Category Archives: Award Winner

Why You Need to Read: “Vita Nostra”

Metamorphosis: #1: Vita Nostra

By: Marina & Sergey Dyachenko

Translated (English) by: Julia Meitov Hersey

Published: 2007 in Russia & Ukrainian; November 13, 2018 in the U.S.

Genre: Metaphysical, Speculative Fiction, Psychological, Bildungsroman 

Winner of the PocKoH 2008

Vita nostra brevis est,                                                 Our life is brief,

Brevi finietur;                                                             Soon it will end;

Venit mors velociter,                                                   Death comes quickly,

Rarit nos atrociter,                                                     Snatches us cruelly,

Nemini parcetur!                                                        No one is spared!

                                                                                                                       (Part One).

            I know I am late in writing this review but it’s here now. This book was my favorite book of 2018 and I’ve been raving about this book to anyone who would listen. I’ve been begging the publisher—Harper Voyager—for the translation of the other books written by this husband and wife duo. Vita Nostra is a novel that serves as a reminder that the speculative fiction genre has no limits and contains a reading experience that will have you question your limitations as to what is possible. 

            Alexandra Samokhina, or Sasha, is on summer vacation with her mother at the beach. She is looking forward to this trip before her senior year in high school in which, she plans to focus on her studies and to attend a university to study philology (the study of language in oral and written historical sources). Yet, before the 1st day of the trip can amount to more than a quick swim, Sasha notices a man in a “dark denim suit” watching her. At first, she shakes it off, but a few days later, Sasha sees him whenever she’s in town. From there Sasha experiences a few bouts of strange activity, but this only gains more unwanted attention. After many run-ins with the man, Sasha is given a task to perform, which she completes. Whenever, she doesn’t complete the task, someone close to her suffers the consequences. After her summer vacation, Sasha is given another task to complete each day throughout the school year. Meanwhile, Sasha’s mother starts seeing a man named Valentin. As expected from any adolescent, Sasha is going through academic pressures and a changing relationship with her mother. By the time she has graduated, Sasha’s grades have dropped, she doesn’t get into the university she wanted to attend, and her mother has married Valentin. However, because kept completing her “tasks,” Sasha is accepted to the Institute of Special Technologies in the town of Torpa, and the man—whose name is Farit Kozhennikov—is to be her advisor. Once at the school, Sasha—and her classmates—attend classes, follow strict rules, and complete their homework or face the consequences. Similar to any university, first year students have to adapt to all of the changes and study methods at the Institute. The difference is failure is not accepted and even the best students falter from time-to-time, even Sasha. Sasha studies and studies, and while she slowly comprehends her lessons and unlocks her mind to a new way of thinking, her punishments are as strange and as brutal as you can imagine. The Institute’s program lasts for 3 years, and then the students take their graduate final in order to “move on” to the graduate program. Sasha and all of the students at the Institute fear what happens if they fail, so they all study and perform as well as they can. Sasha realizes that she is outperforming her classmates to the point where she is not only at the top of her class, but also adapts to the Institute’s expectations. Due to these accomplishments, not only does Sasha becomes isolated from her peers, but also becomes more distant from her mother. Sasha’s mother, stepfather and friends develop in a more casual way. Sasha’s development is as complex as the story, but it is intriguing to read how she deals with life inside and outside the Institute. 

            The plot in Vita Nostra is the type of education being implemented at the Institute of Special Technologies through Sasha. The fact that this is the first book in the Metamorphosis series, should provide some hints, but not enough for readers to guess what will happen. Sasha is university student, which means she is learning how to balance her studies with any free time she has. And, like other university students, Sasha struggles with her classes and even misses a few of them due to exhaustion. Yet, she continues because she doesn’t want her mother to suffer for her failures. Eventually, Sasha not only grasps the meaning and the structure of her classes and her one-on-one sessions, but also exceeds beyond the expectations of her professors to the point where they have to set some rules for her to follow, so she does NOT get carried away with what she’s managed to accomplish so far. Sasha goes from struggling student to one that must be monitored so that she maintains control of herself. Sasha becomes so accomplished she becomes isolated from her peers. The subplot in this novel is the relationships Sasha struggles to maintain throughout her time at the Institute. While she remains friends with some of the other students, Sasha does all she can to hang on to her relationship with her mother. While Sasha is struggling with her studies, her mother is enjoying her new marriage (and later on a new baby). Sasha’s mother asks her constantly about leaving Torpa, but Sasha knows it’s best to remain there for her family’s safety, and to keep learning. The plot and the subplot converge around Sasha and everything she’s learning at the Institute, and its costs. She unlocks skills her professors want from their students. Once Sasha understands her potential and her skills, she cannot stop learning more. This imposes a new level of coercion set on her by her professors and her advisors. 

            The narrative in Vita Nostra is told from Sasha’s point-of-view and follows her growth from a candidate to a third year at the Institute. The book is in 3 parts, but there are no chapters. Instead, there are breaks that indicate when something else is occurring in Sasha’s life. This reflects the continuation of life of the characters and having chapters would disrupt the narrative. These breaks within the narrative allow readers to follow the story easily. This is because the narrative—while told in present time in stream-of-consciousness—there are moments where the sequence changes over to what may seem like a flashback but is actually a “do over” of these events. While this method of narration is objective—for it is essential for the novel—it presents Sasha to be a reliable, yet flawed, narrator because readers realize the extent of Sasha’s studies and accomplishments. Even before Sasha is accepted into the Institute, readers notice the beginnings of her change of her narration throughout the narration. Each part represents each year of Sasha’s time in Torpa, and the narration changes as Sasha changes; and, it is an experience unlike anything read before.  

            The style the authors—Marina and Sergey Dyachenko—use fall under metaphysical fiction. Metaphysical fiction is a subgenre of speculative fiction in which, “things like mind over matter, energy medicine, and places that which is beyond physical measurement, beyond the ordinary, into the very ordinary and mundane world we human beings inhabit,” (Newland, 2013). In other words, characters possess talents, skills, and/or abilities that defy physical laws, but only a small percentage of the world’s population have these talents, so the rest of the world remains ignorant to people like Sasha, the purpose of the Institute of Special Technologies, and the phenomenon everyone there undergoes. Vita Nostra is NOT magic realism! Magic(al) realism is a subgenre of speculative fiction where a story set in a real location and time with ordinary people living ordinary lives experience fantastical or magical elements that are a natural part of the characters’ lives but remain mundane and unexplained (Witte, 2015). For example, in Isabel Allende’s, The House of the Spirits, there are two sisters. One has green hair and the other one is a clairvoyant. No explanation is provided, the other characters are unfazed by these phenomenon, and the story continues. Readers are left to doubt whether or not those fantastic elements are real. In Vita Nostra, Sasha and her classmates possess abilities that are beyond the ordinary, but they are isolated from the rest of the world because it is not considered to be “ordinary.” Instead, Sasha and the other students are left to deal with these metaphysical experiences on their own at the Institute. The tone in Vita Nostra is the cost of learning and the cost of failure at the Institute, a form of terrorism. The mood is the bizarreness of everything the students experience and how Sasha (and readers) are intrigued to learn more. The authors provide a story of what is possible and what is actual in their own words while following the elements of the metaphysical fiction (sub)genre. 

            Vita Nostra is a translated work of fiction. The novel was first published in 2007 in Russian in Ukraine. The novel was very popular at the time of its release in Russia and won the PocKoH in 2008. Vita Nostra has been described as “a cross between Lev Grossman’s The Magicians and Elizabeth Kostova’s The Historian…is the anti-Harry Potter you didn’t know you wanted,” by The Washington Post. I find the description to be very accurate. Other readers, including some authors, enjoyed this book as much as I did. While not everyone will appreciate the elements of dark fantasy and metaphysical fiction, they cannot deny the parallels to other works of Russian speculative fiction such as The Metamorphosis by Franz Kafka. I’ve been told by other readers that fans of The Night Circus by Erin Morgenstern and The Library at Mount Char by Scott Hawkins will appreciate and enjoy Vita Nostra the most. I believe this novel will have more of a cult following which will transcend to a must read in due time. Meanwhile, the popularity of Vita Nostra will help with the expansion of the metaphysical fiction genre. This novel is the first in the Metamorphosis series. Digital, or Brevis Est was released in 2009 in Russian, and Migrant, or Brevi Finietur was released in 2010 in Russian. Both novels are follow-up standalone novels that follow other students at other Institutes who undergo their own metaphysical experiences. There have not been any news surrounding an upcoming translation of those books, but both The Burned Tower (1998) was released in English in 1999, and The Scar (1997)—the sequel to The Gate-Keeper (1994) and NOT released in English—was released in English in 2012. The next English translated book by Marina and Sergey Dyachenko is titled Daughter from the Dark and it’ll be released in February 2020, and I can’t wait to read it!

            Vita Nostra is a unique read that will introduce readers to new authors and another subgenre of speculative fiction. The combination of breaking reality with this coming-of-age story will remind readers everywhere that no matter the genre, themes such as family dynamics and education are universal. The story alone is enough to capture your attention and decides when and how to answer the questions you and the protagonist want answered. The expectations readers will have from the authors will match the expectations Sasha’s professors have for her. The Institute of Special Technologies is listed alongside Hogwarts, Sinegard Academy, and the Brakebills University for Magical Pedagogy as challenging and excelling educational institutes. I desire and I dread the existence of these academic institutions! 

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

                                                            List of Works Cited

Newland, Tahlia. “Guest Post: Setting the Stage: Visionary & Metaphysical Fiction.” Tahlia Newland, 23 January 2013, http://www.tahlianewland.com/guest-post-setting-the-stage-visionary-metaphysical-fiction. 

Witte, Michelle. “Elements of Magical Realism.” Michelle Witte: Read Write Edit, 29 September 2015, http://michellewittebooks.com/2015/09/elements-of-magical-realism. 

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Why You Need to Read: “Empire of Sand”

The Books of Ambha: #1: Empire of Sand

By: Tasha Suri

Published: November 13, 2018

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

Winner of the Brave New Words Award 2019

            The Emperor’s hatred had not grown suddenly, as Mehr had so foolishly believed when Maryam had warned her of his messages to his nobles. His hatred was a storm that had grown ever larger by feeding on itself, and Mehr had been protected from the full weight of it by the shelter of her privilege and of the very Ambhan walls that so stifled her. Now the storm was too great for even Mehr to ignore. Her status as the Governor’s daughter couldn’t protect her forever. She had Amrithi blood, and the Amrithi were being erased, (Chapter Two). 

            I’ll repeat what I’ve said about the speculative fiction released in 2018: it was the best year yet! There were many debut novels that gained the acclaim of fans and critics alike. In addition, there seemed to be a debut novel that represented each region of our world. Tasha Suri is one of many whose novel takes place in a historical fictionalized Middle East. Empire of Sand reflects on the notions of “old magic” and the oppression of the users that comes with it from those with political power. 

            Mehr, who is 18 years-old, is the eldest illegitimate daughter of the Governor of Irinah. Mehr and her younger sister, Arwa, who is 9 years-old, live with their father and their stepmother, Maryam, at the Governor’s home. As daughters of a nobleman, the sisters live sheltered lives of luxury; as daughters of an Amrithi woman, the sisters have magic in their blood. Mehr is old enough to remember their mother and has accepted the customs of her mother’s people. Arwa is too young to remember their mother, but Maryam has no issue with raising and molding Arwa into an Ambhan noblewoman. Obviously, Mehr and Maryam are at odds with each other and it seems that the girls’ father is unaware of the relationship between his wife and his daughters. As paranoid as Maryam is, it turns out that she is right to be worried about Mehr’s rebellious behavior. When Mehr defies her family’s wishes and her mother’s cultural paranoia, she is married off and sent away to become a “tool” of the Empire. She is married to Amun, a full-blooded Amrithi who has been a captive of the Maha—mystics of the Religious Order—since he was a child. Married, isolated, and far from home, Mehr has to figure out how to survive her new life, to stay alive, to determine who is trustworthy, and to determine how much magic she has and what that means for her. Throughout the novel, Mehr grows into a powerful woman who embraces both her magic and her culture as she interprets the use of her power for the good of everything she cares about.

            The plot of the story follows the culture and the traditions of South Asia, along with its dark side based on historical events. “The rule of law and rule of faith are tied together. One cannot exist without the other,” (p.76). The Maha—the one in charge of the mystics—founded the Empire, so the Emperor and all of the Ambhan are “blessed” with their fortunes and lifestyles because of them. However, when angered, or demand something and are denied, the Maha can become anyone’s worse enemy. And, Mehr has alerted the Maha of her presence and her heritage. The mystics demand that she serves “for the Maha and the Empire.” Mehr knows that this goes against the practices of the nobles and her father threatens to rebel. Mehr gives into the demands in order to protect her family, especially Arwa. The plot develops as Mehr grows into herself and she learns more about the Maha and the Empire. She learns the reasons why her mother left her father, and her father’s neglect to teach her what she needed to know about herself and the Empire. Mehr soon realizes that power is determined based on who wields it. And, if the Emperor looks to the Maha for power, then does that mean the Maha hold the power? The subplot here is family and the bonds that come with it. Mehr sees herself as her mother’s daughter to the horror of her stepmother. Maryam, who has not been able to have children of her own, claims Arwa as hers and does everything in her power to keep the sisters apart. While her abuse of Mehr and harsh upbringing of Arwa is disturbing, her paranoia is justified when the Maha demand Mehr to be delivered to them. At the same time, Mehr learns more about her mother and father’s relationship as well as the decisions they made together and separately. This subplot is essential to the plot in that all of Mehr’s decisions are based on what’s best for her family. 

            The novel is told in real-time from the point-of-view of Mehr. With the exception of 3 chapters from 3 minor characters, the narrative is told in 3rd person free indirect discourse. In other words, readers are aware of all of Mehr’s thoughts, impressions, and perceptions—a.k.a. stream-of-consciousness—and, given the mistakes Mehr makes throughout the story and her known flaws, she is a reliable narrator. 

            The style Tasha Suri uses in her novel presents the various lifestyles people of different classes and faiths have even in modern South Asia. The descriptions of the different homes and clothes display the distinction between cultures and social classes. The word choice and the figurative language that illustrates the lands and the dances gives the beauty of the two to the readers. The mood in this story is the beauty of the Empire, which the Gods created. Yet, the tone in the novel is the balance of the world and the consequences of any unbalance in the world whether or not it’s from divine intervention, societal expectations, or parental influence. In all, the style presents how beauty in the world can remain if there is a balance. 

            The appeal surrounding Empire of Sand have been immensely positive. The novel has received positive reviews from critics, readers, and other authors. The novel has been nominated for several awards including the Locus Award; and, it won the Brave New Words Award in 2019! This fantasy novel is a beautiful debut and a wonderful addition to the speculative fiction genre. Fans will want to re-read Empire of Sand, especially before the sequel, Realm of Ash, is released in November 2019. I should warn readers that in addition to familial abuse and neglect, there is a scene in the story that contains non-consensual sex, and scenes of torture and murder. Other than those scenes of trauma, the novel is worth reading and the follow-up looks to be very promising, too.

            Empire of Sand is a beautiful debut novel about the history of an empire that struggles to maintain control of everything and how the bonds of love and family can help an individual endure suffering. Even though there were some flaws surrounding the pacing of the novel, my love of the characters is what kept me reading this novel. Empire of Sand was one of my favorite speculative fiction books of 2018, and I’m really excited for the next book in the series, and any future books by the author!

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

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)!

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.