This episode has three parts. The first part mirrors the 2007 movie. Lyra, the Gyptians, Lee Scoresby, and Iorek Byrnison are traveling further North to “The Station” where the missing children are being held by the Magisterium. Farder Corum meets with Serafina Pekkala to discuss both the Magisterium and their love affair. It’s Serafina who describes the importance, and the threat, of both Lord Asriel and Dust. Lyra reads her alethiometer again and learns more about The Station and about a “ghost” in a nearby village.
The identity of the “ghost” is the same individual as it was in the 2007 movie. However, this is NOT the case in the books. I believe the studio(s) kept this change in order for the same emotional reaction(s) from Lyra, Lee Scoresby, the Gyptians, and the audience. The answer to the question of “what” the Magisterium is doing to the children has been answered, but the question “why” has not been answered, yet. The brutality of the power of the Magisterium has been revealed in the most devastating and heartbreaking way.
The second part is a prequel to the events of The Subtle Knife, the second book in His Dark Materials trilogy. This is not too much of a spoiler because the series has already received a second season; and, the scenes of Will Parry and his mother are NOT in the books. The man from the Magisterium has been staking out the house where both Will and his mother lives. After his “talk” with the mother triggers an episode, Will has to be the adult and take care of his mother. These scenes between Will and his mother reflect the reality of what many people who know and/or live with someone with mental health issues experience on a regular basis.
Will’s mother tells him a bit about his father. The expedition he was on when he disappeared and whatever was written to her in the letters Will’s father sent her. And, while Will’s mother’s mental health is sad to watch, we—the audience—know that she’s not as crazy as everyone else believes her to be.
The third part is the further explanation about daemons and their importance to the humans in Lyra’s world. Daemons are souls which are manifested outside of the human body. There is a reason that many people place “the soul” in such high regard, and Philip Pullman—regardless of him being an atheist—makes sure that his audience, both readers and viewers, comprehend this information. Lee Scoresby tells Lyra his reason for the Magisterium performing “intercission,” but similar to our world, things are not always that simple. Then again, the Magisterium cannot be allowed to commit such atrocities and expect to get away with them.
In all, Lyra’s discovery about both the motives of the Magisterium not only makes her desire for rescuing the missing children more essential, but also sparks her interest in the relationship between Lord Asriel and the Magisterium. The introduction to Will Parry is a treat to book readers who wanted to learn of the events leading up to the beginning of The Subtle Knife. The last scene of the episode puts the last events of The Northern Lights/The Golden Compass in the order of the books, and not the 2007 movie. This climatic episode lets the audience know that the falling action is coming next.
This is the episode everyone has been waiting for! Armour is the episode in which, the audience is introduced to Lee Scoresby—played by Lin-Manuel Miranda—and Iorek Byrnison—voiced by Joe Tandberg. These characters are not only essential to the story because of the roles they’ll play in the future, but also because they explain more about the existence of daemons for more clarity. Viewers of the 2007 movie will see these characters portrayed differently; and, readers will rejoice at this faithfulness to the books.
Lyra Belaqua and the Gyptians arrive North at a port in order to stock up on supplies for the journey and to contact the Witches—including one named Serafina Pekkala—to ask for their alliance in getting the children back from the Gobblers. These are the scenes in which the other characters, and the audience, witness how Lyra uses and reads the alethiometer. Lyra’s abilities to read the alethiometer and the truth of her parentage has started to catch the attention of Mrs. Coulter, the Gyptians, the Witches’ Council, and the Magisterium. The audience will recall that the Master of Jordan College discovered something about Lyra, and he was trying his best to keep her safe to the extent (and the extremes) of his status.
Meanwhile, Mrs. Coulter continues to demonstrate her cunningness and her abilities as a power player within the Magisterium. She knows her previous actions went against their instructions and the law, but Mrs. Coulter manages to evade them because she’s already a few steps ahead of the Magisterium. She has made an alliance with the King of the Armoured Bears—yes, I’m using the British English spelling for this review—and they have someone both she, and the Magisterium, want.
Once again, these scenes are straight from the books with the exception of the bar fights. That scene was meant to present the demeanor and the skills Lee Scoresby has and what that means for the Gyptians as they continue their journey further North. Iorek Byrnison is presented to us as Armoured Bears are supposed to be; he’s a strong and fearless fighter, and he isn’t afraid to let everyone know. The Gyptians have the alliance of the Witches and Lyra manages to gain the alliance of both of these fighters for the rescue mission. The rescue party has assembled, and they are off to save the missing children.
Just like other media adaptations in recent years, we’ve seen actors transcend from one popular media series to another. So far, we’ve seen Narnia, X-Men, and Game of Thrones. This episode has a character from the Harry Potter movies. Do you know who it is? Did you recognize that individual in the role they were playing?
The episode starts with a reminder that “The Gobblers” are kidnapping children—and keeping them in nets, cages and locked rooms—and have been discreet, until the Gyptians started to track their movements. Meanwhile, Mrs. Coulter abuses her connections with the Magisterium in order to find Lyra. And, it’s obvious that while Mrs. Coulter wants Lyra back, she’s doing it in a way which presents her in a way everyone can see why Lyra ran away from her in the first place.
Lyra Belaqua is rescued and taken into the care by the Gyptians. They have connections to Lord Asriel and are planning to rescue the missing children—as soon as they discover where they are being kept. It is during her stay with them that Lyra learns more about her origins and the alethiometer. Her reaction to the truth about her parents is believable and appropriate. Mrs. Coulter’s reaction to Lyra running away from her is not. Even the Magisterium is horrified by what Mrs. Coulter does in order to find her. It seems that it’s not only the alethiometer that the Magisterium has aversions against.
The Gyptians are willing to do more to figure out what’s going on with the missing children than the authorities. They have a plan—and allies—waiting to be carried out. Two of the Gyptians decide that having concrete evidence is better than traveling on gossip, so they continue their investigation against orders. At this point, it’s clear that the Magisterium is involved, but as to the how and the why, viewers will have to wait and see.
In our world, Lord Carlo Boreal—the man who works with the Magisterium—continues his search into the identity and the mystery of Dr. Stanislaus Grumman and whether or not he managed to “crossover” from one world to another, a theory Lord Asriel insists is the truth. The results his informer uncovers is interesting and shocking. This scene is essential to the plot of the story because it delves more into the idea of “other worlds” and why it remains a mystery to everyone. Book readers will know exactly what I’m getting at, but that’s all I’ll say, for now.
The Spies is the episode in which the plots in London wrap up and the story and the characters travel to the North to rescue the children and to learn why they were taken in the first place. This is the shift in the story in which the audience—both readers and viewers—have been waiting for since the cast was announced. This episode reiterates the dangers Lyra has been shielded from her entire life, but with her recently acquired knowledge, she knows she cannot return to Jordan College without Roger.
Lessons were over. The closed world of the convent was about to be broken open. The endgame had arrived, (Chapter 9).
Any literary series—whether or not they’re duologies, trilogies, quartets, 5, 6, 7, 10, 12, 15 books—follow similar formats in order to bring the story to a close. In many cases, the ending has a “good” ending for the remaining characters—and the dedicated readers. And yet, there are times when a “believable” ending is what is required for certain stories to have appropriate resolutions for everyone. Holy Sister by Mark Lawrence provides a “believable,” yet satisfying ending for the characters and the readers alike. All of the characters have an ending.
Nona Grey—our protagonist—is now around 19 years-old and is preparing for her examinations in Holy Class in order to become a nun at the Convent of Sweet Mercy. A lot has happened since the events in Grey Sister including: the escape from Sherzal’s Palace, the war that’s occurring on two fronts in Abeth, and Nona’s growth spurt. Through it all, Nona not only has to prepare for war (which, she is more than ready for), but also has to keep the promises she made to her friends and to her mentors. Nona matures throughout this novel as well. She is about to leave her teenaged years (but, NOT her adolescence) and she is making choices that will have a long-term effect on not just herself but everyone else, similar to Abbess Glass’ choices. At the same time, readers and Nona learn more about Zole (finally) and her ambitions. Zole is an ice-triber who was “found” be Sherzal and educated by her before attending Sweet Mercy. She was declared to be the “Chosen One” by Sherzal (and by Sister Wheel) at the time. While Zole did prove to be a 4-blood and very powerful, she never said she had plans to remain at Sweet Mercy beyond her education. Through Nona, we learn about Zole, her ambitions, and her culture. Zole does call herself Nona’s friend and she proves that to her over and over again. Both girls learn from each other and grow in both their powers, and their character. By the time the friends go their separate ways, we learn more about Zole and Nona, their roles in the prophecy, and their ambitions for themselves and all of Abeth.
There are 2 plots in Holy Sister. The first, Nona, the nuns and her friends—the other novices and her “cage mates”—are preparing to fight in the war that is moving closer and closer towards them. The second, follows Nona and Zole as they continue their escape from Sherzal’s Palace, with the Noi-Guin shipheart, immediately after the events of Grey Sister 3 years earlier. While in Holy Class, Nona gathers her friends in order to steal a book containing secrets about the 4 shiphearts, the Ark, and the prophecy of the “Chosen One.” However, the novices are not alone in seeking this book and the information within it. In addition, neither Nona, nor readers have forgotten about Sherzal, Lano Tacsis, Joeli Namsis, the Noi-Guin, Yisht, and Queen Adoma. Once again, grudges and ambitions take precedence over the problems at hand. The question is, who will be the victor as the war rages around them? Meanwhile, 3 years prior, Nona and Zole are leading the Noi-Guin away from the others who survived the assault on Sherzal’s Palace. With the Noi-Guin shipheart in their possession, the “Argatha” and her “Shield” make their way towards the Ice—where the ice-tribers, including Zole, reside. Throughout the escape, Nona learns about Zole, the ice tribes, and the shiphearts. Nona learns where Zole fits into everything that has happened at Sweet Mercy, and the power of the shiphearts. These two plots present the growth of the characters and the on goings in Abeth. At the same time, there are two subplots. One is Abbess Glass’ continued influence and plans for the endgame; two is the prophecy of the “Chosen One” and its interpretation and its (true) meaning. Both plots and both subplots converge into this final moment in Nona’s education. Everything fits together as the plot hits the climax and moves towards the resolution. Everything moves at an appropriate rate and all is revealed in due time.
The narrative is limited omniscient narration—only from Nona’s point-of-view—with a sequence that moves from “Present Day” to “3 Years Earlier.” Nona Grey is out reliable narrator as she continues on her journey to fulfill her role in the war (and in the prophecy). Her stream-of-consciousness goes from the war to the escape (which, is told in present tense) and her powers determine where and what Nona witnesses and experiences. At first, readers will wonder as to why the story is being told from one point in time to another one, but what Nona experiences in both narratives determine her actions as the war reaches its climax. Once this is realized, then the narrative can be followed easily.
The style Mark Lawrence uses changes slightly from what readers have gotten used to, but it remains relevant to the story he is telling. The prophecy and its interpretation and its meaning continues, but the significance and the importance of playing the endgame for the long run is essential in this story as well. Readers already know that the prophecy will come to pass in Holy Sister, but how will it affect the other characters? The author reminds his readers that prophecies and war focus on one event in particular, while ambitions last beyond the short term. Behind the frontlines, each character is thinking about what they will do if they survive the war and whether or not the prophecy comes to pass. The mood is war and what it brings with it; the tone is the choices individuals make as a result of war. And, the choices are not always for the good of all of the denizens. Power determines the victor in most wars, but once the war is over, what happens next? This is the importance of the endgame. Planning before and during should being a reasonable after in the long run.
The appeal of Holy Sister matches those in the rest of the Book of the Ancestor trilogy, positive and satisfying. Mark Lawrence has delivered a trilogy with magic, history and action alongside strong, yet flawed female characters. This series is an amazing addition to the fantasy genre, and Nona Grey is right alongside Alanna of Trebond and Lyra Belacqua as resilient and powerful female characters who proved themselves against all perceived notions against them. The popularity of this series has given readers a surprise from the author. Readers will get the chance to return to Abeth when The Girl and the Stars, the first book in the Book of the Ice is released in April 2020.
Holy Sister is satisfying end to the Book of the Ancestor trilogy. Both the plot and the characters are given reasonable and believable ends to their stories. The pacing and the world-building provide answers to the questions the characters and the readers had previously. Fans of fantasy and grimdark will enjoy the conclusion to this series. Mark Lawrence presents another brilliant series.
This short story gives fans and readers an interlude to Nona’s life back at the Convent of Sweet Mercy. The events in Bound take place after the events in Grey Sister. However, the Convent is the center of all of the political drama and the invading armies, so there is never a dull moment for the residents at Sweet Mercy.
After a lesson in algebra—Nona’s worse and most disliked subject—Nona meets up with Ara and Ruli to have some forbidden fun. During the novices’ adolescent antics, the girls overhear some disturbing news from outside the Convent’s walls. The Sis—the noble families of Abeth—are in danger, and the nuns decide to investigate with a recruit. And no, it’s NOT Nona!
The plot is a straightforward murder mystery that reminds all of the characters that people do NOT have short memories. Readers are treated to a look into the social practices of the Sis in both the significance and the silliness. While Nona and Ara participate in the Sis’ activities, Ruli and Jula conduct research in the library. Readers will admire the way the novices work together, and fans will appreciate the appearance of a few minor characters, who continue to be a part of the plot and its development. At the same time, Nona continues to become more and more powerful.
Mark Lawrence’s style is reflected in the narrative. Told in Nona’s point-of-view, readers learn everything that is happening inside and outside the Convent, which reflects the mood: war is coming, and everyone is on edge. Nona is experiencing everything including the thoughts of her friends, her allies, and her enemies This style is an interesting use of stream-of-consciousness that the author has used before, but this time, Nona is able to learn more about herself from this particular event. Once again, this short story takes place between Grey Sister and Holy Sister. This is important because the tone—long-term grudges and its meaninglessness—presents how trifle things almost always overshadow more relevant issues such as invading army or two.
This short story and trilogy interlude are perfect for fans of the Book of the Ancestor series who knows other things occurred before the third and final novel was released. While there are some fans who admit they either didn’t know or didn’t read Bound said they would read it in order to revisit some of their favorite characters. Think of Bound as a continued expansion of Nona’s world through her eyes.
Bound is not only a story about how our favorite characters continue to grow into themselves, but also a precursor into what’s to come in Holy Sister. This short story provides a perfect look into what’s at stake; yes, it should be read before reading Holy Sister. Mark Lawrence knows how much to give his readers with his stories!
I know I am late in writing this review but it’s here now. This book was my favorite book of 2018 and I’ve been raving about this book to anyone who would listen. I’ve been begging the publisher—Harper Voyager—for the translation of the other books written by this husband and wife duo. Vita Nostra is a novel that serves as a reminder that the speculative fiction genre has no limits and contains a reading experience that will have you question your limitations as to what is possible.
Alexandra Samokhina, or Sasha, is on summer vacation with her mother at the beach. She is looking forward to this trip before her senior year in high school in which, she plans to focus on her studies and to attend a university to study philology (the study of language in oral and written historical sources). Yet, before the 1st day of the trip can amount to more than a quick swim, Sasha notices a man in a “dark denim suit” watching her. At first, she shakes it off, but a few days later, Sasha sees him whenever she’s in town. From there Sasha experiences a few bouts of strange activity, but this only gains more unwanted attention. After many run-ins with the man, Sasha is given a task to perform, which she completes. Whenever, she doesn’t complete the task, someone close to her suffers the consequences. After her summer vacation, Sasha is given another task to complete each day throughout the school year. Meanwhile, Sasha’s mother starts seeing a man named Valentin. As expected from any adolescent, Sasha is going through academic pressures and a changing relationship with her mother. By the time she has graduated, Sasha’s grades have dropped, she doesn’t get into the university she wanted to attend, and her mother has married Valentin. However, because kept completing her “tasks,” Sasha is accepted to the Institute of Special Technologies in the town of Torpa, and the man—whose name is Farit Kozhennikov—is to be her advisor. Once at the school, Sasha—and her classmates—attend classes, follow strict rules, and complete their homework or face the consequences. Similar to any university, first year students have to adapt to all of the changes and study methods at the Institute. The difference is failure is not accepted and even the best students falter from time-to-time, even Sasha. Sasha studies and studies, and while she slowly comprehends her lessons and unlocks her mind to a new way of thinking, her punishments are as strange and as brutal as you can imagine. The Institute’s program lasts for 3 years, and then the students take their graduate final in order to “move on” to the graduate program. Sasha and all of the students at the Institute fear what happens if they fail, so they all study and perform as well as they can. Sasha realizes that she is outperforming her classmates to the point where she is not only at the top of her class, but also adapts to the Institute’s expectations. Due to these accomplishments, not only does Sasha becomes isolated from her peers, but also becomes more distant from her mother. Sasha’s mother, stepfather and friends develop in a more casual way. Sasha’s development is as complex as the story, but it is intriguing to read how she deals with life inside and outside the Institute.
The plot in Vita Nostra is the type of education being implemented at the Institute of Special Technologies through Sasha. The fact that this is the first book in the Metamorphosis series, should provide some hints, but not enough for readers to guess what will happen. Sasha is university student, which means she is learning how to balance her studies with any free time she has. And, like other university students, Sasha struggles with her classes and even misses a few of them due to exhaustion. Yet, she continues because she doesn’t want her mother to suffer for her failures. Eventually, Sasha not only grasps the meaning and the structure of her classes and her one-on-one sessions, but also exceeds beyond the expectations of her professors to the point where they have to set some rules for her to follow, so she does NOT get carried away with what she’s managed to accomplish so far. Sasha goes from struggling student to one that must be monitored so that she maintains control of herself. Sasha becomes so accomplished she becomes isolated from her peers. The subplot in this novel is the relationships Sasha struggles to maintain throughout her time at the Institute. While she remains friends with some of the other students, Sasha does all she can to hang on to her relationship with her mother. While Sasha is struggling with her studies, her mother is enjoying her new marriage (and later on a new baby). Sasha’s mother asks her constantly about leaving Torpa, but Sasha knows it’s best to remain there for her family’s safety, and to keep learning. The plot and the subplot converge around Sasha and everything she’s learning at the Institute, and its costs. She unlocks skills her professors want from their students. Once Sasha understands her potential and her skills, she cannot stop learning more. This imposes a new level of coercion set on her by her professors and her advisors.
The narrative in Vita Nostra is told from Sasha’s point-of-view and follows her growth from a candidate to a third year at the Institute. The book is in 3 parts, but there are no chapters. Instead, there are breaks that indicate when something else is occurring in Sasha’s life. This reflects the continuation of life of the characters and having chapters would disrupt the narrative. These breaks within the narrative allow readers to follow the story easily. This is because the narrative—while told in present time in stream-of-consciousness—there are moments where the sequence changes over to what may seem like a flashback but is actually a “do over” of these events. While this method of narration is objective—for it is essential for the novel—it presents Sasha to be a reliable, yet flawed, narrator because readers realize the extent of Sasha’s studies and accomplishments. Even before Sasha is accepted into the Institute, readers notice the beginnings of her change of her narration throughout the narration. Each part represents each year of Sasha’s time in Torpa, and the narration changes as Sasha changes; and, it is an experience unlike anything read before.
The style the authors—Marina and Sergey Dyachenko—use fall under metaphysical fiction. Metaphysical fiction is a subgenre of speculative fiction in which, “things like mind over matter, energy medicine, and places that which is beyond physical measurement, beyond the ordinary, into the very ordinary and mundane world we human beings inhabit,” (Newland, 2013). In other words, characters possess talents, skills, and/or abilities that defy physical laws, but only a small percentage of the world’s population have these talents, so the rest of the world remains ignorant to people like Sasha, the purpose of the Institute of Special Technologies, and the phenomenon everyone there undergoes. Vita Nostra is NOT magic realism! Magic(al) realism is a subgenre of speculative fiction where a story set in a real location and time with ordinary people living ordinary lives experience fantastical or magical elements that are a natural part of the characters’ lives but remain mundane and unexplained (Witte, 2015). For example, in Isabel Allende’s, The House of the Spirits, there are two sisters. One has green hair and the other one is a clairvoyant. No explanation is provided, the other characters are unfazed by these phenomenon, and the story continues. Readers are left to doubt whether or not those fantastic elements are real. In Vita Nostra, Sasha and her classmates possess abilities that are beyond the ordinary, but they are isolated from the rest of the world because it is not considered to be “ordinary.” Instead, Sasha and the other students are left to deal with these metaphysical experiences on their own at the Institute. The tone in Vita Nostra is the cost of learning and the cost of failure at the Institute, a form of terrorism. The mood is the bizarreness of everything the students experience and how Sasha (and readers) are intrigued to learn more. The authors provide a story of what is possible and what is actual in their own words while following the elements of the metaphysical fiction (sub)genre.
Vita Nostra is a translated work of fiction. The novel was first published in 2007 in Russian in Ukraine. The novel was very popular at the time of its release in Russia and won the PocKoH in 2008. Vita Nostra has been described as “a cross between Lev Grossman’s The Magicians and Elizabeth Kostova’s The Historian…is the anti-Harry Potter you didn’t know you wanted,” by The Washington Post. I find the description to be very accurate. Other readers, including some authors, enjoyed this book as much as I did. While not everyone will appreciate the elements of dark fantasy and metaphysical fiction, they cannot deny the parallels to other works of Russian speculative fiction such as The Metamorphosis by Franz Kafka. I’ve been told by other readers that fans of The Night Circus by Erin Morgenstern and The Library at Mount Char by Scott Hawkins will appreciate and enjoy Vita Nostra the most. I believe this novel will have more of a cult following which will transcend to a must read in due time. Meanwhile, the popularity of Vita Nostra will help with the expansion of the metaphysical fiction genre. This novel is the first in the Metamorphosis series. Digital, or Brevis Est was released in 2009 in Russian, and Migrant, or Brevi Finietur was released in 2010 in Russian. Both novels are follow-up standalone novels that follow other students at other Institutes who undergo their own metaphysical experiences. There have not been any news surrounding an upcoming translation of those books, but both The Burned Tower (1998) was released in English in 1999, and The Scar (1997)—the sequel to The Gate-Keeper (1994) and NOT released in English—was released in English in 2012. The next English translated book by Marina and Sergey Dyachenko is titled Daughter from the Dark and it’ll be released in February 2020, and I can’t wait to read it!
Vita Nostra is a unique read that will introduce readers to new authors and another subgenre of speculative fiction. The combination of breaking reality with this coming-of-age story will remind readers everywhere that no matter the genre, themes such as family dynamics and education are universal. The story alone is enough to capture your attention and decides when and how to answer the questions you and the protagonist want answered. The expectations readers will have from the authors will match the expectations Sasha’s professors have for her. The Institute of Special Technologies is listed alongside Hogwarts, Sinegard Academy, and the Brakebills University for Magical Pedagogy as challenging and excelling educational institutes. I desire and I dread the existence of these academic institutions!
The Emperor’s hatred had not grown suddenly, as Mehr had so foolishly believed when Maryam had warned her of his messages to his nobles. His hatred was a storm that had grown ever larger by feeding on itself, and Mehr had been protected from the full weight of it by the shelter of her privilege and of the very Ambhan walls that so stifled her. Now the storm was too great for even Mehr to ignore. Her status as the Governor’s daughter couldn’t protect her forever. She had Amrithi blood, and the Amrithi were being erased, (Chapter Two).
I’ll repeat what I’ve said about the speculative fiction released in 2018: it was the best year yet! There were many debut novels that gained the acclaim of fans and critics alike. In addition, there seemed to be a debut novel that represented each region of our world. Tasha Suri is one of many whose novel takes place in a historical fictionalized Middle East. Empire of Sand reflects on the notions of “old magic” and the oppression of the users that comes with it from those with political power.
Mehr, who is 18 years-old, is the eldest illegitimate daughter of the Governor of Irinah. Mehr and her younger sister, Arwa, who is 9 years-old, live with their father and their stepmother, Maryam, at the Governor’s home. As daughters of a nobleman, the sisters live sheltered lives of luxury; as daughters of an Amrithi woman, the sisters have magic in their blood. Mehr is old enough to remember their mother and has accepted the customs of her mother’s people. Arwa is too young to remember their mother, but Maryam has no issue with raising and molding Arwa into an Ambhan noblewoman. Obviously, Mehr and Maryam are at odds with each other and it seems that the girls’ father is unaware of the relationship between his wife and his daughters. As paranoid as Maryam is, it turns out that she is right to be worried about Mehr’s rebellious behavior. When Mehr defies her family’s wishes and her mother’s cultural paranoia, she is married off and sent away to become a “tool” of the Empire. She is married to Amun, a full-blooded Amrithi who has been a captive of the Maha—mystics of the Religious Order—since he was a child. Married, isolated, and far from home, Mehr has to figure out how to survive her new life, to stay alive, to determine who is trustworthy, and to determine how much magic she has and what that means for her. Throughout the novel, Mehr grows into a powerful woman who embraces both her magic and her culture as she interprets the use of her power for the good of everything she cares about.
The plot of the story follows the culture and the traditions of South Asia, along with its dark side based on historical events. “The rule of law and rule of faith are tied together. One cannot exist without the other,” (p.76). The Maha—the one in charge of the mystics—founded the Empire, so the Emperor and all of the Ambhan are “blessed” with their fortunes and lifestyles because of them. However, when angered, or demand something and are denied, the Maha can become anyone’s worse enemy. And, Mehr has alerted the Maha of her presence and her heritage. The mystics demand that she serves “for the Maha and the Empire.” Mehr knows that this goes against the practices of the nobles and her father threatens to rebel. Mehr gives into the demands in order to protect her family, especially Arwa. The plot develops as Mehr grows into herself and she learns more about the Maha and the Empire. She learns the reasons why her mother left her father, and her father’s neglect to teach her what she needed to know about herself and the Empire. Mehr soon realizes that power is determined based on who wields it. And, if the Emperor looks to the Maha for power, then does that mean the Maha hold the power? The subplot here is family and the bonds that come with it. Mehr sees herself as her mother’s daughter to the horror of her stepmother. Maryam, who has not been able to have children of her own, claims Arwa as hers and does everything in her power to keep the sisters apart. While her abuse of Mehr and harsh upbringing of Arwa is disturbing, her paranoia is justified when the Maha demand Mehr to be delivered to them. At the same time, Mehr learns more about her mother and father’s relationship as well as the decisions they made together and separately. This subplot is essential to the plot in that all of Mehr’s decisions are based on what’s best for her family.
The novel is told in real-time from the point-of-view of Mehr. With the exception of 3 chapters from 3 minor characters, the narrative is told in 3rd person free indirect discourse. In other words, readers are aware of all of Mehr’s thoughts, impressions, and perceptions—a.k.a. stream-of-consciousness—and, given the mistakes Mehr makes throughout the story and her known flaws, she is a reliable narrator.
The style Tasha Suri uses in her novel presents the various lifestyles people of different classes and faiths have even in modern South Asia. The descriptions of the different homes and clothes display the distinction between cultures and social classes. The word choice and the figurative language that illustrates the lands and the dances gives the beauty of the two to the readers. The mood in this story is the beauty of the Empire, which the Gods created. Yet, the tone in the novel is the balance of the world and the consequences of any unbalance in the world whether or not it’s from divine intervention, societal expectations, or parental influence. In all, the style presents how beauty in the world can remain if there is a balance.
The appeal surrounding Empire of Sand have been immensely positive. The novel has received positive reviews from critics, readers, and other authors. The novel has been nominated for several awards including the Locus Award; and, it won the Brave New Words Award in 2019! This fantasy novel is a beautiful debut and a wonderful addition to the speculative fiction genre. Fans will want to re-read Empire of Sand, especially before the sequel, Realm of Ash, is released in November 2019. I should warn readers that in addition to familial abuse and neglect, there is a scene in the story that contains non-consensual sex, and scenes of torture and murder. Other than those scenes of trauma, the novel is worth reading and the follow-up looks to be very promising, too.
Empire of Sand is a beautiful debut novel about the history of an empire that struggles to maintain control of everything and how the bonds of love and family can help an individual endure suffering. Even though there were some flaws surrounding the pacing of the novel, my love of the characters is what kept me reading this novel. Empire of Sand was one of my favorite speculative fiction books of 2018, and I’m really excited for the next book in the series, and any future books by the author!