My Favorite Speculative Fiction Narratives

***My 200th Blog Post!!!***

For this post, which marks a new milestone for me, I decided to discuss one of the most enjoyable—and the most dreadful—topics: favorites. We all know why favorites is a fun topic, but it can be daunting for opposing reasons: others have them as their favorites, they are ubiquitous, they are different from yours, etc. 

            Why am I using the term “narrative” instead of story? What is a narrative? MasterClass has a great definition of the word (no, I am NOT a member). “A narrative is a way of presenting connected events in order to tell a ‘good’ story. A narrative unites distinct events by concept, idea, or plot.” Narratives have existed since the start of humanity, and they range from folktales to poetry to visual media, etc.

            So, why am I using narrative for this post? It is because it is tied to the topic of my 100th post. In that post, I mentioned how speculative fiction genres and subgenres can be used for films and video games. Personally, I believe speculative fiction should include both visual art mediums more often because many films and video games are presenting narratives. Yes, many films (and TV shows) are based on text narratives (a.k.a. books)—and, some video games are based on books and films; yet, there are many films and video games that standout because they are excellent narratives that are NOT based on books.

            Think about it, which films and video games are considered to be the best based on their narratives? And yes, not everyone has seen the same films, and not everyone plays the same video games, but you’ve heard of the “popular” ones and the “excellent” ones. Most of the these are critically acclaimed within their own academy, but their narratives are what capture our attention the most as we progress through them. These narratives are so captivating, we appreciate them regardless of the medium they are being presented to the audience. 

            So, for this post, I will be discussing my favorite speculative fiction narratives. My (current) favorites span across speculative fiction genres and narratives formats. Expect not only books, but also films and video games as well. Many of my favorites shouldn’t surprise you, but I hope you understand why I continue to gush over these narratives. This is a Top 10 List, but the order is based on when I experienced each one.

  • His Dark Materials Trilogy (1995-2000) by Philip Pullman

Known as both “the most dangerous man in the U.K.” and “J.K. Rowling’s contemporary” this (now retired) Oxford professor has been enjoying the latest adaptation of this dark fantasy—with blended elements of science fiction and religion—trilogy which have been more faithful to the books. This trilogy was published right before the Harry Potter Phenomenon, which were released in tandem (to the first half of the Harry Potter series). And, while this series might not have the same amount of fans as Hogwarts, readers of this series became devoted fans who waited years for the same level of media adaptation as its counterpart. 

I’ll say it right now, this is my favorite book series from my childhood. That’s over Harry Potter, Animorphs, and other series (from the same decade). Why? Because this series had a narrative that presented various conflicts within a coming-of-age story with realistic elements—which we take for granted—told through a lens that is speculative fiction. In addition to the protagonist being a less than ideal heroine (she has flaws), she takes matters into her own hands in order to do what she believes is the right thing to do, regardless of what the authority figures tell her to do.

Not only was this series my introduction to portal fantasy—I read C.S. Lewis’ and L. Frank Baum’s series in college and in grad school respectively—and genre blending. This trilogy is fantasy that contains several elements of science, religion and folklore—dæmons are a belief from Ancient Greece and the shamanism dates back to the Pre-Socratic Era—which tie into the plot, the character development, and the world-building. You can recognize the series based on keywords mentioned from the beginning to the ending. 

This narrative is one of my favorites because it takes the familiar tropes of a fantasy story (i.e. family) with real life elements (i.e. science) and scenarios (i.e. identity) and allows it to be presented between science fantasy and reality. And, the idea that a single action can lead to the same ramifications in all worlds is extremely thought provoking as well. The series’ ending—given the circumstances—is satisfying. This narrative has you saying, “what is” instead of “what if.”

  • Spirited Away, Sen to Chihiro no kamikakushi (2001)

I remember when this movie was released in the U.S., but I didn’t get to see it in theaters. When I did sit down to watch this movie, I was mesmerized by both the animation and the narrative. And, while I understand the comparisons between this narrative and Alice’s Adventures in Wonderland—and even The Wonderful Wizard of Oz—this story, fused with Japanese folklore, stands out on its own.

Chihiro isn’t a curious young girl who wanders into a magical world. She is a whiny child who is saddened with moving to a new home with her parents who are more optimistic about the move than her. When they get lost, it is her parents whose curiosity leads them all into the spirit world, where they are trapped inside. Chihiro is forced to complete the “Hero’s Quest” by completing 3 tasks. However, Chihiro is a 10-year-old girl, and she behaves like one throughout the narrative. It won’t be easy.

I love the narrative within this movie because it explores the balance between fantasy and folklore. Some tales from a region’s religion, culture and/or superstitions are often dismissed as being “false” or “fantasy.” However, the fantastic often presents what is real in its own way; and, this movie presents a spirit world with more than one location within it, which demonstrates that world is as vast as ours. There is one unanswered question: how long were Chihiro and her parents in the spirit world for? 

  • Final Fantasy X (2001)

I’ve discussed my love for video games before, but I haven’t talked about them as much as I wanted to beforehand. Some readers of speculative fiction do enjoy video games of the same genres, but role-playing games—a.k.a. R.P.G.s and Japanese R.P.G.s—are visual narratives in which you play your way through the story until you reach its end. And, some of the games in this genre are both popular and laudable enough for all gamers to play at least once.

Everyone has their favorite Final Fantasy game; and, each game in the main series has its own superlative. For example, in my opinion, Final Fantasy VII is the “Most Popular” game in the series. Final Fantasy X has my favorite narratives in this series. In addition to this game having an excellent story—which the other games in the (main) series all have in common—this game presents a narrative in which all of the main characters develop and grow over the course of the game.

            You play as Tidus, a famous athlete who takes after his father (who he hates and has been missing for 10 years). During a game, the city is attacked by an entity, and Tidus is transported 1,000 years into the future. From this point in the game, Tidus (and the player) learn about the world they find themselves in, what happened to their world since the initial attack there, and how the two are tied together. Conflicts and themes surrounding power, identity, religion, beliefs, love and choice are presented in each of the main characters throughout the gameplay. Each conflict and its relation to each character is presented early within the narrative. However, as each “truth” is revealed to the party, they must decide on how they want to carry on knowing the consequences of their actions. While the ending is bittersweet, you finish the game’s narrative aware that the world will be able to start anew; which is something we can all learn from this game.

            Final Fantasy X is one of the games in this main series with a direct sequel. Final Fantasy X-2 (2003) takes place a few years after the events of its predecessor. This presents a unique, yet believable, look into how the world has changed, and how the main characters have changed with it.             

  • The Twelve Kingdoms (1992-Present, Japan; 2007-10, U.S.A.) by Fuyumi Ono

Personally, I believe we take narratives for granted. Yes, we learn how stories were told orally and passed down from generation through posterity, then collected and written down, and then translated into other languages so more can enjoy them. The 1990s saw the demand for Asian content to be presented to a Western audience, and not just action movies. TV shows, anime, manga, etc., were in high demand; some works of literature were translated as well. Battle Royale: The Novel and the movie have a strong cult following, but some light novels (Japanese YA novels) were being translated as well.

Sea of Shadow is the first book in The Twelve Kingdoms, and the narrative focuses on the trope of the outcast and presents it in a way that is both heartbreaking and inspiring. Yoko Nakajima has lived her entire life as an outcast. She is a high-schooler with red hair living in Japan with her traditional parents. Although she is an only child, she receives little love from her parents; she gets good grades in school, but she is ostracized due to her hair color. All Yoko knows is how to get through life by trying to please everyone around her. One day, a man with golden hair appears at her school—which is an all-girls school—abducts her from her classroom, and spirits her away to a world where Asian folklore and fantasy are authentic. After arriving, Yoko is separated from the man and now must survive in a world where she is even more of an outcast than in our world. 

This narrative is part coming-of-age and part survival story. Yoko is in a place where she is considered to be a criminal because she is an immigrant. After a few close calls, she is left on her own to survive in the wilderness. From there, Yoko grows into the individual she was forced to suppress due to her familial and societal notions. After accepting that there is nothing left for her in our world (she can never go home anyway), Yoko mush find a reason to keep living throughout all of the adversities she faces. Her goal matches a shocking revelation about herself.

The rest of the series introduce new characters and reintroduces fan favorites as the timeline of the 12 Kingdoms’ history is covered throughout each book. The same issues of immigration, regional biases and political conspiracies are covered in the narratives of each book. In addition, without too many spoilers, each of the protagonists in each book represent one of 3 types of societal outcasts within that world. 

Print copies of this series is limited; not to mention just 4 books in the series were translated to English. There is an anime series based on the first 4 books which you can stream online. Hopefully, one day we’ll get the rest of the series translated and released.

  • Pan’s Labyrinth, El labriento del fauno (2006)

I’ve discussed fairy tale retellings and fractured fairy tales, but I haven’t mentioned fairy tales and folktales as often as I should in my posts. In short, fairy tales are a genre of folktales in which there is a strong storyline and plot, emphasis upon magic and fantasy, repeated motifs and tropes, with a “happy ending.” Characters are represented as good or evil, and there are beings with magical powers or objects which serve a purpose for the characters. Director Guillermo del Toro wrote and directed his own fairy tale, Pan’s Labyrinth, in which he blends fantasy, magic realism and folklore into this poignant, yet dark film. 

The setting of the narrative grabs your attention immediately. It is the end of the Spanish Civil War (1936-9)—which occurred in tandem with the Second Sino-Japanese War (1937-45) and World War II (1939-45)—and a young girl, Ofelia, and her pregnant mother are traveling to her (new) stepfather’s residence. The protagonist’s stepfather is a captain in Franco’s army, which holds dominance over Spain. Ofelia does her best to cope with the changes by retreating into fairy tales, her favorite literary genre, which the adults all comment that “she is too old for them.” Amidst the violence that happens outside of the home, Ofelia comes across a magical faun who tells her her true identity and the 3 tasks she must complete in order to prove that she is “the lost princess.” 

The narrative is haunting and beautiful as it explores the reasons why anyone would read fantasy and fairy tales; besides escapism, they offer a semblance of hope during difficult times. Not to mention, this is one of the few “fairy tales” where there is a villainous step-father instead of a step-mother (and he’s not a child molester). Each of the 3 tasks correlate to the themes of war and violence—not to mention one of the scariest evil creatures in recent narratives to date—and whether or not magic does exist.

This new fairy tale resembles the older variants which were collected by the Grimm Brothers, and written by Perrault, Andersen, and Baum. In other words, it is for adults not children; that being said, anyone who is a fan of fairy tales will appreciate how new tales can emerge through the appreciation of previous ones. And yes, you can read the literary variant of this narrative—released in 2019—but the film presents how the audience, and the general public, continue to take these narratives for granted instead of seeing them for what they are: a much needed and a wonderful fairy tale. 

  • Shin Megami Tensei: Persona 5 (2016)

I’ve played both Persona 3 and Persona 4—which you should as well—and, while those entries in the series have great narratives, characters and gameplay, it does not have the same down-to-Earth element Persona 5 maintains throughout the entire game. The series is an urban fantasy JRPG with elements of folklore, science, horror and paranormal in it. Persona 3 delves into themes of depression. Persona 4 is a murder mystery which focuses on the effects of media coverage and urban legends. Persona 5 investigates how societal norms and conformity has a negative effect on individuals. 

The narrative focuses on a group of misfit students who are victims of misconceptions placed upon them by the adults in their lives and the rest of society. Anyone who remembers feeling like an outcast—even in adulthood—can relate to these emotions. And yet, the game explores how it is not only adults and power figures who mistreat other individuals, but also other children and adolescents. In addition, players realize how each of the antagonists ended up as they are because of societal expectations. Are the Phantom Thieves heroes, or “a group of meddling kids”?

The narrative within this game is the reality within the fiction. The unfortunate truth is that we all know more than 1 person in our life and “social circle” who is similar to the characters in the game. Another factor to consider is that the narrative forces us to look at ourselves and to determine whether or not we are mistreating anyone for our own gain. The game’s narrative serves as one part fable and one part entertainment.

I’ll mention the narrative within Royal as well. Without getting into too many spoilers, the narrative in this part of the narrative focuses on how manifested desires allows us to achieve a life that is too good to be true, and the causes and the consequences of living such a life. Living this life can lead us to being “out of touch” from reality, especially to those who might be suffering because life isn’t as good for them. Persona 5 (Royal) examines the lives we choose to live while fighting beings from folklore around the world. 

From the first page to the final sentence of this trilogy you are transported to a world where science, fantasy, history, magic and reality enmesh into one of the most engrossing narratives of all time. What if the seasons lasted for several centuries? What if Earth was unstable due to tectonic activity? What if there were individuals who could control seismic activity? What if life on Earth was dead for centuries? Would you be able to survive?

In the far future, Earth has become an unstable planet where earthquakes kill life for centuries at a time. In a twist of fate, some humans gained abilities to sense and to control the Earth’s tectonic activity; so what does the majority of humanity do? Resort to the old methods of societal oppression by practicing fear, control and slavery of these individuals for millennia, which leads to the beginning of the series where a woman arrives at her home to find her toddler son has been murdered, her daughter abducted by her father, and her secret exposed to her community. On top of that, the “fifth season” has begun, so she must hurry and find her daughter (and kill her now ex-husband) before the surface becomes too uninhabitable to survive. 

This series not only takes genre blending to a new level, but also reminds the readers of the dangers of repeating negative social norms instead of solving the bigger problem. Not to mention how such negative treatment and hostility affects posterity for the worse; and, how far will any mother go to protect her child(ren)? And, what will a child do to ensure their own survival? The world-building explains the current predicament the characters find themselves in and how the planet ended up the way it did. In addition, this is one of the few series in which the beginning chapters play a huge role in the narrative. Even the 2nd person P.O.V. chapters are well-written. You finish reading this series knowing it was an amazing narrative. There is a reason why every book in this trilogy won the Hugo Award for Best Novel, and in consecutive years. 

How do I describe Murderbot to someone who hasn’t read this series? Murderbot is a brilliant A.I. who is smart enough to gain control over itself, hates stupidity, has a bleak outlook on life to the point where it borders on nihilism, watches soap operas so that it can understand humans better, and is very good at its job at providing security and killing threats to those under its protection. On a serious note, I haven’t laughed so much regarding robots since watching the Star Wars movies.

The series follows Murderbot—which is what it calls itself—on its latest assignment, protecting a group of scientists as they explore a planet. After a close call, it wonders if something else was happening on that planet, not that it cares what happens to the humans. Basing its knowledge about humans on the T.V. show it watches (i.e. Sanctuary Moon), Murderbot concludes that some of the other humans are up to no good. So, it abandons its post to go on a mission to determine whether or not Murderbot is right; but, not because it cares about the humans who were nice to it. And, from there the narrative takes off. 

With 5 novellas and 1 novel (with more books expected in the future) readers get to look into how the future could look—and without any intergalactic wars, just corporate greed. Through Murderbot’s P.O.V., readers learn how various types of robots are created and are treated throughout the galaxy, and how they interact with each other when they have the opportunity to do so. Murderbot is a “Security Unit, or Sec Unit,” whose purpose is to follow orders and to protect those within its “contract.” But, Murderbot is smart enough to play dumb when it has to survive and to remain incognito from other bots, A.I.s, and humans. 

Each narrative is a “report” of events Murderbot has to submit. And, given its personality, expect a lot of laughs because you will get its inner thoughts as well; and they are on point! Anyone who wants to read a sci-fi action-adventure series with a funny and a unique narrative will enjoy this one as much as I do. 

After reading so many fantasy stories (and playing them), you ask yourself 2 questions. One, if I ended up in a fantasy world, then what would it be like? Two, if I found myself in another world I started to call, “Home,” then why would I consider returning to the world I came from? Seanan McGuire isn’t the first author to think about these things (read the Oz books by L. Frank Baum), but she is one of many to consider such worlds existing parallel to ours. 

Wayward Children takes the trope of “lost/wandering” children—they ended up in a different world with a different set of rules and time span—and transforms it into a new narrative with a twist. The ones who “return” are “changed” by their time in the other world, which they called Home. Their families don’t know what to do with them, so they send them to “Eleanor West’s Home for Wayward Children” (or, its sister school in Maine) so they can become “reacclimated” into society again. In truth, these students are searching for ways to return Home by looking for their Doors.

The series is divided into 2 narrative sequences. The first one follows the ongoings at the school, which is more like a school than the characters want to admit. There are disagreements about clothes, cliques are formed based on the sort of worlds they traveled to, and what their plans are for the future—in our world or in their Homes. Not to mention, when they do go on quests, they have to be quick about it, so Miss West doesn’t tell their parents. The second one focuses on each adventure each character, or characters, has in the world they traveled to, from how they found themselves there to the reason(s) why they had to leave it. The one thing these characters all have in common is that they’ll do anything to return Home. 

Worlds such as Fairyland, the Moors, the Goblin Market, Hooflands, and several more where beings such as mermaids, talking skeletons, resurrected individuals, centaurs, etc., exist in worlds next to ours. In fact, some of those worlds are connected to each other as well. How many other worlds exist? Which one would you find yourself in and why? Would you want to stay there or return to our world? 

The narrative of this novel begins with a familiar trope before twisting into something else. The protagonist, Sasha, is on vacation with her mother when she notices a strange man watching and following her. When she confronts him, he gives her strange tasks to complete. The catch is if she doesn’t complete them, then a loved one will suffer the consequences. After the first failure, she accomplishes all of the tasks given to her (which causes her to vomit gold coins). Afterward, Sasha is coerced into attending a university in order to “enhance” her knowledge.

Before you start comparing this book to Harry Potter, Percy Jackson, etc., remember, Sasha was coerced into attending this university (which is in the isolated and rural parts of Russia). In fact, all of the students are in the same situation as Sasha, but why are they there? What makes them different from their former high school classmates? What are they supposed to be learning? 

This narrative blends the college experience within a speculative fiction setting. Sasha and her college peers have to deal with roommates, classes, changing family relationships, and the changes that go with being away from home; but, they don’t have the option to flunk out of the university. If a student fails their classes or reveals the ongoings at the university, then their families will pay the price. This is done to ensure the secrecy of the university and the success of their students. As for what they are studying, well none of the students know until halfway through their second year. And then, they have to study for a test so that they can “attend” the graduate program.

Without giving away anything else, the narrative does an amazing job balancing college life with the unexpected. And, similar to the narrative, the college experience becomes an addiction you don’t want to give up. In fact, some of the students decide to stay at the university during the holidays, instead of returning home. No one is forcing them to stay there during that time, so why won’t they leave? And, what happens to the students—including Sasha—when they begin to comprehend their “schoolwork”?

            Those are my (current) favorite speculative fiction narratives. Yes, they are on my lists of favorites by medium as well, but I won’t be mentioning that topic anytime soon. I hope you all consider reading, watching and/or playing what I listed here. If anything, then I hope you enjoy the stories being told as much as I did, and still do.

            Coincidentally, I started my blog site 9 years ago, and it started as a simple hobby. It’s amazing what any individual can achieve when given the opportunity to do so. Thank you to everyone who encouraged me to keep my blog going from when I was just posting theories about A Song of Ice and Fire and pop culture essays. I wasn’t sure whether or not anyone would read the posts on this blog; then again, I didn’t believe I had so much to say about literature, social issues, pop culture, etc. I’ve been able to branch out and work on projects for other websites (i.e. Fantasy-Faction, SWFA). So, thank you for reading, liking, commenting, and sharing my work; especially when I was attending grad school and I had to limit the content in my posts. And, a huge thank you to the publishers, the authors (and their literary agents), and other bookbloggers for sending me ARCs and galleys of so many books so I am able to keep up with the industry; and, as I make my way through my never-ending TBR pile.           

            Obviously, I’ll still be posting on my blog while working on all of my many projects and any new ones that come my way. A few of you have asked me about one potential project (more like a revival). My answer: I’ll decide after the New Year because there are other things that require my immediate attention. So you’ll have to wait and see. 

            Here’s to 9 years and to 200 blog posts with hopes that I make it to the next milestone. 

Why You Need to Read: “A Spindle Splintered”

Fractured Fables, #1: A Spindle Splintered

By: Alix E. Harrow

Published: October 5, 2021

Genre: Fantasy, Fairy Tales, Folklore

            …I’ve fallen out of my own story and into one that might have a happy ending. Because this is my last chance to have a real adventure, to escape, to do more than play out the clock, (2).

            Fairy tales have existed since oral and literary traditions became embedded in folklore and culture. For example, there is a “Cinderella” story for each region and culture in the world; and, it is one of the “oldest” folktales in human existence. In fact, anyone can recite a few fairy tales orally and include all of the “elements” within it. Disney movies aside, fairy tale retellings continue to exist, and there have been numerous stories released recently, which demonstrates how these tales continue to entertain us. In Alix E. Harrow’s novella, A Spindle Splintered, she fuses traditional variants with modern knowledge. 

            There are 2 things you need to know about the protagonist, Zinnia Gray. First, she is obsessed with the tale of “Sleeping Beauty”; second, Zinnia is dying from a rare genetic disease. In fact, she is not expected to live past her 21st birthday, which is today (in the story), and time is limited as Zinnia starts to process her “last days.” Fairy tales have been a coping mechanism for Zinnia—she earned a Master’s degree in Folk Studies—and, it is the story of “Sleeping Beauty” she finds most relatable to her. And yet, Zinnia’s best friend, Charmaine Baldwin a.k.a. “Charm,” has stood by her since childhood. Furthermore, Charm insists that her best friend attends the “Sleeping Beauty” themed birthday party she put together for her. There’s even a spinning wheel! But, what happens when Zinnia pricks her finger on it? And, who is the young woman claiming to be a princess? Readers learn quickly that Zinnia is more than just a “sick girl.” Her determination and her resilience allows her to view her current predicament as an opportunity to save her life, and another’s as well. 

            The plot of this story is Zinnia dreading her impending death. Her disease means that she won’t live past 21, and there is nothing anyone can do to change it. That is, until a spinning wheel provides a rare chance to change her fate. At the same time, Zinnia might be able to rescue a princess from hers. There is a subplot in this story, and it is fairy tales: their origins, their evolution, and their “lasting appeal.” Remember, every story is a story unless it’s yours; that’s when the story becomes one’s experience. The subplot drives the plot in this narrative, which brings out the reality (and the magic) within the fiction.

            The narrative is in 1st person from Zinnia’s point-of-view, and it is told in the present. Zinnia’s stream-of-consciousness is vital to the narrative because her knowledge of the past helps her with her quest and her phone lets her (and us) know that all of the events within the narrative are happening—Zinnia is NOT under a sleeping spell. A few revelations throughout the quest leads to genuine moments of awe and of shock through Zinnia, which makes her a reliable narrator with a narrative that can be followed easily. 

            The style Alix E. Harrow uses in A Spindle Splintered is different from her novels. Instead of allusions to previous stories, myths, legends and magic, this novella delves into the evolution of fairy tales—also known as Märchen, or “magic tale” by folklorists—many in which, “expresses the escape from reality,” (Dégh 59). In addition, this story is NOT a fairy tale retelling, but a “fractured fairy tale.” A fairy tale is “a story involving the fantastic, usually involving familiar traditional formulas and often ending in eucatastrophe (after which people live happily ever after),” (Mendlesohn and James 253). A fractured fairy tale is the practice of breaking fairy tales (from as small as a split to as large as a chasm) up so that the storyteller can rewrite them to reflect the present world while maintaining key elements from the fractures that get used in them. In other words, new variants of the older variants of fairy tales must have something in it so that the audience can identify the (new) tale being told. The most popular example of this is Disney and how they took older variants of these folktales and retold them in a way in which the audience knows it’s the “Disney variant.” A fractured fairy tale is another way for stories to be “told and retold in many different ways. They are guised and disguised,” (Yolen 4). Another explanation is that the author has taken parts of the tale of “Sleeping Beauty,” kept the parts that would identify it as “Sleeping Beauty,” include the possible origins of the tale within a modern conflict that presents the tale as a new variant. In short, and I repeat, this is NOT a fairy tale retelling (per se), but a modern fairy tale. How many fairy tales have working smartphones in them? The mood in this story is dread. 2 young women are fearful of their impending 21st birthdays. The tone is resilience. Both young women actively seek out ways to change their fate.

            The appeal for A Spindle Splintered will be positive. Fans of the author’s previous works will enjoy this one; however, they should know that this book is closer to a fairy tale than a fantasy story—similar yet different. If you’re not a fan of fairy tales, then this book might not be for you. Fans of Jane Yolen and Robin McKinley will enjoy this book the most. But, fans Naomi Novik, Katherine Arden and Rena Rossner should consider reading this story, too. Anyone who studied folklore—such as myself—will appreciate all of the scholarly references mentioned throughout this tale. And, anyone who enjoys this book will be pleased to know that the follow up—A Mirror Mended—will be released next summer.

            A Spindle Splintered is a tragic yet entertaining story about the lasting affect of fairy tales, and what an individual should do when they find themselves in one. Once again, Alix E. Harrow reminds her audience of the significance of fairy tales and their everlasting impact throughout culture and humanity. This is the “Sleeping Beauty” tale for the 21st century.

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

                                                                        References 

Dégh, Linda. “Folk Narrative.” Folklore and Folklife: An Introduction, edited by Richard M. Dorson, The University of Chicago Press, 1972, pp. 53-83.

Mendlesohn, Farah, and Edward James. A Short History of Fantasy. Middlesex University Press, 2009.

Yolen, Jane. How to Fracture a Fairy Tale. Tachyon Publications LLC, 2018. 

Reading Check-In: September 17, 2021

What book have you finished reading recently?

One series on my list is complete. And, I stick with what I said about this series in my ASoIaF Read-Alike Book Recommendations: this series is the most “identical” to George R.R. Martin’s.

Another fun read by this author. And yes, it’s full of folklore and fantasy references!

What are you reading currently?

TorDotCom Publishing surprised me with a physical ARC of this hyped debut gothic novel and it moved to the top of my reading list!

I am listening to the audiobook of this space opera trilogy finale, and it’s AMAZING!

In addition, I’m reading the finalists for the SCKA 2021 Award Finalists. If you want to know which books/stories were voted by the other jury members and myself, then you can read the post (last week’s) here.

Not all of the nominees, but you get the idea.

What will you read next?

Just like several other readers, I’ve been waiting for this book to be released!

This book will be the next audiobook I plan on listening to/reading.

Future Posts: My 200th Blog Post is upcoming! What am I doing to mark that milestone? You have to wait and see!

Look for me at FIYAH Con 2021!

SCKA 2021: The Nominees, the Finalists & the Experience

One of the best things about being a bookblogger is the book awards. Besides the “big awards” such as the Hugo and the Nebula Awards—which many of us have read at least half of the nominees—there are the SPFBO and the SPSFC—which gives bookbloggers and (indie) reviewers the chance to propel indie books towards more readers. How many of you have heard of SCKA? Well, I didn’t until I was asked to participate on the jury this year.

            SCKA stands for Subjective Chaos Kind of Awards, which was started by bookbloggers. This year, I was asked to participate as one of the judges. Even though I had some other things going on at the same time—i.e. grad school—I said yes. This has been a fun yet tense experience because there is a process that must be followed. It makes you have a stronger appreciation for the other literary awards.  

            First, was the categories. There are 12 of us, including myself, who make up the jury and we agreed on which categories we all wanted to include for these awards. We agreed on: fantasy, science fiction, blurred (a.k.a. genre blended), debut work, series, novella and short fiction. Next, we all had the opportunity to nominate a work for each category; but, there was a catch: if we nominated for a category, then we had to read ALL of the nominees. Some of us had to remember how much we could read within a given time. So no, I didn’t participate in the 1st round voting in every category. 

            As you can observe from this chart: we all nominated on our nominees while making sure we didn’t nominate the same book, the same series, or the same stories. For the short fiction, we all made sure sources—either links or anthology titles—were provided for everyone so they could access them. 

Here are the nominees for each category (I apologize for the list, but I couldn’t format the Excel chart onto WordPress):

Fantasy:

The Once and Future Witches by Alix E. Harrow

The Midnight Bargain by C.L. Polk

Comet Weather by Liz Williams

The Wolf of Oren-Yaro by K.S. Villoso

Black Sun by Rebecca Roanhorse

The House in the Cerulean Sea by T.J. Klune

Sci-Fi:

Deal with the Devil by Kit Rocha

Nophek Gloss by Essa Hansen

The Vanished Birds by Simon Jimenez

Goldilocks by Laura Lam

Repo Virtual by Corey S. White

Blurred:

The City We Became by N.K. Jemisin

The Bone Shard Daughter by Andrea Stewart

Harrow the Ninth by Tamsyn Muir

Mexican Gothic by Silvia Moreno-Garcia

Interior Chinatown by Charles Yu

Debut:

A Song of Wraiths and Ruin by Roseanne A. Brown

Legendborn by Tracy Deonn

The Scapegracers by Hannah Abigail Clarke

The Space Between Worlds by Micaiah Johnson

Cemetery Boys by Aiden Thomas

The Year of the Witching by Alexis Henderson

Raybearer by Jordan Ifueko

Series:

Dominion of the Fallen by Aliette de Bodard

Islands of Blood and Storm by Kacen Callender

Sweet Black Waves by Kristina Perez

The Poppy War Trilogy by R.F. Kuang

The Daevabad Trilogy by S.A. Chakraborty

Witches of Lychford by Paul Cornell

Novella:

Upright Women Wanted by Sarah Gailey

The Four Profound Weaves by R.B. Lemberg

The Empress of Salt and Fortune by Nghi Vo

Riot Baby by Tochi Onyebuchi

Sweet Harmony by Claire North

Ring Shout by P. Djeli Clark

Short Fiction:

“Tiger Lawyer Gets It Right” by Sarah Gailey

“Convergence in Chorus Architecture: by Dare Segun Falowo

“In Kind” by Kayla Whaley

“Volumes” by Laura Duerr

“You Perfect, Broken Thing” by C.L. Clark

“Yellow and the Perception of Reality” by Maureen F. McHugh

“Juice Like Wounds” by Seanan McGuire

Then, we read, and we read, and we read some more. 

Recently, we voted on our finalists. The finalists were determined based on votes, and whichever nominees received the highest and the 2nd highest (or, in some cases, the 3rd highest) votes moved on to the finalists round.

Here are the finalists for each category based on the most votes:

Fantasy:

The Once and Future Witches by Alix E. Harrow

The Midnight Bargain by C.L. Polk

Sci-Fi:

The Space Between Worlds by Micaiah Johnson

Goldilocks by Laura Lam

Blurred:

Mexican Gothic by Silvia Moreno-Garcia

The Bone Shard Daughter by Andrea Stewart (tie)

Interior Chinatown by Charles Yu (tie)

Debut:

Legendborn by Tracy Deonn

Cemetery Boys by Aiden Thomas (tie)

The Year of the Witching by Alexis Henderson (tie)

Series:

The Poppy War Trilogy by R.F. Kuang

Dominion of the Fallen by Aliette de Bodard

Novella:

Ring Shout by P. Djeli Clark

The Empress of Salt and Fortune by Nghi Vo

Short Fiction:

“You Perfect, Broken Things” by C.L. Clark (Uncanny Magazine, #32)

“Yellow and the Perception of Reality” by Maureen F. McHugh (Tor.com)

            Please note: the finalists do NOT take away from the rest of the nominees AT ALL! In comparison to the rest of the nominees, the finalists stood out the most. Now, we have to read ALL of the finalists to determine the winner for each category. Unlike the nominees, all of the judges are allowed to participate in voting for the finalists in any or in all of the categories. This means that all of the finalists must be read by each juror before voting, which is fair. You can expect an announcement of the winners within the next couple of months.

            Which one will be voted as the winners of SCKA 2021? Stick around and find out!

The Midpoint of 2021: Favorite Speculative Fiction Books…So Far

Well, we’ve made it to the halfway point of 2021. I won’t begin this post with the usual current events, but I will mention that I’ve been enjoying ALL of the sporting events that are taking place (i.e. Euro Cup, Copa America, NBA & NHL Playoffs, Summer 2020/21 Olympic Trials, etc.). More attention has been given to both books and video games as those who’ve been at home continue to remember that they’re both entertaining and artistic.

As for me, I’ve been recovering from an exhausted winter and spring. This is because, as a few of you know, I went back to graduate school in order to earn a MA degree in Library and Information Science. For the last 2 years, I’ve been taking classes on an accelerated pace in order to complete the program sooner rather than later. No, COVID-19 wasn’t an “imminent” threat when I started back in Fall 2019; and yes, it was an interesting experience completing the program throughout the majority of the pandemic, work my part-time job outside of my residence, and continue working on my blog. In addition, I’ve only told my closest friends and acquaintances (including you) about this, meaning I’ve managed to work on a degree without my ENTIRE family knowing about it. And, unless they read this post, then it will stay that way until I am ready to make an announcement, which will be sometime after I get a job within my field (whenever that may be).

Why am I mentioning this now? Simple, it’s because during my last semester, I had to work on graduating on time and in order to do that I had to cutback on SOME of my reading. Those of you who follow me on Goodreads will notice that I’m behind on my Reading Goal and I’m lagging on completing the books I’m reading currently. I won’t get into my TBR piles both from Netgalley and Edelweiss! It’s NOT that the books are bad in anyway, I’m still mentally exhausted from all of the work I had to do in order to graduate on time; not to mention all of the other events called life.

I am starting to feel better and I started to catch up on both my reading and my writing (including reviews). You’ve noticed that I started posting reviews again, but remember I read faster than I write. Which brings me to another announcement: I realized that my 200th post is upcoming and I plan on writing another “special” piece in order to commemorate the milestone. What will it be? You just have to wait.

Now, for what you’ve been waiting for:

Books I’ve Finished Reading:

Across the Green Grass Fields

First, Become Ashes

Tower of Mud and Straw (It was nominated for a Nebula Award for “Best Novella”!)

The Bone Shard Daughter (Yes, it was released in 2020, but the sequel comes out later this year!)

The Light of the Midnight Stars

Chaos Vector (Just in time to read the final book in the trilogy!)

Fugitive Telemetry

Over the Woodward Wall (Along the Saltwise Sea comes out this fall!)

Shards of Earth (My 1st Book Tour!)

And, A LOT of Paranormal & Fantasy Romance Books by Indie Authors (That’s for a future post!)

Books I’m Reading Currently:

The Empire’s Ruin

The House of Always

She Who Became the Sun

The Unbroken

The Jasmine Throne

The Gilded Ones

Books I Want to Read by the End of 2021:

The Broken God

Firebreak

The Fire Keeper’s Daughter

House of Hollow

The Unspoken Name

The Witch’s Heart

For the Wolf

The Two-Faced Queen

The Next 2 Books in The First Argentines Series

The sequels of the upcoming books mentioned; more paranormal & fantasy romance books; and, several MORE books I can’t list here because otherwise, this post would be never-ending.

I don’t know whether or not I will be able to read the books mentioned by the end of this year. I’m still trying to catch up from last year’s TBR! So right now, I want to thank the authors, the other bloggers, Fantasy-Faction, all of the publishers and the agents for being both supportive and understanding as I continue to work my way through the last 6 months, and for encouraging me to continue working on my other writings.

Speaking of “other” writings, please keep an eye out for any upcoming essays and lists I will continue to share here. Any and all feedback are welcome.

We’re halfway through 2021. What are your plans for the rest of the year?

Also, if you haven’t already, then please read the essay I wrote that was published on the SFWA website! Click here to access it.

The Nebula and the Hugo Award 2021 Nominees

If you are expecting a post about a “Shortlist Award Reading Challenge,” then I have some bad news for you. This year, it’s not happening! I’ve barely kept up with it during the last 2 years, and I do not have anytime to read all of the books for this year. That being said, you should at least read through the nominees in some of the categories for each award. There is a chance you’ve read some of them already.

Out of the many speculative fiction awards, we are most familiar with both the Nebula and the Hugo Awards. That is not to say that the other awards are not worth looking into: the Arthur C. Clarke Award, the BSFA, the BFA, the Aurealis Awards, the Bram Stoker Awards, etc. However, it is the Nebula and the Hugo Awards that receive the most attention. Some reasons for this are obvious and some are not. I’m not going to get into that in this post. I want to discuss some of the nominees.

These awards are great starting points for catching up with some of the many popular speculative fiction works of the past year. Yet, if you’re like me, then you’ll notice there are times when the nominees for both of these awards overlap each other. However, that doesn’t mean those nominated for “Best Novel,” “Best Novella,” etc. in these awards will win the same category in both of them. In fact, the last novel to win both awards was The Stone Sky by N.K. Jemisin; the last novella to win both awards was This Is How You Lose the Time War by Amal El-Mohtar and Max Gladstone.

I haven’t read all of the nominees yet, but I hope to read as many of them as I can before the awards ceremony. As for who I believe could win…It’s anyone’s game. Speculative fiction continues to release brilliant stories that continue to get better and better every year. And, because I haven’t read all of the nominees yet, I won’t be making any predictions. Then again, I noticed some of my favorite stories have been nominated.

For the nominees I’ve read so far, please read my reviews. I will try to add more before the ceremonies, but I’m not making any promises.

BEST NOVEL

BEST NOVELLA

BEST SERIES (Hugo Awards Only)

Other categories I will be paying attention to are BEST GRAPHIC STORY OR COMIC (Hugo Awards Only) and BEST YOUNG ADULT BOOK. I own many of the books that are nominated, but I haven’t read them yet. The Young Adult categories have come a long way, and the styles of the stories are changed a lot since the beginning of the century. As for Best Graphic Story, I mentioned before that I started reading that genre of literature again; but, I haven’t written any reviews yet. I’m hoping to do so before the end of the year. It should be mentioned that video games are being recognized for their contribution to the genre as well, but that’s for a future essay/post.

The Nebula Award Presentation will be presented during the SFWA Conference in a virtual presentation on June 5, 2021.

The Hugo Awards will be presented during DisCon III, which will be held December 15-19, 2021 (I want to say that this Con was pushed back due to COVID-19) in Washington, D.C., U.S.A. I do not know whether or not the ceremony will be virtual.

What are your thoughts about this year’s nominees? Which of the nominees have you read and enjoyed the most? Will you be streaming (or, attending) the awards ceremonies?

Why You Need to Read: “The Light of the Midnight Stars”

The Light of the Midnight Stars

By: Rena Rossner

Published: April 13, 2021

Genre: Historical Fantasy/Folklore

            There are tales of red-haired mountain men and women who could work miracles, of a people who could trace their lineage all the way back to the great King Solomon himself. Tales of a people who kept to themselves, who lives in a tiny quarter of the city of Trnava where they built their own house of worship. They say that on the ceiling of their synagogue there were a thousand tiny stars, (Prologue).

            I’ve said more than once that history never stays buried forever because it always finds a way to be unearthed. At the same time, the knowledge finds other ways to be spread and passed on through posterity—storytelling. It is through these stories the audience can piece together what might have occurred in the past, especially when the audience knows what to expect from such stories. Rena Rossner presented a lovely tale of magic and sisterly love in her debut novel, The Sisters of the Winter Wood. In her latest novel, The Light of the Midnight Stars, we get a similar story, which is set during a much darker era. 

            This story follows 3 sisters: Hannah, Sarah and Levana. They are the daughters of Rabbi Isaac Solomonar and his wife, Esther, and they are the descendants of King Solomon. Hannah is the eldest and her father’s favorite daughter, and her talents include recording events and growing plants. Sarah is the middle daughter, whose temperament matches her fire magic—impulsive and strong. Her talent is the same as her father’s, but he refuses to teach her anything until after she learns control. Levana is the youngest sister, and she is always looking at the stars. She can decipher the messages they communicate to her. The sisters live a happy and prosperous life in the Jewish quarter of Trnava, where their parents hope to find them husbands who are worthy of them. Hannah meets Jakob, the son of the Duchess of Trnava; and, Jakob is willing to meet Rabbi Isaac’s conditions so that he can marry Hannah. Sarah meets Guvriel, one of Rabbi Isaac’s students; he takes it upon himself to teach Sarah about her magic, and the two of them bond over their shared talent and thirst for knowledge. Unbeknownst to her family, Levana starts seeing someone and it is someone who has spent the same amount of time watching her as Levana has spent watching him. The 3 sisters approach adulthood thanks to their parents’ guidance and the love that blooms from the young men in their lives. However, will it be enough for the sisters to survive their first trials as adults? 

            There are 2 plots in this novel. The first focuses on the love lives of Hannah, Sarah and Levana and what ensues because of it. Hannah falls for a non-Jew, Sarah must wait until she is allowed to marry Guvriel, and Levana doesn’t know how to tell her family about her beloved. Just as it seems like the sisters will live out their lives happily ever after, a tragedy occurs. The sisters flee Trnava with their parents leaving everything behind, including the men they love. The second plot delves into identity and the consequences surrounding it. Hannah, Sarah and Levana must choose on how much of themselves they are willing to reveal to their new acquaintances as they survive the circumstances which led them to their current predicament. How long can one’s identity be hidden before the truth emerges? There are 2 subplots in this novel and they develop alongside the plots. The first subplot is about love and loss. As cliché as it sounds, the protagonists and other characters have lost something (or someone) they love, and they are all struggling to overcome the grief and the trauma enclosing it. The second subplot is hope, which is cliché, too. Hope is what motivates all of the characters as death and violence continues to ravage the country. Hope brings out the resilience in people (and in fictional characters).

            The narrative is told from the points-of-view of Hannah, Sarah and Levana in the 1st person. However, Hannah’s P.O.V. chapters are in the past tense because her chapters are written as journal entries, but that doesn’t mean readers won’t be able to pick up on Hannah’s stream-of-consciousness. Sarah and Levana’s chapters are told in the present but in different styles, which is done because they match their personalities (anyone whose read the author’s first novel will know what to expect), and present their streams-of-consciousness, too. Each narrator unveils what they must do in order to survive in a world that seeks to eradicate them and others who share their heritage. 

            The style Rena Rossner uses in The Light of the Midnight Stars follows the history of the persecution of Jews throughout our history. The Jewish community were often scapegoats for any and all misfortunes that befell a town, a region, or a country. For example, during the Black Plague, the Jews were blamed for the deaths and the continuation of the pandemic. Many Jewish quarters were obliterated, leaving any survivors to wander to other places where some of them had to hide their heritage from the outside world in order to live. In addition, this book contains many allusions of Biblical (Old Testament/Torah) texts and fairy tales, which are well-written into this novel. This story will make readers recall what they believed they have forgotten about those tales. The mood in this novel is ominous. Who should the protagonists fear more, the Black Mist or those who wish to harm them for who they are? The tone in this novel is resilience. The protagonists demonstrate that they will do everything that is imperative for their survival. The style in the novel replicates all of the adversity the Jewish community dealt (and continues to deal) with and how they continue to overcome it all.

            Fans of the author’s first novel will love this one. The appeal for The Light of the Midnight Stars will be positive because the author wrote a strong follow up to her debut novel. Fans of Naomi Novik, Katherine Arden, Alix E. Harrow and Tasha Suri will enjoy this book the most. This book is an excellent addition to both the historical fantasy subgenre and the speculative fiction genre. Likewise, this novel is a great reminder of the importance of Jewish folklore. Once I started reading this book, I couldn’t stop until the end; and, that’s with all of the twists that transpired throughout the narrative. 

            The Light of the Midnight Stars is a strong standalone novel about family, heritage and survival. Rena Rossner’s style immerses her readers into the past where it was not always safe to parade one’s heritage. While I don’t believe the author meant for this book to be topical, it does serve as a reminder that there will always be opposition towards a group of individuals. Yet, it is those groups of persecuted individuals where we continue to get inspiration from for our daily lives. 

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

Thank you Redhook (and Angela) for sending me a copy of this book!

Reading Check-In: March 20th 2021

Yes, I’m “borrowing” this idea from Realms of My Mind

This is not a review post. While I prepare to participate in some upcoming events (watch the livestream I participated for The Bone Shard Daughter here), I will continue to catch up on some of my reading. The reviews will be posted as they are written, but life is taking over more of my time. At the same time, I can’t just NOT post something!

What did you recently finish reading?

This debut novel is a brilliant blend of dark fantasy and horror. This book reminds me of Black Sun by Rebecca Roanhorse. I will explain how and why in my upcoming review.

This book is a beautiful follow up by Rena Rossner. This book comes out in April 2021. My review will be ready and posted by that time.

What are you currently reading?

I need to finish this audiobook.

I know, I know. I’m behind on my reading, but this book is so good!

I’m behind on reading this book, too. Believe it or not, for a YA novel, this book is just as brutal as my other current read.

What do you think you’ll read next?

I started this book last year, but I didn’t get to finish it by the end of 2020. I’ve heard nothing but amazing (and gory) things about this book, and I really, really want to finish it!

Who doesn’t love Murderbot?!

After THAT ending! I NEED TO KNOW what happens next!

Wish me luck! We’ll see what happens next week!

Why You Need to Read: “The Once and Future Witches”

The Once and Future Witches

By: Alix E. Harrow

Published: October 13, 2020

Genre: Historical Fantasy, Folklore, Paranormal

            …“The Tale of Saint George and the Witches.” It’s never been one of her favorites, but she reads it anyway.

            It’s the usual version: once upon a time there were three wicked witches who loosed a terrible plague on the world. But brave Saint George of Hyll rose against them. He purged witching from the world, leaving nothing but ashes behind him. 

            Finally only the Maiden, the Mother, and the Crone remained, the last and wickedest of witches. They fled to Avalon and hid in a tall tower, but in the end Saint George burned the Three and their tower with them, (3). 

            2020 was a memorable year in and of itself. This was unfortunate because events of the present—which, I won’t list in this review—did not allow us to celebrate any milestones. One in particular was the ratification of the 19thAmendment which extended the right to vote to women, which occurred on August 18, 1920. This was a huge event because the movement for women’s rights—known as the Suffrage Movement—launched on a national level with the Seneca Falls Convention in 1848. And yes, similar movements were occurring in other countries around the world. This is one example out of many which demonstrates how long women had to fight and to protest to have their voice heard within the government. Alix E. Harrow gives readers her historical interpretation of this movement—with elements of witchcraft—in her second novel, The Once and Future Witches

            There are 3 protagonists in this novel, the Eastwood sisters: Beatrice Belladonna, Agnes Amaranth and James Juniper. Circumstances have brought the sisters together in New Salem in 1893 on the spring equinox. Agnes, Bella and Juniper have neither seen nor communicated with each other in 7 years. And yet, they still feel like the family they once were regardless of what led them to their current predicaments: Bella is a librarian, Agnes works at a mill, and Juniper has left home (and is a wanted woman). Societal norms and gender stereotypes have placed the sisters in situations where they cannot hope to progress further in life. That is unless they decide to join the local suffrage group, and to practice the magic they were taught from their grandmother, Mama Mags. As these sisters reconnect and reclaim what was denied to them their entire lives, they realize that more is at stake than just having the freedom to practice magic, to vote, and to be a woman. And, they won’t have to do it alone. Joining the Eastwood sisters are: Cleopatra Quinn, a journalist and a member of the Colored Suffrage Movement from New Cairo; August S. Lee, a factory worker from Chicago who has a knack for fighting for fair treatment for factory workers and for practicing “male” witchcraft; and, several members of the Sisters of Avalon, local women who are willingly to use magic in order to receive fair treatment. The antagonists include: Gideon Hill, the ambitious politician, who knows more about witchcraft than he should; and, his ward, Grace Wiggins, who is the head of the Women’s Christian Union—an organization of women who are “content” with the way things are, and are against all suffrage groups and witchcraft. All of these characters develop at they push for what they believe in, and they are more complex than they first appear. These characters deserve our sympathy and our empathy. 

            There are 2 plots in this novel. The first plot is the female characters who decide to go rogue and to form their own suffrage group which permits them to use witchcraft the patriarchy has denied them for centuries. It seems whenever suffrage groups get closer to achieving their right to vote, society finds a way to “punish” these women, which forces them to learn witchcraft so that they have a way to fight back. However, why is it that magic is stronger in females than in males? The second plot surrounds the legend of “The Last Three Witches of the West” and “The Lost Way of Avalon.” In this book, everyone is familiar with the story of Saint George of Hyll and his “victory” over the witches and the destruction of their stronghold. Yet, Bella, Agnes and Juniper are able to find evidence the witches and the Tower of Avalon did and could still exist. The sisters are able to locate the Tower’s entrance and discover what is inside. The sisters learn the origins of the Tower and its “demise” and the connection it has to the present. There are 2 subplots in this novel, and they embellish the plots and allow them to go at an appropriate rate. The first subplot focuses on how society was “operated” towards the end of the 19th century; labor laws weren’t formed yet, Jim Crow and segregation were practiced, and females of all ages were subjected to misogyny from most of the males in their lives: fathers, male relations (who were favored for inheritance), bosses, politicians, etc. Females had little to no say over their lives, and they could find themselves arrested and imprisoned for refusing to follow these laws—mothers lost custody of their children—because social norms believed males were “superior” to females. The second subplot follows how witchcraft was able to exist alongside those who shunned and tried to expunge it. The question is, why? Was it due to fear, or because women were better at witchcraft than men? Once everything has been revealed to the characters (and the readers), how will they react? 

            The narrative in this novel is very intriguing. The narration follows the points-of-view of Bella, Agnes and Juniper in 3rd person limited narrative, which presents what each protagonist is experiencing at the moment without the other ones knowing about it. However, there is a slight difference in this narration. Magic allows the Eastwood Sisters to feel one another’s emotions, which allows them to know what is happening to the others at any given moment. The sequence is interesting as well because as the narration is presented in the present in real-time, the story halts whenever a “story” is being told by one of the characters. While the concept of “a story within a story” is nothing new, the presentation of the stories by the characters offers readers the chance to delve into the narrative even more. The narrators are reliable because readers follow their streams-of-consciousness and their memories of the pleasant and the traumatic, which makes the narrative easy to follow. 

            The style Alix E. Harrow uses for The Once and Future Witches is a tribute to all elements of folklore familiar and unfamiliar to her readers. The title is an allusion to the novel, The Once and Future King by T.H. White, but has the setting and the mood of The Mists of Avalon by Marion Zimmer Bradley. In addition, as I mentioned earlier, this novel is not only a retelling of folklore, but also a retelling of societal practices from over one hundred years ago. Labor and factory workers suffered long workdays with little pay, women had to follow the rules set by their fathers and their husbands and other laws otherwise they would be punished, and the blatant racism which saw segregation as a legal and an acceptable social practice. All of these are mentioned within the book as well as all of the advocates who pushed for equal rights and fair treatment such as: Ida B. Wells-Barnett and Elizabeth Cady Stanton. This novel is full of allusions to tropes from folklore and familiar tales: Avalon; the number 3; shadows, Maiden, Mother and Crone; witches, Christianity, etc. Also, Alix E. Harrow includes some of her “fractured fairy tales” throughout the story. A fractured fairy tale are stories in which “a writer or storyteller rewrites and refines them for the world we now live in,” (Yolen). Elements and/or familiar parts of a known story—Cinderella attends a festival, Sleeping Beauty must fall asleep at some point, etc.—but everything else is altered so the variant is presented as a new one. The storyteller is able to have fun with these tales as they have more freedom to tell the story that reflect their atmosphere. The Once and Future Witches is a combination of historical fiction and numerous fractured fairy tales, which presents readers with a unique historical fantasy story. The mood in this novel is oppression. Several of the characters—including the protagonists—are subjected to oppression and are willing to do anything to fight against those who dominate them. The tone in this novel refers to the legacy of witchcraft and spells; if they are not supposed to be practiced, then how has the knowledge survived since the death of the last coven of witches? It could be argued that the tone pertains to who has access to witchcraft and what it entails, especially those in power. 

            The appeal for this novel have been highly positive. Based on other ratings and reviews, it appears readers enjoyed The Once and Future Witches as much as or even more than the author’s first novel, The Ten Thousand Doors of January. It needs to be mentioned that the 2 books—while they belong in the speculative fiction canon—are of different subgenres. The former is a historical fantasy about witches, which is categorized in the paranormal and the urban fantasy (and the witches) subgenres. The latter is a portal fantasy, which is a subgenre of fantasy. Readers need to understand these books are different, yet enjoyable. Fans of The Priory of the Orange Tree by Samantha Shannon and the Winternight Trilogy by Katherine Arden will enjoy this book the most.

            The Once and Future Witches is more than a story about witchcraft, it is a combination of various folklore and moments in history. Alix E. Harrow celebrates the centennial of the 19th Amendment by gifting her readers a harsh reminder of how society used to be, and how we take certain rights for granted. If anything else, then you should read this story for the (fractured) fairy tales. 

My Rating: Enjoy It (4.5 out of 5). 

                                                      Works Cited

Yolen, Jane. How to Fracture a Fairy Tale. E-Book, Tachyon Publications, 2018. 

Why You Need to Read: “The Empire of Gold”

The Daevabad Trilogy, #3: The Empire of Gold

By: S.A. Chakraborty 

Published: June 30, 2020

Genre: Fantasy, Historical Fiction

            Daevabad, in all its glory and infamy. The mighty brass walls embellished with the facades of its founders, her ancestors. The crush of ziggurats and minarets, temples and stupas; the dizzying array of clashing architecture and eras—each group, each voice leaving its defiant mark on the city of djinn. The shafit stolen from Persepolis and Timbuktu, the wandering scholars and warrior-poets from every corner of the world. The laborers who, when their work was left unacknowledged in official chronicles, had instead emblazoned their names in graffiti. The women who, after erecting universities and libraries and mosques, were kept silent because of “respectability,” had stamped their presence on the cityscape itself, (42: Nahri).

            It still amazes me how I almost missed this series. When a book’s title and/or cover captures your attention, make time to read it because you might enjoy it to the point where it becomes one of your new favorite books. The Daevabad Trilogy has been a different reading experience and its due to the influence based on Middle Eastern culture and the classic story, One Thousand and One Arabian Nights. The series started with The City of Brass and continued with The Kingdom of Copper, which had an ending that left readers stunned. The Empire of Gold is the brilliant conclusion to this trilogy, and it begins where the last book left off.  

            The story begins with the antagonist, Manizheh—the former Banu Nahid and mother to both Nahri and Jamshid—as she looks over Daevabad after the almost successful usurpation of the kingdom and its ruler, King Ghassan. The rebellion was “almost successful” because Manizheh failed to retrieve Suleiman’s Seal. Instead, Nahri and Prince Alizayd beat her to the ring. And, just as Nahri and Ali are confronted by Manizheh, they jumped into the lake to get away from her only to find themselves transported to Cairo. Meanwhile, because the ring has been taken out of Daevabad, magic has vanished. Now, Manizheh is left without her magic and with hostile forces who are either trying to gain more independence or regrouping to take her down and reclaim the kingdom. Manizheh descends into madness as she struggles to maintain control of Daevabad. There is only one individual who has magic in Daevabad and it’s Darayavahoush e-Afshin. Dara is fighting a war within himself. He’s struggling to display his loyalty to Manizheh while trying to reach a truce with all of the 6 Tribes, the surviving members of the royal family, and the shafit. In addition, all of the trauma Dara experienced during the last war, which led to the deaths of his family has been resurfacing. It doesn’t take long for Dara to realize that history is repeating itself, and he’s the only one who comprehends what the war could lead to for everyone in Daevabad. This causes Dara to do everything he can to achieve a truce even if it means betraying his Nahid. Thousands of miles away, Nahri and Ali find themselves in Cairo with no clue as to how or why they ended up there. Ali wants to return to Daevabad immediately, but Nahri needs some convincing. The last 5 years haven’t been kind neither to the prince nor to the Banu Nahid, but it is the former’s surviving family members who remain at risk. After a lot of consideration, Nahri agrees to save Daevabad from Manizheh. Unfortunately, the journey back to Daevabad is even more perilous than Nahri’s first journey there with Dara. Not to mention, it turns out EVERYONE is searching for Nahri and Ali, and not just their families. Numerous “outsiders” hope to collect the bounty, and several mystical beings demand the payments of their ancestors’ “debts.” Why does everyone know about Nahri’s heritage except her? And, what other “debts” does Ali have to pay on behalf of both his maternal and his paternal ancestors? Throughout the story Nahri, Ali and Dara develop as characters as they find ways to overcome their traumas as they fight to save their home and to restore magic. It is essential to understand that the horrors and the traumas these protagonists face do not motivate their actions, they allow them to make “reasonable” decisions as they strive to change their world for the better. 

            The plot in this story picks up where The Kingdom of Copper ended. King Ghassan’s tyrannical rule is over, but Banu Manizheh proves quickly to be more ruthless and more paranoid than her former oppressor. And, Manizheh didn’t factor in losing Suleiman’s Seal or magic. Now, she feels powerless and she is forced to depend on Dara to complete her tasks. Meanwhile, Dara doesn’t wish to lose his independence, so he works against Manizheh secretly in order to keep everyone alive. Another plot in this story is Ali and Nahri’s journey back to Daevabad, which is full of physical and emotional turmoil. Ali has to decide whether or not to go through with his plans or that of his family’s. Nahri is dealing with what was revealed to her about her family and whether or not it’s true. The 2 friends need a plan to retake Daevabad and to defeat Manizheh, but it looks like they’ll have to make bargains of their own. There is one subplot in this novel and it relates to family. Ali, Nahri and Dara have struggled with family expectations—yes, even Nahri—and they’ve had an impact on all 3 of them. Ali has been a dutiful prince, but clashed against his father’s rule and his mother’s ambitions. Nahri was told what was expected of her due to her heritage even though she believed her relatives were all dead. Dara did everything that was expected of him by both his family and the (then) ruling family—the Nahids—only to witness his family’s deaths and the Nahids being overthrown. All 3 protagonists attempt to go against their family’s expectations as they strive to make their own decisions and what is best for themselves. This subplot is necessary for the plots of the story because readers can relate to some of the struggles the protagonists are experiencing and why they make certain choices throughout the story. 

            Once again, the narrative continues from the points-of-view of Dara, Nahri and Ali—with one chapter told in Manizheh’s P.O.V. The narrative is told in real-time and are in 3rd person limited narrative—the characters know only what is happening around them and to them at the moment. All 3 protagonists are reliable narrators because each of them provide everything that is happening to them, including the mistakes they make. The narrative follows the streams-of-consciousness of all of the protagonists. Yet, keep in mind these characters experience both flashbacks and memories. It is important to know the two are not the same thing, and the narrative is able to present this distinction.

            The style S.A. Chakraborty uses for The Empire of Gold is a continuation of what readers received from the previous books in the trilogy. One Thousand and One Arabian Nights and Middle Eastern culture are major influences in this book, and there are allusions to the Ottomans and the Napoleonic Wars as well. Now, instead of an impending rebellion, civil war has broken out after the ruler has been overthrown, and the person who claims she is in charge does not know how to maintain control and cannot solve the kingdom’s biggest dilemma, which is the loss of magic. The mood in this novel is discord. All over the world, magic is gone and everyone is dealing with the ramifications, including the civil war in Daevabad. The tone in this novel is resilience and which of the characters, including the protagonists, are able to withstand all of the incoming challenges. Readers should refer to the maps and the appendices as they read this book so that they can keep track of the Tribes and the world-building.

            The appeal for The Empire of Gold have been positive. Several fans and readers have lauded the author for providing a strong conclusion to this trilogy. Yes, this book is over 700 pages long, but any fantasy fan will appreciate all of the world-building the author has put into her books. Not only does this series belong in the fantasy canon, but also is a great addition to the historical fantasy and the Middle Eastern fantasy subgenres. Even George R.R. Martin has praised this series. And, fans can expect a new series from the author in 2022!

            The Empire of Gold is a gratifying end to The Daevabad Trilogy. The plots answer all of the questions readers have about the characters, and the author provides appropriate endings for all of them. Do not be intimidated by the book’s size because you will finish reading it before you know it. Fans of Tasha Suri, Sabaa Tahir, Egyptian mythology, and Scheherazade will enjoy this series the most. This book is a satisfying conclusion to this trilogy.

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