Why You Need to Read: “The Empire of Gold”

The Daevabad Trilogy, #3: The Empire of Gold

By: S.A. Chakraborty 

Published: June 30, 2020

Genre: Fantasy, Historical Fiction

            Daevabad, in all its glory and infamy. The mighty brass walls embellished with the facades of its founders, her ancestors. The crush of ziggurats and minarets, temples and stupas; the dizzying array of clashing architecture and eras—each group, each voice leaving its defiant mark on the city of djinn. The shafit stolen from Persepolis and Timbuktu, the wandering scholars and warrior-poets from every corner of the world. The laborers who, when their work was left unacknowledged in official chronicles, had instead emblazoned their names in graffiti. The women who, after erecting universities and libraries and mosques, were kept silent because of “respectability,” had stamped their presence on the cityscape itself, (42: Nahri).

            It still amazes me how I almost missed this series. When a book’s title and/or cover captures your attention, make time to read it because you might enjoy it to the point where it becomes one of your new favorite books. The Daevabad Trilogy has been a different reading experience and its due to the influence based on Middle Eastern culture and the classic story, One Thousand and One Arabian Nights. The series started with The City of Brass and continued with The Kingdom of Copper, which had an ending that left readers stunned. The Empire of Gold is the brilliant conclusion to this trilogy, and it begins where the last book left off.  

            The story begins with the antagonist, Manizheh—the former Banu Nahid and mother to both Nahri and Jamshid—as she looks over Daevabad after the almost successful usurpation of the kingdom and its ruler, King Ghassan. The rebellion was “almost successful” because Manizheh failed to retrieve Suleiman’s Seal. Instead, Nahri and Prince Alizayd beat her to the ring. And, just as Nahri and Ali are confronted by Manizheh, they jumped into the lake to get away from her only to find themselves transported to Cairo. Meanwhile, because the ring has been taken out of Daevabad, magic has vanished. Now, Manizheh is left without her magic and with hostile forces who are either trying to gain more independence or regrouping to take her down and reclaim the kingdom. Manizheh descends into madness as she struggles to maintain control of Daevabad. There is only one individual who has magic in Daevabad and it’s Darayavahoush e-Afshin. Dara is fighting a war within himself. He’s struggling to display his loyalty to Manizheh while trying to reach a truce with all of the 6 Tribes, the surviving members of the royal family, and the shafit. In addition, all of the trauma Dara experienced during the last war, which led to the deaths of his family has been resurfacing. It doesn’t take long for Dara to realize that history is repeating itself, and he’s the only one who comprehends what the war could lead to for everyone in Daevabad. This causes Dara to do everything he can to achieve a truce even if it means betraying his Nahid. Thousands of miles away, Nahri and Ali find themselves in Cairo with no clue as to how or why they ended up there. Ali wants to return to Daevabad immediately, but Nahri needs some convincing. The last 5 years haven’t been kind neither to the prince nor to the Banu Nahid, but it is the former’s surviving family members who remain at risk. After a lot of consideration, Nahri agrees to save Daevabad from Manizheh. Unfortunately, the journey back to Daevabad is even more perilous than Nahri’s first journey there with Dara. Not to mention, it turns out EVERYONE is searching for Nahri and Ali, and not just their families. Numerous “outsiders” hope to collect the bounty, and several mystical beings demand the payments of their ancestors’ “debts.” Why does everyone know about Nahri’s heritage except her? And, what other “debts” does Ali have to pay on behalf of both his maternal and his paternal ancestors? Throughout the story Nahri, Ali and Dara develop as characters as they find ways to overcome their traumas as they fight to save their home and to restore magic. It is essential to understand that the horrors and the traumas these protagonists face do not motivate their actions, they allow them to make “reasonable” decisions as they strive to change their world for the better. 

            The plot in this story picks up where The Kingdom of Copper ended. King Ghassan’s tyrannical rule is over, but Banu Manizheh proves quickly to be more ruthless and more paranoid than her former oppressor. And, Manizheh didn’t factor in losing Suleiman’s Seal or magic. Now, she feels powerless and she is forced to depend on Dara to complete her tasks. Meanwhile, Dara doesn’t wish to lose his independence, so he works against Manizheh secretly in order to keep everyone alive. Another plot in this story is Ali and Nahri’s journey back to Daevabad, which is full of physical and emotional turmoil. Ali has to decide whether or not to go through with his plans or that of his family’s. Nahri is dealing with what was revealed to her about her family and whether or not it’s true. The 2 friends need a plan to retake Daevabad and to defeat Manizheh, but it looks like they’ll have to make bargains of their own. There is one subplot in this novel and it relates to family. Ali, Nahri and Dara have struggled with family expectations—yes, even Nahri—and they’ve had an impact on all 3 of them. Ali has been a dutiful prince, but clashed against his father’s rule and his mother’s ambitions. Nahri was told what was expected of her due to her heritage even though she believed her relatives were all dead. Dara did everything that was expected of him by both his family and the (then) ruling family—the Nahids—only to witness his family’s deaths and the Nahids being overthrown. All 3 protagonists attempt to go against their family’s expectations as they strive to make their own decisions and what is best for themselves. This subplot is necessary for the plots of the story because readers can relate to some of the struggles the protagonists are experiencing and why they make certain choices throughout the story. 

            Once again, the narrative continues from the points-of-view of Dara, Nahri and Ali—with one chapter told in Manizheh’s P.O.V. The narrative is told in real-time and are in 3rd person limited narrative—the characters know only what is happening around them and to them at the moment. All 3 protagonists are reliable narrators because each of them provide everything that is happening to them, including the mistakes they make. The narrative follows the streams-of-consciousness of all of the protagonists. Yet, keep in mind these characters experience both flashbacks and memories. It is important to know the two are not the same thing, and the narrative is able to present this distinction.

            The style S.A. Chakraborty uses for The Empire of Gold is a continuation of what readers received from the previous books in the trilogy. One Thousand and One Arabian Nights and Middle Eastern culture are major influences in this book, and there are allusions to the Ottomans and the Napoleonic Wars as well. Now, instead of an impending rebellion, civil war has broken out after the ruler has been overthrown, and the person who claims she is in charge does not know how to maintain control and cannot solve the kingdom’s biggest dilemma, which is the loss of magic. The mood in this novel is discord. All over the world, magic is gone and everyone is dealing with the ramifications, including the civil war in Daevabad. The tone in this novel is resilience and which of the characters, including the protagonists, are able to withstand all of the incoming challenges. Readers should refer to the maps and the appendices as they read this book so that they can keep track of the Tribes and the world-building.

            The appeal for The Empire of Gold have been positive. Several fans and readers have lauded the author for providing a strong conclusion to this trilogy. Yes, this book is over 700 pages long, but any fantasy fan will appreciate all of the world-building the author has put into her books. Not only does this series belong in the fantasy canon, but also is a great addition to the historical fantasy and the Middle Eastern fantasy subgenres. Even George R.R. Martin has praised this series. And, fans can expect a new series from the author in 2022!

            The Empire of Gold is a gratifying end to The Daevabad Trilogy. The plots answer all of the questions readers have about the characters, and the author provides appropriate endings for all of them. Do not be intimidated by the book’s size because you will finish reading it before you know it. Fans of Tasha Suri, Sabaa Tahir, Egyptian mythology, and Scheherazade will enjoy this series the most. This book is a satisfying conclusion to this trilogy.

My Rating: Enjoy It (4.5 out of 5). 

Why You Need to Read: “The Memory of Souls”

A Chorus of Dragons, #3: The Memory of Souls

By: Jenn Lyons

Published: August 25, 2020

Genre: Fantasy

Thank you Tor Books for sending me an eARC of this book! And, thank you for your patience on waiting for my review.

Note: There are a few spoilers from the first two books in A Chorus of Dragons series. 

            “The more I remember, the more I hate being able to remember,” Janel said. “It feels like another person taking over my mind. Someone else’s thoughts intruding on my own. I’m not…those people anymore,” (74: Who They Used to Be).

            The cast has been introduced. The conflict has been revealed. So, the story can continue, right? Many readers of any genre understand both stories and real life are more complex than they first appear to be. Fans of epics, sagas and (space) operas know to expect more from such stories, but they never know which direction the story will move throughout the narrative. The Memory of Souls, the third book in A Chorus of Dragons series, is the latest epic fantasy to provide more plot devices as the story reaches its climax. 

            All of the characters (and, I mean all of them) from the first two books in the series—The Ruin of Kings and The Name of All Things—are back as they all continue with their roles pertaining to the end-of-the-world. The protagonists include: Kihrin D’Mon—the man who murdered the last emperor of Quur; Janel Thernanon—the Black Knight; Thurvishar D’Lorus—the son of the last emperor of Quur, who was also an infamous necromancer; and, Tereath—a member of the Black Brotherhood. These protagonists were saved and are tasked by the gods to convince the vané—the last race of immortal beings—to perform a sacred ritual. Unfortunately, there are a few parties who attempt to stop this quest, but the reasons vary between each group. One group is the parents of the protagonists: Therin D’Mon and Khaeriel—Kihrin’s parents; Terindel—Tereath’s father; and, Tya—Janel’s mother, work to assist their kids with the strength of their abilities. Another group involves more relations to the protagonists: Khaemezra—Tereath’s mother; and, Relos Var—Thurvishar’s grandfather, are some of the antagonists in this story, but they are neither working together nor working towards the same goal. Then, there are the characters who are working towards their own goals. First, is Senera who is still working with Relos Var (blindly), and who still possesses ‘The Name of All Things.’ Second, is Suless, one of the immortal wizards who seeks vengeance on those who kept her captive. Last, is Talea who was the former slave girl Kihrin failed to save, but she appears to have gain her freedom. After the events in The Name of All Things, all of the protagonists and the characters realize the “actual threat” wasn’t Relos Var, but someone who is more ancient and more powerful than him. There are more characters, old and new, who appear throughout the story who either try to hinder or try to help the “heroes” save the world. Throughout this story, the protagonists develop as they journey on their quest(s) and learn more about themselves through each other. Granted some of the protagonists’ revelations are just as shocking to them as they are for us, but the way the protagonists handle them allow them to make the decisions they know are coming their way, and they won’t have to do the fighting alone. 

            There are two plots in this story. The first plot revolves around the “newest” threat to Quur, Vol Karoth, who after having one of his tethers cut loose by Kihrin (who was tricked into doing it by Relos Var) is closer to being freed from his prison. The second plot concerns ‘The Ritual of Night.’ Kihrin, Janel, Tereath and Thurvishar must convince the vané to perform the ritual so that Vol Karoth will be reimprisoned. The catch is the race who performs the ritual will lose their immortality, which is something the vané are not giving up willingly. So, how will the “heroes” convince the vané Vol Karoth is a threat who should not be unleashed onto the Quur Empire? There are two subplots in this novel, and both of them embellish and develop alongside the plots in this story. The first subplot concerns the mysterious character known as Grizzst. He is a famous wizard whose magic may or may not have saved Quur from destruction. And yet, so few people know who he is and what he’s done, so why is everyone searching for him now? The second subplot involves memories and past lives. There are the vane—who are immortal—and, the god-kings—immortal wizards—then, there is reincarnation. That’s right, on top of gashes and soul swapping, there is the reincarnation of souls. However, how often do you hear of people remembering their past lives? There were a few examples in The Ruin of Kings, but it’s happening a lot more in this book. In fact, some of what the characters are starting to remember might contain clues as to how to stop both Vol Karoth and Relos Var. These subplots are necessary because they refer back to the plots, which allows them to develop and to go at an appropriate rate.

            The narrative in this book is slightly different from the narratives in the first two books in the series. Unlike the first two books in the series—where the narration and the points-of-view go back-and-forth among 2-3 characters—this book follows the narratives of several characters—some old and some new. Similar to the previous books, all of the narrations are being compiled into a single chronicle which presents all of the events in the “chronological order” they occurred in. Most of the P.O.V.s are told in 3rd person omniscient with one narration told in 1st person. In terms of how the narration is present, pay attention to the title. This means the narration goes from stream-of-consciousness to memories—NOT flashbacks! Without giving away too many spoilers, these memories are essential to the narration because it provides even more insight into the world the author created and the actions several of the characters performed as well. Not to mention, the events of the past influence the decisions some of the characters make in the present for the future. Believe it or not, all of the characters are reliable narrators, and the narrative can be followed easily by the readers. 

            The style Jenn Lyons uses for The Memory of Souls continues with the chronicler. Unlike the first two books, there is only one oral speaker recounting events. All of the other characters have written their “experiences” and “gave” them to the chronicler to compile. In this book, readers witness the “arrangement” of all of the “participants” into one coherent text. And, let me say the chronicler (and the author) make it look easy. The mood in this novel is crusade. All of the parties go their separate ways in order to engage in a campaign either personal or divine. However, many of these campaigns go against (one or more of) the other one(s). When that is the case and the parties involved meet up, discord occurs—which is the tone in this novel. Readers should refer to the map, the glossary, the family tree, and the timeline throughout their reading of this book. The series is at the point where these references provide enough information and backstory without having to refer back to the previous books.

            The appeal for The Memory of Souls have been mostly positive. While most of the readers enjoyed this book, there were a few who either found the story to be confusing, or thought the series was “getting too long” (not my words). That being said, those readers might want to look up the difference between fantasy and epic fantasy. Not all fantasy series are trilogies! I’ve made this assumption with this series and other ones before the authors corrected me! This book and the previous books in A Chorus of Dragons belong in the (epic) fantasy canon. Fans who have stayed with this series this long can look forward to reading the next book in the series, The House of Always, when it is released (in 2021); especially with those cliffhangers, we all need to know what happens next. 

            The Memory of Souls is the climax of A Chorus of Dragons series, which will leave fans and readers with the (grimdark) question: does the ends justify the means? While the story doesn’t omit any of the detail, it does leave readers with several more questions about the direction the author seems to be moving it in. No one is expected to survive the end of this series, but we’ll have to read in order to find out who will live.

My Rating: Enjoy It (4.5 out of 5). 

Novella Series Speculative Fiction Readers Need to Read: Part I

Novellas are stories which range from 17,500 to 40,000 words, and they can be read within one sitting. Novellas—along with novelettes and short stories—continue to be written, published and read by all within the publishing industry and the reading community. While novellas are written for all literary genres, in recent years, more of them have been published and read for speculative fiction. That’s NOT to say that they weren’t available, just that there are more available to read now. While Tor.com appears to be dominating the market with novellas—which is NOT a bad thing—there are many novellas from Saga Press, Harper Voyager, DAW Books, and all of the magazines that publish them. There are numerous standalone novellas for speculative fiction fans to read, and there are series—some of which are ongoing—that are worth reading as well. Yes, all of these novellas on this list were released by Tor.com originally, but this is the first list of many that I’m compiling and presenting. It just so happens that one publisher releases more novellas than other ones (for now). 

  • Tensorate by Neon (formerly known as J.Y.) Yang (2017-19)

This series was my introduction into silkpunk. Asian influence aside the story follows the lives of the Royal Family of Protectorate, particularly Protector Sanao—The Empress—and her youngest children—twins, Mokoya and Akeha—as they struggle to maintain control over the Empire as a rebellion grows more ruthless to match the Protector’s cruelty. However, it isn’t just the family saga or the politics that will intrigue readers, but the concept of biological sex and gender fluidity which is a mundane cultural practice in that world. I have read comparisons of this series to The Left Hand of Darkness by Ursula K. LeGuin (I haven’t read it, yet). Regardless, this quartet is worth reading.

The subplot of prophecy versus fate versus free will runs its course throughout the series, too. And yes, all of the books come full circle in the end, which will leave you emitting empathy for all of the protagonists. Not to mention, the last few chapters in the fourth book will stay with you for a long time. 

I love it when authors write stories across genres. After reading Rosewater, The Murders of Molly Southbourne intrigued me with its plot: when a young woman bleeds, clones are created. So, not only does Molly have to prevent herself from bleeding, but also learn how to fight, to kill, and to dispose of these clones. So, how does Molly live her life with this “unusual ‘medical’ condition”? Is there a way to stop it? Is there a cure? Even the second book leaves Molly (and readers) with more questions than answers. Hopefully, the next book will let us know what Molly will do next. 

This is a sci-fi horror/thriller series about the lengths a family will go to in order to protect their secret, and what an individual is willing to do in order to maintain their identity. Even if you’re not into sci-fi or horror or thriller, then you should still read this series because readers receive the point-of-view of the victim who never stood a chance for a “normal” life. 

  • Binti by Nnedi Okorafor (2015-Present)

This Africanfuturistic series will remind readers that with space exploration, xenophobia will continue to be an issue, and only choosing to understand those who are different from themselves will resolve conflict. The series follows Binti as she decides to break one of her culture’s traditions to leave her home to study at the most prestigious universities in the galaxy. However, during the voyage, the ship is attacked by a race of aliens claiming something was stolen from them. When Binti finds herself to be the lone survivor of the attack, she realizes that her skills as a harmonizer will ensure her survival.

The rest of the series deals with both the aftermath and the consequences of Binti’s actions. Readers follow Binti’s first year at the university as she learns to overcome her classes, her PTSD, and her reunion with her family (amongst other things). Binti manages to overcome all of the obstacles she faces while attempting to maintain peace amongst various races and cultures in the galaxy. I’m looking forward to the TV adaptation of this series! 

  • Wayward Children by Seanan McGuire (2016-Present)

This series takes everything you know about portal world fantasy and gives it a dose of reality with multiple worlds existing next to ours. The series centers on a school for children who went “missing” only to return “changed” from their “ordeal.” Their parents believe they are sending their children to a school for therapy; but, the school is a haven for the “visitors” to meet others like themselves who hope to return “home.”

The series alternates between the present and the past allowing readers to learn about the ongoings at the school—and its students—as well as all of the worlds the students reside in, and where they were able to become their true selves. The fact that some of these students might never be able to return “home” adds the reality to the situation that leaves you feeling emotionally twisted as to what our world does to all of us. 

Murderbot is my favorite robot/A.I. of all-time (sorry R2-D2)! I don’t know what else I can say about this snarky and depressed A.I. who performs its tasks so it has more time to watch its favorite TV show?! Murderbot has more empathy for humans than it’s willing to admit, and that’s what makes the series so relatable and engaging. Throughout the first four novellas in this series, Murderbot performs its latest task with a group of scientists, discovers corruption, then decides to travel to various planets to collect evidence of the crime. 

While Network Effect: A Murderbot Novel gave Murderbot the novel length adventure the A.I. deserved (I haven’t read it yet, I’m sorry), Murderbot will return to novellas when the next book in the series, Fugitive Telemetry is released in 2021. I hope the author continues to delight her fans and her readers with this series. And, I want to read an episode of Sanctuary Moon

This is just a starter list of novellas all readers should read. Readers who either want a quick read, or who want to meet their reading goal by the end of the year should check out these books. As for other novella series, I hope to include Impossible Times by Mark Lawrence, Valkyrie Collections by Brian McClellan, Finna by Nino Cipri, others in a future post. As for standalone novellas, I hope to compile a list of them in the near future!

Why You Need to Read: “Uprooted”

Uprooted

By: Naomi Novik

Published: May 19, 2015

Genre: Fantasy/Fractured Fairy Tale or Fairy Tale Retelling/Coming-of-Age Story

            The Dragon didn’t always take the prettiest girl, but he always took the most special one, somehow: if there was one girl who was far and away the prettiest, or the most bright, or the best dancer, or especially kind, somehow he always picked her out, even though he scarcely exchanged a word with the girls before he made his choice, (Chapter 1).

            I remember what led me to read this book. The ebook was on sale and I saw the promotion for its upcoming companion novel, Spinning Silver. Then, I attended BookCon in 2018. I had read an excerpt of the author’s upcoming novel, Spinning Silver, and I wanted to meet her and have her sign copies of her books. Yes, books, because in addition to Spinning Silver, I picked up Naomi Novik’s other books, His Majesty’s Dragon, Temeraire Book 1—which, I still haven’t read, yet—and Uprooted, which I had already read. I reviewed Spinning Silver first. Both books are similar in themes and tropes, but they stand out well as individual standalone novels. 

            Agnieszka is 17-years-old and lives with her parents in the village, Dvernik, near the corrupted Wood’s border. A wizard, known only as “the Dragon” to the villagers, protects the village from the Wood, which is his task set to him from the royal court. As part of the Dragon’s tribute, he takes one girl from the village for 10 years of service. No one knows what the service entails except the girls return as women, but “changed,” and leave the village for city life shortly after. Agnieszka is tall, clumsy and awkward, and she’s one of the girls who is of the age for the Dragon to choose from for his next tribute. However, Agnieszka knows she won’t be chosen, but her friend, Kasia, will be the one chosen. Kasia is beautiful and talented in almost everything she does, and Agnieszka and the entire village knows the Dragon will choose her. Only, he doesn’t. To everyone’s shock, Agnieszka is selected to serve the Dragon. Now, Agnieszka has to learn what is expected of her for the next 10 years. And, this includes filling in for the Dragon when he cannot attend court. Agnieszka learns about the Dragon and his service, why she was chosen over the other girls, and how the Wood became so corrupted. Agnieszka develops as a character and as a person as she learns about the outside world, which she has been sheltered from her entire life, and about the dark forces that make the Wood so dangerous. Agnieszka is accompanied by the Dragon, but as she learns more about what is expected from her, she refuses to lose contact with her family and her friends. Agnieszka grows up in an unusual way under unusual circumstances, and she manages in her own way.

            The plot is divided into two parts. The first part regards Agnieszka’s “services” to the Dragon, which is easier said than done. While Agnieszka shows promise with the more “difficult” tasks, she is awkward when it comes to completing the “easier” ones, which makes for a very entertaining “education.” The second plot revolves around the Wood and how it continues to grow stronger and more aggressive. After the Dragon is injured during a confrontation with the Wood, Agnieszka must travel to the royal court in his place in order to request reinforcements. Once there, Agnieszka meets the royal family and other individuals like the Dragon. It is here when the subplot develops: the Dragon’s relationship with the court, and the court’s connection to the Wood. The subplot explains the two plots of the novel as they all go at an appropriate rate.

            The narrative is told from Agnieszka’s point-of-view in first-person in the protagonist’s stream-of-consciousness. Everything the readers learn, is from Agnieszka’s perspective. If she is not where the action is taking place, then she learns about it afterwards from someone else (and, so do the readers). The fact that Agnieszka can only account for her actions and her experiences make her a reliable narrator. All of these elements make the narrative easy to follow.

            The style Naomi Novik uses for Uprooted follows both a fairy tale retelling and a fractured fairy tale. A fairy tale retelling is when a known fairy tale is retold with components that alter either the setting or the characters. A fractured fairy tale is when a smaller, yet popular part of a fairy tale is kept while the rest of the story changes. In this case, elements of the story, “Beauty and the Beast” can be found throughout the narrative, but the author presents a new story from the few parts she fractured and used. The mood in this novel is anticipation. All of the characters in the story are anxious or excited about an upcoming event, or dreading a threat that cannot be stopped. The tone of the novel focuses on how all of the characters remain resilient during such difficult times and how they handle themselves. The last two literary elements of style will make you forget about the fractured fairy tale and focus on the fantasy story.

            The appeal for Uprooted have been noteworthy. Besides receiving critical and popular acclaim, this novel won the Nebula Award for Best Novel in 2016. However, it seems that since the release of Spinning Silver, Uprooted has fallen a bit behind on the popularity, but I can assure you, if you enjoyed the former, then you will enjoy the latter. Uprooted remains a great addition to the fantasy canon, and fans of Katherine Arden, S.A. Chakraborty, and Rena Rossner will enjoy this book the most. There hasn’t been any announcements on whether or not we should expect another novel similar to this one, but I am willing to wait for as long as it takes, especially since the rumor is that both books are set in the same universe. Uprooted can be reread; in fact, older adolescents can read and enjoy this book as well (regardless of some of the adult content). 

            Uprooted is an entertaining coming-of-age story about identity and magic of all sorts. All of the familiar fairy tale tropes are twisted from what you know of them, and that makes the story more enjoyable. If you read and loved Spinning Silver, and you haven’t read Uprooted yet, then don’t wait any longer. If you want to read a fantasy story that uproots the expectations of the readers, then this is the book for you.

My Rating: MUST READ IT NOW (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: “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)!

Why You Need to Read: “The City of Brass”

The Daevabad Trilogy: Book 1: The City of Brass

By: S.A. Chakraborty

Published: November 14, 2017

Genre: Fantasy/Historical Fiction

            “Nahri had spent her entire life trying to blend in with those around her just to survive. Those instincts were warring even now: her thrill at learning what she was and her urge to flee back to the life she’d worked so hard to establish for her Cairo,”(Chapter 3). 

            I read S.A. Chakraborty’s first novel, The City of Brass, after its sequel, The Kingdom of Copper, was released in January 2019. The good news is that I enjoyed this novel, and the better news is I don’t have to wait to read the second book! This is a magical story that starts in Egypt and travels to a hidden kingdom in the Middle East.

            Nahri is a con woman with a magical intuition who is surviving on the streets of Cairo during its occupation of the Ottoman Empire. Hoping to become a trained healer, Nahri takes jobs “healing customers” while conning them. However, during one of her jobs, Nahri not only reveals her magical aptitude to herself, but also summons a djinn warrior named Dara, who whisks her out of Egypt to the kingdom of Daevastana, where she’ll be safe from enemies, or so they both believe. Meanwhile, Prince Alizayd al Qahtani of Daevastana is scheming behind his father’s back by aiding the poor Shafits, whom are being harmed and mistreated throughout the kingdom. Ali’s intentions are good, but he is naïve both in royal politics and in the truth surrounding the anger of the indentured population. When Nahri and Dara arrive in Daevabad, Ali must quash his ambitions in order to protect his family. Both Nahri and Ali must learn how to navigate and to cope with both their identities and their responsibilities to themselves and to those who rely on them—Nahri to the Daeva and Ali to his family. In the middle of all the impending drama is Dara—short for Darayavahoush e-Afshin—who has an interesting history with both Nahri’s and Ali’s ancestors. 

            The plot is about power, both political and magical. Nahri goes from being a thief to becoming the Royal Healer and the Last Nahid, and Prince Ali—the Qaid, or Head of the Guard for the Royal Family—must choose between doing what is right or being loyal to his family. Both protagonists are trying to determine whether or not Dara has ulterior motives and whether or not he is in control of his magical powers. The subplot, which will most likely become the plot later on in the trilogy, is the tension building within the six tribes residing in the kingdom. More is happening than either Nahri, or Prince Ali realize, but they can only do so much to keep a war from breaking out. Yet, there are more forces at work, which are revealed as the story continues. It goes slow at times, but both the plot and the subplot fall together by the novel’s end. 

            The narratives are told from the point-of-views of both Nahri and Ali; but, they are told in the third person limited narrative. Everything is told in real time, which makes the world-building and the plot easy to follow. Both Nahri and Ali are reliable narrators because readers learn of their flaws and the mistakes they make as the story continues onward. These flaws and mistakes are pointed out to them by the other characters, constantly, which could be argued to be an element of foreshadowing.

            The author’s style of writing can be presented in the mood, in which the beauty of the Middle Eastern region covers up the harsh realities of the people who reside there. Nahri swindles the wealthy residents in Cairo, which is moving between the Ottoman Turks. Ali is the Second Prince who hopes his brother’s reign will be better than their father’s corrupt one. Chakraborty’s tone reminds readers that the settings within the novel are in the midst of an occupation by those who don’t belong there: The Ottoman Turks in Cairo, and the Geziri tribe’s (Prince Ali’s family) rule of the Qahtani throne, which was once occupied by the Nahid (Nahri’s) family. The inclusion of Middle Eastern history and folklore flow within the story in order to add to the richness of this fantasy novel. The Glossary at the back of the book and the map at the front of the book allows for readers to keep track of the characters, the locations, and the culture with ease. Chakraborty’s style allows readers to have a flowing and an informative look into her world. 

            The appeal surrounding The City of Brasshas been a positive one for the Science Fiction Fantasy community; and it is a great addition to the sub-genre that is Middle Eastern fantasy. Both the novel and Chakraborty have been nominated for numerous awards such as the Locus, the British Fantasy, the World Fantasy, and the John W. Campbell Award for Best New Writer. The second book in the trilogy, The Kingdom of Copper, has received praise from readers and critics alike. As far as I know, the second book picks up where the first one left off. Hopefully, the third and final book, The Empire of Gold, gives us everything we want.

            The City of Brassis a fantasy novel that gives Western readers a story that could have occurred during the Ottoman Rule of the Middle East with the culture and the myths that go with it. While the narrative was smooth, the characters believable, the world-building and the conflicts take a bit longer to develop than I prefer. The “revelation” towards the end of the novel came a bit too late, but it works with the narrative and makes you want to read the next book in the trilogy, which I plan on doing. Chakraborty is a speculative fiction writer whose novels should not be missed by readers of the genre.

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