.

---
*Jim says it is okay for me (a man) to use the word pizazz, "but the Code of Testosterone requires that you grunt a few times and scratch yourself while doing so. Belching is optional :-)."

(Author Photo © Craig Hebert)

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Jim C. Hines Week - Day 2

Here are some more great links with Jim C. Hines miscellania:

The Song of Jig as played by Tom Smith (this is a fun acoustic song!)

Read the first chapter of Goblin War.

Help add to Jim's Wikipedia page. (It is sorely lacking in good stuff.)

Read some praise from various authors and websites for the Goblin books.

The difference between Shrek and the Goblin books is right here.

Read a couple reviews of Goblin Quest by me, SciFi Chick, Infinity Plus, and GoodReads.

Lastly, for you those of you who are audio junkies, here is an interview with Jim at SFF Audio.

And of course, check out Jim's Site and LiveJournal Blog.

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Jim C. Hines Week

This week is Jim C. Hines Week at Grasping for the Wind. Goblin War comes out exactly one month from today, so each day this week I will be highlighting Jim in some form or fashion. (interviews, reviews and links to interesting material.)

First off, Jim is doing some highlighting of his own, and is running a LOL book cover caption contest for Goblin War.

Secondly, read my review of Bash Down the Door and Slice Open the Badguy, in which Jim tells the story of how Jig and Smudge first met.

Lastly, read these interviews with Tymalous Shadowstar and Jig the DragonSlayer, at Straight from the Barrel...

And of course, check out Jim's Site and LiveJournal Blog.

Stay tuned for more, including my interview with Jim and my review of Goblin Hero as well as lots of link love!

Feel free to submit your own Jim C. Hines material by emailing me through the link in the navbar, or placing the link in the comments below.

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Book Review: Bash Down the Door and Slice Open the Badguy edited by W. H. Horner

* Genre: Comic Fantasy, Short Fiction
* ISBN: 0971360855
* ISBN-13: 9780971360853
* Format: Paperback, 276pp
* Publisher: Fantasist Enterprises
* Pub. Date: May 2007

Laughter, they say, is the best medicine. But what kind of laughter? Nervous laughter? Belly Laughter? Or that sinister chuckle we all at least feel at someone else’s misfortune? Well, what ever kind is medicinal for you, you will likely find it in Bash Down the Door and Slice Open the Badguy and anthology of humorous tales of swords and sorcery edited by W. H. Horner. Horner was also the editor of Sails and Sorcery, and anthology which this reviewer called a bit of a “mixed bag”. But this collection, while published earlier, is a much stronger assortment of stories.

The introduction, by John Moore, gives a history of humorous swords and sorcery going back to Don Quixote. Unbeknownst to me, Don Quixote was a parody of a swords and sorcery romance akin to Le Morte D’Arthur. Moore concludes from the fact that if the first great European novel was a satire of a fantastic romance, that “all good fiction, after all, needs a reality check.” That fiction, and fantasy in particular needs life is more than the gloomy picture that the genre’s gloomy seminal works portray (think LOTR). I agree, for life, after all, is about humor as much as it is pain and tragic death.

All of these twenty-four stories are quite funny. All though not all are laugh out loud uproarious, they still bring a smile to your face, whether due to the ridiculousness of the situations, the satire, or the witticisms of the authors.

“Beerwulf” is a take on Beowulf from the monster’s point of view. When the armored and boastful hero steps into the lake containing the monsters he ends up having to be saved by them. Lawrence C. Connolly has written monster characters we can root for.

“A Different Shade of Knight” by Jason S. Ridler has a protagonist who finds favor with a small god of chance. This is unfortunate, as chance is a fickle god, and coincidences don’t always end in your favor. The humor of this story comes from the strange coincidences that occur to create highly improbable (even for a fantasy) situations.

“Assassin’s Playground” by A. G. Devitt has some hapless heroes misapplying half learned techniques to rescue a fair maiden. The humor is slapstick, reminding me of a Steve Martin film.

Not really a funny story, but an okay mystery is “Mistress Fortune Favors the Unlucky” by Eugie Foster (an Atlantan like myself). I think that with mention of bondage, flogging and other S & M sex references the author was trying to create humor through shock. This didn’t happen for me, although I did enjoy the mystery story that was presented.

“A Lesson in Heroics” reminds us that all actions have consequences. Especially when you fool with an old granny. The supposed heroes learn that true heroism requires chivalry, not just killing or capturing the bad guy. The moral lesson of Jeremy Yoder’s tale was great, and the little old lady who is the centerpiece of the story is a hilarious no nonsense woman.

A great story is Paul Crilley’s “The Ice Maiden Speaketh” a mix of letter format and narrative, Crilley’s story is creative. What happens when an evil overlord gets a midlife crisis? Does he write the “Dear Abby” of his local magazine? Crilley has a modern psychological twist to the evil overlord story.

Sometimes a friendship can be pushed too far. And sometimes the sidekick just doesn’t get his due. “Keep Coming Back for More” is more sad and anguished than truly humorous. Margaret Ronald didn’t really draw any laughs from me, although I did enjoy for the poor narrator’s cynicism about his constant resurrections, and ignoble deaths.

“The Great Thrakkian Rebellion” by Megan Crewe is a quick look at the reason why goblins, orcs and trolls so often work for evil overlords. Well, because they are just so easily led. A funny look at life in the trenches of an evil overlord’s minions.

“Always Read the Fine Print” is a good lesson to learn, especially in magic. L. L. Donahue’s magician just wants to give his niece a dancing bear. But dabbling in forbidden magics is forbidden for a reason. A satisfyingly ironic “spell gone wrong” story.

Sometimes even the characters know how the story is going to end. “Heard It” by Dale Mettam cuts right to the chase. Worldly-wise heroes know that one quest is often just the same as any other one. Mettam’s heroes have “Heard It” all before. A sideways look at the ridiculousness of the epic quest.

“Crossing Swords” by Murray J. D. Leeder was one of the stories I was looking forward to in this anthology. What does a sentient sword do? After all, they live for millennia, and even get used by some pretty idiotic heroes. A funny look at what sentience does to something without the ability to do anything for itself.

K. D. Wentworth is a notable author but I felt that “Hallah Iron-thighs and the Hounds of Hell” was rather a dull tale. The protagonists end up adopting a hound of hell, but Wentworth does little really with the possible implications of that, instead opting to move in a different and only slightly related direction. What humor there is comes from the interchange of Hallah and Gerta but beyond that the story wanders and ends abruptly.

Pity the poor famous person. “There’s Only One Dakon the Mighty” by Elizabeth K. Hopkinson picks up where most heroic tales leave off. After all, heroic success is bound to draw admirers, journalists, and politicians out of the woodwork. But heroes are not cut out for administrative work as Dakon finds out. But using doubles to meet all your obligations can be problematic too, as Dakon finds out. Sometimes, someone else is a better you. Confusion creates the hilarity of this story.

Jim C. Hines’ “Goblin Hero” is a must read story of course, especially because this gives us the back story for the relationship between Jig the Goblin and Smudge the fire-spider. Although this story was not as strong as the novels, it still had the same self-deprecating hero. I didn’t enjoy this story as much as the novels, mostly because I felt that based on the character first introduced in Goblin Quest that the events related seemed out of character. Jig’s behavior and actions are out of sync with the character we meet in the first novel. I would have made more sense for the Jig of this story to behave this way after Goblin Quest but not before.

“No Shit, There We Were” by Michael Brendan redeems the city watchman. Sometimes the heroes are just bullies with good PR. A story told from the city watchman’s point of view. Although this story wasn’t particularly funny, it was a nice look on the other side of the law from that of most fantasies.

In “But Before I Kill You….” Lindsey Duncan explores the need for love that even evil overlords have, especially if they are female. While I thought Duncan’s writing was a little rough (her sentence structures were a little annoying to me) her story was cute and sweet giving rise to a laugh of delight at the love sickness of her character. Duncan's story finds that while evil folk might be powerful, their own human nature is often even more powerful.

When working as a team, one should really work to get along. But the characters of “An Incident at Black Tongue Tavern” by Michael Turner fail to remember that truth and so end up cornering the righteous instead of the villains. This story panders to the men who enjoy their female heroines topless. Its one fight scene is a bit contrived, and the story has only a little forced humor.

In a standard sword and sorcery, the female characters are often buxom ladies in chainmail. But what happens when one culture finds what we consider ugly is in fact beautiful? How would that make the buxom ladies feel? Melissa Lee Shaw explores this in “Delilah’s Dames in Nomadsland”. As a man, the utter ridiculousness of finding an overweight small-breasted woman with a mustache beautiful made me laugh, especially when tanned, buxom women were there for the offing. (I know; I’m a sexist.) Shaw really turned the female character of sword and sorcery trope on its head, without changing the superficialities we love.

“The Atrocious Head-Bashing Troubadour” by C.M. Huard shows us the humor we can find when the mighty are brought low as a result of their own folly. The hero in this tale is plain-speaking, and reminds that reader that the powerful are not always the smartest of people.

“The Voice of Reason” by Ken Brady is another story about music. When a solitary woman has her solace interrupted by a goat headed man’s singing, she resorts to violence. But actions have consequences, as this lady finds out.

A heartwarming story of a landlady’s care for her favorite tenant is “In the Shit” by Barbara Davies. There are a few humorous moments (such as when the buff barbarian turns out to be gay) but for the most part this is just a nice little tale about helping out a friend in need.

Having successful fathers is not always easy, especially when he is a famous wrestler and you are a shrimp. But in “The Wrestler’s Apprentice” by Stephen Castillet, the hero uses brains over brawn, especially when he discovers that his companion on his quest is a metal man and a barbarian who has an allergy to violence. An eminently readable story, the jokes are obvious, but I have to say I really enjoyed the digs at union politics.

In the same vein as “The Ice Maiden Speaketh” is “The Order of the Crimson Tunic” by Kevin N. Haw. Written as the expendable henchman writing home to his mother, Haw provokes laughter by making the letters lighthearted while the henchman’s comrades fall around him one by one. This is a humorous ending to the dungeon crawl, and when the henchman wins out the end, a little cheer came from my lips.

“Just Temping” creates an alternate dimension story. The female protagonist is a human from our world and time, but the setting is a fantasy world. Susan Sielinski has her protagonist temp in for the position of evil overlord. But sometimes, doing your job well can land you in a lot of trouble. Sielenski’s story was the most creative and humorous of the bunch, and as the closing story, it let’s the reader wrap up the anthology on a high note of laughter.

I can honestly say that all of the stories were fun to read. The anthology is a solid collection. It was nice that while there was sexual innuendo it never devolved into explicit description, allowing the stories to maintain their lighthearted humor. And even though some of the stories use cursing, it was usually cleverly funny and appropriate or even accurate as with Barbara Davies’ In the Shit. (The solution to the problem of the story is literally going through a sewer and up into a water closet.)

All of the stories used different kinds of humor to produce the same reaction – laughter. Anyone who reads these twenty-four stories will find several that resonate with their preferred type of humor, whether satire, uncomfortable situations, a little potty humor, or a fine wit. I highly recommend this anthology for a good laugh when life has got you down. A dose of Bash Down the Door and Slice Open the Badguy and you’ll cheer up in no time.

The entire list of stories is below:

“Beerwolf” by Lawrence C. Connolly
“A Different Shade of Knight” by Jason S. Ridler
“Assassin’s Playground” by A. G. Devitt
“Mistress Fortune Favors the Unlucky” by Eugie Foster
“A Lesson in Heroics” by Jeremy Yoder
“The Ice Maiden Speaketh” by Paul Crilley
“Keep Coming Back for More” by Margaret Ronald
“The Great Thrakkian Rebellion” by Megan Crewe
“Always Read the Fine Print” by L. L. Donahue
“Heard It” by Dale Mettam
“Crossing Swords” by Murray J. D. Leeder
“Hallah Iron-Thighs and the Hounds of Hell” by K. D. Wentworth
“There’s Only One Dakon the Mighty” by Elizabeth H. Hopkinson
“Goblin Hero” by Jim C. Hines
“No Shit, There We Were” by Michael Brendan
“But Before I Kill You...” by Lindsey Duncan
“An Incident at Black Tongue Tavern” by Michael Turner
“Delilah’s Dames in Nomadsland” by Melissa Lee Shaw
“The Atrocious Head-Bashing Troubadour” by C. M. Huard
“The Voice of Reason” by Ken Brady
“In the Shit” by Barbara Davies
“The Wrestler’s Apprentice” by Stephen Castillet
“The Order of the Crimson Tunic” by Kevin N. Haw
“Just Temping” by Susan Sielinski

Posted by John at 11:05 AM | Comments (1) | TrackBack | Posted to Fantasy | Humor
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Book Review: Poison Study by Maria V. Snyder

* Genre: High Fantasy, Coming-Of-Age Fantasy, Romance
* ISBN: 0778324338
* ISBN-13: 9780778324331
* Format: Paperback, 416pp
* Publisher: Mira
* Pub. Date: March 2007

I’ve always wondered who in their right minds would want to be the king’s food taster. After all, no matter how good the perks (rich food, cushy lifestyle) every meal could be your last. No food is that good nor is any king or general worth that much loyalty. Fight and die, sure, at least I have a chance at winning. But take the risk of eating poison, no way.

In this 2006 Compton Crook Award Winner, Poison Study, Maria V. Snyder (website; myspace) gives a plausible answer to this question. She even weaves an entire tale around a food taster’s life. Nineteen-year-old Yelena has been sentenced to death for the murder. She is given a choice, either serve as the Commander’s food taster, or swing from the gallows. She, of course, chooses to live. What she doesn’t know is that this means a life of captivity, fear of constant death, and involvement in political intrigue. It only gets worse when the reader discovers that Yelena is also being pursued by the father of the man she killed, a powerful General and ruler of one of the military districts that make up the military dictatorship of Ixia.

That’s right. I wrote “military dictatorship”. Snyder has done something I think is quite marvelous. Rather than use a standard setting for her fantasy tale, she chooses to place her characters in a country ruled by a military dictatorship. The Commander is the supreme ruler, but he, unlike other generals who have come to power, lives a spartan lifestyle, provides work and education for all people no matter their gender, and judges disputes fairly. Snyder has been innovative in choosing to have the political backdrop be different-yet-the-same for her fantasy tale. It is a medieval setting with a Napoleonic twist. Although the particulars of the setting are different, the overall tone of it is the same as any other high fantasy tale.

The plot is fairly simple. Yelena is moves through the story gaining and losing friends, discovering or gaining new abilities (she becomes an expert in poison and a good fighter), and ultimately pursues vindication for the murder she committed and freedom from the constrained life of the food taster. The story builds and builds till a climax is reached, finally pitting the heroine and her friends against all the evil arrayed against her. Snyder’s pacing and plot flow are very pleasant to read. It moves up and a down in with delicacy and action, with introspection and physical activity at just the right moments. Several subplots move within the tale as well. There is one apparent plot hole in two places in the novel, coming in the early chapters and related to the effect of poisons, but it comes to be answered in the way you might expect at the conclusion. So if you come across what appears to be a plot hole, wait, because all is answered in time.

The characters are what really make this work shine. There are two primary characters, Yelena and Valek. Valek is the Commander’s chief of staff, and the man who has put Yelena into the awful position is in, at least as concerns the food tasting. But he is also an assassin with compassion. He serves his commander ruthlessly but not blindly, and his empathy and care for Yelena give her a juxtaposition she is quizzical about for much of Poison Study. The story is told entirely through the heroine’s eyes, giving the reader the ability to empathize and agonize with her. Yelena becomes a character we care about, and would like to be. She is strong-willed and intelligent, but still a woman through and through. Snyder has created a well rounded character not too perfect but not grotesquely flawed either but simply a woman doing her best in difficult situations.

There are some issues I had with the book. First, Snyder does what many debut authors often do and overuses deus ex machina. By this I mean that whenever Yelena is in trouble, someone (usually Valek) shows up to save her. This took a little bit of swallowing because Valek, as the Commander’s chief of staff, would have been too busy to follow a lowly food taster around. This is kind of explained later in the book, but it wasn’t satisfactory enough for me. The other characters who pop up are a little more believable, but it still happens a few times too often.

Snyder also has Yelena become expert with the quarterstaff or “bow” as she calls it. But to my mind a bow is used for archery. I think what Snyder meant was a bō the Japanese name for a quarterstaff. Although as a writer of fantasy, Snyder has every right to call the weapon what she likes every time I read the word “bow” I would imagine archery, not a bludgeon, no matter the actions surrounding the word. This is a minor flaw, but one that bothered me.

Still, these are small things, and overall, Poison Study is both a strong debut and a well rounded novel. Interestingly, Poison Study includes a pretty good discussion guide in the edition I read. This would make the book good for reader’s circles and book groups. And since there is a significant (but not bodice-ripping) romance in the story, romance reader circles might want to turn to this novel as a way to broaden their reading, while still enjoying the element they most enjoy about their favorite genre.

I highly recommend that you read Maria V. Snyder's Poison Study. It’s a little different from the standard fantasy, but still fulfills all the expectations of the high fantasy connoisseur. You might also want to share it with your teenage children, as the study guide at the back would be a good starting point for family discussion. I thoroughly enjoyed this first novel in the Study series. It is creative without pushing the limits, has great action, a little romance, and some truly evil villains. All that one can ask for from a high/coming-of-age fantasy.

Yelena’s story continues in Magic Study.

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Free Robin Hobb Book

I didn't mention this last week, but I have been meaning to. Eos books is offering as part of their ten year anniversary a free e-book every two months for the entire year. The first book is Robin Hobb's Shaman's Crossing.

Posted by John at 08:25 AM | Comments (0) | TrackBack | Posted to Fantasy
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Book Review: Bound by Iron by Edward Bolme

* Genre: Fantasy, Shared World Fiction
* ISBN: 0786942649
* ISBN-13: 9780786942640
* Format: Mass Market Paperback, 310pp
* Publisher: Wizards of the Coast
* Pub. Date: April 2007
* Series: Inquisitives Series

In Bound by Iron, Edward Bolme has written some unique characters in a plot with a surprising ending for this stand alone novel. In a story reminiscent of a John Grisham thriller, Bound by Iron begins with a murder and leads the heroes into a web of lies, deceit, and greed. Bound by Iron is the first novel in Eberron’s Inquisitives series.

Bolme’s inquisitives are three characters, acquaintances, who are working together to solve the murder of Torval Ellinger. Torval was a former Karnnathi soldier and member of the elite Iron Band company whose body washed up at the Korth docks. The story takes place two years after the end of the Last War. The primary character, Cimozjen is a former Iron Band leader who has the unfortunate luck of discovering the murder. Initially thought to be the culprit, he is exonerated and teams up with Minrah, an elven free lance journalist and extremely observant person. Finally, there is Four, a warforged that the two of them pick up during the search for the murderer of Torval.

Bolme explores the themes of justice, honor and righteousness in this novel. Cimozjen is a paladin, a warrior of the Sovereign Host whose sense of right and wrong is strong. Minrah the journalist, on the other hand, is what is often called a “chaotic good” character. She does not do evil things, but will do whatever it takes to get what she wants, especially in pursuit of a story, even to the point of putting her companions in harm’s way. Four, the warforged, provides a tabula rasa that the other two characters are trying to imprint with their own values. Each character walks away from the story being changed, for better or worse by their contact with each other.

At several points in the novel, Minrah and Cimozjen argue about truth and what is right. Cimozjen is a paladin, but he believes that his faith is freeing, not constraining. Minrah on the other hand, is a free woman, willing to sleep around, lie, and connive to get her story. The two have several debates about pragmatism versus doing the right thing, especially after Minrah tries to seduce Cimozjen, who is a married man. This was an element of the story I thought moved it beyond simple entertainment into the philosophical. Four would often cut in with a humorous comment at the end of Cimozjen and Minrah’s arguments, to add a little levity to the interchanges.

In Bound by Iron Bolme uses, to great effect, flashbacks to Cimozjen and Torval’s time together in the Iron Band. This gives the reader a more heartfelt connection between Cimozjen and the murdered Torval, and provides a reasonable explanation for Cimozjen’s drive to seek justice for his murdered comrade. Bolme also chose not to enter the mind of any of the villains, but only to sequentially tell the story as the three main characters experienced it. Additionally, while Bolme continues to subscribe to the theory that sometimes, things “just happen” in a story his coincidences are better tied into the story than in The Orb of Xoriat. When a key clue is discovered simply due to the characters walking about town, this seems unlikely but plausible. What before could be dismissed as deus ex machina in Bolme’s writing is not so easily labeled as such anymore.

Some readers will find the ending disappointing, but I thought it fit neatly in with the characters Bolme had created. They followed their beliefs to the end, even if that provided for an ending that was anything but the crowning of the hero. In a way, Bolme was reflecting the reality of the situation whenever a crime is committed. The resolution or punishment is never truly satisfying, and never really ends the evil.

This novel was a more enjoyable read that Bolme’s The Orb of Xoriat. The story has better continuity and the characters are more well-developed. I readily identified with Cimozjen and his quest for righteousness and justice, and his unwillingness to always be pragmatic. On the flip side, Minrah’s pragmatism did lead to some success. Four the warforged provided some humorous moments since he had no social graces and limited language skills.

I liked this Eberron novel. Some readers may find the dialogue a little contrived, but I didn’t. The mystery aspect of it was simple, so fans looking for fantasy noir won’t like this novel. It does give a soldier’s eye view of some of the major events of the Last War on the Eberron world. Cimozjen and Torval’s comradeship was a well-written aspect of the story, and in a way reminded me of Erich Maria Remarque’s All Quiet on the Western Front in the way it delved into the mind of the front-line soldier, if in a more simplified way. Even with the philosophical aspect, it was still a good adventure story with lots of sword action. Bound by Iron is a fun reading diversion. Its unique characters, unusual ending, and detailed fight scenes gave hours of reading enjoyment.

Posted by John at 10:25 AM | Comments (0) | TrackBack | Posted to Christian SF&F | Eberron | Fantasy
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Jeff's Book Review Index

Jeff C at Fantasy Book News and Reviews has had to make a change to what he writes about due to the new bundle of joy in his life. He is therefore now collecting and indexing epic and heroic fantasy book reviews from the various sites like my own, Fantasy Book Critic, Fantasy Cafe, Graeme's Fantasy Book Review and others.

This will be a useful resource for those of you looking for reviews. I especially appreciate that he is only linking to our reviews, rather than copy them. Readers, you may find this a helpful resource if you are still on the fence about reading a particular book I reviewed. You can get some other perspectives.

Posted by John at 08:12 AM | Comments (0) | TrackBack | Posted to Fantasy
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Weaving the Colors: An Interview with Jeffrey Overstreet

In one of the most enjoyable and well-answered interviews I have ever done, Jeffrey Overstreet has covered the gamut of topics from his debut novel Auralia's Colors to Christians in fiction to review writing methods. (Here is my review of his debut novel.) I hope you enjoy his thoughts as much as I did. For more of his thoughts, check out his oft posted to blog.

Grasping for the Wind: How did you become a fan of fantasy fiction, and why did you choose to write in this particular genre?

Jeffrey Overstreet: Do you remember those “long-playing records” that Walt Disney produced for each of their movies? You’d put the needle to the record and listen to a narrator tell the story, while excerpts from the movie’s soundtrack gave the characters distinct voices. That’s how I learned to read — listening to those records over and over again, on a plastic Mickey Mouse turntable. The needle was right under Mickey’s index finger on this plastic arm.

Most of those Disney stories were fairy tales. My family didn’t watch much television, and we didn’t go out for entertainment. So I found drama sitting in my room and listening to Pinocchio and Winnie the Pooh and Snow White and the Seven Dwarves.

Around the time I turned seven, my neighborhood librarian took me up to the next level, introducing me to J.R.R. Tolkien’s The Hobbit, and Lloyd Alexander’s Chronicles of Prydain. Then came Tolkien’s The Lord of the Rings (I’d read it through more than once by the time I was 10), and Richard Adams’ Watership Down, which remains my favorite novel.

I write fantasy today because those stories — whimsical and wild as they are — continue to speak meaningfully to me, as much as any more “realistic” or sophisticated art. Fantasy explores spiritual mysteries through metaphor, giving shape to ideas that we can’t easily express with everyday stuff. We invent fairies, monsters, elves, trolls, dragons, and magic beans to give shape to ideas and virtues and fears and wonders. And that helps us live more fully, engaging with realities beyond what we can see and hear and touch.

GFTW: Before writing Auralia’s Colors you were widely acclaimed for your movie-going memoir Through a Screen Darkly. Why did you choose to write a book about the simple pleasure of going to the movies?

Overstreet: Movies, like fairy tales, have had an enormous influence in my life, shaping ideas, inspiring questions, giving me an appreciation for beauty, and helping me understand how the world looks to my neighbors (who have often had very different experiences).

I grew up in a rather conservative community in which moviegoing was viewed as a suspicious, dangerous, “worldly” activity. But I also came to see that when we cut ourselves off from art for fear of “contamination,” we lose one of the greatest gifts humanity has to enjoy, something that helps us understand each other, something that humbles and inspires us.

So I wanted to share my own story about how movies have changed my life, how conversations with moviegoers, movie makers and movie stars have taught me a great deal about art and life. It was also a way to write a thorough answer to those who send me emails demanding to know how I can call myself a Christian and still be an enthusiastic fan of filmmakers like Woody Allen, Paul Thomas Anderson, Martin Scorsese, and Krzysztof Kieslowski.

GFTW: Auralia’s Colors, your debut novel, is a fantasy with echoes of the traditional fairy tales of the Brothers Grimm or Hans Christian Andersen. Like their stories, your story is also an allegory. What moral or cultural truth are you trying to convey to your readers?

Overstreet: I’m glad you find echoes of fairy tales there. I suppose that’s inevitable, since I grew up on those stories.

But I don’t consider Auralia’s Colors to be an allegory at all. I did not intend to teach moral lessons or write a commentary on culture. I imagined a different world, threw in some characters, and then I started asking “What if?” The characters then led me into a story I hadn’t expected.

Now, that doesn’t mean readers won’t find anything meaningful in the story. The story reveals all kinds of things—and that just goes to show that art sometimes knows more than the artist. The characters in Auralia’s Colors are struggling with questions about freedom, responsibility, power, faith, and art. But I didn’t conspire to put any lessons in there. I discovered them after I stood back and thought about the story I’d written. I keep hearing from readers who are finding implications in the story I’ve never considered. That’s exciting.

I get bored with stories that can be boiled down to a simple meaning. In an allegory, characters are really just symbols. And the reader starts solving the puzzle: “Okay, so this character represents Jesus, this one represents Satan, this one represents a Christian, this one represents Judas, etc.” Allegories are like algebra. I’m more interested in storytelling. I do not have any characters that represent Jesus or God or anybody. Certain characters might behave in a Christ-like manner, or in a devilish way, just as many different characters in everything from The Lord of the Rings to Harry Potter to Buffy the Vampire Slayer have moments of Christ-likeness. But Auralia isn’t Jesus. The Keeper isn’t God.

GFTW: Much of your prose reads like poetry. A lot of the book is given over to descriptions of sight and sound, smell and touch. Why did you focus so much on the sensory aspects of your tale?

Overstreet: I grew up reading stories that had musical, poetic language. Literature wasn’t just meant to be read — it was meant to be read out loud. I want to write paragraphs that taste good and sound good.

Also, I’ve learned that natural beauty can make even the most ridiculous movie worth watching. I believe that nature “speaks.” I believe that the things God made mean something. It makes a difference if Auralia is running through a forest instead of a field or a canyon. And it matters what kind of forest that might be, what trees are there, what they smell like, and what colors are in their leaves.

When I read a story in which the author has paid attention to those details, I feel a much more powerful sense of immersion within that world. I’ve read a lot of forgettable fantasy novels. But I go back to Tolkien’s Middle-Earth, Patricia McKillip’s The Book of Atrix Wolfe, Richard Adams’ Watership Down, and Mark Helprin’s Winter’s Tale, because I feel like I’ve lived in those places.

GFTW: You are a vocal Christian who is unafraid to make your beliefs known. What effect has this had on the reception of Auralia’s Colors both in the Christian and secular marketplace?

Overstreet: It’s too early to say, I think. I’m encouraged, because I’m getting mail from all kinds of readers, all ages, and very different worldviews. Some Christians write stories to “present the Gospel” or “convey a message,” but I don’t. Some people write for Christian readers; I don’t. I want to write books that I would have enjoyed reading, and that I think others will enjoy. I think everybody likes a good story. People are drawn to excellence.

If there is some truth to a work of art, or some beauty, poetry, and passion — that’s can give the audience an encounter with God, even in the artist doesn’t believe in God. I’ve read an awful lot of Christian books that were poorly written, derivative, boring, and sloppy. That doesn’t do me any good. And my faith has been encouraged and transformed by artists who would never call themselves Christians. It doesn’t matter much who is writing the story — it’s the story that matters. It doesn’t matter what color that candle’s made of — it’s the light and the heat the draws people in. You’ve probably heard it said, “All truth is God’s truth.” I would add that all beauty is beautiful because it reflects God’s glory.

I hope that Auralia’s Colors has enough in its pages to give people an engaging and meaningful experience. We’ll see what happens.

GFTW: What effect does your Christian faith have on your writing?

Overstreet: Because I believe that Jesus Christ rose from the dead after we killed him, I believe that there’s hope, even hope that death does not have the final word. I believe there’s meaning in the world around me. I believe that there are, as Hamlet said, “powers in heaven and earth” that we cannot fathom.

If I believe those things, how can I write a story that isn’t hopeful? I would have to tell a lie. I can’t help but write stories in which there are powers greater than the characters, powers in conflict.

But no, I don’t deliberately write “Christian stories”, just as I don’t bake “Christian cookies.” I just want to write a good story. And I think all good stories draw us because they reflect God’s glory… even if they’re shelved somewhere outside the “Religion” section at Barnes and Noble.

GFTW: Your novel lacks any clearly defined “evil” characters or clearly defined “good” characters. Why did you avoid the standard good vs. evil theme of fantasy?

Overstreet All of my favorite stories avoid dividing their characters into false categories of “Good Guys” and “Bad Guys.” I don’t believe in “Good” and “Bad” people.

I believe that all of us were designed by God, in God’s image, and that we have “eternity written in our hearts.” That means that everybody will give evidence of goodness in some way, even the worst villains.

But I also believe that we are all broken, deceived, and depraved in our appetites. Thus, even the best heroes will have moments of doubt, make mistakes, and sometimes behave irresponsibly.

When we insist on stories in which there are “bad people,” and suggest that the solution is the elimination of those “bad people,” that can carry over into devastating behavior in the real world. We live in a culture that perpetually abuses labels and categories for the sake of judging other people. Genocides begin with the idea that we can divide people into the “good” and the “bad.”

Now, in stories for small children, I think it’s useful to have simplistic “good guys and bad guys” because you are giving children figures that represent fears they must overcome, or virtues they should strive to imitate. But when storytelling becomes more sophisticated, it’s important to discourage any interpretations that will cause people to judge others and exalt themselves.

GFTW: My favorite quote from the novel is on page 254. “You want a gift from the king? Hear this: if you allow Abascar freedom, some people will choose what they shouldn’t. … But take away that freedom, and no one has opportunity to choose what they should.” Why is having a choice so important?

Overstreet: Wow, that’s a question that would take a book to answer! Here are a few thoughts:

In Auralia’s world, the king and queen of House Abascar take away their people’s power of creative expression. And they also forbid them to tell certain stories. The people of Abascar become resentful, because they are not able to ask certain questions, investigate mysteries, and express the mysteries within themselves. They can’t be human.

The king tells them that the world outside is dangerous, so he makes them stay inside the walls. And the world is dangerous. But if the people are forced to obey the king, without any choice in the matter, they have no chance to develop discernment. And worse, when they become afraid of the world around them, they become starved for beauty. Sure, they might be safer from some dangers inside of Abascar’s walls, but by walling themselves off from the world they’re creating an enclosed space, and new dangers will arise and flourish within that space. Worse, the people remove their chances of making a difference beyond the walls, so the world outside just spirals out of control.

It reminds me a bit of my own experience growing up. I was taught to avoid the world beyond the church because there were so many temptations out there. But as a result, my Christian community became rather isolated and had very little effect on the surrounding culture. We talked about “loving our neighbors,” but in truth, we were repulsed by our neighbors and we tried to create a society in which we could live apart from them. And guess what? Temptations and sins of all kinds festered within that community, so we were fooling ourselves by thinking we could withdraw from “the sinful world.”

We need freedom. And yes, freedom is dangerous, which is why we also need to be responsible and discerning.

GFTW: The ale boy, one of your primary and perhaps most interesting characters, lacks even a name. Why did you choose to make him nameless throughout the novel?

Overstreet: The reason is rather simple: I liked the sound of it.

It kindled my curiosity. And while some storytellers like to solve of the mysteries for the reader, I prefer reading books that leave mysteries, big and small, for me to ponder. This is one of those small mysteries in Auralia’s world.

As I began to write Auralia’s Colors, the ale boy was a minor character. My friend Danny Walter is an actor who pays close attention to characters and their voices. He started asking me questions about the ale boy. I started exploring possibilities, and realized that the ale boy had a much bigger part to play in the story.

I’m finishing the sequel, Cyndere’s Midnight, and I’m still discovering more about the ale boy. He has a particular call that he’s following, and it’s leading him into some rather horrifying places.

GFTW: What has been your favorite reaction to Auralia’s Colors from a reader or critic?

Overstreet That’s a tough question. I’ve been bowled over by the enthusiasm in the letters I’m receiving.

I thought I had made up the name “Auralia.” I experimented with combinations of letters from other names and words I like: aura, Laura, Leah. But then I received a letter from someone named Auralia. She bought the book simply because her name was on the cover! She informed me that the name means “golden lion of God.” That kind of freaked me out. I had no idea.

I had to chuckle when a fellow at Amazon gave the book a low rating because it reminded him of the writing of George Macdonald. Hey, I’ll take that as a compliment!

But my favorite responses have come from two extraordinary artists whose work has not received the kind of attention it deserves. They both wrote to say that they felt related to Auralia, because of her relentless creativity and her frustrations at how others take what she does for granted. That made the whole project worthwhile.

GFTW: What can you tell us about the sequel to Auralia’s Colors, Cyndere’s Midnight?

Overstreet: You could call it my version of Beauty and the Beast. But my version has two beauties and a whole pack of beasts.

Auralia’s Colors focuses on House Abascar. Cyndere’s Midnight takes you into a world of monsters — the ruins of House Cent Regus, where people have fallen under a curse that turns them into murderous beasts. You’ll catch glimpses of these beastmen in Auralia’s story, and you’ll learn about the mysterious monster who crept into Auralia’s hideaway in the first book.

It’s also about House Bel Amica, the wealthy and powerful society beside the sea. You’ll meet the heiress to the throne, Cyndere. Cyndere has the scandalous idea that there is a better way to deal with the beastmen than just hunting and killing them.

Things get out of control quickly when Auralia’s Colors bring together the heiress and a beastman, as well as the ale boy, Cyndere’s beautiful helper Emeriene, an ambitious soldier named Ryllion, and that dreamer from House Abascar named Cal-raven.

GFTW: Beyond the usual authors recommended (like Tolkien, C. S. Lewis, Madeline L’Engle) whose works would you recommend that fantasy enthusiasts read?

Overstreet: When I first read Winter’s Tale by Mark Helprin, I was enthralled. And I ended up marrying the woman who first recommended it to me. It’s set in New York, but it’s a New York so richly imagined that it’s a whole new wonderland. Helprin writes so beautifully that it could make you want to just give up writing.

I love the way Guy Gavriel Kay tells a story. In books like Sailing to Sarantium and The Lions of Al-Rassan, he imagines new worlds, but they’re firmly rooted in the details of actual human history. He gives us many different perspectives on a single world, from the rich to the poor, the young to the old. That is not only creative, but it’s compassionate. It trains us to consider other people’s perspectives, which is good for our hearts.

I also recommend Mervyn Peake’s Gormenghast, for his exaggerated, spectacular descriptions; Mary Doria Russell’s The Sparrow, a powerful work of “theological science fiction”; and a little-known story by Michael Ende called Momo, which is a fairy tale just waiting for someone to turn it into a fantastic feature film.

GFTW: As a professional movie critic, what advice would you give to people (such as myself) on the best way to critique a work of art like movies or literature?

Overstreet: I spend quite a few pages in Through a Screen Darkly telling stories about what I’ve learned about writing film reviews. And I’ve included a guide there for movie discussion groups. I highly recommend starting a movie discussion group. We learn a lot about each other when we compare our responses to a work of art.

There are a lot of questions to consider when watching a movie, or reading a book for that matter: Don’t just ask, “Did you like it?” Talk about what worked and what didn’t. Ask what the artist’s intentions seemed to be, and then weigh whether you thought those goals were achieved. Consider the film’s intended audience: Who are they, how old are they, and will this film serve them? Consider the technical aspects of the film: Whose performance was memorable, and why? What did the filmmaker’s choices regarding color, design, editing, and music do for the film? Did anything in the work draw too much attention to itself?

But I’d also encourage people to examine their own feelings about the film. It may have been powerful, but did it reveal anything true? If it was disturbing, why did it disturb you? Was it a film condoning evil, or was it exposing evil so we can understand both good and evil better? Did it make you feel good? If so, how? Was it sentimental, or honest? Was it telling us what we want to hear, or was it telling the truth? Did it preach its message, or did it show us something and let us think for ourselves?

GFTW: Any parting thoughts or comments?

Overstreet: If anyone is interested in discussing Auralia’s Colors… or movies for that matter… everyone is invited to visit me at LookingCloser.org. That’s where you’ll find my archive of film reviews, and my blog, which I update almost every day.

GFTW: Thanks for taking the time.

For more, read Fantasy Debut's Interview with Jeffrey Overstreet.

This post is part of the CSFF blog tour for January 2008. Read posts from these other participants in the tour:

Brandon Barr Jim Black Justin Boyer Grace Bridges Jackie Castle Carol Bruce Collett Valerie Comer CSFF Blog Tour D. G. D. Davidson Chris Deanne Jeff Draper April Erwin Marcus Goodyear Andrea Graham Jill Hart Katie Hart Timothy Hicks Heather R. Hunt Becca Johnson Jason Joyner Kait Karen Carol Keen Mike Lynch Margaret Rachel Marks Shannon McNear Melissa Meeks Rebecca LuElla Miller Mirtika or Mir's Here Pamela Morrisson Eve Nielsen John W. Otte John Ottinger Deena Peterson Rachelle Steve Rice Cheryl Russel Ashley Rutherford Hanna Sandvig Chawna Schroeder James Somers Rachelle Sperling Donna Swanson Steve Trower Speculative Faith Jason Waguespac Laura Williams Timothy Wise

(Photos © Fritz Liedtke or Jeffrey Overstreet)

Posted by John at 10:55 AM | Comments (7) | TrackBack | Posted to Christian SF&F | Fantasy | Interviews | Literature and Language
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Book Review: Auralia's Colors by Jeffrey Overstreet

* Genre: Fantasy
* ISBN: 1400072522
* ISBN-13: 9781400072521
* Format: Paperback, 336pp
* Publisher: WaterBrook Press
* Pub. Date: September 2007
* Series: Auralia Strand Series
* My Interview with Jeffrey Overstreet

In the story of Esther, a young woman marries a king and changes the kingdom for the better, at least in the case of the Jews, the lowest caste. Auralia’s Colors, by Jeffrey Overstreet, is reminiscent of this story from the Old Testament. As with Esther, Auralia is a young woman of beauty and talent that changes the society that shuns her so much that it can never return to the way it was.

Overstreet, a nonfiction writer known for his movie reviews and perspectives on art and entertainment, has turned to fantasy for his first foray into fiction. A psychological and emotional story, Auralia’s Colors tells the story of Auralia, a foundling gifted with the ability to weave the items of the forest into beautiful cloths. House Abascar’s attempt at creating equality by removing colored items from all people and only distributing it by the king’s favor has only deepened the gulf between the poor and the rich. People have become more selfish as they have sought to curry the King’s favor an the caste system has only become more deeply striated. Auralia’s ability with color upsets all that the people of Abascar had come to know in the last twenty years since color had been outlawed, and this fragile house, led by a drunken king, is unlikely to withstand the torrent her power unleashes.

More a series of character studies than a comprehensive novel, the narrative follows Prince Cal-raven, his betrothed Stricia, the ale boy, Auralia, and a few others as the seek to live in the deeply broken society of House Abascar. Each character suffers under various pressures and each reacts differently. Some rise to heroism, some devolve into selfishness, and some becoming something more than they thought they were, and all because Auralia had walked through their lives.

The novel focuses on the emotions and reactions of the characters not description of the events that occur. I felt that the narrative was thinly woven together and that I didn’t really know what was going on throughout the story. It made the narrative seem broken and disjointed, as most the action was seen only through a veil of thick emotion, making it harder to understand what was going on. Overstreet prefers to use metaphor and simile to describe what is going on, rather than using direct description. This gives the novel the feel of poetry, but for those readers who are dense with poetry, this is more frustrating than entertaining. Additionally, Auralia’s Colors has lots of things happen, but it seems as if Overstreet kept changing his mind as to what story he was trying to tell. Is it the story of the ale boy? Or Auralia? Or Prince Cal-raven? I couldn’t tell, and the lack of clearly defined hero or heroine was unexpected and difficult for me as a reader. In fantasy, writers usually have a clearly defined evil, and a clearly defined good, even when an anti-hero drives the narrative. Auralia’s Colors is weaving together several lives into a garment of brilliant colors that will change the future of House Abascar irrevocably. The disconnected threads of the story are only brought together in the final few chapters.

But some readers may like this fact. It is often very hard for people to know what is evil and what is good. When should a subject break a king’s laws? At what point has benevolence moved into dictatorship? And is it the place of the king to create equality among his subjects? Overstreet brings this third question to the fore on page 254, “You want a gift from the king? Hear this: if you allow Abascar freedom, some people will choose what they shouldn’t. … But take away that freedom, and no one has opportunity to choose what they should.”

If as a reader you are looking for a philosophical novel this book will be good for you. It addresses themes of right and wrong, government and the people, hope and despair. But it should not be a book the reader picks up expecting to read quickly or easily. It will make its readers think and will challenge them as they turn the pages.

Auralia’s Colors is very well-written. Although its narrative seemed to lack cohesion (it doesn't, it just seems to) for its majority, the questions about life it raises are worth exploring. Although none of the characters are particularly compelling, the interplay between them is. The tapestry woven through their stories is beautiful and is completed through a cataclysmic event that brings all the threads together. The descriptions have the feel of poetry and the narrative is vibrant with color. Auralia’s Colors is the first in a series of books that weave together the threads of different lives, changing the world and society that they are a part of into something completely new. I recommend Auralia’s Colors as a good but challenging read.

You should also read the reviews by Graeme's Fantasy Book Review, Fantasy Debut, Fantasy Book Critic and OF Blog of the Fallen, as their perspectives are quite different from mine.

This post is part of the CSFF blog tour for January 2008. Read posts from these other participants in the tour:

Brandon Barr Jim Black Justin Boyer Grace Bridges Jackie Castle Carol Bruce Collett Valerie Comer CSFF Blog Tour D. G. D. Davidson Chris Deanne Jeff Draper April Erwin Marcus Goodyear Andrea Graham Jill Hart Katie Hart Timothy Hicks Heather R. Hunt Becca Johnson Jason Joyner Kait Karen Carol Keen Mike Lynch Margaret Rachel Marks Shannon McNear Melissa Meeks Rebecca LuElla Miller Mirtika or Mir's Here Pamela Morrisson Eve Nielsen John W. Otte John Ottinger Deena Peterson Rachelle Steve Rice Cheryl Russel Ashley Rutherford Hanna Sandvig Chawna Schroeder James Somers Rachelle Sperling Donna Swanson Steve Trower Speculative Faith Jason Waguespac Laura Williams Timothy Wise

Posted by John at 10:29 AM | Comments (9) | TrackBack | Posted to Christian SF&F | Fantasy
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Book Review: Bad-Ass Faeries edited by Danielle Ackley-McPhail (et al.)

* Genre: Fantasy, Short Fiction
* ISBN: 1892669404
* ISBN-13: 9781892669407
* Format: Paperback, 216pp
* Publisher: Marietta Publishing Company
* Pub. Date: May 2007

Although I disapprove of the title, I still found Bad-Ass Faeries edited by Danielle Ackley-McPhail, to be a pretty good collection of stories. At least, that’s true if you discount the one or two stories that really boiled down to faerie porn. Which, ironically, is part of the humor in the story by Den C. Wilson, Heart of Vengeance (Well, elf porn, anyway). All, in all though, the collection is pretty good. It is targeted in its concept, but broad in its application. There are science fiction stories, high fantasy stories, westerns, and even a couple of noir mysteries. And yet all center on the faerie race, at least as a starting point.

Divided into five sections, these nineteen stories are short, roughly six to ten pages in length, but without the text being too small to read. The illustrations appear only at the beginning of each section, with each story’s first page sitting in frames. The frames do cause some odd sentence breaks at the end of the pages, due to the way the frame is laid out, but it is not really a problem. I disliked the illustrations throughout and on the cover. Although they were three dimensional, they looked more like an art student’s sketches than professional work. This will be a turn off to the casual reader, but I suggest reading some of the stories before judging on the basis of illustrations and cover.

Rather than summarize all nineteen stories, I’d like to focus on a few I enjoyed. Den C. Wilson’s Heart of Vengeance takes an ironic look at the types of folks who end up at science fiction and fantasy conventions. Even better, this is one of the rare few that works with faeries outside of the usual standard Celtic and or Western style fairy.

House Arrest by Keith R. A. DeCandido takes the traditional brownie story and turns it on its head. What happens, after all, when a house fairy doesn’t get his milk? This story had, for me, a surprising ending and I thought this to be a clever little story.

The Last Night of the Lazarus Brothers by C. J. Henderson was one of the noir mysteries. The ending ultimately surprised me, especially since I thought that this story was just going to be standard Christian bashing, but ended up being quite different. The answer to "who did it?" is a neat little twist.

There were several I thought ruined the value of the anthology as a whole. They wanted more to talk about sex than to really tell a story. Those kinds of stories belong elsewhere, in collections for people who like that sort of fiction. Obviously, a sexual reference or two is not what I am writing about. There were two in particular that I felt elevated the sexual aspect of the story from simple being an element of the story or creating tension in it to faerie porn. Snow in July by Jeff Lyman uses a very descriptive sex scene to have two characters relate to each other. One character seduces another to sex in the air, and then forces that other character to fall by stopping beating her wings. The intent was to have one character teach another about danger. Well, the danger could have a occurred simply by holding another and stopping the wing beat, no sex needed, especially not when words like “thrust” and “foreplay” enter into the narrative. Well, that makes t more porn than story for me at least.

This was only the most egregious use, Pennidreadful by Lorne Dixon was also more crass about sex than was necessary to make the story interesting. In this case, we do hate Pennidreadful the character more as result, but there were other ways to show her evil nature or selfish need than to have her masturbate. This was a poor choice for inclusion.

Many of the stories are good, and the reader will have to take the good with the bad. The good stories are worth it to pick up this anthology and Danielle Ackley-McPhail, the chief editor, made some good choices. All of the editors included their own stories in the collection (the others are L. Jagi Lamplighter, Lee Hillman, and Jeff Lyman) something I usually dislike editors doing.

Bad-Ass Faeries is an eclectic and interesting collection that succeeds despite the dirty minds of some of its contributors. None of the stories is the same and several have very neat take on fairies. If you like faeries you’ll enjoy this collection, although as the title intimates, these aren’t your normal faeries.

The entire list of stories is below:

"Bad-Ass Faeries" by Monica Richards
"Image"Futuristic Cybernetic Faerie Assassin Hasballah" by Adam P. Knave
"Make Love, Not War" by Lee C. Hillman
"Heart of Vengeance" by Den C. Wilson
"Ballad of the Seven Up Sprite" by Brian Koscienski & Chris Pisano
"Snow in July" by Jeff Lyman
"House Arrest" by Keith R.A. DeCandido
"A Pressing Problem" by Donald W. Schank
"Hidden in the Folds" by Jesse Harris
"Pennidreadful" by Lorne Dixon
"On Oberon’s Throne" by L. Jagi Lamplighter
"Sally Smiles" by James Chambers
"The Faerie Queen of Lo Mein" by Vincent Collins
"Hollow Dreams" by Elaine Corvidae
"Wings of Soul" by R. Allen Leider
"At the Crossroads" by Danielle Ackley-McPhail
"Down These Mean Streets a Faerie Must Go" by John Sunseri
"ENDGAME" by Patrick Thomas
"The Last Night of the Lazarus Brothers" by CJ Henderson

Posted by John at 11:52 AM | Comments (0) | TrackBack | Posted to Fantasy
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Book Review: The Tales of the Last War edited by Mark Sehestedt

* Genre: Fantasy, Shared World Fiction
* ISBN: 0786939869
* ISBN-13: 9780786939862
* Format: Mass Market Paperback, 352pp
* Publisher: Wizards of the Coast
* Pub. Date: April 2006

When Wizards of the Coast’s new shared world, Eberron, first came out, there was some doubt as to whether Eberron was really any different from Forgotten Realms or Dragonlance. After all, the same races appear and lots of the magical abilities are the same, so what makes Eberron so different? The Tales of the Last War, edited by Mark Sehestedt, answers that question in spades.

The first Eberron novel I read, The Orb of Xoriat by Edward Bolme, gave a fair impression of how the world of Eberron was unique. The lightning rail, the airships, the dragonhawks, and the nation-states were fair example of some of the differences. But one thing that The Orb of Xoriat did not do was delve deeply into the war-forged. These sentient machines are so completely alien to either of Wizard’s other popular worlds that these alone give it uniqueness. Add to that that nations, rather than city states are the powers, and that elemental magic, rather than standard wizardry is the more common use of magic, and the world is unique enough to be considered its own.

The Tales of the Last War is a collection of short stories (including one from the creator of Eberron, Keith Baker) that show the variety of the Eberron world. All of the stories are set during or just after the Last War, the “war to end all wars” whose earthly counterpart is none other than our own World War I. The kingdom of Galifar has been torn apart into competing nations (fall of Rome, anyone?) and in one case, Cyre’s, the nation has been completely obliterated near the close of the war.

Many of the stories center on refugees from Cyre or Cyre during the war itself, as in many cases it is Cyre against everybody else. This collection will really give the reader an excellent introduction to Eberron as a campaign setting. And for those readers who read my review of The Orb of Xoriat by Edward Bolme, you will be please to note that he tells another story of Teron the monk in The Weight of Water which tells a story about how a little can do a lot. My favorite story of the lot was The Veiled Charge since it got deeper into the lightning rail concept, one of the most unique features of Eberron. (The lightning rail is essentially a train run by electrical elementals.)

• Death at Whitehearth by Keith Baker uses the characters from his Dreaming Dark trilogy to give us a glimpse of the war-forged and explore the idea of sentient tools. Keith’s writing in this story was little rough, but the plot twist was unexpected.

• Death Before Dawn by Paul Crilley is a straight up mystery has an obvious conclusion, but is still nice to read.

• The Blade of the Flame by Tim Waggoner was a good story because it dealt with the difference between possession by evil spirits and disorders of the mind. The two are not always easily separated, and this is question that has plagued religions since the dawn of neuroscience. Interesting approach to Eberron, since the world is on the cusp of moving into an “Age of Enlightenment” in some ways.

• Distant Fires by Aaron Rosenberg was not really a story I felt belonged in this collection, but was still an okay read.

• The Veiled Charge by David A. Page was great because it really got into the lightning rail concept. It also explained better how the world of Eberron reacts with other planes of existence. In Forgotten Realms, the line is thin, but in Eberron it seems to be much thicker, although not impassable.

• The Weight of Water by Edward Bolme is a great story about how a little ingenuity can often trump brute physical force. Continues the story of Teron the Aundarian monk.

• War Machines -- 992 YK by Ian Burton-Oakes has war forged as its primary characters so like none of the other stories provides a window into their way of thinking.

• Call of the Silver Flame by James Wyatt a good introduction to some of the history of Eberron. For those who like vampires in their fantasy, this one’s for you. Is a precursor to Wyatt’ Draconic Prophecies trilogy.

• Flight of the Righteous Indignation by Ari Marmell is a horror story that can only be described as Alien for Eberron.

This collection is an excellent way to get into the world of Eberron and get a really broad bird’s eye view of what this relatively new campaign setting has to offer. All of the stories are entertaining. Some are mysteries some straight up action/adventure stories, and even one that is a bit of a horror story. I enjoyed the read. It took only a few hours to read through, and Sehestedt organized them well, from beginning to end, so that it is easy for the reader to learn more about Eberron with each successive story. I now wish that I had read The Tales of the Last War before reading The Orb of Xoriat, just so that the world would have been more familiar to me, even if it meant reading the story of Teron out of order. If you like shared world fiction, or even just good fantasy short stories, this is a collection worth reading.

Posted by John at 08:59 AM | Comments (0) | TrackBack | Posted to Eberron | Fantasy
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Book Review: The Somnambulist by Jonathan Barnes

* Genre: Urban Fantasy, Mystery
* ISBN: 0061375381
* ISBN-13: 9780061375385
* Format: Hardcover, 368pp
* Publisher: HarperCollins Publishers
* Pub. Date: February 05, 2008

"Be warned. This book has no literary merit whatsoever. It is a lurid piece of nonsense, convoluted, implausible, peopled by unconvincing characters, written in drearily pedestrian prose, frequently ridiculous and willfully bizarre. Needless to say, I doubt you'll believe a word of it."

Any novel that warns you, up front and without any real apology, that it will be a bad a piece of fiction, certainly piques my interest. In The Somnambulist, Jonathan Barnes does just that. Told entirely as a history from a witness to the proceedings, this novel, while unoriginal, was still fun to read.

Those moviegoers who saw The Illusionist or The Prestige (also a book by Christopher Priest) will be delighted with Barnes’ tale. The chief character is Edward Moon, a magician and conjurer whose sidekick is the mute and amazingly impervious Somnambulist. Like the characters in those movies, Moon has a gift for observation, a skill that in Victorian London gives provides him with the diversion of amateur detecting. His methods are similar to those of his contemporary Sherlock Holmes, although Barnes does not write of them in any detail. When two brutal murders occur that seem unexplainable by Scotland Yard, Moon is brought in to help solve them. In the meantime, the Directorate, represented chiefly by the albino, Skimpole, wants to have Moon work on a separate case that the Directorate believes means that the city of London’s survival itself is at stake. Moon is convinced that the two cases are connected and sets out to discover the truth, along the way meeting the stranger characters of Victorian London such as a bearded lady, a man traveling backward in time, a famous poet, and a human fly.

What Barnes has done with his novel is not truly original. Like Christopher Priest’s The Prestige and The Illusionist starring Edward Norton and Jessica Biel, Barnes novel is a gothic Victorian tale centered on the character of a magician. Also copying Neil Gaiman’s novel and miniseries Neverwhere, The Somnambulist uses the characters of London’s history (Gog and Magog, Lud) as part of the warp and weft of the story. He even goes so far as to introduce a pair of murderers that are very nearly carbon copies of Gaiman’s Mr. Croup and Mr. Vandemaar. This will make the novel appeal to fans of those books and movies certainly, but it makes me wonder at Barnes ethics.

Still, the novel is very fun to read. The story is fast pace and exciting. The identity of the villain is not revealed till late in the book and I must confess, I was surprised at who it was, although it should have been obvious. This is a mark of a good mystery. The scenes are varied and interesting, but not always well-connected. The ideology of the villain is fantastic and humorous. It provides a few chuckles through the narrator’s sardonic wit.

Barnes has a great facility with the English language. All though not difficult to understand or verbose, Barnes is not afraid to use large words where a simple one would work. Take the title for instance, The Somnambulist. Somnambulism is essentially sleepwalking, but sleepwalking is not really a part of the story, but the word is interesting. It does provide some of the metaphor for the story, as Moon's name, the Somnambulist and a character called the Sleeper all relate back to the title. It is also the name of Moon’s conjuring assistant, who is a minor character throughout the story, but who plays a vital role in the climax. The title is actually really unrelated to the story, having only a tenuous connection to the plot, so I do feel that the publishers did the book a disservice by calling it that. Barnes’ use of weird and wonderful words gives the story a panache that greatly enhanced my enjoyment of it.

Although the story is unexceptional in plot, the characters are interesting if lacking in depth (but I was warned about that, after all.). All are the dregs and outcasts of London society, or at least those on their way out, such as Moon. Choosing such characters story drive the story adds a bit of penny-dreadful sensationalism to the novel. The only characters whose psyches we really explore are Moon’s, the narrator’s, and Skimpole’s and those really only on the surface. Barnes is telling a mystery/adventure story in the setting of Victorian London so the reader should approach this as a story that is fun to read but in any way philosophical.

Barnes’ use of the first person narration and the memoir style of writing are part of the fun of reading it. I spent a goodly portion of the book wondering who the unreliable narrator was, and the reveal of who he is in fact is rather fun scene. The narrator interjects, to humorous effect, several times into the story. It reminded me a lot of the novel I, Strahd in its style although with a more humorous cast. I’d like to see Jonathan Barnes use this style again, as I think he cleverly uses it.

I thought that this was very fun to read. Barnes has a wit and humor of the type I enjoy. The novel is that type of story that author John Zakour would call “bubblegum for the brain”. It is entertainment for a horrible-no good, very bad day. Fans of Gaiman’s urban fantasy will enjoy this novel (although they should be aware that there are some very suspicious similarities) as well as any moviegoer who enjoyed the mystery of The Illusionist (though it is not quite so clever). There are a lot of correlations between this book and Susanna Clarke's Jonathan Strange and Mr. Norrell although where that was literary in form (and massive), The Somnambulist is pulp fiction (and short).The Somnambulist is a comedy and a farce, written to make its reader’s laugh. If you are looking for some light entertainment this is an excellent novel to pick up.

Posted by John at 03:37 PM | Comments (6) | TrackBack | Posted to Fantasy | General Fiction | Mystery
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Book Review: Robin Hood and the Beasts of Sherwood by Clayton Emery

* Genre: Historical Fantasy
* ISBN: 0595206433
* ISBN-13: 9780595206438
* Format: Paperback, 240pp
* Publisher: iUniverse, Incorporated
* Pub. Date: January 2002

Robin Hood and the Beasts of Sherwood is an unusual novel. It is a strange hybrid of genres, part fantasy, part history, and part mystery. Clayton Emery avoids the standard tropes of the Robin Hood mythos and creates something entirely new to add to the Robin Hood legend.

In Emery’s Robin Hood, the defeat of the Sheriff of Nottingham did not result in the Merry Men’s return from the forests of Sherwood to the realm of civilization. After the previous, cruel Sheriff’s death, he was simply replaced by a kinder, although just as Norman, new Sheriff. Guy of Gisbourne still lurks in the shadows, trying to kill Robin and gain Marian for himself. And King Richard has not yet returned from his incarceration in Austria, his ransom not yet paid. Robin and his band of Merry Men turns out to be twelve men and their families, along with a few others living a subsistence life in the forest of Sherwood. This setting is a far cry from Howard Pyle’s rendition of the legend or the Errol Flynn movies.

Robin and Marian are leading their small company as best they can. But Guy still seeks their destruction, albeit without the help of the Sheriff of Nottingham. Seeking out a hedge witch, Guy has her create a beast, a boar with supernatural speed, strength, and power over the weather. In the meantime, a false Robin Hood is killing and raping poor peasants in the forest of Sherwood, blackening Robin of Locksley’s good name. Adding misery to trouble, Robin is called to fulfill his vow of fealty to the King, and attend him in London, bringing his band with him, effectively ending their life in Sherwood. Robin and Marian are forced to confront all of these threats to their way of life, even to the point of calling upon the magic of faerie and Hern the Hunter to help.

Emery’s Robin Hood and the Beasts of Sherwood was first published in 1988 by Baen Books and then republished in 2001 by the iUniverse. Emery has created a series of mysteries