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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 Girl in the Tower”

Winternight Trilogy, #2: The Girl in the Tower

By: Katherine Arden

Published: December 5, 2017

Genre: Fantasy/Historical Fiction/Folklore/Magic Realism/Coming-of-Age

            Highborn women, who must live and die in towers, were much given to visiting. Now and again, they stayed overnight for company, when their husbands were away, (1: The Death of the Snow-Maiden).

            Folklore maintains traditions and cultures that are passed down from generation to generation. Since many of the stories, traditions and foods are shared through practice and oral tradition instead of being written down, many variants of folklore exist. The most popular example of multiple variants is the story, “Cinderella.” Every era and culture has their “version” of “Cinderella,” which contains the same elements (i.e. stepmother and magic) alongside the region’s culture. Then, there is the concept of expanding on these tales. Disney has done this with Maleficent and others, and Katherine Arden has done this with Vasilisa the Beautiful in her Winternight Trilogy. She provides more backstory of Vasya in The Girl in the Tower, the sequel to The Bear and the Nightingale. 

            The story reintroduces readers to Olga, Vasya’s older sister who left Lesnaya Zemlya for Moscow for marriage, who is now the Princess of Serpukhov. 10 years have passed since she and her older brother, Aleksandr Peresvet—or Sasha, left their family, and both of them have settled to life in the capital. Olga has two children—Marya and Daniil—and is expecting her third; Sasha is a monk and an adviser to Dmitrii Ivanovich, the Grand Prince of Moscow. Brother Sasha has returned from a journey back home, with a traveler from Lesnaya Zemlya. Yes, Konstantin Nikonovich has managed to attach himself to the rest of Vasya’s family. Meanwhile, Sasha and the Grand Prince meet with a boyar—Kasyan Lutovich of Gosudar—over his concerns regarding bandits. As Sasha and Kasyan travel out of Moscow to investigate, their party runs into Vasya and her stallion, Solovey. Vasya has been forced into exile from her home, and refuses to marry or to join a convent, so she rides in search of freedom and a new identity. When she is reunited with the rest of her family, she goes by the alias, Vasilii Petrovich, the youngest brother of Brother Sasha and Princess Olga. While Vasya gets to experience the freedom she’s always wanted, she must heed the warnings of her family of disguising herself as a male in the Russian court, as well as staying hidden from her enemies both old and new. Vasya undergoes the most development as a character as she continues to grow into the person she want to be. Meanwhile, readers learn of the complexity of Sasha and Olga as they try to protect their sister while conforming to their roles and society’s expectations. 

            The plot involves the aftermath of the events in The Bear and the Nightingale. Vasya is no longer welcomed at Lesnaya Zemlya, and after “rejecting” Morozko again, she travels the Russian wilderness on Solovey—the stallion given to her by Morozko and communicating with the chyerti, until she meets up with Sasha and the party tracking down a group of bandits. For her role, Vasya is hailed a “hero,” but must call herself a male so she is not labeled a “witch” again. Prince Dmitrii is pleased with Vasilii’s bravery and with knowing of “his” relation to Sasha, Vasilii is invited to court against Sasha’s wishes. Once in Moscow, Vasya must learn court etiquette, how to humble those who envy her, and keep her “Gifts” to herself. If any or all her secrets are revealed, then the consequences will be dire. There are two subplots in this novel. The first is the mystery surrounding Kasyan Lutovich. Why did he travel to Moscow when his village was attacked by bandits? And, what does he have against the Grand Prince, Brother Sasha, and Vasilii? The second subplot involves the old magic that struggles to survive in Moscow. In fact, there might be another who can help the denizens remember the old ways, but Vasya might have to earn their trust before assisting them.

            The narrative in The Girl in the Tower is entwicklungsroman, or “novel of character development.” Even though Vasya is an adolescent, she still has some growing up to do before she can have her bildungsroman experience. That is not to say she isn’t learning in this story. Vasya learns more about the various chyerti she encounters and what they want from her. At the same time, Vasya continues to struggle with her identity in a changing Russia as forces—both human and magical—threaten to upset the order of things. There are multiple points-of-view within the narrative which provides the readers with the knowledge of everything that is going on. The narration follows a sequence that is told in present time, with the exception of Part II, which provides a flashback of events. The streams-of-consciousness of Vasya, Sasha, Olga and Konstantin allows for the narrative to be followed, although only the reader(s) know which characters are the reliable narrators. 

            The style Katherine Arden uses in this novel provides a deeper look into Russian folklore and culture, mixed with familiar fairy tale tropes. Readers reacquaint themselves with a fierce heroine, innocent princesses, a dashing prince, and magical beings while absorbing Russian folklore and history. While the themes of religion, sex and gender, political structure, and societal expectations are repeated, the themes of identity and family are explored further in The Girl in the Tower; and, a few clues surrounding Vasya’s family heritage are revealed. The mood in this novel is loyalty. Should one be more loyal towards their family over royalty? Should one choose religion over family? The tone of the novel is choice. Who deserves loyalty and why? The choice one makes about their life and themselves while knowing the consequences of those choices are mentioned over and over throughout the book. Making choices and how those choices affect others is explored in this story as well. Once again, the Author’s Note, Glossary, and A Note on Russian Names are a helpful in following and in comprehending the terminology in this novel. 

            The appeal for The Girl in the Tower matches the first book. Both readers and critics agree that this sequel is a strong follow up to The Bear and the Nightingale. Fans of Naomi Novik and S.A. Chakraborty will enjoy this series the most. And, it is a great addition to both the fantasy and the folklore canons. Vasya’s story concludes in The Winter of the Witch. It is safe to say that both readers and fans will NOT be disappointed with how the trilogy will end. 

            The Girl in the Tower is a strong sequel that does not slow down the pace of the trilogy. Fans of fairy tales and folklore will appreciate the homage the author gives them; and, readers will enjoy how the “old beliefs” played their part in the world-building of the narrative, and in the culture of a nation. Katherine Arden does NOT disappoint her readers. 

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

Why You Need to Read: “The Bear and the Nightingale”

Winternight Trilogy, #1: The Bear and the Nightingale

By: Katherine Arden

Published: January 10, 2017

Genre: Fantasy/Historical Fiction/Folklore/Magic Realism/Coming-of-Age

            Vasya’s head hurt with thinking. If the domovoi wasn’t real, then what about the others? The vodyanoy in the river, the twig-man in the trees? The rusalka, the polevik, the dvorovoi? Had she imagined them all? Was she mad? (11: Domovoi).

            Have you ever wondered how or what got you into reading a book or a book series? Oftentimes, we read books due to their popularity or recommendations from other readers. Then, there are times when our curiosity drives us to read a book. For example, the first edition of the U.S. print has a woman standing in front of a cabin in the woods on a snowy night. Add the book’s description and the fact that the ebook was on sale, and you have the short version of how I got into reading The Bear and the Nightingale, the first book in the Winternight Trilogy, and the debut novel by Katherine Arden. 

            The story begins before the protagonist, Vasya, is born. Marina Ivanovna is the wife of Pyotr Vladimirovich, a great lord or a boyar, and they live in the North (of Russia) at the edge of the forest in a town called Lesnaya Zemlya. Marina is the daughter of the last Grand Prince of Moscow, and her mother was rumored to be a swan-maiden who captured the prince’s attention. Yet, due to the fear of the Church, Marina married off to a boyar away from Moscow, where she bore her husband many children. When her youngest, Vasilisa was born, she died, but Marina always knew that Vasya would have the same “Gift” her mother had. Vasya, the youngest of five children, is raised by her father, her nurse—Dunya—and, her siblings: Alyosha, Olga, Sasha and Kolya. Vasya grows into a willful child to the distress of her family. When Vasya is about 5 or 6 years-old, her father travels to Moscow in search of a new wife and he brings his sons with him. By the time the family returns, Anna Ivanovna is with them. Later on, Sasha and Olga will leave Lesnaya Zemlya for Moscow in order to fulfill their duties. Meanwhile, both Vasya and Anna are able to see beings, or chyerti, who occupy the house, the lake, the forest, etc. Anna believes them to be demons, while Vasya talks to them, follows their instructions, and learns from them. At the same time, Father Konstantin Nikonovich—a young and beautiful priest whose talent for painting icons has led to him having a huge following of worshippers—has been sent to Lesnaya Zemlya to replace the priest there that died. As young as she is, Vasya’s antagonists are adults: her stepmother and the new priest, adults who envy and admire Vasya. All of the characters are people who watch Vasya grow from child to adolescent in Russia during a time when Christianity was becoming the dominant religion and when women—especially high-born ones—were expected to follow strict societal guidelines. Vasya, unknowingly, fights these societal expectations and maneuvers her way through them as she approaches adolescence (which, was considered to be adulthood at that time). This puts her at odds with her stepmother and the priest, while becoming allies with the chyerti, fae folk from Russian folklore. 

            The plot in this book sees the upbringing of Vasya and her life in the Russian countryside. Given the circumstances of her existence and her birth, Vasya always had the attention of her family, even if it were for the wrong reasons. Vasya’s father, nurse and siblings see Vasya as a reminder of her mother and her grandmother (based on rumors and gossip). Both Anna and Father Konstantin see Vasya as an individual who goes against the “Rites of the Church,” and seek to “save her soul.” Vasya is an independent girl who communicates with the chyerti (of the old religion) and becomes their ally. Vasya learns the old magic away from the capital, which allows her to carry on without scrutiny. Yet, it seems only Dunya knows how special Vasya is to the chyerti. There are three subplots in this novel. The first is the animosity Anna and Father Konstantin have towards Vasya. Vasya is the willful and carefree daughter of a boyar who listens to the old magic of the chyerti, while her stepmother and the priest try and fail to bring her to heel. The second subplot involves the struggle Russia is dealing with involving pagan versus Christianity amongst the rulers. War is coming, but it is difficult to say who Russia’s adversaries will be. The third subplot follows Vasya’s “Gifts” and what that means for her. Everyone else—her family, the chyerti, her nurse, the priest—seem to know how important Vasya is to the world and their survival, except for Vasya. And, there are powerful beings who are interested in her as well. 

            The narrative in The Bear and the Nightingale is one of an erziehungsroman, or a novel of upbringing. This is different from an entwicklungsroman (“a novel of—a child’s—character development”) or a bildungsroman (“a coming of age” story) in that the narration follows the protagonist from childhood and focuses on their early life and upbringing. Thus, the sequence of the novel is set in the time of Vasya’s birth to childhood to early adolescence while learning of her family and her upbringing. There are multiple points-of-view and that’s because of the 3rd-person omniscient P.O.V., which allows the reader(s) to know what all of the characters—including the protagonist—are thinking and what their motivations are throughout the story. In addition, the streams-of-consciousness of the characters match the present time sequence of the story. So, not only are all the narrators/characters reliable narrators, but also are understandable because readers are aware of their emotions and their motivations. All of these elements of the narrative make it easy to follow. 

            The style Katherine Arden uses for her debut novel blends folklore and history to present a historical fantasy with elements of Russian folklore. The Bear and the Nightingale is the first book in a trilogy based on the story of Vasilisa the Beautiful. At the same time, the historical context allows for the story to be “more believable,” so that terminology and the word choice used throughout the narrative embellishes the story and presents the reality within the fiction and demonstrates the culture of Russia’s past. The mood in this novel is dominance. Who has control of whom? Who is the dominant one in a household, in a region, in a kingdom? Is there a dominant religion? The tone in the novel is rebellion. Vasya is not the only character who rebels against societal expectations set upon her. Then again, the other characters and the reader(s) witness what happens to those who allow others to make choices for them. Please note: the glossary will help with understanding the context of the words and the terms used throughout the novel. 

            The appeal for The Bear and the Nightingale have been positive. It’s hard to believe that this is the author’s debut novel. Katherine Arden was even nominated for the John W. Campbell Award—now called, the Astounding Award for Best New Writer—which is announced during the Hugo Awards. The popularity of this book will have readers thinking of authors such as Madeline Miller and Marion Zimmer Bradley for retelling stories of myths, legends and fairy tales. This book does have lasting appeal and it is a great addition to the speculative fiction canon. Fans of Spinning Silver, Gods of Jade and Shadow, The Sisters of the Winter Wood, The Poppy War, Empire of Sand, and The City of Brass will enjoy this book the most. The rest of the trilogy—The Girl in the Tower and The Winter of the Witch—are worth reading as well. 

            The Bear and the Nightingale is a brilliant debut novel that introduces many readers to Russian folklore through the historical world-building and the rounded characters. The story is the beginning of Vasya’s life and her adventures, and all of the elements of fairy tales of older variants (i.e. “the price of deals”) are found within this book as well. This book will make readers crave winter and snow, and will know the beauty and the magic found in one’s backyard. The old magic has not been forgotten. 

My Rating: MUST READ IT NOW (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: “The Shadow Saint”

The Black Iron Legacy: Book 2: The Shadow Saint

By: Gareth Hanrahan

Published: January 7, 2020

Genre: Fantasy, Grimdark

            Ten months ago, at the height of what some call the Crisis and others the Gutter Miracle, a new city exploded into being within Guerdon, (Chapter 2).

            When you read a book that becomes one of your favorite books of all-time, you’re left with a sense of satisfaction. When you learn that book is part of a series, you become anxious. This is because you’re hoping the next book in the series is just as good as the current one while dreading the possibility that it’s not. Well, that’s not the case here! Gareth Hanrahan found a way to go beyond readers’ expectations and gifted us with The Shadow Saint, a strong sequel to The Gutter Prayer—his debut novel. The sequel takes place several months after the events in the first book, but a new conflict is the focus in this story.

            There are 3 new protagonists: Eladora Duttin, Carillon Thay’s cousin, who is struggling to strive and to survive in the New City; Terevant Erevesic, the second son of House Erevesic and (failed) Lieutenant of the Ninth Rifles; and, a spy, who goes by many aliases, whose latest assignment has him traveling into the New City. As the protagonists converge in the city formerly known as Guerdon, other characters are introduced in order to present the protagonists as complex and rounded with desires, regrets and failures, and a sense of responsibility. First, there is Effro Kelkin, the “Chair of the Emergency Committee and de Facto Ruler of Guerdon” and Eladora’s boss, whose biggest concern is the Parliament Election. Next, there is Olthic Erevesic, the Haith Ambassador and Terevant’s older brother, whose main concern is another election, one that puts him at odds with his wife, Lyssada. Last, there is Emlin, the “task” assigned to the spy and the chosen saint of the Fate Spider, a deity worshipped in both Severant and Ishmere. Not to mention, one or two relations to Eladora makes an appearance as well. While the protagonists might come off as “weaker” than the characters they interact with, it is the minor characters who present the protagonists as relatable, as they are forced to develop into themselves as a result of these interactions. 

            The plot in The Shadow Saint delves into the aftermath of a crisis. “The Gutter Miracle” has turned Guerdon into a hotspot for power-hungry politicians and religious leaders. For the politicians, two upcoming elections will determine both the dominance of one party and the directions Guerdon will go in. For the religious leaders, Guerdon is one of the last neutral territories in the Godswar. While some of these leaders try to form alliances with the politicians, others search the streets of Guerdon for a weapon that is rumored to have the power to destroy a god. The subplot focuses on the protagonists, who are victims of being used and abused by other people, including members of their families. All of these protagonists have been taken advantage of by others, but it’s how they manage to move on from those traumatic experiences—whether or not it’s through forgiveness, forgetfulness or vengeance—and deal with what’s happening in the present. This subplot is necessary for the plot because the protagonists find themselves thrust into the spotlight and they must decide whether or not they want to remain as “tools” for those who want to control them. The plot develops at an appropriate rate and it’s due to the subplot. 

            Once again, the narrative follows a chronological sequence of events which are told from multiple points-of-view. The flaws and the mistakes made by the protagonists and their ability to overcome them—and proving that it’s not as easy as it sounds—make them reliable narrators. The narrative explores the protagonists’ streams-of-consciousness—which include some flashback scenes—through 3rd person limited. This means that the P.O.V. character knows what’s happening where they are at that moment in the story, but the readers know everything that is occurring to everyone at the same time. Both the narrative and the emotions are easy to follow.

            The style Gareth Hanrahan uses is divided into world-building fantasy and political reality. Because Guerdon was saved, everyone is showing interest in it. Those people come from other places that have their own religion and reasons for gaining control of Guerdon. However, in order to understand why, world-building is required. The various cultures and religions as well as the events of the Godswar is presented through the world-building by the author. The politics struggling for power demonstrates the reality within the fantasy by using numerous events throughout human history as a source. The mood in the story is chaos. The city of Guerdon was saved, but that has led to more conflicts and even more conspiracies involving gods, saints, war, and elections. The tone here is resilience; which of the characters demonstrate it and why they do so. If the story wasn’t identical to current events, then this could almost be a satire. 

            The appeal for The Shadow Saint have been positive. Fans of The Gutter Prayer and/or grimdark will appreciate the direction the author decided to go for in the sequel. Readers who are curious, yet unsure whether or not to read the sequel should know that the difference is the characters and their P.O.V.s. This means that everything fans and readers enjoyed in the first book is in this one, too. The sequel is not only a great addition to the grimdark and fantasy canon, but also cements Gareth Hanrahan as an accomplished author. And, based on the ending and the revelations at the end of this book, readers will be eager to reader the 3rd book in the series, when it comes out. Please note: According to the author, there will be 4 books in this series.

            The Shadow Saint is a sequel which demonstrates the triumph accomplished by the author who delivers on the expectations of the fans, the readers and the critics. The shift from thieves to forgotten relatives proves that the characters are just as well-written as the story and its world. If you haven’t already done so, then start reading this series! You won’t regret it!

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

Why You Need to Read: “The Ruin of Kings”

A Chorus of Dragons #1: The Ruin of Kings

By: Jenn Lyons                                                    Audiobook: 27 hours 22 minutes

Published: February 5, 2019                          Narrated by: Feodor Chin, Vikas 

Genre: Fantasy                                                               Adam, Soneela Nankani

            There’s a prophecy. Actually no, it’s more like a thousand prophecies. It’s the collected rantings of a thousand people…the prophecies refer to an end time, a great cataclysm, when a single man of vast evil will rise up. The “Hellwarrior” will conquer the Manol, strip vane of our immortality, kill the Emperor, destroy the Empire of Quur, and free the demons. In his right hand he will hold Urthaenriel, and with his left, he will crush the world and remake it as he desires, (29: Teraeth’s Return, Kihrin’s story). 

            There are times when books are released to critical acclaim and maintain buzzworthy feedback, which piques a reader’s curiosity. While I was unsure whether or not the debut novel, The Ruin of Kings—the first book in A Chorus of Dragons trilogy, would meet my expectations, I was curious about the hype surrounding this book. I guess “the powers that be” wanted me to read Jenn Lyon’s book because I received the hardcopy as a prize in a drawing, the eBook for free, and the audiobook through my subscription. So, I read this book through audiobook and immediately, I understood what all of the attention was about. 

            The protagonist is Kihrin, the son of a minstrel who spends more time getting into mischief for his thievery and fighting than practicing his harp. After one of his heists, it looks as if Kihrin is about to profit from his work, when a demon manifests in the city and chases him through the streets of Quur. After being saved by the city watch, it is revealed to him—because of his physical attributes—that he is the lost heir of House D’Mon, one of the 12 Royal Houses of the Quur Empire. Claimed against his will into a life he doesn’t want, Kihrin learns quickly that being a noble is not as worthwhile as the tales and other people make it out to be. At the same time, Kihrin suspects that a few members of his new family might be up to no good. However, before he can escape, Kihrin is kidnapped and sold to the Black Brotherhood as a slave. Yet, this organization isn’t interested in keeping him as a slave, but wants to train him to be an assassin in order to fulfill his destiny in the war to come. Kihrin’s story is a twisted bildungsroman about a 15-year-old boy who is forced to grow up under arduous conditions in a hostile environment with people who refuse to reveal his identity to him. Kihrin develops into an adult whose complexity leaves him with more questions than answers; but, the other characters he meets and interacts with along the way give him hints to his (true) identity.

            The plot in this novel has two parts. The first is Kihrin’s life from his latest thief to his kidnapping, and in between is the time he spent living as a member of a Royal House and what transpired there. The second part is Kihrin’s capture, auction and imprisonment with the Black Brotherhood and everything that happened to him with them. Both plots reveal the two identities which were kept from Kihrin in order to keep him safe. Unfortunately, recent events brought an end to Kihrin’s carefree life. This is because the subplot—events which will lead up to the end-of-the-world—has begun and Kihrin is one of the many who can put an end to this upcoming and inevitable event. However, no one knows which part Kihrin is supposed to play within the prophecy. The subplot is crucial to the two parts of the plot because it is the reason why everything happens to Kihrin and it becomes the focal point of the series. 

            The narrative is what garners the most attention. The novel has two parts, which presents various moments of the occurrences throughout the Empire of Quur. Part I is told in the past tense, but with two different narrators reciting two different timelines. Kihrin begins his narration from when he was sold to the Black Brotherhood and all of the events, which happened right up to his imprisonment in jail. The second narrator—and fellow jailer—is Talon, a woman with shapeshifting abilities, among other powers, who knows A LOT about Kihrin from the jewels he stole that night, to his “return” to the D’Mon family, to his kidnapping. Talon, tells Kihrin’s story to him from her point-of-view (3rd person) and Kihrin tells his story from his point-of-view (1st person). Both of these narratives are told in flashback and they introduce the readers—and the chronicler who is the intended audience of this story (read the footnotes!)—to all of the characters Kihrin interacted with: Ola, Galen, Tyentso, and several more characters who navigate Kihrin’s life and the decisions he makes throughout the narrative. At the same time, the world-building occurs from these narrations as the audience learns about the world the author created, its history and society—including immortals, magic and jewels—how it relates to Kihrin’s predicament and how it all relates to the end-of-the-world. The world-building will keep the interest of the reader, with help from the Appendums. In Part I, Talon forces Kihrin to tell the truth and everything that happened to him up to his imprisonment, and Talon does the same for Kihrin, which angers him to no end. Due to this “creative method” of blackmailing, both Kihrin and Talon are reliable narrators through their recounting of events. Part II focuses on the first wave of cataclysmic events, which set off the prophecies about the end-of-the-world. It is here when the narration moves to present tense and the point-of-view switches between the characters who’ve become “players” in this part of the apocalypse, including Kihrin, a few members of the Black Brotherhood, and Kihrin’s family. Part II is told in 3rd person omniscient, which provides all of the action everywhere from all of the characters P.O.V.s. Here, the narration is reliable, too. The readers receive a full account of everything that led up to the end, and the stream-of-consciousness the author provides for all of her characters enriches the story so that it can be followed by the readers.

            The style Jenn Lyons uses for The Ruin of Kings is the concept of oral tradition. Instead of one character providing an oral account of his story, the author inserted a second storyteller so that no detail would be omitted by the first one. Oral tradition typically results in changes to a narrative either through voluntary omission, or lack of knowledge of any kind by the storyteller (in this case, not being able to be two places at once). Here, the author found a way for the entire narration to be told orally. This is similar to how epic stories such as The Iliad, The Odyssey, and The Epic of Gilgameshwere passed down before being written down by scribes and chroniclers, and that is the style presented to the readers: two oral storytellers and one chronicler. The mood in The Ruin of Kings is imprisonment whether or not it comes from an individual’s identity, social status, or role in a prophecy, all of these elements put a restriction to one’s freedom, especially choice. The tone is how those individuals deal with their imprisonment and what choices (if few) they make when given the opportunity to make them; and, what happens when those individuals are no longer imprisoned and what that means for everyone else. Once again, both the maps and the appendums are a huge help to reading this book.  

            The appeal for The Ruin of Kings have been positive. Fans of A Song of Ice and Fire series and the Book of the Ancestor trilogy will enjoy this book the most. This is because both the character motivation and the idea of how prophecy is not straightforward are themes that are reflected in this novel. Jenn Lyons lets her protagonist learn the hard way that the tropes of long-lost heirs and prophetic heroes are nothing but embellishments to make such stories sound more appealing to everyone else. The one experiencing it has it the worse and gets to decide how the story will be told to everyone else; and, Kihrin almost makes the same mistake about his story, almost. This book was one of my selections for best speculative fiction books of 2019. The second book in this trilogy, The Name of All Things, was released in October 2019 with readers claiming it was better than the first book. And, the final book in the A Chorus of Dragons trilogy, The Memory of Souls, will be released in August 2020. I’m looking forward to reading the rest of his trilogy!

            The audiobook experience was different this time because there were three narrators instead of the usual one. Yet, having three different voices for the three different characters who are telling the story—Kihrin, Talon and the chronicler—clue the listeners in as to who is telling the story at that moment. And, it keeps the listener(s) from tuning out of the story. Feodor Chin, Vikas Adam and Soneela Nankani voice the characters in a way that one can picture the voice matching those characters perfectly; they speak the way I imagine those characters sounding if they were real people. 

            The Ruin of Kings is an ambitious start to a new epic fantasy series, which present the harsh realities surrounding royalty, magic and prophecies. Within these twisted tropes is a story about a young man who had all of his choices taken away from him, yet he strives to protect everything he cares about, even if destiny says otherwise. Jenn Lyon’s story contains complex characters and a world whose history and culture is as complex yet constant as ours. This novel is like the story it tells, simple at first, and then drops you into the story “in media res.”

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

Why You Need to Read: "A Broken Queen"

The Nine Realms #3: A Broken Queen

By: Sarah Kozloff

Published: March 24, 2020

Genre: Fantasy

NOTE: There are minor spoilers for the previous books in the series. You have been warned. 

            …sure that she was dying with her task unfulfilled, her people condemned to suffering, and the line of Nargis Queens judging her harshly, (Chapter Nine, “Aboard Island Dreamer”). 

            All great stories and storytellers know how to present the events and the plot to the audience. And, in the age of online streaming services, modern audiences started to forget what it’s like to have a cliffhanger and it being drawn out to where one wants their suspicions to be either confirmed or debunked. The Queen of Raiders—Book 2 in The Nine Realms—ended with this type of cliffhanger. Readers suspected that the protagonist did not meet her end, but the mystery of “what happened” and “what is going to happen” is addressed in A Broken Queen, Book 3 in The Nine Realms. 

            Thalen, Skylark and the Raiders have defeated the Oros in Oromondo. Unfortunately, Skylark is injured during the escape, falls into and is lost to the sea. Believing Skylark is dead, Thalen and the Raiders return to the Free States in order to lift the siege and to end the occupation of the Oros. Meanwhile, Gustie and Hartling do all they can to keep the Resistance going until the Oro army leaves; Matwyck has become drunk on power, finally, and has taken on interfering with the blossoming romance of his son, Marcot; and, the Spirits are becoming more active in their influence on the affairs of their Agents and the other mortals. All the while, Cerúlia—now using the alias, Phénix—ends up in Salubriton in the Realm of Wyeland, which is on the other side of Ennea Món. It is there Cerúlia is able to heal from both her injuries and her traumas. Even though Thalen and all of the denizens of the Free States now have to deal with the aftermath of the war and the occupation, and Matwyck becomes more and more devious with his “regency,” it is Cerúlia who develops the most in this book. This time, she learns empathy through her interactions with the other patients at the recovery house as they heal from ailments that plague the body, the mind, and the soul. At the same time, the Spirits present themselves to being as petty as stagnant as any other divine being. Then again, the conflicts of the Spirits are just as complex as their worshippers! 

            The plot in A Broken Queen is Cerúlia’s determination to reclaim the Nargis Throne after being hidden and in exile for 15 years. Once again, she’s shocked to learn of the lengths Matwyck goes to in order to prevent her return. But first, Cerúlia must regain her strength and come up with a plan for seizing control of Weirandale from the usurpers. There are several subplots as well, and they tie into the plot. First, there is the occupation of the Oromondo army in the Free States. Even though the war is over with a victory for the Free States, the Oros have no plans to leave the place where there is no famine or poisoned water. The war did not resolve the reason for the invasion, which is now becoming the dilemma to be solved by both the Free States and the Oros. Second, is the “Regency” of Matwyck and the toll its taking on the remaining citizens of Weirandale. With more arrests and disappearances, those who remain secretly plan on what to do when the Queen does return to Cascada. At the same time, Matwyck is losing control over his Council as they show themselves to being just as greedy and deceptive as him. This leads him into trying to maintain his last bit of control he has, which he believes is his son. Last, the Spirits—who are upset by the recent events involving Cerúlia—are arguing with each other over grudges of the past and the present. And, they have gone from using their Agents to act on their wills and behalves to overreaching into each other’s Realms: fires and tornadoes, sea storms and lightning, earthquakes, etc. All of these subplots go back to the plot of the Nargis Throne, which remains in chaos because of Matwyck and the other usurpers. It all traces back to what happened at the very beginning of the story. 

            Once again, the narrative is told from multiple characters and their points-of-view. This is a chronological sequence told in first-person P.O.V. and in the stream-of-consciousness of these reliable narrators. Readers will know what is going on everywhere all at once. It should be mentioned that attention should be placed on the characters Cerúlia meets during her recovery in Wyeland because it represents the reality that injury and trauma are not always obtained on a battlefield. And, there are two cases in which readers will see manipulation as an act of desperation to maintain control over what cannot be controlled. Desperate individuals do desperate things. 

            The style Sarah Kozloff uses in A Broken Queen focuses on both the recovery of the injured from the traumas of war and other unspeakable events, and the growing instability amongst the Divine. Although the main focus shifts back to Cerúlia, she’s not the only one who learns empathy through her interaction with other people (and animals). Thalen, Gunnit and Marcot learn how individuals don’t overcome their traumas overnight. Time is essential for recovery, and there are some who never recover. In addition, the reason one country would invade another one is readdressed here and it cannot be overlooked. All of their issues and themes reflect the reality of life as mentioned in history and in journals (both personal and professional/academic) by: soldiers, doctors, nurses, civilians, psychologists and survivors. The mood is somber and bittersweet. This is because while the war is over, the survivors have to deal with the traumas and the aftermath of everything that happened to them and rebuild their lives knowing it’ll never be the same. The tone is resilience and recovery, especially how all of the characters go through the process of becoming whole again. The maps—which were not included in the eARC—and the glossary will assist readers in keeping track of who’s who and where all of the characters are throughout the narrative. 

            The appeal for A Broken Queen will be positive. This is because it is in this book in which the story reaches its climax and some of the plots and the storylines are wrapping up. Fans and readers of The Nine Realms must continue reading the series because the pacing and the narration do not stop and we need to know what happens to our favorite characters. And, while it’ll be sad and difficult to say goodbye once The Cerulean Queen is released, we will all need the closure to the end of the author’s story.

            A Broken Queen continues the adventures and the turmoil wroth throughout The Nine Realms. Only this time it’s not only politicians and armies at work. The characters have grown into who they are and what they have to become given the circumstances. Emotions and trauma are the focus in the book, but the author incorporates them in a way which works with the story instead of it dragging it down. I’m already counting down the days for when I can read The Cerulean Queen! Luckily, we all don’t have to wait too long!

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

Why You Need to Read: “The Sword of Kaigen”

The Sword of Kaigen: A Theonite War Story

By: M.L. Wang

Published: February 19, 2019

Genre: Fantasy/Asian Literature/Standalone/Self-Published

            When Misaki hid her sword, she nailed the floorboards down over it. It was a promise to herself. She might never be able to destroy the part of her that was aggressive and willful, but she could bury it. That was what she had thought at the time, (Chapter 7: The Sun). 

            Thanks to the Internet and e-readers, creativity has propelled to levels beyond the zenith. Many e-books of all genres have allowed indie authors to become bestselling authors and several more have been able to transcend from self-published to contracted authors (i.e. Amanda Hocking). M.L. Wang is the latest self-published author who proves that indie authors should not be ignored or overlooked. The Sword of Kaigen: A Theonite War Story demonstrates the evolution of the speculative fiction genre with an unlimited freedom for creativity. 

            There are two protagonists, and they are members of the same family, the Matsuda Clan. Mamoru is the eldest son of Takeru and Misaki, and possible heir to the household—his uncle is the Lord and his only child is a girl. Mamoru has lived his entire life in the Kusanagi Peninsula—in the isolated mountain town of Takayubi—in the Kaigenese Empire. He doesn’t want for anything more than to become a warrior and master the sword technique of his family and ancestors, “The Whispering Blade”; and, at 14 years-old, he has yet to master the skill. When a new transfer student, Kwang Chul-hee, slams the lifestyle of the denizens of the Peninsula, Mamoru wonders whether or not his doubts go further than his family’s expectations. Like any other adolescent, he challenges everything his family has taught him to his father’s horror and to his mother’s humor. After his father fails to discipline him and to keep him on the “traditional” path, it is his mother who confirms his suspicions and assists him with his training and swordsmanship, much to Mamoru’s surprise. Misaki is the wife of Takeru and she hates it. A former warrior from the city of Ishihama from the Tsusano Clan, Misaki’s marriage to Takeru has left her in a state of depression and anger. While she finds solace in her sister-in-law, Setsuko, and in their friend and fellow housewife, Hyori Yukino, part of her wishes she can return to her days as a warrior doing missions for the Theonite Daybreak Academy with her former classmates: Ellen, Koli and Robin. Unknown to her husband, Misaki is close to having a breakdown due to her husband’s abuse and mistreatment of her. Both mother and son are characters who reflect the on goings of the bigger world. Mamoru must learn to uphold his family’s expectations while learning how the rest of the Empire operates from his classmate and friend; at the same time, Misaki must find a way to remain calm before her emotions get the best of her. Both protagonists represent the reality and the complexity of the lifestyles they must live and suppress amongst the ignorance of their family and their community. 

            The plot of this story centers on family and family expectations. Misaki is reminded of her role and her place as the wife of the leading household in a place far away from, and different, from where she came from. She is suffering from the stifling expectations. Mamoru sees himself as a failure because he has not been able to live up to the expectations of his family and his community. All he wants is the chance to prove himself to everyone and himself. There are two subplots in this novel. The first is the conflict of isolation from and involvement within one’s community. Mamoru is the son of a close-minded father and a secretive mother. When he is told how the Empire operates truly, it is his mother who allows him to seek the truth in his own way. Mamoru learns before his father that living in isolation could lead to death and stagnation. The second subplot is war: the cause of it, what happens because of it, the propaganda surrounding it, the cost of it, and the aftermath of it. War is coming to the Kaigenese Empire and denial from the government leaves everyone unprepared, and many people will die due to this neglect. 

            The narrative is told from the points-of-view of Misaki and Mamoru, with one or two moments where other characters’ P.O.V.s pop-up to enhance the story. The narrative is told in chronological order from the first-person P.O.V.s and streams-of-consciousness of the characters. In a story where a battle occurs, the perspectives, the actions, and the emotions are essential to how the events of the story are executed through the readers by the author. The way the narrative is written presents the P.O.V. characters as reliable narrators.

            The style M.L. Wang displays in The Sword of Kaigen will remind readers of both The Poppy War by R.F. Kuang and any anime series. Her combination of Asian storytelling and tradition with the allusion to pop culture references make this novel both informative and entertaining. The language and the word choice illustrate the culture and the influence of the author; and, the word choice presents the way the narrative is told and which character is perceiving it, an adolescent boy or his mother. The mood of this novel is tension. Tension within a family and the tension within a community before and after it’s been attacked. The tone is the steps each individual takes towards overcoming from the results of the tension. Even after the battle, the initial tension does not go away, but must be dealt with before any type of battle ensues. And, the way the author resolves both tensions in the narrative is bold and realistic. I should mention that the maps and the glossary are a huge help to reading this book as well. 

            The appeal surrounding this book have been extremely positive. Several bookbloggers, booktubers and I, have heard about how the author wrote a fantasy story about war and family including sword techniques and a magic system which will remind readers of any Asian influenced medium. I was lucky enough to learn of this book from other bloggers and to have the author sent me a print copy of the book (I still bought the e-book edition)! I should reiterate that this book was one of my favorite speculative fiction books of 2019! This novel is one of the most recent works of the genre, which demonstrates the future of speculative fiction. Alongside N.K. Jemisin’s The Broken Earth Trilogy, The Sword of Kaigen demonstrates the direction the genre is moving towards. And, while the author is taking a break from her Theonite series, the time will allow other fans of the genre to read this book and the other ones in her series and see why this book is one of the 10 Finalists for the 2019 Self-Published Fantasy Blog-Off (SPFBO), which is operated by Mark Lawrence and fantasy bloggers from the most revered fantasy reviewers and review websites in the community.

            The Sword of Kaigen is a powerful story that exploded in 2019 to the shock and the delight of the entire fantasy fandom. The themes of family, war, conspiracy, and consequences are not new to fantasy readers and fans. Yet, the way M.L. Wang writes her story make it standout and away from duplicates using a similar format. This book is the best example as to what the genre can evolve into and why self-published authors should be recognized and commended. I look forward to witnessing, experiencing and reading any and all books published by M.L. Wang in the years to come!

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 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)!