Why You Need to Read: “Harrow the Ninth”

The Locked Tomb, #2: Harrow the Ninth

By Tamsyn Muir                                                                    Audiobook 19 hours and 51 minutes

Published: August 4, 2020                                                      Narrated by: Moira Quirk

Genre: Horror/Gothic/Dark Fantasy

            The Reverend Daughter Harrowhark Nonagesimus ought to have been the 311th Reverend Mother of her line. She was the eighty-seventh “Nona” of her House; she was the first Harrowhark. She was named for her father, who was named for his mother, who was named for some unsmiling extramural penitent sworn into the silent marriage bed of the Locked Tomb. This had been common. Drearburh had never practiced Resurrection purity. Their only aim was to keep the necromantic lineage of the tomb keepers unbroken. Now all its remnant blood was Harrow; she was the last necromancer, and the last of her line left alive, (3).

            Series are an interesting concept. They allow for the continuation of a story either with the same characters from the previous story, or with new characters, or both within the same world. At the same time, the plot (and, at times, the subplot(s)) continues to develop so that both the audience and the characters know what has to happen and what will happen by the end of this part of the story. Harrow the Ninth—the sequel to Gideon the Ninth—by Tamsyn Muir follows Harrowhawk after she achieves Lyctorhood and what it means to serve the Emperor. 

            Harrowhark Nonagesimus has achieved her goal (at 17 years-old). She has become a Lyctor and the Ninth Saint to serve the King Undying. However, she learns quickly that there are conditions for serving the Emperor; one of them is that Harrowhark cannot return home to the Ninth House. This means that her goal of restoring her House can no longer happen. Not to mention, Harrow must start training and using her abilities as a Lyctor as well as learn the responsibilities of her new role. The main one is protecting the Emperor from all threats. She learns about these threats as well, and Harrow is astonished to learn what they are. Overnight, Harrowhark goes from being in charge and knowing almost everything to finding herself at the bottom of the pyramid and answering to those who believe Harrow became a Lyctor at too young of an age. In addition, Harrow begins to suffer from hallucinations and memory loss. This puts Harrowhark in an even more vulnerable position than she is used to. Then again, it seems that Harrow was expecting this because she left several letters to herself so that she could remind herself of everything that led up to her current predicament. But, is it enough? Accompanying Harrow with her Lyctor training are: the Emperor, Augustine, Mercymorn, Ortus and Ianthe—all are the surviving Lyctors who train Harrow while serving the Emperor. Harrow is a very complex characters who develops throughout the story. 

            The plot is jumbled and confusing, but it does develop as the story is presented. The story is Harrowhark’s training as a Lyctor, which will remind readers of a combination of military boot camp and pledging for a fraternity or a sorority. While this form of training is brutal, it is the sort of training Harrow needs in order to survive her “work” for the Emperor. The plot of the story are the events which lead to the murder of the Emperor. The King Undying has reigned for 10,000 years; so, why and how would the Emperor meet his end? There are two subplots which are the main focus in this book. The first one focuses on the ongoings within the First House. This includes Harrow’s training, her missions, and the interactions amongst all of the Lyctors and the Emperor, which are essential due to Harrow’s memory loss. The second subplot is about the mysterious individual who is lurking throughout the First House. The individual seems to know of everything that is going on, but manages to remain unseen by everyone except for another mystery person who is unknown as well. The subplots are necessary for the plot, and the story will keep the reader(s) engaged, but neither one helps with the plot development. In fact, it is not until the end of Act Four where all of these plot devices come together into something more coherent.

            The narrative in Harrow the Ninth is very difficult to follow, but it’s supposed to be that way. This is because the sequence jumps from streams-of-consciousness and flashbacks (amongst more than one character) as well the points-of-view moving amongst 1st, 2nd, and 3rd person. All the while, the reader(s) are attempting to figure out who the other narrators are besides Harrowhark. One of the narrators is someone readers did not expect to appear, but—in my opinion—the character’s revelation took too long to be confirmed by the author. I mentioned that the narrative is difficult to follow, but it is supposed to represent everything that is happening to Harrowhark. The narrative represents memory, trauma, and life, which are not always coherent, even to the individual experiencing it. In other words, Harrowhark is not a reliable narrator, but the other ones are; and, they take over whenever Harrow’s narrative begins to falter. 

            The style Tamsyn Muir uses in Harrow the Ninth is similar, yet different from the one she used in Gideon the Ninth. While the author continues writing her story following Gothic elements, she includes horror and science fiction in order to expand the world she has created. I mentioned Frankenstein by Mary Shelley in my review of Gideon the Ninth as one of the books that fall under the Gothic genre. I’m mentioning this book again because some aspects from that book can be found in this one. Another Gothic horror story that the author was influenced by as well is The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson. The story is familiar to many people, but the book contains more of the reality of what was happening within the community and not just the “relationship” between the two “men.” Once you read both stories, then it should make (some) sense. The mood in this novel is one of anxiety. While it is clear Harrowhark suffers from anxiety, she is not the only one who is dreading the outcome of a potential end. The tone in this novel is a blueprint. Every character within this story was planning something; and they all carried it out. Whether or not the results came into fruition has yet to be determined. 

            Once again, I listened to the audiobook. Moira Quirk returns as the narrator and her performance and her pronunciation of the characters and the names were amazing and a huge help. It needs to be said that while the audiobook helped me with following along with the story, I still had to open the book (which was given to me by a friend) and reread portions so that I knew that I was keeping up with the story. So, in this case, I needed both the book and the audiobook in order to read this story. 

            The appeal for Harrow the Ninth have been mixed. Many fans who enjoyed Gideon the Ninth, loved the sequel. At the same time, other fans found themselves either torn or confused with how they were supposed to feel about the narrative. While everything falls into place by the story’s end, it shouldn’t come as a surprise that some of the readers have more questions than answers. Hopefully, these questions will be answered in the third and final book, Alecto the Ninth. It should be mentioned that this book is a great addition to the horror and the Gothic canon. Harrow the Ninth should be reread so that the readers can group everything that happened in the book. 

            Harrow the Ninth is a rollercoaster reading experience. There are several moments when your head jumbles and your thoughts move in loops, but once you reach the end, you are left with an unforgettable experience. I found this narrative to be confusing and incomplete compared to the first book, but the story kept my interest until the end. Everything starts to make sense towards the end, so I suggest that you don’t ignore everything leading up to that point. Other than all of that, my curiosity remains piqued. So yes, I will be reading the final book in this series. 

My Rating: Read It (3.5 out of 5). 

Why You Need to Read: “The Name of All Things”

A Chorus of Dragons #2: The Name of All Things

By: Jenn Lyons                                                                       Audiobook: 25 hours 46 minutes

Published: October 29, 2019                                        Narrated by: Saskia Maarleveld, Dan

Genre: Fantasy                                                                                   Bittner, Lauren Fortgang

                                                      

            In the twentieth year of the hawk and the lion, beneath the silver sword, the sleeping beast’s prison shatters. The dragon of swords devours demon falls as night takes the land, (61: Under The Waters). 

            Cliffhangers have always been an interesting method of maintaining the attention of an audience, etc. Narratives in all formats—oral stories, books, movies, TV shows, and video games—continue to use this method of storytelling in order to let the audience know when one part of the story ends and when another begins, or to continue the action and/or the pacing of a story where it left off. In the case of Jenn Lyon’s A Chorus of Dragons series (not a trilogy, but will be 5 books), readers get both and so much more in Book 2: The Name of All Things.

            The protagonist in this story is Janel Theranon, a noblewoman from Jorat (a dominion in the Quuros Empire). She has been looking for Kihrin D’Mon since their first meeting, which was during the events involving Kihrin, his family, and the Emperor. Unfortunately, Kihrin doesn’t remember meeting Janel—with good reason—but, Janel doesn’t hold that against him. Ironically, the two outlaw nobles have been searching for each other without knowing where to locate the other one. Janel had lived a simple life as the granddaughter and heir of Count Jarin of Tolamer. She identifies herself as a “stallion,” or a Joratese whose gender—not sex—and gender expression is male. After an attack on her home and the citizens, Janel masquerades as “The Black Knight” in order to bring the culprits to justice. Instead, Janel’s true identity is revealed and she is sent on a quest to find a mystical spear so she can kill a dragon. Accompanying Janel is her friend, Brother Qown, who is a chronicler. The two friends have a long and arduous journey in locating Kihrin and the spear. Janel is from Jorat, a dominion known for its horses, and she was raised to become the next Count of Tolamer. Janel is smart, headstrong and combative, and she is known for her fighting skills and her willingness to protect her people. 

            The plot in The Name of All Things has four parts. Part I introduces Kihrin (and readers) to Janel’s life as a Count and the first of the events which caused her to leave Tolamer. Part II has Janel learning about her heritage, her abilities, and about “The Name of All Things,” another one of the eight Cornerstones. Not to mention, Janel meets and puts up with Relos Var. Part III has Janel reciting prophecies while surviving captivity without her abilities and while “conforming” to her opposing gender. Part IV brings all of the events back to the present and has Kihrin and Janel fulfilling prophecies whether or not they want to do so. The plot delves into Janel’s life, especially after it’s been uprooted, which takes place at the same time Kihrin’s life was upended. This is essential to know because this lets the protagonists (and the readers) know that more was happening throughout the Quuros Empire, and it seems that Relos Var is the central figure. The subplots include Armageddon, and the quest for magical artifacts and mystical weapons, which is familiar to readers. Another subplot is the idea of gender and its practices in Jorat. While gender is binary amongst the Joratese (and in our reality), it is NOT determined based on genitalia, but on the societal role and how each individual expresses their gender. These subplots are necessary in order to keep the plot going at an appropriate rate and they keep the narrative going as well. Just like Kihrin, Janel has a role to carryout for a prophecy, but she doesn’t know what it’s going to be. 

            Once again, the narrative jumps between the past and the present, with 3 different narrators. Kihrin serves as the narrator for the present mostly because he’s the person everyone is looking for. The flashbacks of events are told from the points-of-view of both Janel Theranon and Brother Qown. It is important to know while both of these characters are recounting the experiences to Kihrin, Brother Qown is a chronicler, so most of his recounts have been written down already (probably). This means he’s writing down Janel’s experiences as they overlap his in order to provide a complete story. Remember, someone else is reading this completed chronicle. The world-building comes from Janel’s P.O.V. as she explains Joratese culture, magic, and the events that occurred while Kihrin was with the Black Brotherhood, and there is a lot. We learn more about Relos Var, and about a few recurring characters both new and old. The narrative can be followed and this is because the audience (remember the reader) knows the narrator(s) is reliable. Given everything that’s happened so far, it seems to be the only choice.

            The style Jenn Lyons uses for The Name of All Things follows the method of chronicles. Early written narratives were written down in order to include as many details as possible. In other words, whatever was said by the oral storyteller was written down by a chronicler. Early epic stories such as The Epic of Gilgamesh and The Aeneid were told orally and then written down, so however the length of the story was determined by the oral variant. A recent example of this style within a fantasy novel is The Name of the Wind by Patrick Rothfuss. A chronicler is writing the story of the protagonist as it is being told to him, so the length is determined by how much the storyteller is willing to say to the chronicler. The mood in The Name of All Things is hostility and chaos. The former is due to the demons and the dragons set loose within the Empire, and the latter is due to how and why Kihrin had to flee the Capital. The tone is motivation after enduring traumatic events. We know Kihrin’s story and we learn Janel’s. Both leave us with questions and admiration for them being able to continue living their lives, even if it is as fugitives. Please note: the maps, the Foreword, and the Appendices are essential for the reading of this book.  

            The appeal for this book have been positive. There are many readers who enjoyed The Name of All Things just as much or more than The Ruin of Kings. This series continues to explore the tropes of prophecies and the ideas and the origins regarding them. Plus, Jenn Lyons does an excellent job incorporating the themes of gender—not sex and sexual orientation—into her story. This is a reflection of the reality in fiction in that the concept of gender is more complex and more fluid than it being binary. The world-building is done in a way where readers know another character from a different region within the same country/empire is the focus. Not to mention, we get an update on what happened to some of the minor characters from the first book. Once again, I listened to the audiobook, and this time, there were 3 new narrators. It took some time getting used to the “new voice” for Kihrin, but after telling myself that Kihrin is supposed to sound “more mature,” it made the listening experience go smoothly. Saskia Maarleveld, Dan Bittner, and Lauren Fortgang keeps the narrative going at a good pace, and keeps the listeners engaged in the story. The cliffhanger at the end will have fans excited for The Memory of Souls, which is the third book in a 5-book series and NOT the third and final book in a trilogy as I stated in my review for The Ruin of Kings. Remember, authors will answer your questions. The Memory of Souls will be released in August 2020.

            The Name of All Things is an achievement in world-building and in overlapping narratives. The characters remain as engaging as before, the dragons and the magic remain deadly, and the immortals are in it for themselves. Not to mention, the world won’t end due to just one prophecy. I’m looking forward to reading what happens in the next book, and I know the chaos will continue to grow.

My Rating: Enjoy It (4.5 out of 5). 

Why You Need to Read: “The Stone Sky”

The Broken Earth 3: The Stone Sky

By: N.K. Jemisin

Published: August 15, 2017

Genre: Science Fiction/Dystopian/Fantasy

*Winner of the Hugo Award for Best Novel 2018, Winner of the Nebula Award for Best Novel 2017, Winner of the Locus Award for Best Novel 2018*

            The job you “have” to do is the easier of the two, you think. Just catch the Moon. Seal the Yumenes Rifting. Reduce the current Season’s predicted impact from thousands or millions of years back down to something manageable—something the human race has a chance of surviving. End the Fifth Seasons for all time.

            The job you “want” to do, though? Find Nassun, your daughter. Take her back from the man who murdered your son and dragged her halfway across the world in the middle of the apocalypse, (1: you, in waking and dreaming). 

            N.K. Jemisin has done what very few authors have managed to do, present a good and believable ending to a series that leaves readers with a sense of both accomplishment and satisfaction. What started with The Fifth Season and continued through The Obelisk Gate ends with The Stone Sky, the third and final book in The Broken Earth Trilogy. Readers and critics learn what must be done in order to put an end to an apocalypse. 

            The protagonists are once again Essun and Nassun, mother and daughter, and two of the most powerful orogenes in the world right now. Both mother and daughter have made their choices regarding themselves: Essun decided to grow her powers to the fullest, and Nassun decided to identify herself as an orogene. And, both mother and daughter have to live with the consequences of their decisions—both physical and emotional. All that’s left is for the two orogenes to determine the path of the Moon. One orogene and her companions hope to save the world, while the other orogene is coaxed by her companions to destroy it. Mother and daughter will face off after they’re reunited. Essun just wants to know whether or not her 10-year-old daughter is traumatized, and Nassun wants the world to know that those with power can and will determine the ways of the world. The daughter has become as powerful as her mother, and her mother isn’t with her to provide guidance. 

            The plot of the story is a race to an underground network in order to restore “order” to the Earth. This can be achieved with orogeny and there are 2 orogenes who are powerful enough to restart it. So, who will get there first? And, what will happen once the obelisks are activated? Another plot of the story involves Essun and Nassun preparing for action when the Moon is closest to them in “orbit.” Essun has succeeded in activating the Gate while at the comm, and Nassun travels to one that’s been lost and forgotten to history. There are two subplots in this story which answers some of the remaining questions in the trilogy. The first subplot is the origin of the Stone Eaters, which leads to how the Seasons became so dangerous. The second subplot answers the question regarding the purpose of the Guardians and their relation to the Seasons. These subplots are necessary because they provide the bits of information required for the plot’s development and resolution.

            The narrative continues to shift between 1st, 2nd and 3rd points-of-view. And, the sequence falls back into flashbacks and present time. The flashbacks provide both background information and answers to the questions to how everything came to be and how it will all end. The streams-of-consciousness of all the characters make them all reliable narrators. Yes, not all of their motivations are morally good, but it’s understandable given the circumstances. These elements of the narrative make it easy to follow. 

            The style N.K. Jemisin uses for The Stone Sky tells that an end is coming. Now, whether or not that end is for the Seasons, or for the characters, or both is to be determined. But first, the author lets the audience know how the Seasons came about. At the same time, Jemisin lets her readers know that oppression of any form does not ensure safety and/or order within a society. Instead, fear and suppression take place, which can lead either to a life of secrecy or to a life full of anger. The mood in this story is one of readiness—the need to make it on time to save the world, to save the last surviving member of one’s family, and to finish preparations in order to survive the Seasons. The tone in the novel is dread due to the choices and consequences of saving the world and reuniting with estranged loved ones. However, if it came down to two possibilities, then which choice would you make? This is what the author has her characters do, they must make a choice and live, or die, with the consequences. 

             The appeal for The Stone Sky have been massive and monumental! Not only did this novel win the Nebula Award (2017) and the Locus Award (2018) for Best Novel, but also won the Hugo Award for Best Novel (2018)! This means that The Broken Earth Trilogy has won the Hugo Award in the same category in three consecutive years! N.K. Jemisin is the first author to accomplish this feat; and, it’s well-deserved! The Broken Earth Trilogy is not only a must read for readers of speculative fiction, but also is a magnificent work of literature overall. There have been people who’ve read this series and found it to be an excellent story regardless of its genre. The message of the cost and the resistance that results from oppression and the end-of-the-world is received—although it’s not practiced in our world, yet—and is the reality within the fiction. The Stone Sky completes this trilogy and is a must read within the canon of speculative fiction.

            The Stone Sky is a strong and powerful end to this ambitious trilogy. N.K. Jemisin has managed to raise the expectations and the standards of writing and presenting a work of speculative fiction. This book series is one of my all-time favorites. Not to mention, I’ll be re-reading and recommending these books for years to come! Everyone needs to read this amazing trilogy!

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

Why You Need to Read: “Velocity Weapon”

The Protectorate: Book 1: Velocity Weapon                          

By: Megan E. O’Keefe                                        Audiobook: 18 hours 22 minutes

Published: June 11, 2019                                  Narrated by: Joe Jameson

Genre: Science Fiction/Space Opera

I am called “The Light of Berossus,” the voice said, (Chapter 1, The Aftermath of the Battle of Dralee). 

For every individual in a fandom, there is the moment, in which they were hooked, thus beginning their membership. For me and science fiction, it was my parents’ love for the two Star Trek shows which aired during the 1990s: The Next Generation and Deep Space Nine—yes, Star Wars was part of my introduction to the genre, too. From there, I started reading science fiction novels, until I stopped. Don’t get me wrong, I was still a fan of the genre, but I didn’t read as many books as I wanted to (there were plenty of movies, TV shows and video games, but that’s for another time). Sometime later I got back into the science fiction by reading the recent releases by different authors which had my exploring the genre again. Yet, it was Velocity Weapon by Megan E. O’Keefe which kept my interest to the point where I bought the audiobook so that I could know what happened after my “stop point” in reading the print book. This space opera reintroduced me to the science fiction genre and reminded me why I fell in love with it in the first place!

There are 3 protagonists in this novel, who narrate the events over the course of several years from 3 different settings. First, there is Sanda Greeve. She is a sergeant for the Ada Prime System, and the last thing she remembers is being shot by the Icarions before her evac pod allowed her to escape, onto an enemy ship—an A.I. Smartship. When she wakes up she learns is the only living being on the ship—The Light of Berossus, or Bero—and, when she asks how and why this is possible, she learns that it’s been 230 years since her ship was shot down. Sanda processes this shocking bit of news as she figures out a way to survive in space with a smartship for company. Next, there is Biran Greeve, Sanda’s younger brother, who has just graduated from the academy at the top of his class. This means that Biran will become a Keeper—a member of the Protectorate who leads Ada Prime and is one of the “keepers” of secrets and knowledge of the Star Systems, which are embedded in a chip that gets implanted inside their skull. However, as Biran is giving his speech, the Battle of Dralee—the same battle his older sister ends up fighting in—breaks out. Biran must behave as a Keeper before his indoctrination and before he can wonder whether or not his sister survived the battle. Last, there is Jules, a thief. During the latest heist with her crew, Jules and the others stumble upon two things: a dead body and a room filled with test tubes. There are other characters who interact with these protagonists throughout the story: Lolla and Harlan, Tomas Cepko, Anaia, and Callie Mera; and, they all help the protagonists develop into the people they need to be given their circumstances. Then, there is Bero, who is more than a smartship. It is aware of what’s going on more than its letting on to everyone else. 

The plot of this novel is an interesting one. The Battle of Dralee in the Prime Standard Year 3541 starts the story and the plot emerges from there, from the Greeve siblings. Biran must step up into his role as Keeper, while he breaks protocol in order to search for his missing sister. Sanda is drifting towards another Star System injured and alone on a damaged smartship. She must rely on her training and instincts, and on Bero to survive her situation. There are two subplots, which are related to the plot. The first one is the secret, in which Jules and her crew stumble across and what it could mean for them, for Icarion and for Ada Prime. The second one focuses on Bero and his motivations. Why is an enemy smartship drifting in the middle of Space? And, why did he rescue Sergeant Sanda Greeve? The plot and the subplots develop alongside the characters and the world-building at an appropriate rate, which make it impossible for the readers to lose track of everything that is going on in the story. 

The narrative jumps across 3 different years from 3 different locations from the points-of-view of several characters. All of the narratives are told in first person from the protagonists and the other characters perspectives. Readers must pay attention to the sequence of the narrative because while the narrative is the present for one character, it may be occurring in the past or the future for another character. The sequence of the narrative starts off with puzzlement for both the readers and the characters, but the events within the sequence keep the narrative in one constant motion where it can be followed by the readers and the audience. The characters’ streams-of-consciousness allow readers to know the thoughts of the characters and the reasons they make the decisions and perform the actions they do. There are moments of flashbacks within the narrative, and they provide clues of the bigger story that is being told. 

The style Megan E. O’Keefe uses in Velocity Weapon consists of the jargon of science fiction, the colloquialism of the armed forces, and the terminology for the world of space she cultivated for this series. The idea that two-star systems have been at war with each other for hundreds, or thousands, of years, with Earth as the potential beacon for the establishments for these star systems is an interesting factor to consider for the sort of story the author is presenting to her readers. The author is not presenting a science fiction story about two warring nations, she is writing a space opera—”a space story involving conflict between opponents possessing powerful technologies and abilities on a very large scale”—and about the consequences of hidden technology, which is the tone of this novel. The mood is hostility, including what it entails and how it is dealt with. While it is not that different from other space operas, it’s the way the author writes it that makes it very engaging.

The appeal for Velocity Weapon has been positive for sci-fi fans—which is good—but, minimal for the rest of the speculative fiction community. And, what I mean by that is that it is a great story that seems to be limited to one part of the literary fandom. There is enough of the same themes and ideas found in other works of science fiction and in fantasy fiction, yet it seems that more people would read this book and others like it if given the chance to learn about this story. There is a reason why this book was one of My Selections for Best Speculative Fiction Books of 2019. When I wasn’t able to continue reading this story, I finished it by listening to the audiobook. Joe Jameson’s performance of the characters make them easy for listeners to make out which character is speaking and narrating the story; and, his narration and voice is appropriate for the story that is being read by the listeners. The next book in The Protectorate series, Chaos Vector, will be released in July 2020. Fans of the first book are waiting eagerly to learn what happens next.

Velocity Weapon is an entertaining space opera about family, government conspiracies, A.I. ships, and an ongoing military campaign between nations that will keep readers’ interests from beginning to end. Megan E. O’Keefe demonstrates her abilities for writing engaging stories across the spectrum of speculative fiction. Sci-fi fans should consider adding it to theirs. This book is a reminder that space is a fascinating frontier!

My Rating: Enjoy It (4.5 out of 5). 

Why You Need to Read: “The Priory of the Orange Tree”

The Priory of the Orange Tree

By: Samantha Shannon                                    Audiobook: 25 hours 52 minutes

Published: February 26, 2019                          Narrated by: Liyah Summers

Genre: Epic Fantasy

            A low growl rolled through Nayimathun. She spoke as if to herself. “He is stirring. The shadow lies heavy on the West,” (Chapter 25, East).

            Avid readers—especially those who read history, biographies and memoirs, and speculative fiction—do not fear tackling “long” books. In fact, many readers get upset when a long book is about to come to an end. Then, there are “long” books in which readers ask themselves, “how am I going to get through this?” This is what I asked myself when I heard about The Priory of the Orange Tree by Samantha Shannon. This 800+ page book was declared “one of the Best of 2019,” and other readers who have managed to finish the book had nothing but positive things to say about it. First, I borrowed the standalone novel from my library and started to read it. However, I knew I would need more than 2 weeks to read this book (library policy). So, I bought the eBook—when it was on sale—and I kept reading. Yet, I felt I wasn’t reading it at my usual pace. So then, I bought the audiobook and started listening to it from the beginning. It took me two months, but I enjoyed every minute of it! And, I bought the printed edition because I wanted my own hardcopy edition of the book (and it was half off)! I don’t regret purchasing these editions of this novel! The Priory of the Orange Tree is Samantha Shannon’s epic fantasy novel about female leaders, dragons, conspiracies—both political and historical—imminent danger, and identity. Don’t allow the length of the story to intimidate you, this epic tale details everything that occurs throughout this fantasy adventure!

            Like most epic fantasies, there are several characters who are part of the story and play their roles. Yet, there are three protagonists who provide both the point-of-view and the connections both to the events and to several other main characters throughout the narrative. First, there is Tané, a poor orphan who is given the rare opportunity to train as a dragonrider. Overcoming the rigorous training and her destitute status, Tané is about to Test to become a dragonrider for her island home in the East. However, on the night before the Passage, an outsider washes on to the beach. Fearing that the outsider will cause a delay of the Tests—outsiders are quarantined in order to prevent any illnesses from spreading into the population— Tané hides the outsider at the home of a resident who is also not from the island. This leads to the second protagonist, Doctor Niclays Roos (a male) who resides in the East in exile after failing to please the Queen in the West. This Queen in the West, Sabran the Ninth of House Berethnet, has remained unwed since her coronation. This is a dilemma because one of her roles as queen is to bear a daughter in order to protect her kingdom from an ancient evil. However, Queen Sabran’s time consists of avoiding assassination attempts and suffering from vivid nightmares. But, she has allies. One of them is the third protagonist, Ead Duryan—one of the ladies-in-waiting to the Queen—who is really a member of a hidden society of mages whose mission centers around protecting the royal bloodline of House Berethnet, and the entire world, from Armageddon. These protagonists are rounded—they have strengths and weaknesses, they are selfish and sympathetic, they are motivated, and they are survivors—which make them believable to the readers as their narratives are presented to them. These protagonists are neither royalty nor the elite social class, which is relevant because they are able to maneuver through their societies with access to the knowledge and the information given to them by the upper class. At the same time, these protagonists are able to uncover the truth of the past for themselves and of their societies and the world they live in. And, it’s up to them to try and save it. Yet, out of the three protagonists, it is both Tané and Ead Duryan who demonstrate the most character development. Even though both women make mistakes and lose the trust of their friends and allies, they hold on to their convictions that danger is coming. Meanwhile, Doctor Niclays Roos decides to start up the same research that led to his exile. He doesn’t have anything to lose, but his experience is essential to the plot. Although, the band of characters make it difficult to keep track of at times, they appear and are mentioned enough for readers to recall who they are and their relationships to the protagonists and the other main characters. 

            The plot—similar to other fantasy and/or adventure tales—involves prophecies, magic and saving the world. About 1,000 years ago, heroes of the world defeated and sealed an ancient threat. However, the seal would break after a thousand years, so the heroes and the armies left and established new kingdoms—and secret orders—in order to prepare for the return of that ancient threat. Unfortunately, history becomes myth, and religion and legend with all sources of information becomes lost or altered. The story and the plot take place just as the 1,000 years are up, and the descendants are searching for a way to defeat the threat before it emerges. The subplots are how each of the four continents are preparing for Armageddon. Obviously, many do not believe or know that this event is about to occur. It takes time for the plot to develop because all of the subplots—from the introductions of the characters, the settings and the conflicts to the character development and the world-building—must develop alongside the plot. This is a slow, but an appropriate rate for the plots and the subplots to develop and to converge because this is a standalone novel. After the subplots have developed—not resolved—then the plot continues to develop on its own and at its own pace. 

            The narrative is told in present time and from the P.O.V.s of the protagonists. Each of the six parts of this story presents the stream-of-consciousness of Tané, Doctor Roos and Ead. This allows readers to comprehend the motives, the culture and the decisions they make throughout the story. Given that the protagonists have their desires and the events are happening in real-time, each part of the narrative is reliable because the revelations and the reactions are believable and the situations the characters find themselves in are because of the decisions and the demeanors of the characters. The narrative is easy to follow because of the step-by-step action and reaction narration presented to the readers. 

            The style Samantha Shannon uses for this novel is a combination of fantasy tropes, history, literature and folklore. In other words, The Priory of the Orange Tree is a reimagination of true events and culture. History and folklore such as Christianity, the Amazons, and dragons were influences for this novel. Historical moments and the literature that were written—the Crusades and stories such as The Faerie Queen by Edmund Spenser and The Mists of Avalon by Marion Zimmer Bradley—are also found within the pages of the novel. The style the author uses for this story is not new; in fact, folklore and religion are often retellings of both history and culture. However, readers become aware of this while reading the story, but would they ever consider a similar possibility that the same thing could be possible with our life and culture? The mood of the novel is foreboding and callowness. The tone is what to do and how to handle information based on what actually took place and how the truth can remain hidden within all of the stories, the mysteries, and the lies for hundreds of years. The tone and the mood work in tandem, but this plot device is revealed to the readers through a handful of characters who know the (actual) truth. This reflects reality because the truth of events is revealed to a select few of people (typically) and that is only when the truth surfaces (not always).

            The appeal of this novel have been noteworthy. The Priory of the Orange Tree was labeled “one of the Best Fantasy Books of 2019,” by numerous critics and fans of epic fantasy written by Jacqueline Carey and Brandon Sanderson or any standalone fantasy story will enjoy this book the most. As for the narration of the audiobook, Liyah Summers did a great job voicing all of the characters—male and female—without there being any confusion as to which character was speaking and the accents used for each dialect of speech. Her pacing of the narration worked for both the length of the novel and the given size of the world as hinted from the numerous locations. Liyah Summers was a great choice for this large narration and its large assembly of characters. 

            The Priory of the Orange Tree is an ambitious story of strong female characters, dragons and wyverns, magic, conspiracies, lost histories, and the end-of-the-world. Anyone who is familiar with epic fantasy stories should read this book; and, fans of fantasy and speculative fiction should not be daunted by the size of the book, but know that the story within it contains a world with rich characters whose lives are about to become interconnected for reasons lost to their histories. Not only will readers be satisfied with the narration up to the end, but also feel a sense of accomplishment for completing this amazing and adventurous fantasy story. Readers will find the time and a way to read this book as I did.

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

Why You Need to Read: “Realm of Ash”

The Books of Ambha: #2: Realm of Ash

By: Tasha Suri

Published: November 12, 2019

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

NOTE: Some minor spoilers from Empire of Sand. You have been warned. 

            “My blood—my Amrithi blood in this loyal Ambhan body—is part of the curse. But it’s also part of the cure. I just don’t know how. But the Emperor’s family, your mistress…they might. Perhaps they’ll find answers in my blood that I can’t. You should send me to them, if they’ll have me,” (Chapter Five). 

            In 2018, a debut fantasy novel based on Indian mysticism was released to praise by readers and critics alike; and, Empire of Sand won the 2019 British Fantasy Award for Best Newcomer and the 2019 Brave New Words Award. In 2019, the follow-up, Realm of Ash, picks up ten years after the events in the first book and answers all of the questions in it. It was a long year to wait to read this book by Tasha Suri, and it was worth it. 

            Arwa, Mehr’s younger sister who was spirited away to safety by their stepmother, Maryam, and their father, is all grown-up (she’s 21) and recently widowed from a massacre at Darez Fort. Instead of returning to Hara to live with her parents, Arwa decides to live in a hermitage of widows (for nobility). At the beginning of the novel, Arwa is plagued by guilt for surviving the massacre, for failing in her duties as a wife (to her stepmother’s grief), and for revealing her heritage of being an Amrithi. Arwa believes Mehr died with the Maha, and her parents did everything they could to make sure Arwa didn’t repeat the same mistakes her sister made. Since Arwa looks more Ambhan (lighter skin tone) than Mehr (darker skin tone), she was taught to blend into Ambhan society and view her Amrithi heritage as a curse. However, the last lesson Mehr taught Arwa about their blood is the reason Arwa survived the massacre, and she doesn’t know how to feel about it. After arriving at the hermitage, Arwa meets Gulshera, another widow with connections to the royal family. Arwa asks Gulshera for the chance to serve the royal family and to save the Empire from ruin, an unfortunate effect of the Maha’s death. At the palace, Arwa meets Jihan, the princess, who tells her her assignment, to assist the Emperor’s blessed (bastard) son, Zahir—Jihan’s brother, with his work in occult arts to seek the Maha’s knowledge. Knowledge that could revive the Empire. Readers will see the resemblance Arwa has to Mehr in how the two sisters were sheltered from the truth of their heritage and the Emperor’s power. The more Arwa learns the more she grows into the person she had to suppress as per her stepmother and (Ambhan) gender role expectations. Arwa develops as both a characters and an individual as she makes her way through the complexities of her new status—widow and tool of the Empire—in a society which believes the past has the answers. 

            The plot of Realm of Ash is the fallout based on the ending of Empire of Sand. The Ambhan Empire has fallen on hard times since the Maha’s death. In addition, Arwa’s father was stripped of his governorship due to his behavior towards the Emperor regarding Mehr. For ten years, Arwa was raised with the goal of restoring her family to their previous status while the Empire moved into decline after 400 years of affluence. Arwa’s widowhood and revealed heritage is the chance for Arwa to restore both her family’s glory and the Empire’s prosperity. However, as Arwa and Zahir study more about the Empire’s past with the Amrithi and learn about the motivations the royal family hope to achieve with this knowledge, the two “illegitimate heretics” must determine other factors for saving the Empire. There are two subplots in this novel. The first is the truth which is revealed about the Amrithi and their ties to the Emperor’s and the Maha’s rule. The second is the tension amongst the royal siblings as the Emperor is on his deathbed and must name his successor. Both subplots are related because, as Arwa learns, the Amrithi aren’t cursed, but they were coveted for their abilities and their magic, which were used and abused by the Maha and the royal family for their benefit. These revelations comes as a shock to Arwa because it means that the foundations of the Ambhan Empire are built on lies and corruption, and the royal family made sure that those lies became beliefs within the Empire. Of course, the royal family would prefer if Arwa and Zahir would stay focused on gaining the Maha’s knowledge so that everything can go back to the way things were before his death. It’s too bad Arwa has her sister’s temperament and stubbornness for doing the “right” thing. These subplots enrich the plot in that Arwa’s life gets sidetracked again and she has to decide what to do with the truth she’s learned regarding the Empire and her family. Arwa realizes that the Empire, the Emperor and the Maha are at fault, not her sister and not the Amrithi. 

            The narrative is told from Arwa’s point-of-view as she becomes the hope for reviving the Empire. In Empire of Sand, readers learned about the Amrithi and the Maha from Mehr’s P.O.V.; in Realm of Ash, readers learn about the Ambhan and the Emperor from Arwa’s P.O.V. This provides readers with the two halves of the world-building and an understanding of all of the events across both books. In the case of Realm of Ash, Arwa experiences moments of the past in flashbacks as part of the occult rituals she performs with Zahir. In those memories, Arwa witnesses the horrific truth of her Amrithi heritage, but it leads to her accepting and marveling at it, eventually. The narrative presents Arwa’s change in demeanor and personality as she learns to heal from her traumatic experience and the shame she believed she should have for her Amrithi heritage. All of these elements of the narrative make Arwa a reliable narrator whom can be followed by all readers. 

            Tasha Suri continues to use the same style she used in Empire of Sand in Realm of Ash. She presents the Ambhan Empire as a beautiful place with denizens of various social classes and faiths. Only this time, the author puts more emphasis on the consequences of colonialism, parental influences, magic, and societal expectations and practices. The mood is hardship of a declining society and a loss of purpose in life. The tone is how individuals and society can continue to thrive once they find a new purpose and a new way to live, if given the chance. If Empire of Sand focuses on themes of strength and survival, then the themes in Realm of Ash are based on enduring and resilience!

            The appeal of Realm of Ash surpasses its predecessor, thus making the series, and the author, worthy of all of the praise given to it. Fans of fantasy, and the first book, will want to read this book; and, fans of historical fiction might enjoy this book as well. Both Books of Ambha can be read in either order—amidst minor spoilers—and readers will get the complete experience of the world the author created. The same warnings of violence and abuse from the first book are relevant in this one, but given the historical and societal context of the story, those aspects do not affect the way readers will enjoy the story.

            Realm of Ash is an amazing follow-up to Empire of Sand and answers all the questions readers had from the previous book. It is not unusual for the next book in a series to be better than the first, but Realm of Ash is a stronger story dealing with issues of lost, family, and magic. It also adds to the world-building that was half-finished in the first book, providing a complete and beautiful world that is worth saving. This book was in my top five of my favorite speculative fiction books of 2019, and I’m looking forward to reading more books by Tasha Suri.

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

Why You Need to Read: “The Rage of Dragons”

The Burning #1: The Rage of Dragons

By: Evan Winters                                               Audiobook: 16 hours, 15 minutes

Published: July 16, 2019                                    Narrated by: Prentice Onayemi

Genre: Fantasy/Military/Historical Fiction/Folklore

            And if Tau didn’t feel better, it had to be because there was still so much to do. He needed to go to Kigambe and test to become an Ihashe. Then he’d have military status and the right to blood-duel anyone in the Chosen military. The old law was the only way a Lesser could kill a Noble with impunity, (Chapter Three, Fallen).

            2019 was an amazing year for debut authors, especially in the speculative fiction genre. Without listing all of the names of the authors who helped elevate the genre with their stories, some of them are using “older,” “classic,” and “overused” tropes in the genre. However, just like how other authors such as: George R.R. Martin, Philip Pullman and Brandon Sanderson have written their stories mixing “classic” tropes with “unexpected, but believable” twists. Evan Winter is the latest author to incorporate this sort of narrative into his stories. The Rage of Dragons—the first book in The Burning Series—is an African-inspired epic fantasy story, which starts off with war, dragons and revenge, but grows into a rich tale with realistic characters, great world-building, and a believable society whose cultural and socioeconomical practices reflect those of our actual history. 

            Tau is the protagonist in this novel. He is an adolescent who is old enough to “Test” in order to enter the military of the Omehi, his tribe. He is the son of a High Common woman and a Lesser man (his mother ran off with Tau’s father, Aren, only to return to her family after Tau was born). Although tradition and status come from the mother—Tau’s surname is Tafari—Tau is raised and treated as his father’s son. Tau is very much aware of his place in life (servitude) and what his expectations are supposed to be (military life). However, Tau desires a simple life: land and a family with his crush, Zuri—a handmaiden. So, he comes up with a dangerous, yet practical way to gain those desires. Unfortunately, Tau never gets the chance to put his plan into action. Within one day, Tau loses all he holds dear to him and he must flee from his home before he is executed. From that day, Tau is consumed with anger and a new plan: to become an Ihashe warrior, the best one in living memory. After arriving in the capital—and barely surviving the Testing—Tau becomes an Ihashe Initiate and is placed in a Scale (or Unit) led by Umgondisi (Captain or General) Jayyed Ayim—a former adviser to the Guardian Council—who has a special interest in Tau and the other Initiates in his Scale. It is this moment when Tau decides to go by his father’s surname, Solarin. Throughout his training, Tau works harder than any other Initiate, honing his growing anger into his weapons training. He is not alone during the training. He is accompanied by: Hadith, who is known for his strategic planning; Uduak, a huge Initiate who is more aware of Tau’s anger than anyone else; and, Zuri, an Initiate of the Gifted—a female whose powers can call dragons. Throughout the novel, Tau becomes the warrior he wants to be and gets closer and closer to his goal towards vengeance. However, Tau’s anger remains within him and he lacks both an outlet and a support system for his grief and his anger. His companions keep him grounded, but how long will these characters stand with Tau knowing his anger can burst into a fit of rage at any moment? 

            The plot of this novel is Tau’s path to take revenge on those who left him with nothing. As much as this sounds like the trope of “the son getting revenge for his father’s death,” Tau neither finds a mentor nor finds companionship within his Scale. Instead, Tau isolates himself as much as possible from other people and focuses on his training instead of his raging emotions and how those could affect his fighting techniques while doing drills with his Scale. Some readers will notice that Tau’s method of dealing with his emotions can lead Tau to having a mental breakdown. There are two main subplots in this novel. The first one is Tau’s training. The author is not only writing a story about one’s path towards vengeance, but also a fantasy story which is influenced heavily in military history and strategy. As Tau goes through his training, both Tau and the readers learn about fighting stances, strategic planning and battle formations, all of which are practiced and exercised over and over throughout the narrative. This subplot serves as a device for time. It’s going to take years for Tau to become the warrior he wants to become, and the length of training all of the Initiates undergo makes the story more realistic. The second subplot is the division between the Omehi and the Xiddeen, and between the Nobles and the Lessers of the Omehi. For almost 200 years (and since the Omehi landed on the beach), both the Omehi and the Xiddeen have been at war. Recent events have caused rumors of a potential truce between the two warring tribes. However, after fighting for generations, what other lifestyle could await the armies? Will they lose their purpose? As for the division between the Nobles and the Lessers, Tau is proof that such unions are possible. Socioeconomic status is a constant universal issue and theme in human history and culture. When the truce promises to bring an end to the division between Lessers and Nobles, which group from which tribe will rebel and which one will comply? These subplots are necessary for the plot because they embellish the world-building in the story and remind readers of Tau’s initial reasons for joining the army. The plot develops at an appropriate pace; and, the subplots are necessary for the plot because they are “breaks” from the military aspect of the story which are as severe as the issues on the Homefront. 

            The narrative is told in first person point-of-view in present time. With the exception of the prologue, the epilogue, and a handful of chapters in between, the narrative is told from Tau’s viewpoint. Tau’s hardships, training and motivations are written in sequence with his stream-of-consciousness so that readers know what he is thinking and experiencing with his actions, concurrently. The change of characters’ P.O.V. demonstrate not only how Tau presents himself to those around him, but also presents the conflicts the other characters are dealing with at the same time (hint: they’re based on the subplots). While Tau is a ticking timebomb, he is a reliable narrator. The narrative is well-written—even with the jumps in the P.O.V.s—and they can be followed by the readers. 

            The style Evan Winter uses in his novel focuses on the history of violence between two conflicting sides. The use of power, strength and abilities in the author’s writing is part of his central theme of violence. Yes, this story is influenced by African history and folklore, but the violence and the emotions can originate from any individual throughout the world past and present. The military aspect of the story will remind readers that this is an epic military fantasy, not just a story containing traditional fantasy tropes. The mood in The Rage of Dragons is one of anger and warfare which is expressed and reflected amongst all of the characters in the author’s world. The tone is how the elements that make up the mood are dealt with by these characters; should they find a truce or submit to their unstable emotions and desires? The mood matches the tone in the themes of war, violence and division. 

            The appeal for The Rage of Dragons have been positive. The debut novel has been called “one of the best fantasy books of 2019” by several critics. And, it was one of my favorite speculative books of 2019! Any readers who are fans of world-building, magic and dragons will enjoy this book. Fans of military fantasy will enjoy this story, too. I listened to the audiobook of this novel and Prentice Onayemi’s performance and narration was the best choice for this book. This is because both his accent and his pronunciation of the words and the terminology made the story more realistic. It does take some getting used to, but the audiobook is worth listening to. There are some concerns by a few readers about the use of “worn out fantasy tropes.” My answer to that is Tau’s story starts down that route, but the focus shifts towards something else, which foreshadows future events forthcoming in the sequel, The Fires of Vengeance. Only Evan Winter knows which tropes he’ll stick with and which ones he’ll twist. 

            The Rage of Dragons is the latest work of fantasy that combines dragons with African influences. What starts off as a trope for one individual’s vengeance evolves into a military story about the struggles for power and the purpose of war. The idea that war can be used for world-building is nothing new. However, the emotional toll of the training and the fighting in a war within a corrupted society containing dragons will remind fantasy fans of one or two popular series. That being said, Evan Winter gifted fantasy fans with an action-packed military tale that should not be missed. 

My Rating: Enjoy It (4.5 out of 5). 

Why You Need to Read: “The Kingdom of Copper”

The Daevabad Trilogy #2: The Kingdom of Copper

By: S.A. Chakraborty

Published: February 21, 2019

Genre: Fantasy/Historical Fiction

            She shook her head. “Whatever the consequences, Dara acted to protect my daughter from a fate I fought for decades. I cannot fault him for that. And if you think Ghassan wasn’t looking for a reason to crack down on the Daevas the instant a Nahid and Afshin strolled through the gates of Daevabad, you clearly do not know him at all.” She gave them another sharp look. “Tearing each other apart is not why we are here,” (4, Dara). 

            As I mentioned in my review of The City of Brass, the first book in The Daevabad Trilogy, this is a series in which the characters and the world are influenced by Middle Eastern history, culture and folklore. Yet, the story of political power, corruption and struggle is a universal theme in stories and an issue within our world. The Kingdom of Copper expands both the influences and the themes in the magical world S.A. Chakraborty presents to us.

            The story takes place 5 years after Dara’s—short for Darayavahoush e-Afshin—death and resurrection, Nahri’s forced marriage to Prince Muntadhir, and Prince Alizayd’s—Muntadhir’s younger brother—exile to Am Gezira for plotting against his father, King Ghassan al Qahtani. Dara has been resurrected by Manizheh, Nahri’s mother—who faked her death in order to protect herself and her family—so that he can assist her in leading a rebellion against King Ghassan for his treachery and in order to reclaim the throne that was held by the Nahids—the ancestors and tribe of Nahri and Manizheh. Nahri is now wife to Muntadhir, the king’s son and heir, is the new Banu Nahid, or royal healer, and is trapped in the gilded cage of the palace with no one she can trust. She uses her healing gifts and her desire to be a physician in order to cope with her current scenario and unwanted status. Prince Ali has settled in a small community in an oasis in Am Gezira away from his father’s assassins and members of his mother’s family (who want him on the throne). During his exile he learns how to control the abilities gifted to him by the marid, water spirits, on the night he slew Dara. All three protagonists are in scenarios based on the poor choices they made 5 years ago. They all have to live with the consequences of their actions and find other methods to achieve their original goals. Dara, Nahri and Ali develop further into maturity and they must find a way to maneuver through the unrest between ruling classes and amongst the six tribes of the djinn. The complexity of their situations mirror the complexity of their characteristics. 

            The plot continues from where The City of Brass left off. King Ghassan continues to subdue his subjects—mostly the shafit (those of mixed human and djinn heritage)—to harsh treatment and brutal punishments for minor offenses. Ghassan believes with Ali exiled for his betrayal, the death of the last of the Afshins (a.k.a. Dara), and his dominance over Nahri and the supporters of the Nahids he’ll remain in control. However, the king’s enemies have learned how to work underground and soon of the king’s subjects will revolt against the descendants of the rebel who overthrew the Nahids from power. This plot was the subplot in the first book, and it proves how relevant it is to this story’s narrative. There are two main subplots. The first regards Dara and his failure to protect Nahri is the latest of his long list of failures. Due to his imprisonment before meeting Nahri, Dara hasn’t had time to deal with the consequences of his actions that led to the death of his family. Not to mention, Dara’s memories are becoming clearer and he’s starting to remember the events that led to his actions from centuries ago, and those memories are causing him to question whether or not his alliance with Manizheh will lead to similar consequences. The second subplot focuses on the concept of identity and what it means for both Nahri and Ali. Nahri knows she is descended from the Nahids, but she’s not sure what that means. She doesn’t trust anyone in Daevabad, so promises of better things to come by the priests and the other healers means nothing to her. At the same time, Nahri stumbles over information as to how and what her ancestors were really like during their reign in Daevabad and what the Daeva priests expect from her. Meanwhile, Ali learns that he has more abilities than the ones “gifted” to him by the marids. Once again, Ali must find a way to keep his family safe while protecting the denizens of Daevabad from his father’s tyranny. These subplots move along with the plot at an appropriate rate providing development of the plot and the characters, and a way to continue the world-building left off in the first book. 

            The narrative continues from the points-of-view of Dara, Nahri and Ali. Once again, the P.O.V.s are 3rd person limited narrative; meaning they know only what is happening around them at that moment, which means the narrative is told in real time. Readers are aware of each protagonist’s thoughts thanks to their stream-of-consciousness, and because there are moments when one protagonist knows more than the other two at random intervals. All three protagonists are reliable narrators and they provide readers with everything that is going on with all of the characters—including moments of foreshadowing—which, can be followed easily due to the narrative’s sequence.

            The style S.A. Chakraborty uses continues from The City of Brass to The Kingdom of Copper. The history and the folklore of the Middle East—during the Ottoman Rule—continues to influence the story, and the themes of tyrannical rule and rebellion and its endless cycle within the story. The mood in this book is one of tension brought on by corruption and mistreatment of people and the fighting amongst the tribes and the growth of that tension. The tone in this story is how someone should react when tensions are to the point where unrest is coming and how someone should prepare themselves for it regardless of how others want them to act. Trusting one’s instincts is the only way someone can hope to survive when unrest is inevitable. 

            The appeal towards The Kingdom of Copper buildup from the first book. Readers and critics alike praised the author for continuing her fantasy story using her method of storytelling, which led to compliments about the story’s structure by a few readers. Now that the stakes have been raised, fans can only hope for more from S.A. Chakraborty. The critical acclaim will keep the book in popularity and in the fantasy canon. And, fans will be eager to read the story’s conclusion in The Empire of Gold when it is released. 

             The Kingdom of Copper is a strong sequel in The Daevabad Trilogy. The pacing of the world-building and the conflicts go at a more appropriate rate this time, and the input of a realm’s forgotten history makes the story more realistic. The complexity of the characters make them all the more tragic, yet lovable. This novel makes the upcoming conclusion to this trilogy to be very promising. 

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