Why You Need to Read: “The Dragon Republic”

The Poppy War: #2: The Dragon Republic

By: R.F. Kuang

Published: August 8, 2019

Genre: Fantasy, Historical Fiction, Grimdark, Folklore, Military 

WARNING: The following contains minor spoilers from both The Poppy War and The Dragon Republic. You have been warned. 

            She didn’t care about anyone’s visions for the future. She’d stopped wanting to be great, to carve out her place in history, a long time ago. She’d since learned the cost, (Chapter 6).

            Books about war—whether or not it’s fiction or non-fiction—attempts to include the horrors it brings along with it. In recent years, more fiction stories have included the “realities” of war as opposed to the “glories” of it, which usually make their way into the narratives. R.F. Kuang, author of The Poppy War, re-establishes the “cost of war” and its aftermath in the sequel, The Dragon Republic.

            Runin “Rin” Fang is (still) reeling from her actions, which led to the end of the Third Poppy War and victory for the Empire. However, the victory has left Rin feeling hollow due to the deaths of her friends, her teachers, and her comrades. Everything she’d witnessed throughout the war: death, rape, starvation, mutilation, her lack of control as a shaman over a goddess, her addiction to opium, and the betrayal she and her Unit suffered towards the end of the war has left Rin in a depressive state of mind. As a soldier, Rin believes her only purpose lies in seeking revenge against those who betrayed her and the other denizens of the Empire. Lacking support, resources, and leadership skills, Rin leads the 13th Division to fight their remaining enemies. However, Rin and her soldiers are approached by Yin Vaisra—the Dragon Warlord, the Head of the House of Yin, and the father of one of her Sinegard classmates—and, he has a proposition for her: join up with him to form a “democratic” Republic amongst the now disbanded 12 Provinces and he will assist her with her vengeance. Rin—suspecting hidden motives and desiring to remain a soldier—agrees to the Dragon Warlord’s terms. As Rin works with her Unit and the Dragon Province, she is reunited with her former classmates who make their own decisions regarding the civil war that has broken out between the Empire and the Dragon Republic. This time, she has to determine her worth within this latest conflict. In order to do this, Rin develops from soldier to puppet to commander; it is a rough, but essential growth for Rin!

            Just like The Poppy War, The Dragon Republic has three parts: the aftermath of war, the beginning of a civil war, and the fallout as a result of the civil war. Part I focuses on the Aftermath of the Third Poppy War, especially how the survivors—both military and civilian—are dealing with the damage that remains. Rin struggles with keeping her unit alive while avoiding the troops who would capture Rin in order to collect the bounty on her head. She makes a deal with the Dragon Warlord not only to achieve her goal of revenge and to have access of supplies for her troops, but also to maintain her purpose of being a soldier. All Rin knows is warfare and she doesn’t know what else to do with herself. She’s not alone in this because her friends and her comrades feel the same way. 

            Part II is the campaign launched by the Dragon Province. The mission: either to parlay, or to destroy the other 11 Provinces. The choice lies between siding with the Dragon Warlord or fighting against him. The reality of war is presented to readers again as war tactics, war strategy, and death becomes part of the plot. Decisions are the difference between life and death, and death always seems to prevail. Meanwhile, Rin is suffering from her lost abilities as a shaman and from the humiliating “testing” done to her by the Hesperians—an advanced civilization who promises to ally themselves with the Dragon Province towards the goal of a united republic with the promise of weapons as long as they: win the civil war, allow missionaries to assist with the refugees, and to “study” Rin. Rin has flashbacks to the same experiments done to her and Altan by the Mugenese and begins to wonder whether or not if more than her self-worth is on the line. At the same time, Rin learns how the Empress became so powerful and how the damage she inflicted on Rin can be skirted. For that to happen, Rin must learn more about the powers of a shaman. To do that she’ll have to learn from those who taught Jiang, her former Master of Lore. These two subplots are necessary for both the plot development, and the character development, especially Rin’s. 

            Part III unveils all of the revelations and the intentions of all of the characters. Everyone is involved with another oncoming war whether or not they want to be. The Empire and the Hinterlanders are on the brink of another civil war, and Rin and her Unit must decide who they are going to fight for when the war begins. Even Rin has intentions for this war, especially after she learns the truth about the Dragon Province, the Empress, and their “allies.” Amongst the death and the reunions Rin must determine if she is a soldier or a shaman. 

            Once again, the narrative is in 1stperson and stream-of-consciousness. With the exception of the Prologue, readers follow Rin’s experiences during the aftermath of the Third Poppy War. All of Rin’s thoughts and traumas are witnessed by both readers and other characters. It seems during the postbellum everyone sees Rin as a solder without purpose. She’s a terrible leader and her mistakes puts others in danger. Yet, she wants peace and prosperity (and revenge) just like the other survivors of the war. The scenes involving war, refugees, and previous events and memories are told in real time, so readers experience the anticipation, the suffering, and the confusion all of the characters experience. While it is long, the pacing of the narrative is appropriate for this military fantasy novel.    

            The style Kuang uses in The Dragon Republic is both similar and different from The Poppy Way. The conflict and the aftermath of war—based on the conflicts stirring in several countries before the beginning of both the Spanish Civil War and World War II—is found throughout the pages within this novel. The difference, or better yet the addition to the conflict, is the notion of imperialism. It is obvious that the Dragon Province is attempting to do this, but they are not the only ones fighting for control of a weaken empire. The mood of The Dragon Republic is death and suffering; just because (one) war is over doesn’t mean everything will get better soon. The tone in this novel is not only about the cost of war, but also about the price one is willing to pay for power. There are no innocent people left alive in this story. 

            The appeal surrounding The Dragon Republic have been positive. Fans of The Poppy War, other military fiction, and grimdark will enjoy this sequel. As the world expands, so does the world-building, which is found in the characters and the weapons, which are based on military history and Chinese culture and folklore. It must be mentioned that anyone who couldn’t finish The Poppy War and/or are triggered by real life acts of violence should NOT read this book! While not all readers are into military literature, actual events of war, such as rape, is mentioned in this novel. Otherwise, expect another well-written story by R.F. Kuang. 

            The Dragon Republic is an amazing sequel. The story picks up where The Poppy War left off and it is both creative and realistic for the type of grimdark and military fantasy the author is telling the readers. Parts of the plot and the narrative can drag on at times, but they are necessary for the story the author is telling everyone. I can’t wait for the next book, even though I must. 

My Rating: Enjoy It (4 out of 5)!

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Why You Need to Read: “The Ten Thousand Doors of January”

The Ten Thousand Doors of January

By: Alix E. Harrow

Published: September 10, 2019

Genre: Fantasy, Historical Fiction, Coming-of-Age

            I almost didn’t notice the Door at all. All Doors are like that, half-shadowed and sideways until someone looks at them in just the right way, (1, The Blue Door). 

            Portal fantasies are one of the many subgenres in fantasy fiction, going back to the emergence of the genre. Popular portal fantasies include: C.S. Lewis’ The Chronicles of Narnia, L. Frank Baum’s Oz series, Philip Pullman’s His Dark Materials, and—more recently—the Wayward Children series by Seanan McGuire and Shades of Magic by V.E. Schwab. Academic scholar Farah Mendlesohn defines portal fantasy as, “a fantastic world entered through a portal,” (xix). Note how the definition does NOT state that it has to be “our” world. Alix E. Harrow, author of The Ten Thousand Doors of January and recent Hugo Award recipient for Best Short Story—“A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies”—reminds readers that portal fantasies can lead from one world to our world (planet: Earth, galaxy: Milky Way).  

            January Scaller is our protagonist. She tells her story of growing up in Vermont at the start of the twentieth century. January is the ward of Mr. William Cornelius Locke, a billionaire and an archaeologist. Her mother is deceased and her father, Julian Scaller, is a scholar who is employed by Mr. Locke to search for and to collect artifacts for him. Throughout her childhood, she’s kept under Mr. Locke’s watchful eye with only her childhood friend, Samuel Zappia; her father’s appointed guardian for her, Jane Irimu; and, her dog, Sindbad. January doesn’t know much of what is happening around her, until the day before her 17th birthday when she finds a leather-bound book titled: The Ten Thousand Doors. That book introduces January (and readers) to Adelaide Lee Larson—a woman born during the Reconstruction Era—and, to Yule Ian Scholar—a man from the City of Nin in the year 6908, who is the author of the book January finds—and their encounters with Doors and each other. Both Adelaide and Yule Ian have different experiences surrounding Doors, and January—who shares the same curiosity as them—learns more about these other worlds through them. However, this book reveals the truth of her father’s “work” as well as Mr. Locke’s “intentions” for her. From there, January discovers and uses this information to break away from her guardians and to repair the damage that’s been stricken to her loved ones. January’s coming-of-age story stands out more than other ones I’ve read recently; and, I couldn’t stop learning along with her. 

            The plot in the novel surrounds January Scaller’s unique upbringing. Because her father travels around the world while working for Mr. Locke, January was always left behind. And yet, January had tutors and would travel to places around the world with Mr. Locke; not to mention, Mr. Locke disapproved of January’s companions. It’s as if Mr. Locke is afraid to have January out of his sight. Throughout her childhood, January is Mr. Locke’s “good girl,” but longs for her father’s affections. This comes to an end when 3 events happen around and on January’s 17th birthday: her father disappears, she finds The Ten Thousand Doors, and she learns of Mr. Locke’s plans for her life. From there, January must find a way to escape her guardians and discover the truth surrounding Doors and her father’s connection to them. There are 2 subplots in this novel. First, is the story of Adelaide and Yule Ian and their discoveries about Doors and other worlds. Second, is the way January, Samuel, and Jane survive in a society that is dominated by wealthy, Caucasian males who do all they can to control other people. The subplots are intertwined with the plot, and everything comes together, slowly; yet, the pace of the development fits the story the author is telling. 

            The narrative in The Ten Thousand Doors of January consist of 3 different points-of-view: January Scaller, Adelaide Lee Larson, and Yule Ian Scholar. The entire novel—except for the Epilogue—is told in flashback. January’s narrative is told in the past tense in stream-of-consciousness, Adelaide’s narrative is written as a biography, and Yule Ian’s narrative is written as a journal. The sequence of these narratives takes some getting used to but, readers will be able to follow along after the first few chapters. Readers are led to believe that all of the narrators are reliable because the story is told from their P.O.V.s. 

            The way Alix E. Harrow tells her story is a combination of “tradition” with allusion alongside history. In the “tradition” of portal fantasy, “‘the journey’ serves to divorce the protagonists from the world,” (Mendlesohn 7). In other words, the protagonist must separate themselves from their “home” world and travel to another world. In this novel, several worlds are mentioned and traveled to, but there is a strong hint (the title) that there are a lot more. In terms of allusion, the names January and Sindbad, Locke and Scholar are not given by accident. These names serve as epithets to the story being told. The mood is oppression and the tone is escapism. In the midst of the novel is the setting. January turns 17 in 1911. During this time, racism, sexism, and imperialism were practiced throughout the world. January, Julian, Samuel, and Jane are victims of these societal practices. The author uses our history to explain why some individuals would desire either to leave, or to travel to our world. If someone who was suffering under the societal hierarchy was given a chance to live elsewhere, then who is to say that they shouldn’t take the opportunity? The author wants readers to question the existence of other worlds. 

            This novel will appeal to fans of fantasy, especially portal fantasies. The Ten Thousand Doors of January is a reminder that adults can travel to other worlds as well as children. This is a standalone novel, so there is a chance that it could fall behind in the popularity of similar books that are in a series. Yet, because this novel explains the concept of other worlds in existence (not just one), I believe this novel will be read and enjoyed by many readers. Plus, the author just won a Hugo, so I doubt this book will ever fade from popularity. 

            The Ten Thousand Doors of January is a beautiful debut novel about other worlds, love, and sacrifice. It does take a while for the story to pick up, but once it does, readers will learn about other and new worlds that never crossed their minds. The protagonist grows from a suppressed and isolated individual to a world trotter makes for a believable, yet traumatic, bildungsroman story. Alix E. Harrow is an author with more worlds to present to readers, and I can’t wait to learn about all ten thousand of them!

My Rating: Enjoy It (4.5 out of 5)!

This is because Alix E. Harrow said I had “neat” handwriting.

                                                            List of Works Cited

Mendlesohn, Farah. Rhetorics of Fantasy. Middletown, CT, Wesleyan University Press, 2008.

Why You Need to Read: “Darkdawn”

The Nevernight Chronicle: #3: Darkdawn

By: Jay Kristoff

Published: September 3, 2019

Genre: Fantasy, Grimdark, Historical Fantasy, Folklore

NOTE: This review contains spoilers from both Nevernight and Godsgrave.

            Goddess, if only we’d known what she’d become…(Chapter 33, Wellspring). 

            Darkdawn is the stunning conclusion to The Nevernight Chronicle. Jay Kristoff gives his readers a blood-soaked conclusion to his antiheroine that rivals “The Bride” from Kill Bill and Kratos from God of War. Mia Corvere and her vengeance concludes in Darkdawn, and the author delivers on everything he promised his readers and gives them even more.

            Mia Corvere has transformed from an assassin of the Red Church to a gladiator of the Falcons of Remus to the most infamous murderer in the Itreyan Republic. While she was killing her family’s enemies, she made a startling discovery and acted without thinking. Her brother, Jonnen, has been alive the entire time and has been raised as Consul Julius Scaeva’s son. More about Scaeva’s deception is revealed to Mia and she realizes that her identity was a lie as well. As she comes to terms with this new information, Mia learns that she has been chosen to “seek the Crown of the Moon.” It turns out the gods and the goddesses of the Itreyan Republic are as real as the magic in that world. Mia’s power of a darkin is strongest during Nevernight—which, is coming again soon—and, when the Mother Goddess—Niah, the Maw, the Mother of Night, and Our Lady of Blessed Murder—is strong enough to get her vengeance on Aa—the Father of Light, the Everseeing—her husband. Mia is powerful enough to assist the Maw with her path for revenge. However, Mia has accomplished her tasks and wishes to put as much distance between herself and the Itreyan Republic as possible. But first, Mia has to complete purging the Red Church who has sent ALL of their assassins after her. Meanwhile, Mercurio—Mia’s mentor and foster father—is a captive in the Red Church to use as bait to lure Mia Corvere to them. At the same time, Mercurio learns of the role he’s to play in the Mother’s plan, and it’s as shocking to the readers as it is to him! Throughout the story, we see Mia being split between keeping her brother and her friends safe and killing Consul Scaeva once and for all and following the path the Mother has laid before her. Mia deals with all of these revelations the only way an 18-year-old can…by lashing out; and, Mia’s method of lashing out involves killing a lot of people. Mia is now the most lethal assassin in the history of the Itreyan Republic and the true faith of the Maw expects Mia to fulfill her final task. Will Mia accept the task of the Mother? 

            The plot in Darkdawn is the conclusion to Mia’s life. Readers have known since Nevernight that Mia Corvere would die. The question was how and why. Mia’s quest for revenge now includes the Red Church and anyone Consul Scaeva sends after her. On top of that the Mother (darkness) and the Father (sunlight) are preparing to meet each other and to end their “spousal disagreement.” Mia has to battle gods and goddesses at the same time she is battling mortals. The plot develops as Mia and Mercurio learn more about the history of the Red Church and the darkin. As for the history of the gods and the goddesses, all of those footnotes throughout the trilogy was information as to what would occur eventually. The immortals—like all mythologies—have foresaw their Ragnarök and Mia is to play a very critical role in the end of the Itreyan Republic. Will the gods allow Mia to defeat them? Along with this subplot is the subplot of Mia’s reunion with Jonnen and the relationship she struggles to build with him. These subplots are crucial to the conclusion of The Nevernight Chronicle and they take over the plot of Darkdawn as the story continues. The plot starts with and ends with Mia Corvere. 

            The narrative in Darkdawn is a continuation of Nevernight and Godsgrave until the final part of Darkdawn (Book 4, The Ashes of Empires). From there, the story seems to follow a stream-of-consciousness in the present tense, until it shifts back to the 3rd limited point-of-view. This narration allows readers to follow the actions of Mia, Ashlinn, Jonnen, Mercurio, and other characters as all is revealed throughout the Itreyan Republic. Mia—even with her darkin abilities—cannot be everywhere at once, so readers get the chance to learn how all of these characters are feeling with their situation and what will come to pass. While readers might not like certain characters, their narratives are objective and essential to the story that is being told. The footnotes remain informative and hilarious but are just as vital to the story as the world-building. Everything converges within the narrative. 

            The style Jay Kristoff uses continues in the final book in this trilogy. The events of the past are told in italics, the darkin’s dialogue are told using various font sizes, and the footnotes continue to explain Itreya’s history and culture. That last part is crucial to the narrative because it can be argued that the history and the culture was the real story being told in The Nevernight Chronicle. For example, the “author” of the entire chronicle is revealed, and once readers get over their shock, they will realize that it makes a lot of sense. On top of that readers are reminded that books still enact a sense of fear whether or not it’s the reader or the people mentioned within it. Jay Kristoff reveals the actual story he is telling in his trilogy, the anger of a goddess and the revenge she is waiting to enact on her husband. Similar to how Mia wants vengeance for her family, Niah wants revenge against Aa. The clues were in the titles: Nevernight, Godsgrave, and Darkdawn. The author wasn’t only telling Mia’s story, but also creating his own mythology about the world he created: the gods and the goddesses, how they created the world, and the religion that came out of it as well. The mood in Darkdawn is the coming end of an empire, a cult and its followers, and the protagonist. Readers are familiar with the saying, “tear it all down and begin anew.” Usually this statement comes out of the mouth of a madman; however, in the case of the Itreyan Republic—similar to the Roman Empire—there is so much corruption and greed that the end was going to happen sooner or later (I’m not a historian). The tone of this novel follows the idiom: “the sins of the father shall be visited upon the sons.” The actions of Mia and Jonnen’s parents are reaped by the siblings. At the same time, the actions of the gods affect the mortals who worship them. And yet, the same emotions are felt by mortals and by immortals alike. 

            The appeal surrounding Darkdawn will be a positive one. I received an ARC of this book and Jay Kristoff gives a satisfying ending to this creative and bloody trilogy. Fans of fantasy and grimdark will enjoy this story. Readers of historical fiction will appreciate the parallels (and the research) to the Roman Empire. And, folklore enthusiasts and experts will love how the author reminds his audience of the source of magic and faith found throughout the trilogy. Darkdawn concludes the way it does as mentioned in the beginning of Nevernight.

            Darkdawn is the action-driven end to a fast-paced trilogy. Mia Corvere’s life story ends as it began, with blood and death. Readers will cringe at the death count, will mourn the characters who die, and won’t be able to stop reading until the end. Fans will complete The Nevernight Chronicle and be more than satisfied with its conclusion. Mia Corvere is one of the best antiheroines I’ve ever read. Thank you Jay Kristoff for sharing her story with us! 

My Rating: MUST READ IT NOW (5 out of 5)!!!

Why You Need to Read: “Small Spaces”

Small Spaces: #1: Small Spaces

By: Katherine Arden

Published: September 25, 2018

Genre: Children, Paranormal, Horror, Folklore

            Ollie, poised on the edge of flight, said, “Tell me what?”

            “Avoid large places at night,” the woman breathed. “Keep to small.”

            “Small? That’s it?”

            “Small!” shrieked the woman. “Small spaces! Keep to small spaces or see what happens to you! Just see!” She burst into wild laughter, (Chapter 2).

            Katherine Arden, author of The Winternight Trilogy, has demonstrated her ability to branch out to a wider audience with her stories. This time, the author shares a story for young readers. Small Spaces will make you believe that you are reading a book from Goosebumps, a series that terrified me as a child. The difference here is the reality written within the story. Katherine Arden reminds her readers that folklore is ubiquitous. Every “story” has a dose of “truth” in it.  

            The protagonist is 11-year-old Olivia “Ollie” Adler and she is dealing with the recent death of her mother. After a bad day at school, Ollie rides her bike to the local river where she sees a woman standing at its edge screaming at a book she’s about to throw into the water. Ollie manages to steal the book believing “it’s just a book,” but the woman screams a warning not to read the book and to keep to “small spaces.” Just like anyone else, child or adult, Ollie believes the woman is crazy and sees no harm in reading the book. She reads about Beth Webster—a woman who had the affection of brothers Jonathan and Caleb. A few days later, Ollie’s class goes on a field trip to the farm, the same farm the book mentions. When the bus breaks down during the return ride, some of her classmates disappear. Ollie begins to wonder whether or not the story in the book is based on truth. Ollie has been withdrawn since her mother’s death. However, with all of the eerie coincidences and the same warning about “small spaces,” Ollie and two of her friends—Coco and Brian—must use the knowledge they have and their skills in order to survive the night and to save their classmates and teacher. Ollie is a complex character in that she is a child who lost her mother but must focus on surviving an urban legend. Her classmates are typical sidekicks, but they provide Ollie with the companionship she needs at the moment. 

            The plot is simple: a girl steals a book an adult is trying to destroy, the girl reads the book and soon realizes that what she thought was a story isn’t a story, and the girl must survive a supernatural force that is hunting her down. Before the field trip, Ollie is reading “Small Spaces” and about the people who are mentioned in it. At the same time, Ollie and her classmates learn about Smoke Hollow and its eerie history surrounding the family that owns the land, who happen to be the descendants of the people mentioned in Ollie’s book. Urban legends—tales based on rumors—are part of folklore, which are beliefs and cultural practices shared by a group of people that are passed from generation to generation. The story Ollie reads in her book and the tales she hears in class are examples of folklore, which is the subplot of the novel. These stories give Ollie just enough information to survive her upcoming ordeal. Both the information and the plot (and the subplot) are presented at an appropriate rate. Readers will forget this is a children’s book. 

            The narrative is told from Ollie’s point-of-view; and, given everything that has happened to her, she is a reliable narrator. The story is told in present time, with the exception of the events in Ollie’s book, which are presented as journal entries. Throughout the narrative, readers learn about Ollie and the choices she makes and why. All the while, readers are reminded that Ollie is just a kid. 

            Katherine Arden’s style remains as it was for her adult books, but the word choice and the sentence structure are written for children. The author presents another aspect of folklore to her fans and readers: legends and urban legends. Legends are unverified popular stories believed to be based on historical events that are passed from generation to generation. Ubiquitous examples are King Arthur and Atlantis. Urban legends are rumors of experiences that someone known to the storyteller—a friend of a friend—had. Urban legends involve creepy and/or supernatural stories such as: hitch hikers and haunted houses. The mood is the eeriness presented by these stories and urban legends. The tone is the notion that legends and other stories are “stories” until the truth in them emerges. In other words, don’t ignore any strange occurrences that happen around you!

            The appeal of Small Spaces have been positive. It is a horror book, so readers of any age will find it frightening at times, but it is an enjoyable read about an adventure in an individual’s small hometown. Remember, there are children who read and enjoy horror stories. As a 90’s kid, both Goosebumps and Are You Afraid of the Dark? were popular amongst kids my age (and both series gave me nightmares). Children who have watched Jordan Peele’s horror movies and/or the IT movie remakes will enjoy Small Spaces the most. In fact, the next book in the series, Dead Voices, comes out in August 2019. 

            Small Spaces is a strong introduction to young readers who enjoy believable haunted stories. Katherine Arden continues to use folklore in her stories in order to provide a sense of realism for her readers. As a fan of her adult fantasy, I was just as impressed with this book as with her other ones! Small Spaces is a fun read!

My Rating: MUST READ IT NOW (5 out of 5)!!!

Why You Need to Read: “Grey Sister”

Book of the Ancestor: Book Two: Grey Sister

By: Mark Lawrence

Published: April 3, 2018

Genre: Fantasy, Grimdark, Sequel

            “You’re powerful Nona, and you’ve come into your power at an early age. The understanding that power corrupts is an idea older than the language we repeat it in. All of us in positions that afford authority over others are susceptible, be we high priests, prime instigators, even abbesses.”

            “Or emperors,” Nona said.

            The abbess winced. “Some truths are better left implied, dear,” (Chapter 17).

            Sequels and other follow ups to their predecessors work well when the events that occurred beforehand are addressed AND the action picks up where it left off. In addition, both the plot development and the character development must continue to show growth in order for the story to remain realistic, and to keep the attention of the reader(s). Mark Lawrence achieves all of this in Grey Sister, the Second Book of the Ancestor.

            The second book in the trilogy has two protagonists: Nona Grey, who is now around 14 years-old and just reached Mystic Class; and Abbess Glass, the Reverend Mother and Headmistress at the Convent of Sweet Mercy. From these protagonists, readers are able to gain knowledge of the on goings of everything happening at the Convent. Nona is coming into her powers and her abilities and is dealing with the consequences of her actions from her time in Grey Class. At the same time, Abbess Glass continues her task of running the Convent and continuing her task of exposing corruption inside and outside of the Convent. More is at stake for both female protagonists as both the Emperor and the Inquisition continue to meddle in the affairs of the Church. All of the other novices: Ara, Darla, Ruli, Jula, and Zole, and the nuns: Wheel, Apple, Kettle, Pan, Rose, Tallow, and Rail know that more is happening outside of the Convent than the Emperor is willing to admit. And, once again, Nona meets up with a few of her former “cage mates,” who have grown into their abilities as well. Everyone is preparing for a war that is inevitable. Nona must endure the obstacles and the hardships in order to graduate from Mystic Class. Abbess Glass must use all of her wisdom and her connections to keep everyone safe, including the “Chosen One” and her “Shield.”

            The plot for Grey Sister is a continuation from Red Sister. Nona and her friends and classmates continue with their classes and the nuns continue their work inside and outside of the Convent. All of this occurs after the betrayals and the heartbreaks from the last two years. These events prompt the identity of the “Chosen One” to be revealed, which brings a motley crowd of zealots and doubters alike. At the same time, neither the noble families, nor the nuns have forgotten the efforts of one noble family’s continued plans to kill Nona. Nona is struggling with her classes due to the long-term “consequence” of the attack on her life. Through it all, Nona grows stronger and more powerful to the delight of her peers and to the horror of her enemies. If Nona wishes to remain at the Convent of Sweet Mercy and to stay alive, then she must find a way to navigate herself through her trials. The subplot of the “Chosen One” is growing and merging into the plot of Nona’s education and the significance of the 4 tribes that traveled to Abeth.

            Once again, the narrative is limited omniscient narration, meaning the readers and the protagonists know what is being experienced at that moment through the character’s point-of-view. Unlike Red Sister, the narrative in Grey Sister is told in real-time through the P.O.V.s of both Nona and Abbess Glass. Thus, these stream-of-consciousness narrations are reliable and can be followed by readers easily. It should be mentioned that the present narration of Grey Sister starts with Chapter 2. Chapter 1 picks up with the cliffhanger from Red Sister, and the Prologue provides a continuation of the action first introduced in the Prologue in Red Sister. Since Grey Sister’s narration is told in the present, any events of the past that is mentioned proves to be a revelation to both the characters and the readers. This is because what gets revealed demonstrates that everything that is, has been, and will continue to happen is bigger and more grievous than anyone at the Convent of Sweet Mercy could imagine. 

            The style Mark Lawrence uses in Grey Sister is a continuation of how prophecy is exploited through means of distraction. Those involved directly with the prophecy want nothing more than to be left alone and to live their lives as “normal” individuals. Some hopefuls wish for the “divine” powers of the “Chosen One” to work miracles for them only to be left disappointed with this notion. Then, there are those who use the prophecy as a way to fulfill their agendas, typically political ones. And, if the prophecy of the “Chosen One” is a distraction, then the political agendas of several noble families, including the Royal Family, serves as the knowledge that no one wants to admit is the issue: war is coming. In other words, religion is exploited in order to distract everyone from the politics of society. This is the mood found within Grey Sister; and, the tone is how the truth—surrounding both religion and politics—is revealed and the reactions and the consequences of it. There are neither winners, nor losers, yet everyone continues to believe whatever they want to believe in. 

            The appeal of Grey Sister is as positive as Red Sister. Fans of the first book had just as many praises for its sequel. This is because the sequel continues to build and to develop the characters, the plot, the world-building, and the action. Not only will readers want to re-read this book (to search for clues and Easter Eggs), but also to continue recommending this series to other readers, all while waiting to read Holy Sister, the third and final book in the series. 

            Grey Sister is an amazing sequel to Red Sister. This is because there is an expansion of the world and further development of both the plot and the characters. At the same time, the events and the revelations from the first book play a critical role that cannot be overlooked. The story is as immersive as the action is entertaining. Mark Lawrence’s novel is a must-read for fans of both fantasy and grimdark.

My Rating: MUST READ IT NOW (5 out of 5)!

Why You Need to Read: “The Survival of Molly Southbourne”

Molly Southbourne #2: The Survival of Molly Southbourne

By: Tade Thompson

Published: July 9, 2019

Genre: Horror, Science Fiction, Sequel 

WARNING: Spoilers from The Murders of Molly Southbourne and The Survival of Molly Southbourne. You have been warned.

            Molly Southbourne was a freak whose blood grew genetically identical duplicates of her. One drop of blood, and a new molly popped up, but it wasn’t cute. It wanted to kill her. Molly spent her whole life killing her duplicates just to survive, (Chapter One).

            Similar to many of the recent sequels in speculative fiction, The Survival of Molly Southbourne starts where its predecessor, The Murders of Molly Southbourne left off. In the sequel, Tade Thompson answers the questions Molly Southbourne (and readers) have had about herself. And, like other works of sci-fi horror (i.e. Alien), there are more eerie forces at work than anyone else knows. 

            Molly Southbourne is a protagonist who is “a fish out of water” because she has no identity and no purpose to her life. Molly Southbourne—the one who survived both the attacks and the fire—is now Molly Southbourne and is living as Molly Southbourne whether or not she wants to. While Molly is a duplicate of Molly “Prime,” as she calls her, she is NOT Molly Southbourne. She lacks both the knowledge, and the skills Molly Prime had. In addition, Molly does NOT have the same problem with bleeding like Molly Prime did (“hemoclones”). All Molly has are the looks and the memories of someone who is dead. Unfortunately, the new Molly Southbourne is the only one who knows, and it’s driving her crazy, literally. 

            The plot in The Survival of Molly Southbourne is how the new Molly Southbourne is adjusting to life as a 27-year-old woman who is supposed to be living as someone else. Molly has more questions about herself than Molly Prime did; and, unlike Molly Prime, Molly decides to get answers to those questions. To say that Molly’s discoveries come straight from a spy novel—complete with multiple conspiracies—would be an understatement. After she gets some answers to her questions from “several” people, Molly must decide how she is going to survive. She doesn’t have to become Molly Southbourne, but she cannot get rid of that part of herself. There is a subplot, and its focus is about a minor character from the first book who was intimate with Molly Prime. In this book, that character attempts to fight the fate Molly Prime left him with unknowingly. Will the efforts be successful? Will Molly be able to help him?

            The narrative in The Survival of Molly Southbourne is an interesting one. While Molly is the protagonist, and the story of the aftermath is told from her point-of-view (1stperson), the sequence is a combination of Molly’s actions and daily life—told in present time—with the memories of Molly Prime—also her memories—bombarding her. The combination of the flashbacks, the stream-of-consciousness, and the present gives readers insight to the adaption and the chaos that is Molly Southbourne. Her struggles and her inexperience make the narrative reliable and believable. As discombobulated as it sounds, the narrative is easy to follow. 

            The style Tade Thompson uses in The Survival of Molly Southbourne is the same as it was in The Murders of Molly Southbourne. The author continues with telling this story using tropes and style based on previous sci-fi horror stories. However, it is the mood—apathetic—and the tone—bizarre—that have changed in the sequel. Molly is making sense of everything that is happening around her, only this time those involved behave as it’s not a big deal. Molly is neither unique, nor lethal as Molly Prime was, but she manages to survive and to adapt to her life as we see through the author’s style. Readers will be pleased with this (continued) style of storytelling. 

            So far, the appeal to The Survival of Molly Southbourne have been positive. Released a month ago (at the time of this posting), readers who were curious as to how Molly’s story would continue is answered. The mysteries and the conspiracies are addressed, and the continuation of the characters from the previous book lets readers know that neither Molly Southbourne, nor Tade Thompson have forgotten about them. Both novellas can be read and enjoyed in one reading. Fans and readers of sci-fi horror need to read these books.

            The Survival of Molly Southbourne is an amazing follow-up to its prequel. While the narrative and the perspective have changed from what came before, the story is as fast paced and as haunting as The Murders of Molly Southbourne. Tade Thompson does an excellent job in bringing Molly Southbourne’s story the resolution it needs. 

My Rating: MUST READ IT NOW (5 out of 5)!!!

Why You Need to Read: “Godsgrave”

The Nevernight Chronicle: Book Two: Godsgrave

By: Jay Kristoff

Published: September 5, 2017

Genre: Fantasy, Grimdark, Historical Fiction

            Ashlinn sighed, her temper fraying. “You have no fucking idea what’s going on here, do you? I know you, Mia. Do you have any idea what the Red Church actually is? Do you think they’re ever going to let you kill Scaeva when he pays their wages?”

            Mia felt the consul’s name like a fist in her belly. 

            “You’re full of shit.”

            “Why do you think Scaeva isn’t dead already?”(Chapter 10, Secrets). 

            Godsgrave—the follow up to Nevernight—is an action-packed fantasy story from beginning to end. Conspiracies are uncovered and secrets are revealed, and characters grow more into themselves. Mia Corvere’s quest for revenge continues when she learns more about the Red Church and the politics of The Republic of Itreya. Jay Kristoff not only delivers an amazing sequel to his readers, but also gives us his take on the Gladiator Games, which are based on the ones from Ancient Rome. 

            Mia Corvere is now a Blade—an assassin—for the Red Church. Thus, she is closer to achieving her quest for vengeance; or, she would be if she hadn’t uncovered a conspiracy within the Red Church that includes her family. Curious to learn more about this connection, she goes undercover by selling herself to one of the noble families—similar to the one she grew up in—as a gladiator. Mia not only has to survive and to learn how to fight within these games, but also must navigate her way into the inner circle of the elite. Mia makes new allies, works with her darkin (shadow) companions, and works with a frenemy. Mia realizes that if she had continued living the life as a Justicus’ daughter it would not have equated to a happy life. At the same time, she learns more about why her parents rebelled against The Republic of Itreya. All the while, Mia learns how to fight as a gladiator, which is its own style and not like how she learned to fight at the Red Church. This is Mia’s coming-of-age story in which she sees everything for what it actually is and how to adapt to this new knowledge, just like everyone else goes through while growing up. Mia and all of the characters she interacts with are as complex as her. 

            The plot is straightforward; Mia continues her path to avenge her family. She’s closer to that goal now she’s a Blade for the Red Church. However, when she’s told not to pursue her target, Mia begins to question the operations within the order. Mia decides to go rogue and to continue her quest by selling herself as a slave to a gladiatorial collegium in order to get closer to Consul Scaeva. There she learns how to fight as a gladiator and how deep conspiracies run. The subplot is Mia learning the hows and the whys of her government and the roles her parents had in it before the rebellion. Both the plot and the subplot are linked in that Mia learns some hard truths about the life she thought she had and lived. This turn of events could alter the way Mia carries out the rest of her plans.

            The narrative in Godsgrave continues from what it was in Nevernight. The events of the past lead up to the events in the present. The difference here is that the narration is in the 3rdperson omniscient point-of-view. Readers want to know what is happening with the other characters when Mia is not around, and the author gives that to us with that method of narration. The world-building continues in the second book through the footnotes, which remain informative and hilarious. Jay Kristoff’s world continues to grow through his narration. 

            The style continues as it started in the first book. Remember, this story is supposed to be one huge chronicle, so the style won’t change, which is a good thing because changing the style would change the way the story is being told and we don’t want that to happen. So, the events of the past are written in italics, the darkins’ dialogue are told using smaller font sizes, and the footnotes continue to explain Iterya’s history and culture. The mood, once again, lets readers know that this world is not a caring one; even the elite mistreat each other. The tone illustrates how an individual could react to such mistreatment; and, it is not good. 

            Godsgrave is the follow up that fans and readers crave for from a sequel. The appeal surrounds how the story and the plot develop through character growth and world expansion. Jay Kristoff succeeds in providing a perfect continuation of this trilogy. It’s safe to assume the same will happen in Darkdawn, the final book in the trilogy. 

            Godsgrave is the perfect transition from Nevernight to the point where you forget that you’re reading two separate books. The theme of doing the wrong thing for the right reason continues in this narrative and in many of the characters. Fans will not be disappointed with this sequel! Mia Corvere’s journey continues to grasp our attention!

My Rating: MUST READ IT NOW (5 out of 5)!!!