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: “The Burning God”

The Poppy War Trilogy, #3: The Burning God

By: R.F. Kuang                                                                       Audiobook: 23 hours 47 minutes

Published: November 17, 2020                                              Narrated by: Emily Woo Zeller

Genre: Historical Fantasy, Grimdark, Military Fantasy, Folklore

            What was wrong with her? She’d started and ended wars. She’d buried a god. She’d incinerated a country. There wasn’t an entity on the planet that could face her in a fair fight and win. She was certain of her own strength; she’d sacrificed everything to make sure she never felt powerless again. 

            So why was she so afraid? (Chapter Eight). 

            History presents war with selections to choose from; some wars are revolutions, some wars are civil, some wars are invasions, and so on and so forth. The surface of war may be simple, but the layers run so deep it’s difficult to determine the alliances and the motivations for it. Not to mention, war affects EVERYONE and EVERYTHING. The Burning God—the third and final book in The Poppy War Trilogy—by R.F. Kuang, delves into the power and the warfare of a war that doesn’t seem to end. 

            Fang Runin “Rin” is still alive, but she’s without her troops, her allies, and her hand. Betrayed again by those who wanted to use her powers as a shaman for their goals, Rin decides to return to her home province in the south in order to liberate them from both the Dragon Republic and the Hesperians. There, she learns that her past actions have turned her into a living legend amongst the common people. And, they want to fight with her. Rin’s friends are Kitay, her friend from Sinegard, and Venka, her classmate and her former rival turned ally. Then, there’s Nezha, the son of the Dragon Lord, who is serving his family’s cause instead of Rin’s. While Nezha is Rin’s opponent, he isn’t the only antagonist Rin has to kill in order to liberate Nikan. However, will her new alliances led to more betrayal? Rin continues to develop in a way so that we can still root for her while trying to overlook the numerous atrocities she commits for liberation and for revenge. In Rin’s case, you can’t have one without the other. 

            Similar to the first 2 books in the trilogy, there are 3 parts in The Burning God; and, each part focuses on the antagonist(s) Rin must defeat to claim victory once and for all. Part I has Rin, Kitay, Venka, and what remains of their army marching into the Southern Provinces to liberate them from the Dragon Republic. Rin returns to Tikany for the first time since she left for Sinegard, and what she discovers there strengthens her conviction to transform Nikan into an independent nation. Rin’s new army consists of the common people and those who rebelled against the Dragon Republic. From them, Rin and her army are taught about elements of war that they didn’t learn at Sinegard. It turns out, guerilla warfare works for revolutionary purposes. But, what about against an invading nation? 

            Part II has Rin betrayed (again) and separated from her friends. From here, Rin makes an uneasy alliance with one of the last individuals she expected to see again. However, Rin knows this alliance this the only way to defeat both the Dragon Lord—Yin Vaisra, Nezha’s father—and the Hesperian fleet. During the march to regroup Rin’s troops and to rescue her friends, Rin learns the truth about her shaman powers and the Trifecta. Now, Rin has to decide where and who her loyalty lies with, and whether or not the end justifies the means.

            Part III has Rin and her army at full force. Rin, Kitay and Venka defeat all of their enemies and have liberated Nikan. However, the end of the war isn’t over until all hostile forces either surrender or die. In addition, Nikan has been ravaged by war for so long that there is no short-term plan for the survivors to carry on living. On top of that, Rin has the power and the recognition she always wanted, but like each war leader in (our) history, Rin struggles to maintain power and control for herself. All Rin has to do is weed out the remnants of her enemies—including Nezha—and find a resource to make Nikan self-sufficient in the years to come. Unfortunately, war is NOT a game, and it doesn’t end until all of the foes from one side are dead. 

            In addition to the plots in each Part in the novel, there are several subplots which enhance both the narrative and the character development. Some of the subplots include: the destruction of Speer, the fragility of the Trifecta, the Yin Family, Rin’s return to Tikany, and shamanism. All of the subplots tie in the plots of this story as it reaches its end. The characters’ story arcs end in ways that match the mood of the series, which is a combination of shocking and appropriate. Not only do these subplots wrap up the plots going back to the first book in the series, but also presents the conflicts all of the characters face throughout (and before) it. 

            The narrative is in 3rd person limited, which means readers learn everything going on from Rin’s point-of-view and from her stream-of-consciousness. The latter is essential because readers are able to understand why Rin makes the choices—both good and bad—throughout the narrative. It should be mentioned that there are a Prologue, an Epilogue, and 2 Chapters which are not told from Rin’s P.O.V. These serve as memory sequences which enhance the story and the conflicts, and lets readers know what Rin is up against. The narrative is what drives the story; it is well-written, and it can be followed by the readers easily. 

            The style R.F. Kuang uses in The Burning God brings The Poppy War Trilogy to a full circle. As the author ends the series, she reintroduces everything from The Poppy War and The Dragon Republic in order to remind her readers about the cost and the effect of war. In addition, this finale presents grimdark through a historical lens. After the release of The Dragon Republic, Kuang announced the historical figure Rin was supposed to represent. Anyone who is familiar with what happened in China after the Second Sino-Japanese War (1937-45), knows what Rin’s victory could mean for Nikan. The mood in this novel is puissance; it is a non-stop power struggle from start to end. The tone in this novel is the evanescence of power; the effects of war last much longer than an individual’s power and influence. 

            The appeal for The Burning God have been positive. Fans and readers who have stuck with this series will not be disappointed with the story’s conclusion. Fans of historical fantasy, military fiction and revenge stories—The Priory of the Orange Tree, The Rage of Dragons and Nevernight, respectively—will enjoy this book (and series) the most. There have been criticism of this book due to the realistic violence portrayed throughout the trilogy. However, this portrayal of warfare and of violence is the reality within the fiction, sadly. As I mentioned in a previous post, this series is the most similar to George R.R. Martin’s A Song of Ice and Fire series—and, maybe Joe Abercrombie’s books (I haven’t read them yet, but I will very soon)—so, his fans might enjoy this series as well. I listened to the audiobook edition of this book, and the narrator, Emily Woo Zeller, did an amazing job.

            The Burning God is a blazing finale to a series that started off as a school fantasy, transformed into a military historical fantasy, and ends as a grimdark series. R.F. Kuang delivers a powerful end to a series with Asian roots and influence. Do not wait as long as I did to read this book, you have no idea on what you’re missing out on. 

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

P.S. Thank you Sasha for getting me to finish this trilogy through out buddy read!

Why You Need to Read: “Catalyst Gate”

The Protectorate: Book 3: Catalyst Gate

By: Megan E. O’Keefe                                                           Audiobook: 20 hours 49 minutes

Published: June 22, 2021                                                        Narrated by: Joe Jameson

Genre: Science Fiction, Space Opera

            Rainier Lavaux had threatened everything and everyone Sanda had ever loved. Sanda had felt that loss once. And she’d burn the bitch to the ground rather than suffer through that pain all over again, (Chapter 1: Hello, Spy).

            Space operas remain popular in modern society, and there are 2 reasons for this popularity. One, the idea of traveling in space enraptures everyone’s imagination. Two, we all want to see fights within space with spaceships and blasters. Many movies and TV shows emphasis both of these—especially, the latter; however, like other narratives, the conflict must be addressed and be resolved before the resolution. In books of this genre, more emphasis is placed on the characters and the world-building because it is through their points-of-view that we learn more about the conflict, which is at an intergalactic level, literally. Catalyst Gate—the 3rd book in The Protectorate Trilogy by Megan E. O’Keefe—delivers on the characters’ story arcs, the conflicts, the world-building, and, of course, the space fights. 

            The same 4 protagonists have returned, and they’re all going after Rainier Lavaux, the entity set on destroying all of humanity. First, Commander Sanda Greeve has Bero, Grippy and her crew—made up of Arden, Nox, Conway, Knuth, Dr. Liao, and Tomas—are racing to stay steps ahead of Rainier as she searches the galaxy for the “keys” she needs to finalize her plans. Second, Director Keeper Biran Greeve is on a mission to “purge” those who “fell under” Rainier’s “influence.” Some are close to his job while others are with the Icarions. Third, Tomas Cepko has learned what he is in relation to Rainier and has decided to join the Greeve siblings on their mission to stop her. Last, Jules Valentine has committed numerous atrocities to keep her friend, Lolla, alive. This puts her at an advantage because she’s figured out how to stop Rainier once and for all. All of the protagonists and their companions are resolved to stopping Rainier, but first they have to confront how her actions in the past has led to this upcoming showdown. The war forces all of them to develop into the “heroes” they have to become; yet, their ordeals won’t be straightforward. 

            There are 2 plots in this novel, and they continue from the first 2 books in the series. The first plot revolves around stopping Rainier Lavaux, who is the mastermind behind all of the events and the incidents involving the protagonists, the Icarions, and Ada Prime. Obviously, there is more to Rainier than even the Keepers know, so where do all of the parties travel to in order to learn the entire story? How far back into the past does Rainier’s plans go? The second plot delves into Atrux, the planet where Jules once called home and where her life changed for the worse. Everything for Jules had started in the Grotta, which means Rainier’s plans might have started there, too. Jules’ search to cure Lolla could lead to answers on how to stop Rainier. There are a few subplots in this novel as well, and they wrap up the remaining plot holes in the series. Everything mentioned from the first book: the Chip, the Gates, the Icarions, the agent, etc., are reiterated so that the answers can be revealed, and so that the plots can conclude. 

            There is a difference in this narrative compared to the ones in the previous books; there are NO Interludes. This means the narrative occurs in the present—Prime Standard Year 3543—without flashbacks to the past; yet, we learn whose memories they belonged to and their relevance to the series. Once again, all of the narratives are from the points-of-view of all of the protagonists, and they are told in 3rd person limited through their streams-of-consciousness. It is through the protagonists’ P.O.V. that we learn all of the events that led to everything happening now, and the possibility of it all working out for them all. The truths and the revelations uncovered by the protagonists make all of them reliable narrators. 

            The style Megan E. O’Keefe uses in Catalyst Gate continues from the previous 2 books; only this time, the timeline is complete. Space operas are science fiction stories about galaxies with complex plots which take place in “near-future” Earth. Well, Earth is mentioned, but it is not from the “near-past.” The conflict goes back millennia—even before Prime Standard—which, influenced the events leading up to the present war in the narrative (sound familiar?) Mistakes were made in the past because of human error and alien technology; and now, posterity is paying the price for it. This is no longer a complex political conspiracy, but a war to preserve humanity; and, not everyone makes it out unscathed or healed. The mood in this novel is combative. All of the protagonists, the other characters, the antagonists, and the villain have been fighting. Only now, the war has begun. The tone in this novel is sacrifice. Each of the protagonists have a conviction and they are willing to defend those convictions at the cost of their lives.

            The appeal for Catalyst Gate have been positive. What started with a shocking start to this space opera trilogy concludes with a satisfying conclusion with several action sequences along the way. Fans of the first 2 books will be satisfied with the last book in this trilogy. Fans of Adrian Tchaikovsky and Martha Wells should consider reading this series. Fans of the space opera subgenre will appreciate this series, too. I listened to the audiobook for this book—actually, the entire trilogy—and, Joe Jameson’s performance was well done and very entertaining. I’m glad he did the narration for this trilogy.

            Catalyst Gate is an action-filled conclusion to an entertaining space opera trilogy. The characters and the plots sucked me into the story and kept me there after its end. The Protectorate Trilogy reintroduced me to space operas and reminded me why they are so much fun. Megan E. O’Keefe’s trilogy needs to be read by all sci-fi fans because they don’t know what they are missing.

My Rating: Enjoy It (4.5 out of 5).  

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!

Why You Need to Read: “The Empire’s Ruin”

Ashes of the Unhewn Throne, #1: The Empire’s Ruin

By: Brian Staveley

Published: July 6, 2021

Genre: Epic Fantasy

            “But it can’t be coincidence, can it? The Annurians burn down the Purple Baths and then, the very next morning, these naked fools show up talking about an attacking army,” (5). 

            When an individual reads a work of fiction, it is said that the reader is transported to that world—either ours or a fantastic one—as they become immersed in the narrative. In addition, there are some stories which remind readers of other things ranging from emotions to music. These moments of empathy allows readers to gain some comprehension of what the author was expressing as they wrote the story. Now, there are moments when the interpretation by the audience is wrong, but whatever they concluded should be acknowledged by the creator(s). After I was convinced to read The Empire’s Ruin—the 1st book in the Ashes of the Unhewn Throne trilogy—by Brian Staveley by another bookblogger, immediately, I was sucked into the narrative, and the 1812 Overture by Pyotr Ilyich Tchaikovsky played on loop in my head as I read this epic fantasy. 

            There are 3 protagonists in this novel who are part of a large dramatis personae, all who are part of the events that start to unfold from the 1st chapter. The first protagonist is Gwenna Sharpe, the former Commander of the Kettral Wing. Why “former” Commander? It is because Gwenna’s reckless behavior and her ability to ignore direct orders led to the deaths of a few of her comrades, and the death of the last (known) kettral—large birds used by the Annurian military for battle and other missions. Emperor Adare hui’Malkeenian strips Gwenna of her rank, but orders her to go on a voyage to Menkiddoc—a mysterious continent with ties to the present day Annurian Empire—on an expedition to retrieve kettral eggs. Accompanying Gwenna is the Royal Chief Historian, Kiel, who has extensive knowledge of both Menkiddoc and the Csestriim—a race of individuals who were wiped out by the Annurians thousands of years ago; First Admiral Jonan lem Jonan is the commander of the fleet and the expedition—who serves as Gwenna’s foil as well; the legionaries, Cho Lu and Pattick, who are fans of Gwenna’s “heroics”; during the expedition, the party meets Bhurma Dhar—the former Captain of a Manjari ship; and, an orphaned girl who may or may not know that whereabouts of the current residents of Menkiddoc. The entire crew have a lot to lose on this voyage and everything is hanging on the victory of this mission. However, Gwenna Sharpe needs more than the Emperor’s orders for her to remember what her purpose is to the Annurian Empire. 

            The second protagonist is Ruc Lakatur Lan Luc, a priest of Eria—Lady of Love. Ruc was raised among the Vuo Ton—a race of people from Dombâng who live in the delta which is as dangerous as the Vuo Ton’s way of life—but, he left that life 15 years earlier. Now, as a priest who practices love and pacifism, Ruc finds himself worried that recent events—the attack by the Annurians—is starting to unravel the instincts of his past. The recent attack has led to violence and riots in the name of numerous religions within the city of Dombâng. The followers of Eria are few, but Ruc and the other priests and priestesses—including Bien Qui Nai, Ruc’s girlfriend—do all they can to practice and to keep their faith. During a beatdown, Ruc and Bien come across a naked man who preaches that his god is “the First” and will overtake all of the other ones. This encounter causes Ruc to return to the Vuo Tun to gain some possible answers. After Ruc’s suspicions are confirmed, he rushes back to Eira’s Temple to find followers of other faiths attacking it. Ruc and Bien barely escape only to be arrested on charges of heresy. Their “punishment” is to participate in the fighting at the Arena. Their trainer is Goatface, who pairs Ruc and Bien with a captured Annurian soldier as a trio. Theirs is not the only group Goatface trains; there is the trio made up of Mouse, Monster and Stupid, who don’t seem to mind fighting in the Arena. Ruc must re-educate himself on how to survive in a hostile environment as he clings to his faith. 

            The third protagonist is Akiil, a former thief and “former” Shin monk of Ashk’lan. In fact, Akiil studied with the monks alongside Kaden, the brother of the reigning Emperor of Annur, who was the Heir Apparent before his “death.” Akiil meets with the Emperor so that he can attempt to con her. He hopes to do this by providing the Emperor with information about the kenta—a practice developed by the Csestriim and taught among the Shin monks—and its gates. Akiil’s plan is to “teach” the Emperor how to use the kenta in order to gain riches for himself. The Emperor is interested in the kenta because she wasn’t taught how to use it because she wasn’t the (original) heir to the Empire. However, with her brother dead and she without the knowledge, the Emperor may have some use of Akiil. The question isn’t who can use the kenta, but why the 2 opposite individuals want to use it. It turns out that while Akiil’s plan started off with him being a thieving monk, a person from his past alters his reasons for doing the job; but, what about the Emperor’s conviction for the knowledge? Will that affect Akiil and his plans? 

            There are 3 plots in this novel, and they are as complex as the characters. The first plot surrounds the Kettral. The birds are extinct in Annur, so the Emperor arranges for an expedition to search for them elsewhere. The second plot focuses on the in-fighting in Dombâng about religion—which god or gods are the most powerful? Which faith “deserves” to be practiced? The third plot delves into the knowledge the Emperor seeks, which is offered to her by a “thieving monk.” It seems that neither the thieving monk nor the Emperor should have this knowledge, but this is the least of their problems. There are 3 subplots in this novel as well. The first subplot involves the Csestriim. Their race is extinct; and yet, for some reason, the knowledge of the Csestriim could help Annur—the Kettral and the kenta—from destruction. The second subplot delves into magic and abilities a few characters can use. Unfortunately, not only are these powers esoteric, but also the users are ostracized by the majority of the world’s denizens. Why is that? The third subplot focuses on the new faith that is starting to emerge in Dombâng (and in Annur). The followers claim their god is the most powerful, but something is off about the followers—which, is something all of the other religious groups agree on. 

            The narrative occurs in the present tense and is told from multiple points-of-view of the protagonists: Gwenna Sharpe, Ruc and Akiil. The narrative is in the 3rd person limited which limits the story to what each protagonist is experiencing (and their knowledge) through their streams-of-consciousness and their memories. All of their experiences, flaws and mistakes, emotions make all of the protagonists reliable narrators. And, as long as the narrative is, it can be followed by the reader(s) easily.

            The style Brian Staveley uses for The Empire’s Ruin enhances the epic fantasy experience for the reader(s). At the beginning of this review, I mentioned how this story had me humming the 1812 Overture by Tchaikovsky. The reason for this is because the 1st chapter is a battle sequence, and Tchaikovsky’s musical piece is a tale about Russia’s defeat of Napoleon’s invading army. What is an overture? An overture is defined as “an orchestral piece at the beginning of an opera, suite, or other extended composition (in the 17th century).” And, that is what the author has written, an epic fantasy that is just the beginning of what will be an admirable opera (Note: I didn’t study music theory). All of the narratives are part of the bigger story to come, and Brian Staveley wrote this story in a way that it is not too long, but with enough details to capture the readers’ attention. The mood in this novel is pugnacious. All of the protagonists find themselves in atmospheres or in situations where they must be ready to fight. Even if they don’t want to, they don’t have a choice because their survival depends on it. The tone in this novel is diversion. All of the fighting throughout Annur and Dombâng is drawing attention away from the threats that have started to appear. In fact, the threats have made their “proclamations” known to certain crowds, but to no avail. It seems that the protagonists and their comrades know the severity of these threats. Also, if you need to, then you can consult the maps located at the beginning of the book. 

            The appeal for The Empire’s Ruin have been positive. So far, the 500+ ratings on Goodreads have 4- and 5-star reviews which make up 89% of the total ratings. Now, don’t be turned off by the quantity of the reviewers, but pay attention to the quality of those reviews. Regardless of the amount of reviews the book has so far, it can’t be overlooked that almost all of the readers keep raving about it. This book is not only the first in a new epic fantasy series, but also is part of the saga of the Annurian Empire which started with the Chronicle of the Unhewn Throne series—no, I haven’t read that series, yet. In other words, fans of Robin Hobb, Joe Abercrombie, Brandon Sanderson and Melissa Caruso will enjoy this book—and, the upcoming books in this series—the most. This series will continue the expansive world-building that started with the author’s previous books. There is something you should know about this novel. Brian Staveley rewrote this entire book after his agent told him that the first draft “wasn’t good enough.” I’m glad (and, so are several other readers) that the author listened to his agent (I wonder if it was the same agent who told V.E. Schwab to rewrite her draft of Vengeful?). Obviously, it wasn’t an easy thing to do, but this book is the result and that’s a good thing. Whenever the next book in this series is released, I will be reading it!

            The Empire’s Ruin is the first book in a new series that is an expansion of a fantasy world fans and other readers of the speculative fiction genre have praised for years. This novel is an excellent place for newcomers to start reading about the Annurian Empire. Brian Staveley has written one of the best (and one of the most underrated) books of the year. This novel is the 1st in what’s to come in this epic fantasy, which will remind readers of a musical overture. You don’t believe me? Then, read both the first and the last chapters in this book with the 1812 Overture playing in the background, and let me know what you think. 

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

Thank you to Tor (Books) and to Brian Staveley for sending me an eARC of this book in exchange for an honest review!

Why You Need to Read: “Enola Holmes and the Black Barouche”

Enola Holmes, #7: Enola Holmes and the Black Barouche

By: Nancy Springer

Published: August 31, 2021

Genre: Mystery/Historical Fiction/Children’s Fiction

NOTE: This post is part of the Enola Holmes and the Black Barouche Blog Tour hosted by Wednesday Books & Minotaur Books.

…Mycroft came to much the same conclusions I had already reached:

Enola did not need protection.

Enola did not need to go to finishing school.

Nor did Enola need to be married off. Indeed, heaven help any man who might be so unwary as to wed her, (Prologue).

Spinoffs; these are not unknown to anyone who participates in pop culture. In fact, there was a time when the majority of the public were getting annoyed with them. It could be argued that the annoyance came about because some of the spinoffs became too distant from the original series, and it could not stand out on its own. That being said, there have been numerous spinoffs of books, of movies and TV shows, of video games, etc., in which a few of them became just as successful as the original variant. The Enola Holmes series by Nancy Springer is the spinoff series of the Sherlock Holmes books by Sir Arthur Conan Doyle—which, similar to several other readers, I didn’t know this series existed until the movie was released on Netflix—is one of those series. And, if you’ve never heard of this series before now, then know that the latest book in the series—Enola Holmes and the Black Barouche—is a great place to start reading them.

Enola Holmes is 15 years-old and she is the younger sister of Sherlock and Mycroft Holmes. After a series of mischief and misadventures, Enola is settled in her apartment in London and is living independently. When she receives a summons from Dr. Watson about her brother, Sherlock, Enola meets Miss Letitia Glover—who hires Detective Holmes to investigate her twin sister’s, Flossie’s, “death.” Enola and Sherlock go their separate ways to solve the case—using similar methods and techniques. While Enola works on the case alone, she is not without assistance. Enola knows her friend, Viscount Tewkesbury, Marquess of Basilwether a.k.a. “Tewky,” and his family will provide Enola with a “recommendation” upon request. Enola is spirited and versatile with an intellect that rivals her older brothers’. Not to mention, Enola is allowed to be herself during a time when societal norms are restricted in the U.K.

The plot involves the latest case to be presented to Sherlock Holmes. A woman refuses to believe her twin sister is dead. When a letter presents potential proof the sister could still be alive, both Sherlock and Enola take the case together. Sherlock leaves to solve it his way, and Enola leaves to solve it in her way. From here, readers learn how Enola goes about solving mysteries: interviewing witnesses, disguising herself and using an alias, breaking into people’s houses, etc. There are moments when Enola collaborates with Sherlock on both the clues and the facts they collected in order to solve the case. There is one subplot in this novel, and it is about how Enola carries herself during an era when females had limited rights. Enola is able to “behave like a lady” while expressing herself the way she wants to without too much pushback. The plot goes at an appropriate rate and the subplot elevates it. 

The narrative is in 1st person in Enola’s point-of-view and through her stream-of-consciousness as the reader(s) follow Enola’s actions and thoughts. Enola is a reliable character, and one of the reasons for this is because of her vulnerability. Enola is a young woman who lives for herself, but she is humble enough to ask for help from her family and her friends whenever she needs it. The narrative is presented in a way that is can be followed easily. 

The style Nancy Springer uses for her latest Enola Holmes novel is part mystery and part historical fiction. Unlike the original Sherlock Holmes books—which, were written as contemporary stories—Enola Holmes emphasizes the late Victorian Era throughout the narrative. Then mention of clothes and methods of transportation are huge indicators for the readers of this book (series) that the story takes place more than 100 years ago. In addition, this story delves into how women were viewed—and, at times, abused—by the men in society during that time. Although Queen Victoria’s reign was a powerful one, the rest of the females in her Empire were not treated with the same respect. The mood in this novel is concealment. From when the client arrives with her case to Sherlock and Enola, something feels off about it, almost like someone is trying to hide something or someone. The tone revolves around the unraveling of the mystery, which is as jumbled and as questionable as the steps taken for the concealment. It should be mentioned that the book’s cover displays Enola Holmes resembling the actress, Millie Bobby Brown—who portrayed the character in the movie.  

The appeal for Enola Holmes and the Black Barouche will be very high, and not just because of the recent success of the movie—Enola Holmes—on Netflix (I’m guessing the movie is based on the 1st book in the series). The book not only provides a fun mystery story for middle grade readers, but also is an excellent homage to the original Sherlock Holmes books. Fans of mystery—such as myself—will want to consider reading this book and the rest of the series because this spinoff series includes the deductive thinking and logic the infamous Sherlock Holmes is known for, and because all of the known characters from that series—Sherlock Holmes, John Watson, M.D., and Mrs. Hudson—all appear in the story. Since this is a children’s book, it can (and should) be read in schools. Even though I haven’t heard of the series before now, it does have lasting appeal. I should mention that I watched the movie AFTER reading this book, and the pacing and the characters are straight from the page to the screen.

Enola Holmes and the Black Barouche is not only the latest book in a series known to some readers, but also an excellent continuation of a spinoff series with a protagonist who is related to the world’s most famous detective. And, while the narrative presents a darker societal practice, it remains a fun mystery story both for children and for adults. I find it hilarious that Sherlock Holmes has a kid sister who is just like him! I’m looking forward to reading Enola’s next adventure.

My Rating: Enjoy It (4 out of 5). 

Thank you to Wednesday Books, Minotaur Books and Nancy Springer for sending me a print ARC of this book!

Why You Need to Read: “The Gilded Ones”

The Gilded Ones, #1: The Gilded Ones

By: Namina Forna

Published: February 9, 2021

Genre: Young Adult, Fantasy

TRIGGER WARNING: This book contains elements of rape, misogyny, familicide, dismemberment, human trafficking, and violence against females. Be advised.

            Confusion lines my face, and I frown at her. “An invitation for what?”

            “For you, Impure One. Emperor Gezo has decided to create an army of your kind. He invites you to join it and protect our beloved Otera from those that would oppose her will,” (3).

            Readers have become familiar with genre-blending—the blending of at least 2 distinguished genres and/or subgenres within a book or a book series—but, every now and then there are books which are “crossovers” for the audience. For example, consider which books you had to read in secondary school for your literature class. You know many of those books were written for adults, right? And yet, many adolescents have at least 1 book from school that they remembered reading, and some even enjoyed the story. There are several examples of books written for adults that should NOT be read by younger readers—The Nevernight Chronicle by Jay Kristoff—but, there are several young adult books containing numerous adult themes that should be read both by adolescents and by adults as well. The Gilded Ones by Namina Forna is the latest book to tackle how the “adult world” influences the youth negatively and why certain societal practices continue to exist through posterity. 

            The protagonist is Deka. She is 16 years-old and is about to undergo the “Ritual of Purity,” a rite to see if a female’s blood runs red or gold. If a girl’s blood runs red, then she is declared a woman and becomes a member of the village they reside in. Deka has become even more terrified of the Ritual since her mother’s death 3 months earlier; her father is the last family member she has left. However, she has 2 close friends who she envisions remaining close to after she passes the Ritual. Unfortunately, 2 events occur on the day of the Ritual that changes Deka’s life. First, her village is attacked by creatures known as Deathshrieks who kill several people. Second, her blood runs gold—the blood of the Impure—and she is ordered to be “cleanse…” that is until a figure—a woman with white hands—arrives with an offer to reclaim her identity: join the emperor’s army of Impure women to defeat the Deathshrieks for good, or be sentenced to death. Almost immediately, Deka leaves her fanatical village for a chance at “absolution.” Along the way, Deka meets and befriends Britta from the Northern Province. Once at the compound, she meets twin sisters, Adwapa and Asha from the Southern Province; Belcalis from the Western Province; and, Gazal and Jeneba their “Honored Elder or Senior Bloodsisters” who help the girls with their training and to become acclimated with their new life. Then, there is Keita, an uruni—(human) men partnered with each of the girls to work together with (and to spy on) the women as they fight against the Deathshrieks. Last, is White Hands, the Impure woman who brought Deka and Britta to the compound for a chance at absolution; but, she has a close relationship with the Emperor, and she has an interest in Deka, and Deka doesn’t know why. All of these characters help Deka accept her new life and her purpose as she becomes stronger—physically, mentally and emotionally—and determined to protect Otera. 

            The plot of this novel has several parts. First, is Deka’s journey towards absolution after her blood classifies her as a demon. Second, is the explanation of the “Infinite Wisdoms,” the religious mandate practiced in most of the provinces in Otera, which limits the roles of females to their families and their households; but, an army of Impure Ones has existed for some time. Last, is the world-building that occurs throughout the narrative including the various provinces of Otera, the history of Otera—including the goddesses and the Infinite Father. There are 2 subplots in this novel. The first is about the Deathshrieks. What are they? Why have they been attacking villages? Why have their numbers continued to grow? The second subplot is about the “Impure Ones,” or “demons” who are descended from the Gilded Ones—the goddesses who founded Otera. It seems that there are some unknown benefits to being “impure,” which are known by those who are “impure.” In addition, why are all the “Impure Ones” female? What about males? These subplots are essential to the plots as the reader(s) learn more about the characters and the world through them and their conflicts. The plots and the subplots go at an appropriate rate as the story reveals everything that will happen in it.

            The narrative is in 1st person from Deka’s point-of-view. And, the narrative is presented in the present tense. This means that the reader experiences everything and learns about everything through Deka’s P.O.V. and her stream-of-consciousness. Deka’s growth from devout outcast to lead warrior—including some revelations about herself—make her a reliable narrator. A reminder that the narrative is intended for young adult readers, and it can be followed easily by both YA and adult readers. 

            The style Namina Forna uses for The Gilded Ones is NOT new, but it is one of the most candid seen in (YA) literature for some time. The author wanted to examine the idea of the patriarchy—how and why it is practiced—and how religion continues to influence this societal practice. Namina Forna is from Sierra Leone and—when she moved to the U.S.—she saw no difference in the practice of patriarchy between Africa and America. And, given what many of us know about similar practices in the rest of our world (i.e. Asia, the Middle East, etc.), this book is a commentary on how females continue to be treated throughout the world. Feminism and misogyny are international themes and issues that continue to permeate into individuals worldwide. Personally, I believe that one of the reasons “change” and “equality” haven’t happened for women yet is because every region of the world acts like gender equality is “better” where they are; and that is a HUGE lie. Namina Forna presents the harsh reality females—especially young ones—face because some males desire to express their dominance over them. Regardless of age, race, sexuality, gender identity, religion, or ethnicity, this book speaks volumes of what girls and women experience throughout their lives. The mood in this novel is domination. The females are dominated by the males and their religion, even the “Impure Ones” are oppressed by men. The tone in this novel is belligerence. The “Impure Ones” are trained to fight their foes, but are they limited to the Deathshrieks? There is a map of Otera at the front of the book and it should be used by the reader(s) whenever they need to consult it. 

            The appeal for The Gilded Ones have been mostly positive with 75% of the ratings on Goodreads being 4- and 5-stars. One thing that needs to be mentioned is the book’s publication. This book’s release was delayed due to the COVID-19 Pandemic. That being said, the hype surrounding the author’s debut novel made the wait worth it (I read an eARC of this book). This book is described as being for fans of Children of Blood and Bone, Shadow and Bone, Legendborn and Raybearer. I would describe The Gilded Ones as a combination of The Year of the Witching and Speak. Once again, this book is written for YA readers containing “adult” themes they know exist in our world. Not everyone will view this book for what it is, and that’s all right because it means that the book wasn’t written for them. The next book in this series—The Merciless Ones, which releases in April 2022—continues Deka’s journey to discovering her role within the Impure Ones and warring against those who want her dead.

            The Gilded Ones is the book young girls crave and adult women wished they had as children. Namina Forna found a way to present the truth within the fiction for adolescent readers, but made it alluring for adult readers as well. While this book should NOT be read by everyone, it should NOT be missed by anyone. Go and read one of the best (debut) novels of this year!

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

Reading Check-In: July 31, 2021

What book have you finished reading recently?

O!M!G! This book…WOW!

I started reading this eARC at the beginning of the year, but I had to stop because of classes. It turns out that I stopped at the right spot because I was able to dive back into the story when the story, the plot and the characters continued to developed.

It’s not speculative fiction, but it’s still enjoyable so far. I haven’t watched the movie yet, but I did read some of the Sherlock Holmes books as a kid so I had high hopes for this book. This is the 7th book in the series and the only one I’ve read so far; and, it’s an excellent spinoff!

What are you reading currently?

I’ll be reading this book throughout the weekend. I don’t know whether or not I’ll finish it by then, but I expect to make some more progress.

There are 2 plots within this story, but it seems like only one of them will continue onto Book 2!

What will you read next?

There is a reason why I started reading this book, which I can’t get into yet. That being said, I should have tried to read the eARC I received when I had the time.

I should read this book before the next one in the series is released.

I haven’t forgotten about this book!

I want to read this book BEFORE its publication.

I know my list of books keeps getting shuffled, but I read what I want when I’m in the mood and when I have the time.

Reading Check-In: July 17, 2021

A brief update about my readings.

But first, not that this should be a goal of mine, but I decided to reduce this year’s Goodreads (yes, I have a Storygraph account) reading goal from 100 books to 50 books. At the beginning of this year, I knew there I shouldn’t have pushed my limits this year due to other life factors (read my midyear post), but I decided to push my limits. Halfway through 2021, I knew that it would be better if I focused on finishing the books I was reading without worrying about how many I was reading. Honestly, I just want to read the books because I want to not because I’m worried about a number.

What book have you finished recently?

Both the plot development and the world-building were brilliant! And, we have a cover for the final book in this series! Both the cover and the finale are going to be EPIC!!!

What are you reading currently?

I’m about halfway through both of these books. And, I can tell you right now, you need to read both of them!

What will you read next?

I started reading these books when I received them as ARCs, but as you all know, I had to halt my reading to focus on other priorities. These books have been out for some time and I want to finish reading them before the end of the year.

As for recent releases and other ARCs, you’ll know which one(s) I start reading when I do.

Yes, I know that these are all fantasy books! You can read my recent sci-fi reviews in my previous posts!