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 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!
Book One of the Black Iron Legacy: The Gutter Prayer
By: Gareth Hanrahan
Audiobook: 16 hours 58 minutes
Narrated by: John Banks
Published: January 15, 2019
Genre: Fantasy, Grimdark
WARNING: This review contains some spoilers. You have been warned.
…the thieves—the ghoul, the Stone Boy, the nomad girl…(Prologue).
All readers have at least this one thing in common—so many books and very little time to read them all. With so many books—in all genres—being released to the acclaim of both critics and readers, there are moments when a reader does not know which book to read next. Also, there are times when a reader wants to read a book but has to find a way to read it alongside the other books they are reading. In this case, I wanted to read The Gutter Prayer—a grimdark fantasy debut novel by Gareth Hanrahan—which, I have heard nothing but positive things about the book. However, I didn’t have time to read my eBook copy, and I did not want to wait until “later” to read it. So, the only option I had left was the audiobook. I bought it and I prayed that the narration would be as good as the story, and I was not disappointed in either one! The Gutter Prayer is one of the most creative and most entertaining debut novels I’ve read in a while; and, listening to the audiobook gave me a new respect and outlook on narrators.
This novel contains several characters. There are 3 protagonists: Carillon Thay, or Cari, a young woman who lived a nomadic life before becoming a thief for the Guild; Rat, a ghoul who is considered to be of a young age amongst other ghouls; and, Spar, a lifelong member of the Thieves’ Guild, who is also a Stone Man, suffering from a disease that slowly petrifies people. When we first meet this trio, they are breaking into a building to steal some documents as appointed by Heinreil, the Guild’s leader. After the job goes awry, we meet: Jere: a thief-taker (a.k.a. bounty hunter) who has a borderline obsession with the trio; Professor Ongent and his son, Miren, scholars with their own baggage and piqued interest in Cari; Eladora Duttin, Cari’s cousin whom she has not seen since they were children; and, Aleena, a woman with unusual ties to Cari. This motley band of characters are about to become acquainted with each other whether or not they want to be. All of the characters are rounded and complex and have down-to-Earth concerns, secrets, and ambitions. At first, readers assume these characters are static and are expected to adhere to the tropes, but the complexity and the connection these characters have demonstrate how each of them develop throughout the novel.
The plot of The Gutter Prayer is extremely intriguing: 3 thieves are betrayed by their leader, and as they plot their revenge they uncover not only political conspiracies, but also an ongoing war amongst gods, mages, and alchemists. All the while, Cari, Rat and Spar are linked to this war whether or not they want to be. However, if they want a chance at vengeance, then they must stop Armageddon from happening. Of course, this is easier said than done, but they are not alone. The subplots are interconnected with the plot. First, there are Cari and Eladora. Most of their relatives were killed in a massacre, in which neither Cari, nor Eladora were present. Cari ran away from home and became a thief, and Eladora settled in Guerdon to distance herself from her religious zealot mother. Professor Ongent and Miren take interests in them, but Cari can’t shake the feeling that the Professor has ulterior motives. Next, Spar struggles with the disease that will kill him eventually. At the same time, he knows it’s time to fight Heinreil in order to become the Head of the Thieves’ Guild. This is one of two promises Spar makes to Cari; the second one involves getting back an amulet Heinreil took from Cari. Last, Rat, the ghoul who spends as much time underground as he does above it, is very knowledgeable about the ongoing war between the gods and all of the mages. What the others don’t know is that Rat and the other ghouls have a role to play in the war as well. All of these subplots are necessary for the plot to go at an appropriate rate. This is because, as the plot continues, readers learn the hows and the whys all of these characters remain motivated to stop the mages from bringing destruction to the world.
The narrative follows a chronological sequence of events that are told from multiple points-of-view. From the botched robbery to the motives of all of the characters, the readers learn everything that is happening and why from all of the locations the characters find themselves in. Usually, in narratives like these, it is difficult to determine which of the characters are reliable. However, due to each of the protagonists’ stream-of-consciousness—which include flashbacks of important moments in their lives—readers are able to follow the narrative easily. In other words, readers learn where each protagonist is coming from and are able to understand them a lot more.
The style Gareth Hanrahan uses is very interesting, and it brings out the grimdark aspect within the fantasy. The author created a world where ghouls are NOT the threat, but mages, saints, and wax figures are working to prompt Armageddon. In addition, the use of word choice and figurative language—especially when it comes to describing bells and medallions—clues readers in as to what they should pay attention to. The mood of The Gutter Prayer is preventing the coming of the end of the world and the lengths people go to either to invoke it, or to prevent it. No one survives the coming or the prevention of the end-of-the-world unscathed, so the mood here would be the tension of the dilemma. And, while the author did this unknowingly (I asked him about it on social media), a lot of the action occurs on “Desiderata Street.” Anyone who is familiar with the poem, Desiderata by Max Ehrmann, knows that it is a reminder to individuals to strive for high ideals and to respect others the way they want to be treated. This is the tone of the novel, and this “way of life,” is the philosophy (remember “Philosopher’s Street”?) which, is reflected in one of the protagonists. Yes, it sounds cliché, but the way this is used within the author’s style of writing doesn’t feel that way at all.
The appeal surrounding The Gutter Prayer have been beyond positive. While it’s obvious that grimdark fans will enjoy this book the most, this should NOT be missed by other fantasy fans and readers! This debut—yes, remember debut—novel is already considered to be one of the “Best Sci-Fi/Fantasy Books of 2019” by both Amazon and Barnes & Noble. Social media fandoms kept raving about this book to the point where I knew I had to find a way to read it. So, I bought the audiobook. The narrator, John Banks, was perfect for voicing this book. The way he used his voice to convey each character and to describe the setting the way he did matched the story perfectly. I felt that John Banks’ narration embellished the story. And, while I hope to read The Shadow Saint, the upcoming sequel to The Gutter Prayer (to be released on January 9, 2020), I wouldn’t mind if John Banks narrated that book and any other ones in the series as well. It did not feel like I was listening to 17 hours of a novel, it felt like I was there!
The Gutter Prayer is a striking addition to the fantasy genre. It’s dark and twisted story will remind readers that fantasy is more than “knights in shining armor arriving to save the world.” The fact that it is a debut novel will leave fans craving for more from Gareth Hanrahan. If you’re a fan of fantasy and you want something both new and different, then look no further.
Genre: Fantasy, Historical Fiction, Grimdark, Folklore, Military
WARNING: The following contains minor spoilers from both The Poppy War and The Dragon Republic. You have been warned.
She didn’t care about anyone’s visions for the future. She’d stopped wanting to be great, to carve out her place in history, a long time ago. She’d since learned the cost, (Chapter 6).
Books about war—whether or not it’s fiction or non-fiction—attempts to include the horrors it brings along with it. In recent years, more fiction stories have included the “realities” of war as opposed to the “glories” of it, which usually make their way into the narratives. R.F. Kuang, author of The Poppy War, re-establishes the “cost of war” and its aftermath in the sequel, The Dragon Republic.
Runin “Rin” Fang is (still) reeling from her actions, which led to the end of the Third Poppy War and victory for the Empire. However, the victory has left Rin feeling hollow due to the deaths of her friends, her teachers, and her comrades. Everything she’d witnessed throughout the war: death, rape, starvation, mutilation, her lack of control as a shaman over a goddess, her addiction to opium, and the betrayal she and her Unit suffered towards the end of the war has left Rin in a depressive state of mind. As a soldier, Rin believes her only purpose lies in seeking revenge against those who betrayed her and the other denizens of the Empire. Lacking support, resources, and leadership skills, Rin leads the 13th Division to fight their remaining enemies. However, Rin and her soldiers are approached by Yin Vaisra—the Dragon Warlord, the Head of the House of Yin, and the father of one of her Sinegard classmates—and, he has a proposition for her: join up with him to form a “democratic” Republic amongst the now disbanded 12 Provinces and he will assist her with her vengeance. Rin—suspecting hidden motives and desiring to remain a soldier—agrees to the Dragon Warlord’s terms. As Rin works with her Unit and the Dragon Province, she is reunited with her former classmates who make their own decisions regarding the civil war that has broken out between the Empire and the Dragon Republic. This time, she has to determine her worth within this latest conflict. In order to do this, Rin develops from soldier to puppet to commander; it is a rough, but essential growth for Rin!
Just like The Poppy War, The Dragon Republic has three parts: the aftermath of war, the beginning of a civil war, and the fallout as a result of the civil war. Part I focuses on the Aftermath of the Third Poppy War, especially how the survivors—both military and civilian—are dealing with the damage that remains. Rin struggles with keeping her unit alive while avoiding the troops who would capture Rin in order to collect the bounty on her head. She makes a deal with the Dragon Warlord not only to achieve her goal of revenge and to have access of supplies for her troops, but also to maintain her purpose of being a soldier. All Rin knows is warfare and she doesn’t know what else to do with herself. She’s not alone in this because her friends and her comrades feel the same way.
Part II is the campaign launched by the Dragon Province. The mission: either to parlay, or to destroy the other 11 Provinces. The choice lies between siding with the Dragon Warlord or fighting against him. The reality of war is presented to readers again as war tactics, war strategy, and death becomes part of the plot. Decisions are the difference between life and death, and death always seems to prevail. Meanwhile, Rin is suffering from her lost abilities as a shaman and from the humiliating “testing” done to her by the Hesperians—an advanced civilization who promises to ally themselves with the Dragon Province towards the goal of a united republic with the promise of weapons as long as they: win the civil war, allow missionaries to assist with the refugees, and to “study” Rin. Rin has flashbacks to the same experiments done to her and Altan by the Mugenese and begins to wonder whether or not if more than her self-worth is on the line. At the same time, Rin learns how the Empress became so powerful and how the damage she inflicted on Rin can be skirted. For that to happen, Rin must learn more about the powers of a shaman. To do that she’ll have to learn from those who taught Jiang, her former Master of Lore. These two subplots are necessary for both the plot development, and the character development, especially Rin’s.
Part III unveils all of the revelations and the intentions of all of the characters. Everyone is involved with another oncoming war whether or not they want to be. The Empire and the Hinterlanders are on the brink of another civil war, and Rin and her Unit must decide who they are going to fight for when the war begins. Even Rin has intentions for this war, especially after she learns the truth about the Dragon Province, the Empress, and their “allies.” Amongst the death and the reunions Rin must determine if she is a soldier or a shaman.
Once again, the narrative is in 1stperson and stream-of-consciousness. With the exception of the Prologue, readers follow Rin’s experiences during the aftermath of the Third Poppy War. All of Rin’s thoughts and traumas are witnessed by both readers and other characters. It seems during the postbellum everyone sees Rin as a solder without purpose. She’s a terrible leader and her mistakes puts others in danger. Yet, she wants peace and prosperity (and revenge) just like the other survivors of the war. The scenes involving war, refugees, and previous events and memories are told in real time, so readers experience the anticipation, the suffering, and the confusion all of the characters experience. While it is long, the pacing of the narrative is appropriate for this military fantasy novel.
The style Kuang uses in The Dragon Republic is both similar and different from The Poppy Way. The conflict and the aftermath of war—based on the conflicts stirring in several countries before the beginning of both the Spanish Civil War and World War II—is found throughout the pages within this novel. The difference, or better yet the addition to the conflict, is the notion of imperialism. It is obvious that the Dragon Province is attempting to do this, but they are not the only ones fighting for control of a weaken empire. The mood of The Dragon Republic is death and suffering; just because (one) war is over doesn’t mean everything will get better soon. The tone in this novel is not only about the cost of war, but also about the price one is willing to pay for power. There are no innocent people left alive in this story.
The appeal surrounding The Dragon Republic have been positive. Fans of The Poppy War, other military fiction, and grimdark will enjoy this sequel. As the world expands, so does the world-building, which is found in the characters and the weapons, which are based on military history and Chinese culture and folklore. It must be mentioned that anyone who couldn’t finish The Poppy War and/or are triggered by real life acts of violence should NOT read this book! While not all readers are into military literature, actual events of war, such as rape, is mentioned in this novel. Otherwise, expect another well-written story by R.F. Kuang.
The Dragon Republic is an amazing sequel. The story picks up where The Poppy War left off and it is both creative and realistic for the type of grimdark and military fantasy the author is telling the readers. Parts of the plot and the narrative can drag on at times, but they are necessary for the story the author is telling everyone. I can’t wait for the next book, even though I must.
NOTE: This review contains spoilers from both Nevernight and Godsgrave.
Goddess, if only we’d known what she’d become…(Chapter 33, Wellspring).
Darkdawn is the stunning conclusion to The Nevernight Chronicle. Jay Kristoff gives his readers a blood-soaked conclusion to his antiheroine that rivals “The Bride” from Kill Bill and Kratos from God of War. Mia Corvere and her vengeance concludes in Darkdawn, and the author delivers on everything he promised his readers and gives them even more.
Mia Corvere has transformed from an assassin of the Red Church to a gladiator of the Falcons of Remus to the most infamous murderer in the Itreyan Republic. While she was killing her family’s enemies, she made a startling discovery and acted without thinking. Her brother, Jonnen, has been alive the entire time and has been raised as Consul Julius Scaeva’s son. More about Scaeva’s deception is revealed to Mia and she realizes that her identity was a lie as well. As she comes to terms with this new information, Mia learns that she has been chosen to “seek the Crown of the Moon.” It turns out the gods and the goddesses of the Itreyan Republic are as real as the magic in that world. Mia’s power of a darkin is strongest during Nevernight—which, is coming again soon—and, when the Mother Goddess—Niah, the Maw, the Mother of Night, and Our Lady of Blessed Murder—is strong enough to get her vengeance on Aa—the Father of Light, the Everseeing—her husband. Mia is powerful enough to assist the Maw with her path for revenge. However, Mia has accomplished her tasks and wishes to put as much distance between herself and the Itreyan Republic as possible. But first, Mia has to complete purging the Red Church who has sent ALL of their assassins after her. Meanwhile, Mercurio—Mia’s mentor and foster father—is a captive in the Red Church to use as bait to lure Mia Corvere to them. At the same time, Mercurio learns of the role he’s to play in the Mother’s plan, and it’s as shocking to the readers as it is to him! Throughout the story, we see Mia being split between keeping her brother and her friends safe and killing Consul Scaeva once and for all and following the path the Mother has laid before her. Mia deals with all of these revelations the only way an 18-year-old can…by lashing out; and, Mia’s method of lashing out involves killing a lot of people. Mia is now the most lethal assassin in the history of the Itreyan Republic and the true faith of the Maw expects Mia to fulfill her final task. Will Mia accept the task of the Mother?
The plot in Darkdawn is the conclusion to Mia’s life. Readers have known since Nevernight that Mia Corvere would die. The question was how and why. Mia’s quest for revenge now includes the Red Church and anyone Consul Scaeva sends after her. On top of that the Mother (darkness) and the Father (sunlight) are preparing to meet each other and to end their “spousal disagreement.” Mia has to battle gods and goddesses at the same time she is battling mortals. The plot develops as Mia and Mercurio learn more about the history of the Red Church and the darkin. As for the history of the gods and the goddesses, all of those footnotes throughout the trilogy was information as to what would occur eventually. The immortals—like all mythologies—have foresaw their Ragnarök and Mia is to play a very critical role in the end of the Itreyan Republic. Will the gods allow Mia to defeat them? Along with this subplot is the subplot of Mia’s reunion with Jonnen and the relationship she struggles to build with him. These subplots are crucial to the conclusion of The Nevernight Chronicle and they take over the plot of Darkdawn as the story continues. The plot starts with and ends with Mia Corvere.
The narrative in Darkdawn is a continuation of Nevernight and Godsgrave until the final part of Darkdawn (Book 4, The Ashes of Empires). From there, the story seems to follow a stream-of-consciousness in the present tense, until it shifts back to the 3rd limited point-of-view. This narration allows readers to follow the actions of Mia, Ashlinn, Jonnen, Mercurio, and other characters as all is revealed throughout the Itreyan Republic. Mia—even with her darkin abilities—cannot be everywhere at once, so readers get the chance to learn how all of these characters are feeling with their situation and what will come to pass. While readers might not like certain characters, their narratives are objective and essential to the story that is being told. The footnotes remain informative and hilarious but are just as vital to the story as the world-building. Everything converges within the narrative.
The style Jay Kristoff uses continues in the final book in this trilogy. The events of the past are told in italics, the darkin’s dialogue are told using various font sizes, and the footnotes continue to explain Itreya’s history and culture. That last part is crucial to the narrative because it can be argued that the history and the culture was the real story being told in The Nevernight Chronicle. For example, the “author” of the entire chronicle is revealed, and once readers get over their shock, they will realize that it makes a lot of sense. On top of that readers are reminded that books still enact a sense of fear whether or not it’s the reader or the people mentioned within it. Jay Kristoff reveals the actual story he is telling in his trilogy, the anger of a goddess and the revenge she is waiting to enact on her husband. Similar to how Mia wants vengeance for her family, Niah wants revenge against Aa. The clues were in the titles: Nevernight, Godsgrave, and Darkdawn. The author wasn’t only telling Mia’s story, but also creating his own mythology about the world he created: the gods and the goddesses, how they created the world, and the religion that came out of it as well. The mood in Darkdawn is the coming end of an empire, a cult and its followers, and the protagonist. Readers are familiar with the saying, “tear it all down and begin anew.” Usually this statement comes out of the mouth of a madman; however, in the case of the Itreyan Republic—similar to the Roman Empire—there is so much corruption and greed that the end was going to happen sooner or later (I’m not a historian). The tone of this novel follows the idiom: “the sins of the father shall be visited upon the sons.” The actions of Mia and Jonnen’s parents are reaped by the siblings. At the same time, the actions of the gods affect the mortals who worship them. And yet, the same emotions are felt by mortals and by immortals alike.
The appeal surrounding Darkdawn will be a positive one. I received an ARC of this book and Jay Kristoff gives a satisfying ending to this creative and bloody trilogy. Fans of fantasy and grimdark will enjoy this story. Readers of historical fiction will appreciate the parallels (and the research) to the Roman Empire. And, folklore enthusiasts and experts will love how the author reminds his audience of the source of magic and faith found throughout the trilogy. Darkdawn concludes the way it does as mentioned in the beginning of Nevernight.
Darkdawn is the action-driven end to a fast-paced trilogy. Mia Corvere’s life story ends as it began, with blood and death. Readers will cringe at the death count, will mourn the characters who die, and won’t be able to stop reading until the end. Fans will complete The Nevernight Chronicle and be more than satisfied with its conclusion. Mia Corvere is one of the best antiheroines I’ve ever read. Thank you Jay Kristoff for sharing her story with us!
Ollie, poised on the edge of flight, said, “Tell me what?”
“Avoid large places at night,” the woman breathed. “Keep to small.”
“Small? That’s it?”
“Small!” shrieked the woman. “Small spaces! Keep to small spaces or see what happens to you! Just see!” She burst into wild laughter, (Chapter 2).
Katherine Arden, author of The Winternight Trilogy, has demonstrated her ability to branch out to a wider audience with her stories. This time, the author shares a story for young readers. Small Spaces will make you believe that you are reading a book from Goosebumps, a series that terrified me as a child. The difference here is the reality written within the story. Katherine Arden reminds her readers that folklore is ubiquitous. Every “story” has a dose of “truth” in it.
The protagonist is 11-year-old Olivia “Ollie” Adler and she is dealing with the recent death of her mother. After a bad day at school, Ollie rides her bike to the local river where she sees a woman standing at its edge screaming at a book she’s about to throw into the water. Ollie manages to steal the book believing “it’s just a book,” but the woman screams a warning not to read the book and to keep to “small spaces.” Just like anyone else, child or adult, Ollie believes the woman is crazy and sees no harm in reading the book. She reads about Beth Webster—a woman who had the affection of brothers Jonathan and Caleb. A few days later, Ollie’s class goes on a field trip to the farm, the same farm the book mentions. When the bus breaks down during the return ride, some of her classmates disappear. Ollie begins to wonder whether or not the story in the book is based on truth. Ollie has been withdrawn since her mother’s death. However, with all of the eerie coincidences and the same warning about “small spaces,” Ollie and two of her friends—Coco and Brian—must use the knowledge they have and their skills in order to survive the night and to save their classmates and teacher. Ollie is a complex character in that she is a child who lost her mother but must focus on surviving an urban legend. Her classmates are typical sidekicks, but they provide Ollie with the companionship she needs at the moment.
The plot is simple: a girl steals a book an adult is trying to destroy, the girl reads the book and soon realizes that what she thought was a story isn’t a story, and the girl must survive a supernatural force that is hunting her down. Before the field trip, Ollie is reading “Small Spaces” and about the people who are mentioned in it. At the same time, Ollie and her classmates learn about Smoke Hollow and its eerie history surrounding the family that owns the land, who happen to be the descendants of the people mentioned in Ollie’s book. Urban legends—tales based on rumors—are part of folklore, which are beliefs and cultural practices shared by a group of people that are passed from generation to generation. The story Ollie reads in her book and the tales she hears in class are examples of folklore, which is the subplot of the novel. These stories give Ollie just enough information to survive her upcoming ordeal. Both the information and the plot (and the subplot) are presented at an appropriate rate. Readers will forget this is a children’s book.
The narrative is told from Ollie’s point-of-view; and, given everything that has happened to her, she is a reliable narrator. The story is told in present time, with the exception of the events in Ollie’s book, which are presented as journal entries. Throughout the narrative, readers learn about Ollie and the choices she makes and why. All the while, readers are reminded that Ollie is just a kid.
Katherine Arden’s style remains as it was for her adult books, but the word choice and the sentence structure are written for children. The author presents another aspect of folklore to her fans and readers: legends and urban legends. Legends are unverified popular stories believed to be based on historical events that are passed from generation to generation. Ubiquitous examples are King Arthur and Atlantis. Urban legends are rumors of experiences that someone known to the storyteller—a friend of a friend—had. Urban legends involve creepy and/or supernatural stories such as: hitch hikers and haunted houses. The mood is the eeriness presented by these stories and urban legends. The tone is the notion that legends and other stories are “stories” until the truth in them emerges. In other words, don’t ignore any strange occurrences that happen around you!
The appeal of Small Spaces have been positive. It is a horror book, so readers of any age will find it frightening at times, but it is an enjoyable read about an adventure in an individual’s small hometown. Remember, there are children who read and enjoy horror stories. As a 90’s kid, both Goosebumps and Are You Afraid of the Dark? were popular amongst kids my age (and both series gave me nightmares). Children who have watched Jordan Peele’s horror movies and/or the IT movie remakes will enjoy Small Spaces the most. In fact, the next book in the series, Dead Voices, comes out in August 2019.
Small Spaces is a strong introduction to young readers who enjoy believable haunted stories. Katherine Arden continues to use folklore in her stories in order to provide a sense of realism for her readers. As a fan of her adult fantasy, I was just as impressed with this book as with her other ones! Small Spaces is a fun read!
“You’re powerful Nona, and you’ve come into your power at an early age. The understanding that power corrupts is an idea older than the language we repeat it in. All of us in positions that afford authority over others are susceptible, be we high priests, prime instigators, even abbesses.”
“Or emperors,” Nona said.
The abbess winced. “Some truths are better left implied, dear,” (Chapter 17).
Sequels and other follow ups to their predecessors work well when the events that occurred beforehand are addressed AND the action picks up where it left off. In addition, both the plot development and the character development must continue to show growth in order for the story to remain realistic, and to keep the attention of the reader(s). Mark Lawrence achieves all of this in Grey Sister, the Second Book of the Ancestor.
The second book in the trilogy has two protagonists: Nona Grey, who is now around 14 years-old and just reached Mystic Class; and Abbess Glass, the Reverend Mother and Headmistress at the Convent of Sweet Mercy. From these protagonists, readers are able to gain knowledge of the on goings of everything happening at the Convent. Nona is coming into her powers and her abilities and is dealing with the consequences of her actions from her time in Grey Class. At the same time, Abbess Glass continues her task of running the Convent and continuing her task of exposing corruption inside and outside of the Convent. More is at stake for both female protagonists as both the Emperor and the Inquisition continue to meddle in the affairs of the Church. All of the other novices: Ara, Darla, Ruli, Jula, and Zole, and the nuns: Wheel, Apple, Kettle, Pan, Rose, Tallow, and Rail know that more is happening outside of the Convent than the Emperor is willing to admit. And, once again, Nona meets up with a few of her former “cage mates,” who have grown into their abilities as well. Everyone is preparing for a war that is inevitable. Nona must endure the obstacles and the hardships in order to graduate from Mystic Class. Abbess Glass must use all of her wisdom and her connections to keep everyone safe, including the “Chosen One” and her “Shield.”
The plot for Grey Sister is a continuation from Red Sister. Nona and her friends and classmates continue with their classes and the nuns continue their work inside and outside of the Convent. All of this occurs after the betrayals and the heartbreaks from the last two years. These events prompt the identity of the “Chosen One” to be revealed, which brings a motley crowd of zealots and doubters alike. At the same time, neither the noble families, nor the nuns have forgotten the efforts of one noble family’s continued plans to kill Nona. Nona is struggling with her classes due to the long-term “consequence” of the attack on her life. Through it all, Nona grows stronger and more powerful to the delight of her peers and to the horror of her enemies. If Nona wishes to remain at the Convent of Sweet Mercy and to stay alive, then she must find a way to navigate herself through her trials. The subplot of the “Chosen One” is growing and merging into the plot of Nona’s education and the significance of the 4 tribes that traveled to Abeth.
Once again, the narrative is limited omniscient narration, meaning the readers and the protagonists know what is being experienced at that moment through the character’s point-of-view. Unlike Red Sister, the narrative in Grey Sister is told in real-time through the P.O.V.s of both Nona and Abbess Glass. Thus, these stream-of-consciousness narrations are reliable and can be followed by readers easily. It should be mentioned that the present narration of Grey Sister starts with Chapter 2. Chapter 1 picks up with the cliffhanger from Red Sister, and the Prologue provides a continuation of the action first introduced in the Prologue in Red Sister. Since Grey Sister’s narration is told in the present, any events of the past that is mentioned proves to be a revelation to both the characters and the readers. This is because what gets revealed demonstrates that everything that is, has been, and will continue to happen is bigger and more grievous than anyone at the Convent of Sweet Mercy could imagine.
The style Mark Lawrence uses in Grey Sister is a continuation of how prophecy is exploited through means of distraction. Those involved directly with the prophecy want nothing more than to be left alone and to live their lives as “normal” individuals. Some hopefuls wish for the “divine” powers of the “Chosen One” to work miracles for them only to be left disappointed with this notion. Then, there are those who use the prophecy as a way to fulfill their agendas, typically political ones. And, if the prophecy of the “Chosen One” is a distraction, then the political agendas of several noble families, including the Royal Family, serves as the knowledge that no one wants to admit is the issue: war is coming. In other words, religion is exploited in order to distract everyone from the politics of society. This is the mood found within Grey Sister; and, the tone is how the truth—surrounding both religion and politics—is revealed and the reactions and the consequences of it. There are neither winners, nor losers, yet everyone continues to believe whatever they want to believe in.
The appeal of Grey Sister is as positive as Red Sister. Fans of the first book had just as many praises for its sequel. This is because the sequel continues to build and to develop the characters, the plot, the world-building, and the action. Not only will readers want to re-read this book (to search for clues and Easter Eggs), but also to continue recommending this series to other readers, all while waiting to read Holy Sister, the third and final book in the series.
Grey Sister is an amazing sequel to Red Sister. This is because there is an expansion of the world and further development of both the plot and the characters. At the same time, the events and the revelations from the first book play a critical role that cannot be overlooked. The story is as immersive as the action is entertaining. Mark Lawrence’s novel is a must-read for fans of both fantasy and grimdark.