Why You Need to Read: “The Dragon Republic”

The Poppy War: #2: The Dragon Republic

By: R.F. Kuang

Published: August 8, 2019

Genre: Fantasy, Historical Fiction, Grimdark, Folklore, Military 

WARNING: The following contains minor spoilers from both The Poppy War and The Dragon Republic. You have been warned. 

            She didn’t care about anyone’s visions for the future. She’d stopped wanting to be great, to carve out her place in history, a long time ago. She’d since learned the cost, (Chapter 6).

            Books about war—whether or not it’s fiction or non-fiction—attempts to include the horrors it brings along with it. In recent years, more fiction stories have included the “realities” of war as opposed to the “glories” of it, which usually make their way into the narratives. R.F. Kuang, author of The Poppy War, re-establishes the “cost of war” and its aftermath in the sequel, The Dragon Republic.

            Runin “Rin” Fang is (still) reeling from her actions, which led to the end of the Third Poppy War and victory for the Empire. However, the victory has left Rin feeling hollow due to the deaths of her friends, her teachers, and her comrades. Everything she’d witnessed throughout the war: death, rape, starvation, mutilation, her lack of control as a shaman over a goddess, her addiction to opium, and the betrayal she and her Unit suffered towards the end of the war has left Rin in a depressive state of mind. As a soldier, Rin believes her only purpose lies in seeking revenge against those who betrayed her and the other denizens of the Empire. Lacking support, resources, and leadership skills, Rin leads the 13th Division to fight their remaining enemies. However, Rin and her soldiers are approached by Yin Vaisra—the Dragon Warlord, the Head of the House of Yin, and the father of one of her Sinegard classmates—and, he has a proposition for her: join up with him to form a “democratic” Republic amongst the now disbanded 12 Provinces and he will assist her with her vengeance. Rin—suspecting hidden motives and desiring to remain a soldier—agrees to the Dragon Warlord’s terms. As Rin works with her Unit and the Dragon Province, she is reunited with her former classmates who make their own decisions regarding the civil war that has broken out between the Empire and the Dragon Republic. This time, she has to determine her worth within this latest conflict. In order to do this, Rin develops from soldier to puppet to commander; it is a rough, but essential growth for Rin!

            Just like The Poppy WarThe Dragon Republic has three parts: the aftermath of war, the beginning of a civil war, and the fallout as a result of the civil war. Part I focuses on the Aftermath of the Third Poppy War, especially how the survivors—both military and civilian—are dealing with the damage that remains. Rin struggles with keeping her unit alive while avoiding the troops who would capture Rin in order to collect the bounty on her head. She makes a deal with the Dragon Warlord not only to achieve her goal of revenge and to have access of supplies for her troops, but also to maintain her purpose of being a soldier. All Rin knows is warfare and she doesn’t know what else to do with herself. She’s not alone in this because her friends and her comrades feel the same way. 

            Part II is the campaign launched by the Dragon Province. The mission: either to parlay, or to destroy the other 11 Provinces. The choice lies between siding with the Dragon Warlord or fighting against him. The reality of war is presented to readers again as war tactics, war strategy, and death becomes part of the plot. Decisions are the difference between life and death, and death always seems to prevail. Meanwhile, Rin is suffering from her lost abilities as a shaman and from the humiliating “testing” done to her by the Hesperians—an advanced civilization who promises to ally themselves with the Dragon Province towards the goal of a united republic with the promise of weapons as long as they: win the civil war, allow missionaries to assist with the refugees, and to “study” Rin. Rin has flashbacks to the same experiments done to her and Altan by the Mugenese and begins to wonder whether or not if more than her self-worth is on the line. At the same time, Rin learns how the Empress became so powerful and how the damage she inflicted on Rin can be skirted. For that to happen, Rin must learn more about the powers of a shaman. To do that she’ll have to learn from those who taught Jiang, her former Master of Lore. These two subplots are necessary for both the plot development, and the character development, especially Rin’s. 

            Part III unveils all of the revelations and the intentions of all of the characters. Everyone is involved with another oncoming war whether or not they want to be. The Empire and the Hinterlanders are on the brink of another civil war, and Rin and her Unit must decide who they are going to fight for when the war begins. Even Rin has intentions for this war, especially after she learns the truth about the Dragon Province, the Empress, and their “allies.” Amongst the death and the reunions Rin must determine if she is a soldier or a shaman. 

            Once again, the narrative is in 1stperson and stream-of-consciousness. With the exception of the Prologue, readers follow Rin’s experiences during the aftermath of the Third Poppy War. All of Rin’s thoughts and traumas are witnessed by both readers and other characters. It seems during the postbellum everyone sees Rin as a solder without purpose. She’s a terrible leader and her mistakes puts others in danger. Yet, she wants peace and prosperity (and revenge) just like the other survivors of the war. The scenes involving war, refugees, and previous events and memories are told in real time, so readers experience the anticipation, the suffering, and the confusion all of the characters experience. While it is long, the pacing of the narrative is appropriate for this military fantasy novel.    

            The style Kuang uses in The Dragon Republic is both similar and different from The Poppy Way. The conflict and the aftermath of war—based on the conflicts stirring in several countries before the beginning of both the Spanish Civil War and World War II—is found throughout the pages within this novel. The difference, or better yet the addition to the conflict, is the notion of imperialism. It is obvious that the Dragon Province is attempting to do this, but they are not the only ones fighting for control of a weaken empire. The mood of The Dragon Republic is death and suffering; just because (one) war is over doesn’t mean everything will get better soon. The tone in this novel is not only about the cost of war, but also about the price one is willing to pay for power. There are no innocent people left alive in this story. 

            The appeal surrounding The Dragon Republic have been positive. Fans of The Poppy War, other military fiction, and grimdark will enjoy this sequel. As the world expands, so does the world-building, which is found in the characters and the weapons, which are based on military history and Chinese culture and folklore. It must be mentioned that anyone who couldn’t finish The Poppy War and/or are triggered by real life acts of violence should NOT read this book! While not all readers are into military literature, actual events of war, such as rape, is mentioned in this novel. Otherwise, expect another well-written story by R.F. Kuang. 

            The Dragon Republic is an amazing sequel. The story picks up where The Poppy War left off and it is both creative and realistic for the type of grimdark and military fantasy the author is telling the readers. Parts of the plot and the narrative can drag on at times, but they are necessary for the story the author is telling everyone. I can’t wait for the next book, even though I must. 

My Rating: Enjoy It (4 out of 5)!

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Why You Need to Read: “Darkdawn”

The Nevernight Chronicle: #3: Darkdawn

By: Jay Kristoff

Published: September 3, 2019

Genre: Fantasy, Grimdark, Historical Fantasy, Folklore

NOTE: This review contains spoilers from both Nevernight and Godsgrave.

            Goddess, if only we’d known what she’d become…(Chapter 33, Wellspring). 

            Darkdawn is the stunning conclusion to The Nevernight Chronicle. Jay Kristoff gives his readers a blood-soaked conclusion to his antiheroine that rivals “The Bride” from Kill Bill and Kratos from God of War. Mia Corvere and her vengeance concludes in Darkdawn, and the author delivers on everything he promised his readers and gives them even more.

            Mia Corvere has transformed from an assassin of the Red Church to a gladiator of the Falcons of Remus to the most infamous murderer in the Itreyan Republic. While she was killing her family’s enemies, she made a startling discovery and acted without thinking. Her brother, Jonnen, has been alive the entire time and has been raised as Consul Julius Scaeva’s son. More about Scaeva’s deception is revealed to Mia and she realizes that her identity was a lie as well. As she comes to terms with this new information, Mia learns that she has been chosen to “seek the Crown of the Moon.” It turns out the gods and the goddesses of the Itreyan Republic are as real as the magic in that world. Mia’s power of a darkin is strongest during Nevernight—which, is coming again soon—and, when the Mother Goddess—Niah, the Maw, the Mother of Night, and Our Lady of Blessed Murder—is strong enough to get her vengeance on Aa—the Father of Light, the Everseeing—her husband. Mia is powerful enough to assist the Maw with her path for revenge. However, Mia has accomplished her tasks and wishes to put as much distance between herself and the Itreyan Republic as possible. But first, Mia has to complete purging the Red Church who has sent ALL of their assassins after her. Meanwhile, Mercurio—Mia’s mentor and foster father—is a captive in the Red Church to use as bait to lure Mia Corvere to them. At the same time, Mercurio learns of the role he’s to play in the Mother’s plan, and it’s as shocking to the readers as it is to him! Throughout the story, we see Mia being split between keeping her brother and her friends safe and killing Consul Scaeva once and for all and following the path the Mother has laid before her. Mia deals with all of these revelations the only way an 18-year-old can…by lashing out; and, Mia’s method of lashing out involves killing a lot of people. Mia is now the most lethal assassin in the history of the Itreyan Republic and the true faith of the Maw expects Mia to fulfill her final task. Will Mia accept the task of the Mother? 

            The plot in Darkdawn is the conclusion to Mia’s life. Readers have known since Nevernight that Mia Corvere would die. The question was how and why. Mia’s quest for revenge now includes the Red Church and anyone Consul Scaeva sends after her. On top of that the Mother (darkness) and the Father (sunlight) are preparing to meet each other and to end their “spousal disagreement.” Mia has to battle gods and goddesses at the same time she is battling mortals. The plot develops as Mia and Mercurio learn more about the history of the Red Church and the darkin. As for the history of the gods and the goddesses, all of those footnotes throughout the trilogy was information as to what would occur eventually. The immortals—like all mythologies—have foresaw their Ragnarök and Mia is to play a very critical role in the end of the Itreyan Republic. Will the gods allow Mia to defeat them? Along with this subplot is the subplot of Mia’s reunion with Jonnen and the relationship she struggles to build with him. These subplots are crucial to the conclusion of The Nevernight Chronicle and they take over the plot of Darkdawn as the story continues. The plot starts with and ends with Mia Corvere. 

            The narrative in Darkdawn is a continuation of Nevernight and Godsgrave until the final part of Darkdawn (Book 4, The Ashes of Empires). From there, the story seems to follow a stream-of-consciousness in the present tense, until it shifts back to the 3rd limited point-of-view. This narration allows readers to follow the actions of Mia, Ashlinn, Jonnen, Mercurio, and other characters as all is revealed throughout the Itreyan Republic. Mia—even with her darkin abilities—cannot be everywhere at once, so readers get the chance to learn how all of these characters are feeling with their situation and what will come to pass. While readers might not like certain characters, their narratives are objective and essential to the story that is being told. The footnotes remain informative and hilarious but are just as vital to the story as the world-building. Everything converges within the narrative. 

            The style Jay Kristoff uses continues in the final book in this trilogy. The events of the past are told in italics, the darkin’s dialogue are told using various font sizes, and the footnotes continue to explain Itreya’s history and culture. That last part is crucial to the narrative because it can be argued that the history and the culture was the real story being told in The Nevernight Chronicle. For example, the “author” of the entire chronicle is revealed, and once readers get over their shock, they will realize that it makes a lot of sense. On top of that readers are reminded that books still enact a sense of fear whether or not it’s the reader or the people mentioned within it. Jay Kristoff reveals the actual story he is telling in his trilogy, the anger of a goddess and the revenge she is waiting to enact on her husband. Similar to how Mia wants vengeance for her family, Niah wants revenge against Aa. The clues were in the titles: Nevernight, Godsgrave, and Darkdawn. The author wasn’t only telling Mia’s story, but also creating his own mythology about the world he created: the gods and the goddesses, how they created the world, and the religion that came out of it as well. The mood in Darkdawn is the coming end of an empire, a cult and its followers, and the protagonist. Readers are familiar with the saying, “tear it all down and begin anew.” Usually this statement comes out of the mouth of a madman; however, in the case of the Itreyan Republic—similar to the Roman Empire—there is so much corruption and greed that the end was going to happen sooner or later (I’m not a historian). The tone of this novel follows the idiom: “the sins of the father shall be visited upon the sons.” The actions of Mia and Jonnen’s parents are reaped by the siblings. At the same time, the actions of the gods affect the mortals who worship them. And yet, the same emotions are felt by mortals and by immortals alike. 

            The appeal surrounding Darkdawn will be a positive one. I received an ARC of this book and Jay Kristoff gives a satisfying ending to this creative and bloody trilogy. Fans of fantasy and grimdark will enjoy this story. Readers of historical fiction will appreciate the parallels (and the research) to the Roman Empire. And, folklore enthusiasts and experts will love how the author reminds his audience of the source of magic and faith found throughout the trilogy. Darkdawn concludes the way it does as mentioned in the beginning of Nevernight.

            Darkdawn is the action-driven end to a fast-paced trilogy. Mia Corvere’s life story ends as it began, with blood and death. Readers will cringe at the death count, will mourn the characters who die, and won’t be able to stop reading until the end. Fans will complete The Nevernight Chronicle and be more than satisfied with its conclusion. Mia Corvere is one of the best antiheroines I’ve ever read. Thank you Jay Kristoff for sharing her story with us! 

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

Why You Need to Read: “Small Spaces”

Small Spaces: #1: Small Spaces

By: Katherine Arden

Published: September 25, 2018

Genre: Children, Paranormal, Horror, Folklore

            Ollie, poised on the edge of flight, said, “Tell me what?”

            “Avoid large places at night,” the woman breathed. “Keep to small.”

            “Small? That’s it?”

            “Small!” shrieked the woman. “Small spaces! Keep to small spaces or see what happens to you! Just see!” She burst into wild laughter, (Chapter 2).

            Katherine Arden, author of The Winternight Trilogy, has demonstrated her ability to branch out to a wider audience with her stories. This time, the author shares a story for young readers. Small Spaces will make you believe that you are reading a book from Goosebumps, a series that terrified me as a child. The difference here is the reality written within the story. Katherine Arden reminds her readers that folklore is ubiquitous. Every “story” has a dose of “truth” in it.  

            The protagonist is 11-year-old Olivia “Ollie” Adler and she is dealing with the recent death of her mother. After a bad day at school, Ollie rides her bike to the local river where she sees a woman standing at its edge screaming at a book she’s about to throw into the water. Ollie manages to steal the book believing “it’s just a book,” but the woman screams a warning not to read the book and to keep to “small spaces.” Just like anyone else, child or adult, Ollie believes the woman is crazy and sees no harm in reading the book. She reads about Beth Webster—a woman who had the affection of brothers Jonathan and Caleb. A few days later, Ollie’s class goes on a field trip to the farm, the same farm the book mentions. When the bus breaks down during the return ride, some of her classmates disappear. Ollie begins to wonder whether or not the story in the book is based on truth. Ollie has been withdrawn since her mother’s death. However, with all of the eerie coincidences and the same warning about “small spaces,” Ollie and two of her friends—Coco and Brian—must use the knowledge they have and their skills in order to survive the night and to save their classmates and teacher. Ollie is a complex character in that she is a child who lost her mother but must focus on surviving an urban legend. Her classmates are typical sidekicks, but they provide Ollie with the companionship she needs at the moment. 

            The plot is simple: a girl steals a book an adult is trying to destroy, the girl reads the book and soon realizes that what she thought was a story isn’t a story, and the girl must survive a supernatural force that is hunting her down. Before the field trip, Ollie is reading “Small Spaces” and about the people who are mentioned in it. At the same time, Ollie and her classmates learn about Smoke Hollow and its eerie history surrounding the family that owns the land, who happen to be the descendants of the people mentioned in Ollie’s book. Urban legends—tales based on rumors—are part of folklore, which are beliefs and cultural practices shared by a group of people that are passed from generation to generation. The story Ollie reads in her book and the tales she hears in class are examples of folklore, which is the subplot of the novel. These stories give Ollie just enough information to survive her upcoming ordeal. Both the information and the plot (and the subplot) are presented at an appropriate rate. Readers will forget this is a children’s book. 

            The narrative is told from Ollie’s point-of-view; and, given everything that has happened to her, she is a reliable narrator. The story is told in present time, with the exception of the events in Ollie’s book, which are presented as journal entries. Throughout the narrative, readers learn about Ollie and the choices she makes and why. All the while, readers are reminded that Ollie is just a kid. 

            Katherine Arden’s style remains as it was for her adult books, but the word choice and the sentence structure are written for children. The author presents another aspect of folklore to her fans and readers: legends and urban legends. Legends are unverified popular stories believed to be based on historical events that are passed from generation to generation. Ubiquitous examples are King Arthur and Atlantis. Urban legends are rumors of experiences that someone known to the storyteller—a friend of a friend—had. Urban legends involve creepy and/or supernatural stories such as: hitch hikers and haunted houses. The mood is the eeriness presented by these stories and urban legends. The tone is the notion that legends and other stories are “stories” until the truth in them emerges. In other words, don’t ignore any strange occurrences that happen around you!

            The appeal of Small Spaces have been positive. It is a horror book, so readers of any age will find it frightening at times, but it is an enjoyable read about an adventure in an individual’s small hometown. Remember, there are children who read and enjoy horror stories. As a 90’s kid, both Goosebumps and Are You Afraid of the Dark? were popular amongst kids my age (and both series gave me nightmares). Children who have watched Jordan Peele’s horror movies and/or the IT movie remakes will enjoy Small Spaces the most. In fact, the next book in the series, Dead Voices, comes out in August 2019. 

            Small Spaces is a strong introduction to young readers who enjoy believable haunted stories. Katherine Arden continues to use folklore in her stories in order to provide a sense of realism for her readers. As a fan of her adult fantasy, I was just as impressed with this book as with her other ones! Small Spaces is a fun read!

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

Why You Need to Read: “Gods of Jade and Shadow”

Gods of Jade and Shadow

By: Silvia Moreno-Garcia

Published: July 23, 2019

Genre: Fantasy, Folklore, Historical Fiction, Mythology

            Casiopea Tun, named after a constellation, was born under the most rotten star imaginable in the firmament. She was eighteen, penniless, and had grown up in Uukumil, a drab town where mule-drawn railcars stopped twice a week and the sun scorched out dreams, (Chapter 1). 

            I read this ARC in 4 days (finishing it after midnight on the 5thmorning)! I was that engrossed in this story that reminded me of both Isabel Allende and Gabriel Garcia Márquez with story elements similar to both Rick Riordan and Katherine Arden. Gods of Jade and Shadow is a beautiful blend of history, culture, and mythology. Anyone who is a fan of standalone works such as The Wolf in the Whale and The Sisters of the Winter Wood will love this book by Silvia Moreno-Garcia. 

            There are 4 protagonists in this story, but the focus is on Casiopea Tun. She is the granddaughter of Cirilo Leyva, the wealthiest man in town, but you wouldn’t know it based on her appearance and her demeanor. Because her mother had married a poor native man—who later died—both Casiopea and her mother live as servants to their family. Casiopea and her mother clean and cook for their relatives while the rest of the family live comfortably according to their socioeconomic status. All the while, Casiopea’s cousin, Martín—who is also Cirilo’s only grandson and 2 years older than Casiopea—entertains himself by bullying Casiopea. Unlike Casiopea—who is pragmatic, yet hopeful—Martín is the traditional spoiled heir who has nothing else going for him except for his family name and the wealth that comes with it. He wants nothing more than his grandfather’s approval, which he never earns, and he believes his cousin has it (which she doesn’t). After a spat between the two cousins, Casiopea opens a mysterious chest under her grandfather’s bed with the key he left behind. When she opens the chest, she finds a pile of bones that revive into Hun-Kame, Lord of Shadows and rightful ruler of Xibalba, the Mayan Underworld. Casiopea learns that Hun-Kame was betrayed and imprisoned by Vucub-Kame, his twin brother. Immediately, Casiopea is traveling with the god in order to locate his missing essences and to help him regain his throne. The twin deities, Hun-Kame and Vucub-Kame are static characters (for the most part) because they are gods who have personas which are not affected by any change. Martín Leyva is a complex character who is forced to confront his demons, his family, and his insecurities, but that doesn’t mean he becomes a better person. It is Casiopea Tun who undergoes the most character development throughout the story.     

            The plot is part folklore and part bildungsroman. The folklore aspect of the plot follows the Hero’s Quest in that Casiopea leaves her home and goes on a “divine” quest. Except, Casiopea is compelled to accompany a god on this journey, and she doesn’t have anything forcing her to remain at her home. The bildungsroman, or coming-or-age story, surrounds both Casiopea and Martín. The growth these characters undergo happens because they leave home. Casiopea sees her chance to see the world and to experience new things; Martín, who had left his home once before, has no choice but to have these experiences. I’m not saying that Martín doesn’t need the experience that comes with leaving home, but it’s obvious that the growth won’t have the same positive effect on him the way it will have on Casiopea. The twin deities play their roles as gods, limited direct interference, which is expected. The subplot in this novel is family and family dynamics. Even though the setting is Mexico in 1927 (during The Jazz Age), some things remain universal and unchanged. There is nothing new about the spoiled heir and the “half-breed” child, but Moreno-Garcia makes sure that the long-term effects of such treatment and behavior remains realistic and believable. Martín, and the rest of the Leyva Family, know he’s not the heir anyone wants, but he’s the heir nonetheless, so the family finds it easier to indulge him rather than to curb his behavior. Casiopea, who is mistreated by the entire family, has a poor relationship with her mother because she never comes to Casiopea’s defense whenever she is abused by a relative. While both mother and daughter do care for each other, the relationship is strained. Casiopea goes on her adventure without hesitation because she has neither loyalty, nor emotional ties to her family. While there is both plot development and character development, the subplot of family develops and affects the plot within the story.  

            The narrative is an interesting one. First, there are multiple 1stperson point-of-view’s, and all 4 narratives are reliable because each character admits to his or her flaws and strengths during their P.O.V chapters. Next, the locations mentioned within the novel—with the exception of Uukumil(?)—are real places throughout Mexico. Readers can pull up a map of Mexico and follow the journey of the two adversaries throughout the narrative. Last, each of the characters provide both flashbacks and stream-of-consciousness throughout the narrative. Providing thoughts of both the past and the present not only allows readers to know what the characters are thinking at that particular moment, but also how and why they all think the way they do. This narrative method provides an understanding of each of these characters while allowing readers to choose for themselves whether or not they like, dislike, pity, etc. each character. The author incorporates all of these narratives into the story, yet it makes the story that much easier to follow along.

            The style Silvia Moreno-Garcia provides is a mixture of history, culture, and folklore. The historical events mentioned throughout the novel—automobiles, the Charleston, Prohibition, etc.—provides the mood of the story, which is modernity brings change. Each location throughout the story elaborates the clothing, the music, and the hustle and bustle illustrates how far behind the town of Uukumil is compared to the rest of Mexico. The culture reminds and informs readers that Mexico is a big country with a rich culture, but what Northern Mexico practices is not practiced in Central and Southern Mexico (necessarily). The folklore, while Mayan mythology is the main focus, fairy tales—such as “Cinderella”—is mentioned over and over. The author does an amazing job explaining Mayan mythology, Mexican culture and history, and pop culture, she mentions both fairy tales and poetry as cautionary tales to staying pragmatic no matter what is occurring in your life. In fact, that is the tone of the novel, staying humble regardless of any life changing events both positive and negative. Readers see the consequences of both examples within the story, and that moral is relevant in our modern times.

            The appeal surrounding Gods of Jade and Shadow are already positive (remember, I read an ARC of this novel). The book received advanced praise by critics and authors alike. And, it has been called one of the “Best Books of the Month” by Amazon and Barnes & Noble Sci-Fi & Fantasy Blog for July 2019. I did mention that fans of mythology-inspired fantasy will enjoy this novel the most. I should mention that several years ago, many people throughout the world became obsessed with Mayan culture and history when it was believed the world would end in 2012. This novel would appeal to them, too. This book can be read over and over again, and it belongs in the canon of mythological fantasy alongside Circe and American Gods. Fans of historical fiction will enjoy this novel as well. 

            Gods of Jade and Shadow is an informative and entertaining story about change, tradition, desire, and family. The honor of it being called one of the “Best Books of 2019” are not just words, but fact. This book is definitely one of my favorites of 2019. Silvia Moreno-Garcia conducts a grim, but magical journey throughout Mexico while reintroducing what we forgotten from our world history class. This novel is one of the best stories that balance fantasy and reality in recent years. This is an enjoyable story for readers of multiple genres.

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

Why You Need to Read: “The Sisters of the Winter Wood”

The Sisters of the Winter Wood

By: Rena Rossner

Published: September 25, 2018

Genre: Fantasy, Magic Realism, Folklore, Historical Fiction

            “…Everything makes sense suddenly, and yet nothing makes sense at all.

            There have always been rumors about the Kodari forest and the hidden things within it.

            Now, I know we are a part of that unseen world,” (7, Liba). 

            2018 was a year in which books written by “established” authors and by debut authors were published and read by both readers and critics alike. So many good books were released in 2018 that there were a few that got lost within the pile. Rena Rossner’s debut novel, The Sisters of the Winter Wood, was one of those novels. This standalone novel has been compared to and enjoyed by fans of Katherine Arden’s Winternight Trilogy; and, it’s easy to see why. The story is a blend of history, culture, and magic with wonder about the workings of the “other.” 

            Liba and Laya are sisters who are as different as night and day. Liba is stout and dark-haired, and Laya is willowy and light-haired; each sister resembles each parent (in more ways than one). And, like most siblings, Liba and Laya are jealous of each other. They both want what the other has and are oblivious to what they already possess. Liba wishes she was as beautiful as Laya, and Laya wishes she could fit in amongst the (Jewish) community like Liba. These wants and personalities define the sisters. And, when their parents leave them home alone in order to address a family emergency, the sisters are able to grow into themselves and obtain respect for each other. Throughout this coming-of-age story, both Liba and Laya realize what their parents were trying to protect them from—their heritage and its dangers. It’s only after coming to terms with their heritage that the sisters are able to accept themselves and each other for who and what they are. 

            The plot seems simple—almost like a faerie tale—but, it’s not because faerie tales are not simply stories, they’re cautionary tales complied with cultural beliefs. For the first time, Liba and Laya are left home alone. Between their heritage and the disappearances of their neighbors and their friends, the sisters are warned “to be wary of strangers.” Of course, both sisters do the opposite: Liba has encounters with men who claim they “know” her father, and Laya becomes friendly with 7 brothers who arrive in town to sell fruit at the market. At the same time, the sisters learn of their magical heritage and try to cope with the knowledge and the meaning of it. They soon realize that they have to make choices that benefit them as individuals before deciding their place in the world with, or without, their family. The subplot in this novel is the growing tension between the Christians and the Jews, which is based on the tragic events in Moldova in 1903. After two young Christians were found dead under mysterious circumstances, the nearby Jewish community were left with the blame and the potential pogrom against them. The subplot mirrors the plot in that while Liba and Laya are concerned with how everyone else will see them. Their microcosm Jewish community is on edge on what could happen to them all if the macrocosm Christian community continues to blame them for the deaths and the disappearances. The elements of the faerie tales work their way into the plot and the subplot reminding readers that faerie tales are not just “stories,” and we should heed them. 

            The narrative within The Sisters of the Winter Wood are told from the points-of-view of both Liba and Laya. The narrative is told in real-time and whatever is happening within the setting of the story, either Liba or Laya, or both are witnessing and experiencing these events, which makes them reliable narrators. The narrative is easy to follow because the story focuses on the events as well as the maturation of the sisters. Keep in mind that this is a bildungsroman story and we’re reminded, constantly, that our protagonists are adolescent girls.  

            Rena Rossner incorporates her story of magic realism and folklore within her style of writing. She writes in two styles in order to reflect the differences between Liba and Laya, and the way they see their world compare to everyone else. Liba’s P.O.V. chapters are told in prose and lets the reader(s) know of what is happening within the community. Laya’s P.O.V. chapters are in poetic verse and presents the reader(s) with the growing tension within her family, within the community, and amongst the magical elements that are hidden to all the other denizens. The fable styled morals can be found within the theme (the fear of persecution for being the “minority”), the mood (beware of strangers), and the tone (beware of your neighbors) in this folklore inspired story. The author’s styles not only illustrate how the sisters see the world, but also deliver the experiences both sisters have throughout the story. Liba spends more time interacting with other people and Laya spends a lot of time interacting with the other. Both styles standout, but together they give a complete story of all of the happenings within the novel.

            The appeal surrounding the novel have been well-deserved. Both the author and the novel have been nominated for literary awards, including the 2019 Compton Crook/Stephen Tall Award. Fans—readers and critics alike—note the similarities between Rena Rossner and Katherine Arden. The historical and cultural elements will draw comparison to both Nnedi Okorafor and Jordanna Max Brodsky as well. While this is a standalone novel, it’s a debut that will make readers wanting more from the author. 

            The Sisters of the Winter Wood is a beautiful story told with two styles of storytelling about two sisters adapting to adulthood. Fans of magic realism, historical fiction, and folklore will appreciate the combination of the genres and fall in love with the characters. It will leave you wondering whether or not your family is as magical as Liba and Laya’s. 

Why You Need to Read: “Trail of Lightning”

The Sixth World: Book One: Trail of Lightning

By: Rebecca Roanhorse

Published: June 26, 2018

Genre: Science Fiction, Native American Literature, Dystopian, Post-Apocalyptic, Folklore

NOTE:Understand that any incorrect use and/or spelling surrounding the culture mentioned is unintentional.

            “But I’m no hero. I’m more of a last resort, a scorched-earth policy. I’m the person you hire when the heroes have already come home in body bags,”(Chapter 1).

            There are numerous ways readers find out about which books to read by which authors: school assignments, friends and family, book clubs, random recommendations, the Internet, etc. In this case, it was from the 2018 Hugo Awards. One of the awards presented—the John W. Campbell Award for Best New Writer—announced its winner…Rebecca Roanhorse. If anyone watched my reaction video (https://www.youtube.com/watch?v=1oyX_U2U8kE&t=11s), then you know that I was shocked upon hearing this announcement because I believed either Katherine Arden, or Jeanette Ng should have won that award. Yet, I never heard of Rebecca Roanhorse, or her stories, before, and she did win a Hugo for Best Short Story that same evening. Suddenly, I had a new author to read and her debut novel is titled: Trail of Lightning. And, I’ll admit, I was wrong about my assumption!

            Maggie Hoskie is the protagonist. She is a survivor of a climate apocalyptic event known as “The Big Water,” when the water levels rose and engulfed most of the Earth’s terrain and its inhabitants. After this event, the Navajo Gods, heroes and monsters returned to Earth and to humanity. One of the gods, Neizghání a.k.a. “Monsterslayer,” trains Maggie to become a Monsterslayer like himself. When Neizghání suddenly leaves Maggie, she is able to accept jobs for her handiwork. Maggie’s skills as both a survivor and a monster hunter reflect all of the emotional traumas she’s experienced. However, when a job becomes something more than she can handle, Maggie, reluctantly, agrees to work with Kai Arviso, a medicine man who is also unsure about his supernatural abilities. Throughout the story, readers learn about Maggie and Kai’s past lives including how they survived the flood and how their supernatural abilities are both assisting and restraining them. Other characters, such as Kai’s grandfather, Grandpa Tah, notice how the relationship between Maggie and Kai could be a good thing for the survival of their community, but in a post-apocalyptic world, one should know better than to hope for such a thing. 

            The plot of the story is Maggie and Kai searching Dinétah (the Navajo reservation) for the source of dark magic that’s hunting the surviving humans. The subplot, which will probably carry over to the next book, is the concept surrounding “clan powers.” Clan powers are gifts from the “Holy People” and the gods to mortals. Maggie isn’t a fan of her gift and Kai views his only as a way to survive. However, readers—and Maggie—don’t know what Kai’s gift(s) is, so there is that small mystery to consider. Maggie’s superhuman abilities are not what she would call a blessing from the Diyín Dine’é (people with supernatural powers). Yet, Maggie uses her gifts to make a life for herself. This subplot comes up again throughout the novel, and it is safe to say that this subplot won’t be resolved as quickly as the plot. Both the plot and the storyline of Maggie’s training go hand-in-hand. This is because readers learn how Maggie became acquainted with the gods and how to harness her gifts to become a Monsterslayer. At the same time, we learn about Maggie’s friends and her relationships with other people living in Dinétah. The plot development is appropriate for this story, allowing it to unfold through the characters. 

            The narrative in Trail of Lightningis 1stperson point-of-view from Maggie’s perspective. The sequence begins and ends with murder and the protagonist’s reaction to each one, which is the same reaction, indifference. However, by the end of the novel, Maggie’s reaction makes a lot of sense. Maggie is a reliable narrator who tells Kai and his grandfather her past and how she survived the first wave of chaos after “The Big Water,” many of which she is not proud of doing. Maggie recounting her past actions through flashback allows the author to present her protagonist as flawed and traumatized, yet relatable. This narrative lets readers follow Maggie’s story—both the present and the past—with ease. 

            Rebecca Roanhorse depicts Navajo Gods when an ethnic group of people would need them the most, after an apocalyptic event. While the retelling of gods, heroes and legends are similar to Neil Gaiman and Rick Riordan, Rebecca Roanhorse has the gods of her ancestors return to Earth when the lifestyle of humanity reverts. Many myths and folklore tell of a simple lifestyle, when humans needed the gods to survive. This style of writing lets readers know that the lifestyle changes, but the culture doesn’t. As long as humanity thrives, so will their gods. The author’s tone within the novel, humanity’s failure of taking care of Earth, reflects the mood, an urban apocalypse where everything has to be rebuilt in order to achieve a sense of normalcy. In addition, Rebecca Roanhorse incorporates Navajo diction for both authenticity and reality, with an explanation (and translation) of each meaning. If other cultures incorporate words of their own into everyday language, then why not learn Navajo ones?

            The appeal surrounding Trail of Lightninghave been very positive. Called, “one of the Greatest Science Fiction & Fantasy Debut Novels Ever Written,” by Barnes & Noble, this novel received praise for the portrayal of Native American (one tribe) culture, too. Not to mention, Trail of Lightninghas been nominated for both the Nebula and the Hugo Awards. The follow-up to Trail of LightningStorm of Locustswill be released in April 2019. And, the author’s YA debut, Race to the Sun, which is part of the Rick Riordan PresentsUniversal Literary Pantheon, will be released in Fall 2019. This will expand Roanhorse’s readers and her universe, explaining the Dine’é to the rest of the world. Obviously, I’m looking forward to reading both novels. 

            Trail of Lightningis a brilliant debut novel that allows for an immersive story about Native Americans—Navajo—and their culture and folklore in an ironic apocalyptic urban fiction book. This narrative is slow at times because the world-building overtakes the pacing. I believe the next book in the series and any other one set in this universe will be just as memorable as the first one. I believe Rebecca Roanhorse will be publishing stories for many years to come, and I will read them all. 

My Rating: Enjoy It (4 out of 5). 

Why You Need to Read: “The Poppy War”

The Poppy War Series: Book 1: The Poppy War

By: R.F. Kuang

Published: May 1, 2018

Genre: Fantasy, Historical Fiction, Folklore, and Military

PLEASE NOTE: The following contains minor spoilers from this novel. You have been warned.

            “Who are the gods? Where do they reside? Why do they do what they do? These are the fundamental questions of Lore. I can teach you more than ‘ki’ manipulation. I can show you the pathway to the gods. I can make you a shaman.”

            Gods and shamans? It was often difficult to tell when Jiang was joking and when he wasn’t, but he seemed genuinely convinced that he could talk to heavenly powers. 

            She was admittedly fascinated by myths and legends, and the way Jiang made them sound real.(Chapter 6).

            This debut novel caught my attention during one of my browsing visits to Barnes & Noble. My interest in this novel piqued when I read the synopsis of the book, and that fans of Katherine Arden would enjoy it, too. The Poppy Waris often described as a fantasy folklore historical military fiction novel, but it is so much more than that. Readers are treated to a blend of Chinese culture, memorable characters, and the horrors of war. 

            The protagonist of this novel, Runin Fang, or Rin, has readers comparing her to Harry Potter; but this story is NOT about an orphan who learns of his or her heritage and is given the opportunity to attend a school. Rin is an orphan of the last Poppy War who is raised by a family of opium dealers. Rin studies for the entrance exam to Sinegard—the most elite military school in the country—in order to escape poverty and an arranged marriage. When Rin is accepted into Sinegard, we meet her classmates: Kitay, Venka, Niang, Negha, Altan, etc.; her instructors including: Jiang, a shaman; and, the members of her Division. 

            The plot of The Poppy Warhas three parts: learning about war, going off to war, and surviving a war. Part I focuses on Rin’s acceptance and placement to Sinegard. I say placement because Rin and her classmates can get expelled or killed at any given moment during their time there. Rin has to deal with the prejudice surrounding her socioeconomic status as well. When she decides to study under Jiang—the Master of Lore—to become a shaman, Rin’s true education begins and her identity is revealed to her. 

            Part II is the beginning of the Third Poppy War. The Twelve Provinces and the Empress gather their soldiers for war, and this includes the instructors and the students from Sinegard. This reflects the reality of war in that the students at the military school go off to war. As the first battle takes place, Rin and her classmates experience the horrors of war, which was NOT taught to them in their classes. During this battle, Rin loses control of her shaman abilities. To the horror of her comrades, commanders and Empress she helps secure victory of the battle. Rin’s nature and heritage are revealed to everyone else, and she is transferred to the “secret” 13thDivision, which is made up of soldiers with their own supernatural abilities.

            Part III reveals more horrors of war through the eyes of Rin’s surviving classmates, and the descriptions provide images that won’t leave the readers’ minds anytime soon. This is the point in the novel that a decision must be made as to how to end the war immediately. And, no matter what is decided, there will be consequences. Yet, it is soon realized that it isn’t that one country is bad and the other is good, or vice versa; no, each side is ruthless and will do anything to ensure survival, including betrayals. 

            The narrative is first person and stream-of-consciousness. Readers witness Rin’s education and decisions through her eyes and understand her reasons behind all of her actions, including the mistakes she makes. It is because of Rin’s mistakes that readers can view her as a reliable narrator. The narrative jumps through time so that the pivotal moments in Rin’s life are presented to the readers. For example, the scenes of Rin’s imprisonment and the siege are told in real time so that readers can comprehend and emphasize with the boredom and the impatience the protagonist and her comrades deal with. Even the scenes illustrating the battles and their aftermath will leave you nauseated and horrified. The narrative is written in a way that all readers can follow. 

            The style Kuang uses throughout the novel reflects its setting. One could argue that The Poppy Waris an allegory of the emergence of nuclear weapons at the end of World War II. The conflict of war within the novel is based on the Second Sino-Japanese War, which occurred between 1937 and 1945. This war was one of the many isolated wars that were ongoing throughout the world during the second quarter of the 20thCentury. While The Poppy Warstarts off with the protagonist wanting an education in order to have a better life, the author follows up that education with an actual war, which changes the mood rather quickly. By the end of the novel, readers understand the tone of the story as well as the decision Rin makes and why it is necessary. 

            The appeal surrounding The Poppy Waris interesting. I say interesting because while I understood both the story and its acclaim, I know readers whom either disliked it, or did not finish it. The reason usually was either “it got too slow,” or “I thought this was a story about a school like Hogwarts.” First of all, not every fantasy book is going to be similar to Harry Potterbecause a “school” is mentioned in its synopsis! Second, Harry Potteris a YA series and The Poppy Waris for adults—go back and re-read Chapter 5! Last, if anyone read either the title, or the synopsis, then you would know that a war breaks out a third of the way within the novel. Instead, think of The Poppy Waras a military fantasy with folklore elements. Both Chinese culture and folklore are explained as part of the world building and the historical context are based on real life events. The explanation of Eastern Shamanism demonstrates the differences and the consequences of having this ability. I have neither read all of the fantasy books with its own version of shamanism, nor know the beliefs of similar concepts throughout the world. But, I can say that this explanation of the Chinese Pantheon is one of the most interesting presentations I have read in a long time. The Poppy Waris nominated for several upcoming literary fantasy awards including the Nebula Award and the Compton Crook/Stephen Tall Award (the Hugo Nominations have not been made during the time of this publication). The sequel, The Dragon Republic, will be released in August 2019. This means readers and critics will be able to enjoy more of R.F. Kuang’s story. 

            The Poppy Waris one of the most critically acclaimed debut novels in the speculative fiction genre in recent years. Fans of Asian history and fiction, military, silkpunk and folklore will enjoy this novel. The Poppy Warmade My Selections for Best Speculative Fiction Books of 2018, which should make you aware of how I feel about this book. It definitely deserves the hype and the award nominations, and I’m looking forward to reading more stories from R.F. Kuang. 

The criticism of the book is not deserved because there are some readers who want all of the books within a genre to be similar to one or two, and that is not fair to the authors and everyone else interested in the genre. One of the purposes of speculative fiction is for authors to tell their stories that go beyond literary fiction and what’s been done before. This allows for both the diversity and the inclusion of many stories, which allows for the expansion of the genre. Kuang is one of those authors and that is why you need to read The Poppy War.

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