Tag Archives: stream-of-consciousness

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: “Tower of Mud and Straw”

Tower of Mud and Straw

By: Yaroslav Barsukov

Published: February 21, 2021

Genre: Fantasy

            The tower took the length of the world—only it was an alien world, replicating itself over and over as it climbed to a distinct, ghostly gap into the clouds. Or did he stare down a well? (Part I. The Duchy. 5).

            Critics have an interesting job. They review a genre of media—books, films, video games, etc.—and they offer their thoughts and opinions on each one for the public to have a perceived notion before experiencing it for themselves. While it sounds like an ideal job, many do not know critics are expected to review the “poor” and/or the “bad” works as well. Not to mention, the amount to review never seems to decrease. And yet, critics continue to do it because they enjoy it. So, what happens when a request is sent to them from the creator directly? One of two things: either the request is granted, or it gets shuffled into the pile until further notice. In the case of Yaroslav Barsukov, the former happened and I read his novella, Tower of Mud and Straw, a fantasy story that pays homage to familiar tropes while presenting his twists to his readers.

            The protagonist in this story is Shea Ashcroft, the former Minister of Internal Affairs and the former councilor to Queen Daelyn. Shea was stripped of his position after he refused a direct order and is sent to Owenbeg—the kingdom’s border—as the new “intendant” to oversee the construction of a massive tower. Shea, who knows this is a combination of a test and a punishment, arrives to learn about the tower’s construction or lack thereof. Once Shea observes the tower, he learns a truth which triggers a series of traumatic events from his past. Suddenly, Shea is torn between his role and his status, and his knowledge about the potential consequences surrounding the Tower’s completion. Shea demands that the Duke halts the Tower’s construction, which goes against Brielle’s—the Chief Engineer—goals of seeing the Tower completed in record time. Patrick is the Duke’s Military Counselor who is searching for whoever is sabotaging the Tower’s construction. Then, there is Aidan, a man who is obsessed with the Tower’s completion no matter what the cost is so that he can see it through. And, there are 2 women named Lena. The first Lena is the Duke’s Counselor of Arts, and the Duke’s lover. The second Lena is Shea’s (twin?) sister whose been dead for several years. All of these characters forces Shea to confront both his traumas and his fears as he chooses to do what is right instead of his duty.

            The plot in this story revolves around the construction of the Tower. The queen has ordered the airship tower to be built for society and for her legacy. However, Shea discovers that the Tower is being built faster than possible. This is because Brielle has been using Drakiri devices—which Shea’s sister called “tulips”—in order to build the Tower to massive size and expectations. As he processes this information, Shea learns from Patrick that there have been sabotage attempts on the Tower. Shea believes it is the Drakiri devices and demands to have them removed. But, Patrick believes there is a more “primitive” attempt to stop the Tower’s construction. There are 3 subplots in this story. The first subplot focuses on Shea’s new responsibilities and the consequences of not seeing them through—2 men attempt to assassinate him for opposing reasons. The second subplot surrounds the legends of the “Mimic” Tower, which are told to him by Lena—the Duke’s lover—who is part Drakiri and is familiar with the culture and the technology of her ancestors. The third subplot delves into Shea’s past, especially his sister, Lena, what led to her death, and why he ignored all of the signs which led him to make a decision with lethal consequences. Not only do all of these subplots connect to the plot related to the Tower’s construction, but also as to why Shea Ashcroft makes the choices he does throughout the story knowing the outcome won’t change. 

            The narrative is told from Shea’ point-of-view. However, the sequences are presented using different narrations. Most of the narrative is told in 3rd-person limited narrative, meaning readers know what is happening to Shea, but any inner monologues or thoughts are presented in 1st-person narrative. This change in narration illustrates the inner conflicts Shea deals with throughout the story, and these moments of streams-of-consciousness not only present Shea as a reliable narrator, but also presents the conflicts and the protagonist as relatable. What does it take to make a “good” decision? The protagonist’s flashbacks throughout the narrative are written so that they are easy to follow along as well. 

            The style Yaroslav Barsukov uses in Tower of Mud and Straw is a fantasy story with a steampunk setting and elements of folklore which is part political thriller and part cautionary tale. The language used by the author focuses on the “political” aspects found within the world-building as well as the culture of the “immigrants” and their “contribution” to the society they reside in. What happens when more emphasis is placed on the benefits of an unknown technology instead of its origins? And, what happens when “stories” are no longer “just stories”? And, when every side wants you dead, how will you “go out”? The mood in this novella is eerie. There is an unnatural state in the atmosphere, which is brought on by the Tower, but it seems most of the denizens decide to ignore it and say that it’s people and NOT the Unknown who are bringing this change in the atmosphere. The tone in this story is revelation. What happens when there is truth to legends, and they are linked to a personal tragedy? What would you do?

            The appeal for Tower of Mud and Straw have been and will be positive. I received an eARC from the author, and I strongly recommend it. This book will be released through an independent publisher, so it won’t receive the same marketing as books from larger publishers, but I’m a bookblogger who is recommending that you read it. And, it seems that other early readers have enjoyed it as well. This story is a great addition to the fantasy canon, and its lasting appeal will be due to its cult following. This story can and will be re-read because of the story’s structure and format. Each part of the story and the protagonist’s backstory are essential to the story—you can’t skip over anything! And, while one of the final scenes in the story seems “overdone,” it works with the question readers will have by the time they read the last sentence.

            Tower of Mud and Straw is a story full of themes and tropes presented in a way that makes for an incredible story. Yaroslav Barsukov is an author who seems to have more stories ready to give to readers than he is letting on. Until we get those stories, we’ll have to settle for this one about politics, unknown technology, folklore and vertigo. Anyone who is looking for an intriguing story written by an indie author should read this one.

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). 

Why You Need to Read: “Across the Green Grass Fields”

Wayward Children, #6: Across the Green Grass Fields

By: Seanan McGuire

Published: January 12, 2021

Genre: Fantasy

            It had been so long since there was a human in the Hooflands. She didn’t like to consider what might be ahead of them that was bad enough to require human intervention. Humans were heroes and lightning rods for disaster, and none of those stories she’d heard about them when she was a filly had ended gently from them, or for the people around them, (8: Time and Transformation). 

            Destiny vs. chance; fate vs. free will. These opposites are disputed more often than we want to admit. Is it destiny, or did your choices lead you to this moment? Did fate or chance determine your current circumstances? Regardless of ANY beliefs—religious or not—just about every individual has debated these questions among others, or between their personal thoughts. In speculative fiction—particularly in fantasy—this debate is investigated further by including prophecies in the plot(s) of the stories. Nowadays, many fantasy authors go into the “dangers of prophecies” and how it can bring about more harm than good, emphasizing how free will is a more “realistic” approach to fantasy stories. This is one of the several messages that can be found in Seanan McGuire’s Wayward Children series, and the debate between destiny and chance comes up in the latest book in the series, Across the Green Grass Fields. 

            The protagonist in this book is Regan Lewis, and when readers first meet her, she is 7-years-old. This is significant because one day, during recess, one of her friends—Heather Nelson—brings a garter snake to show off to her and their other friend—Laurel Anderson. While Regan is fascinated with the snake, Laurel is disgusted with it and slaps it out of Heather’s hand. Laurel states that “girls don’t play with disgusting things like that,” because a first grader believes she knows more about the world than her friends. From that day into the 4th grade, Heather is ostracized by her classmates and Regan remains “friends” with Laurel due to fear of the same thing happening to her. The one thing Regan loves which is considered to be “girly” is horses, which her parents—who love her tremendously—indulge her. However, Regan learns at 10-years-old that she is not “completely female” due to an “anomaly.” This leads to Regan confiding in Laurel (which, was foolish), which causes Regan to flee her school in tears. As Regan is making the long walk home, she finds a Door and walks through it. Regan finds herself in Hooflands—where all mystical horse creatures reside—and is adopted by a herd of centaurs: Pansy, Chicory, Rose, Lily, Clover, Lilac, Bramble and Daisy (notice a pattern here?). Throughout her time in Hooflands, Regan is able to grow into the person she wants to be without the social constraints and the gender role expectations of her (our) world. Regan experiences the same amount of love with the herd as she did with her parents; and, she has a “true” friend in Chicory, something Regan realizes she never had with Laurel. The centaur herd, like Regan’s parents, do everything they can to keep her safe, while keeping her informed about the world around her. Regan grows up realizing that one’s sex and gender doesn’t define an individual, and she is able to think the same way when confronted about “why she was brought to Hooflands.” 

            The plot in this book surrounds the idea of friendship. As cliché as that sounds, Regan’s growth focuses on what having and being a friend entails. Yes, Regan was 7-year-old when she stopped being Heather’s friend in favor of Laurel, but such things and worse are everyday occurrences with children and adolescents (I am an educator, and I can attest to A LOT of schoolyard—and cyber—bullying). Regan—who knows she doesn’t have any friends amongst her classmates—confided her “secret” to Laurel because she didn’t have anyone else to talk to; and, knowing what Laurel’s reaction will lead to, Regan runs away. Regan learns what real friendship is in Hooflands and worries her “predestined task”—something she doesn’t believe in—will bring it all to an end, and she doesn’t want that to happen. The second plot in this book centers on the choices all of the characters make, and the “what ifs” asked by all of them. Regan realizes Heather would have been a better friend than Laurel. Regan’s parents should have given their daughter more time to process the life-changing news they had to tell her. The centaurs make many choices, which they know they had to live with, from protecting Regan to choosing husbands. By the end of the story, Regan is able to make her “ultimate” choice because she witnesses the consequences which outweigh the benefits. There is one subplot in this novella and it involves Regan’s sex (she is intersex). While this revelation comes as a shock to her and causes her to worry about how she’ll be perceived by her peers and everyone else in society, Regan experiences some of the “benefits” which she uses to her advantage unknowingly, especially for someone who loves to ride horses. The subplot is essential to the plots in this story because the subplot drives the entire story. 

            The narrative of this book is told from Regan’s point-of-view and in the past sequence. This is NOT a flashback, but a look back at what happened to Regan from when she was 7-years-old to when she is 16-years-old. The narrative is told in 3rd person omniscient (readers get insight to what happens to Regan’s parents and other characters) and through Regan’s stream-of-consciousness. Given everything Regan goes through and the growth that results from it make her a reliable narrator. 

            The style Seanan McGuire uses in Across the Green Grass Fields is part homage and part criticism of popular children’s media, particularly of the TV cartoon, My Little Pony (the first variant was based on the toys from the 1980s), and of The Chronicles of Narnia by C.S. Lewis. First, let me say many of you will make the comparison to the Oz series by L. Frank Baum—and, you wouldn’t be wrong. However, thinking over what led to the protagonist making her choice has resulted with me leaning more towards Lewis over Baum; and, I might be wrong in that as well. Anyway, the author has explained to her fans how a beloved cartoon series contained a lot of danger in a world of horse creatures. Not to mention, McGuire’s view on what happens to the human character, Meghan, makes you reconsider what you think you know about My Little Pony, fairy tales and magic. As for The Chronicles of Narnia, think about the premise made by the Narnians whenever a human—“a son of Adam or a daughter of Eve”—appears in Narnia. Those humans are expected to live up to a role which was “predestined” for them, and they must go along with it because “it is was they’re supposed to do.” McGuire allowed her protagonist to be more mindful about certain things and to consider how such beliefs and notions can affect everyone, something this character is very familiar with. The idea of destiny versus free will is explored in books by Brandon Sanderson, Katherine Arden and Jenn Lyons (and even more authors). The mood in this novella is anticipation of what is coming. The tone focuses on the choices that are made in response to the anticipation of the inevitable. Once again, Rovina Cai provides the illustrations in this book. This time, those illustrations are spread out more in the book and I want to say it is because more emphasis is placed on the world of Hooflands instead of its inhabitants (many of the readers know what minotaurs, unicorns, kirins, etc. look like).  

            The appeal for this novella have ranged from mixed to positive. So far, some of the readers have said that this book is not their favorite in the series, but they still enjoyed it. Other readers (and reviewers) have been very critical about certain parts of the story, especially the ending. Everyone is allowed to have their opinions, and I can see where many of them are coming from. Yet, I do agree with one statement about this book in the Wayward Children series, it can be read by middle grade aged readers (ages 8-12)—as long as they are mature enough to deal with the book’s content. This is because the context and the characters mirror their age group the best. That being said, I believe this book continues with the theme of “cautionary tales” fans have picked up on throughout the series. Adolescent and adult readers are forced to recall their experiences as (or with) schoolgirls and how those notions continue to influence and to hinder each new generation of young girls. And, for those of you who do not believe girls are not “vicious” should re-watch Mean Girls or any “cat fights” videos on YouTube. Across the Green Grass Fields is a great addition to the series and it will be enjoyed by fans of the series. Furthermore, we have to wait another year until we get to read the next book in the series, Where the Drowned Girls Go. Who knows, maybe we’ll meet up with Regan again? 

            Across the Green Grass Fields in the most amiable book in the Wayward Children series so far, but it is not without the threat of danger fans know to expect from Seanan McGuire. This novella about young girls and horses is a much-needed commentary about choices, femininity and friendship. Say whatever you want about this book, but there is little girl you know who wishes there was a world of horse beings where you get to talk and to ride them all day long!

I was able to get this DVD during a bargain sale! I still remember watching these episodes on Saturday mornings on the Disney Channel!

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

Why You Need to Read: “Come Tumbling Down”

Wayward Children, #5: Come Tumbling Down

By: Seanan McGuire

Published: January 7, 2020

Genre: Fantasy/Horror

            “Everyone who comes here becomes a monster: you, me, your sister, everyone,” said Mary, voice low and fast and urgent. “The doors only open for the monsters in waiting. But you made the right choice when you left this castle, because you would have been the worst monster of them all if you had grown up in a vampire’s care.”

            “I know,” said Jack… (13: The Broken Crown).

            Responsibility is a trait which marks the coming of adulthood. The older we get, the more responsibility we get whether or not we want it. The concept of being responsible follows the practice of being reliable to others and being held accountable for your actions both good and bad. Even adults don’t always know who is reliable and who isn’t. Children and adolescents are given the benefit of the doubt due to their youth. However, once society deems the youth as “old enough to know better,” society expects the youth to follow the rules and obey the laws, or face the consequences. The Wayward Children series is about children and adolescents who traveled to other worlds for various reasons, and there are those who were kicked out of those worlds because they broke the rules. But, what happens when a traveler believes the rules shouldn’t apply to them? Fans of the series know of one example thanks to the past events in In An Absent Dream, but the author presents readers with an example occurring in the present in Come Tumbling Down.

            Readers catch up with the misfits at Eleanor West’s Home for Wayward Children: Christopher, who traveled to Mariposa; Cora, a Drowned Girl; Kade, a hero of Fairyland and headmaster-in-training; and Sumi, who—thanks to the events in Beneath the Sugar Sky—is alive and her old self again. It seems like an ordinary day at school, until lightning strikes the basement and a Door appears, but none of the students recognize it as theirs. This is because the Door swings inward revealing a large girl carrying a smaller one in her arms. No one recognizes the first girl, but the other girl is one of the Wolcott twins, but which one? It turns out that it’s Jack, but she’s in Jill’s body. Jack didn’t give her consent for the body swap; not to mention, Jack and Jill aren’t identical twins anymore since Jill’s death and resurrection. Jill’s death was one of two punishments she was dealt as consequence for breaking the rules in the Moors. Jill either had to remain in her world, or return after dying where she can no longer become a vampire. The problem was Jill proved to be as ruthless in our world as she is in the Moors, forcing Jack to make a decision to save her sister from herself. Unfortunately, everything blows up in Jack’s face, and Jill and her Master have decided to wreak havoc on the Moors, prompting a war between mad scientist and vampire, and between identical twin sisters. Jack flees the Moors with her fiancé, Alexis, to Eleanor West’s Home for Wayward Children so she can get help with getting her body back from Jill and save her Home. Throughout the story, readers learn more about Jack: what she’s been up to since returning to the Moors, and her future plans there with Dr. Bleak and Alexis. Jack is able to open herself up more to her former schoolmates than she was able to while staying at the school, which is a huge development for her character—and, as a (fictional) individual. Another character who develops in this story is Cora, but not in the “traditional” way. Cora—like the other students—hopes to return Home. However, it seems Cora has a deeper connection to the Drowned Worlds than everyone realizes, including Cora. 

            The plot in this story is sibling rivalry to extreme levels. Jack and Jill were kicked out of the Moors for Jill’s crimes (in Down Among the Sticks and Bones) and Jack made the decision to “change” Jill so both of them could return Home (in Every Heart A Doorway). Unfortunately for Jack, Jill views her twin’s actions as NOT “saving” her, but as “stealing eternity away from her.” Jill sees getting Jack’s body as a way to get everything she wants and damn the consequences. There are 2 main problems with this nonconsensual body swap. First, is that Jill and her Master believe they have found a loophole in the order of the Moors, but the rules in the Moors are strict and valid, and those in charge will NOT allow these transgressions to continue. Second, is Jack has OCD and she cannot cope with being in Jill’s body because of what the Master did to it; and, Jack has no intention of becoming a vampire, so she has to get her body back before the next full moon. There are 2 subplots in this story. The first is the concept of Death within some of these worlds. Just like in Confection, death isn’t permanent in the Moors. However, there are setbacks to being resurrected in the Moors—the body loses its function after each one—and time is of the essence. The second is the continued world-building of the Moors. We learn—through the other characters—how vast the world of the Moors is and about the Powers who run the Moors making sure ALL rules are followed. The subplots are necessary because they develop alongside the plot. Plus, everyone learns quickly how much trouble Jill is in for going against the order of the Moors. 

            The narrative follows a present sequence with moments of recounting the past (which is not the same as a flashback). It is presented in 3rd person omniscient from the points-of-view of Christopher, Cora and Jack. Readers learn how the Moors affect these characters who either reside in the Moors, or traveled to worlds similar to them—the Trenches and Mariposa. The streams-of-consciousness of the characters allow for the readers to experience Jack’s OCD, Cora’s attraction to the Drowned Worlds, and Christopher’s admiration and creepiness for the Moors make them all reliable narrators. 

            The style Seanan McGuire uses in Come Tumbling Down is a return to the concept of duality. However, unlike the idea of binary—which, was explored in Down Among the Sticks and Bones—the concept of oppositions is the focus. Identical twins find themselves on opposing sides of a challenge, which could evolve into a war, and their mentors are based on 2 of the most popular classic literary books and film characters: Frankenstein and Dracula. The allusions to both Vincent Price and the nursery rhyme, Jack and Jill, lets readers know there has to be a victor. The realization Jack admits about Jill make it obvious as to what must happen. The mood in the story is one of urgency. Everything in the Moors from the residents’ safety to Jack’s sanity is on the verge of being destroyed and Jack and her companions have 3 days to set things right. The tone in this story revolves around the outcome based on the urgency to answer the challenge. Jack and Jill are on opposing sides and the victor will determine the outcome of the balance within the Moors. There is more at stake than a stolen body, but one side doesn’t seem to care as long as they get what they want. Rovina Cai’s illustrations provide the extra context to the story as required. 

            The appeal for Come Tumbling Down have been positive. Fans of the Wayward Children series enjoyed this latest installment in the series as they travel with the students on another quest—remember, it’s against the rules to go on quests. And, while this portal-quest fantasy novella is a great addition to the fantasy canon, fans of horror will enjoy this book, too. The next book in the series, Across the Green Grass Fields, will bring readers back to the past.

            Come Tumbling Down is a fun story which balances adventure and rule-breaking as the characters and the readers return to the Moors. While it seems like this is the end of Jack and Jill’s story (for now?), I have an inkling we could return to the Moors. It might not be anytime soon, but readers will be satisfied with the ending, until the next adventure.

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

Why You Need to Read: “Juice Like Wounds”

Wayward Children, #4.5: Juice Like Wounds

By: Seanan McGuire

Published: July 13, 2020

Genre: Fantasy, Short Story

***This short story can be read for free here on Tor.com.

            They walked west, the three girls: Lundy with her knife, Mockery with her spear, and Moon with her sling. And when the trees loomed before them like the walls of heaven, they exchanged a look but not a word, ducked their heads, and stepped into the darkness.

            This short story is NOT an interlude, but an expansion on Lundy’s first “trip” to the Goblin Market. So, you need to read In An Absent Dream before reading this story. Juice Like Wounds explains why Lundy decided to return to her parents after her first trip to the Goblin Market. 

            Lundy is 8-years-old and is learning how the world of the Goblin Market operates. She has made a deal to stay with the Archivist, whose library Lundy has access to. This means Lundy has been able to read upon the world’s history. And, Lundy is hanging out with her new friends: Moon and Mockery. This is the first time Lundy has had friends, and she is about to lose one of them. Just like Lundy, Moon and Mockery are from other worlds who ended up in the Goblin Market and find themselves happy to be there. This trio of travelers decide to slay a monster in order to retrieve back what was once stolen. 

            The plot is simple: children go on an adventure so they can become heroes. Unfortunately, they are too young to understand adventures don’t always have happy endings. There are 2 subplots in this story. The first one is a further explanation of the world of the Goblin Market. There is more there than the Market, and Lundy and her friends want to learn more about it. The second subplot revolves around Mockery. Readers learn who she was, what happened to her, and her relevance to Lundy’s story. Both subplots are necessary for the plot, and the development of the characters. 

            The narrative in this short story is a continuation of Lundy’s first visit to the Goblin Market, which ended with blood and death. The points-of-view are those of Lundy, Moon and Mockery, and the Archivist, which makes it 3rd person omniscient. The sequence is of the past, and told in the past tense. Readers follow the streams-of-consciousness of the protagonists, and given what happens to them, it is fair to say the narrators are reliable.

            The style Seanan McGuire uses for Juice Like Wounds is a continuation of what she used in In An Absent Dream. The reference to Goblin Market by Christina Rosetti comes up again because the poem mentions a 3rd girl who died after buying and eating fruit from the goblins. Seanan McGuire goes further with her cautionary tale and mentions not only Mockery, but also Zorah—another young visitor to the Goblin Market who no longer lives there. This short story is the first of many cautionary tales about “fair value,” which goes over Lundy’s head. While the Wasp Queen could be a figure of foreshadowing, the story is about Lundy and the Archivist in equal measure. 

            Fans of Wayward Children will enjoy this short story. Juice Like Wounds lets readers know what Lundy was up to during her first visit to the Goblin Market and why she was so eager to return to her parents afterwards. It is unfortunate Lundy never understood the reason why Mockery died although hints were left throughout In An Absent Dream for her to pick up on—Lundy never forgot about Mockery; she just didn’t know what her death signified. 

            Juice Like Wounds is a short story which serves as a cautionary tale as readers travel back with Lundy to the Goblin Market. Seanan McGuire answers the question: who was Mockery? in this expansion of In An Absent Dream. I hope the author has similar stories for future releases because I have some questions about other characters I would enjoy reading in similar format. I know other fans of the Wayward Children series feel the same way.

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

Why You Need to Read: “In An Absent Dream”

Wayward Children, #4: In An Absent Dream

By: Seanan McGuire

Published: January 8, 2019

Genre: Fantasy

            This, then, was Katherine Victoria Lundy: pretty and patient and practical. Not lonely, because she had never really considered any way of being other than alone. Not gregarious, nor sullen, but somewhere in the middle, happy to speak when spoken to, happy also to carry on in silence, keeping her thoughts tucked quietly away. She was ordinary. She was remarkable, (1: A Very Ordinary Garden). 

            We’ve all asked the question: ‘How did ‘x’ come to be in existence?’ In our world, we have history lessons and oral tradition to teach us about historic moments and events, and changes in technology. In other worlds—in works of fiction—the audience receives the history as the narration continues explaining the scenario, the characters’ backstories, and—in the case of speculative fiction—how the world came to be. Throughout the Wayward Children series, readers have learned about the various worlds the travelers visited, and how Eleanor West’s Home For Wayward Children is a haven for these travelers. It makes you wonder how those who returned to our world readjusted in society before these schools existed. In An Absent Dream, the fourth book in the series, provides one infamous case.

            The protagonist in this story is Lundy, whom we met in Every Heart A Doorway. Everyone already knows how her life ends, but we’re given a look into her life—both with her family and in the Goblin Market. Katherine Victoria Lundy is the middle child in her family’s household. She is 6-years-old at the beginning of the story. She has an older brother, Daniel, who is 6 years her senior; and, her mother is pregnant with her 3rd child, which will be Lundy’s younger sister, Diana. However, Lundy isn’t Lundy yet, she is Katherine; it’s her birthday, and none of Katherine’s classmates are celebrating with her. The reason for this is because Katherine’s father is the principal at the school, which goes unnoticed by both parents. For another 2 years, Katherine is a model student, which isolates her even more. One day, 8-year-old Katherine is walking home from school when she finds a Door with the words: BE SURE. Well, Katherine is sure and she enters the world of the Goblin Market. There, Katherine meets “the Archivist,” who explains the rules and the ways of the Goblin Market; and, “Moon,” a girl around Katherine’s age who is a resident at the Goblin Market, who has trouble following the rules. The first thing Katherine learns there is NOT to use her actual name, but either an attribute or a family name. Thus, Katherine chooses to go by her last name, Lundy; and, Lundy is told she is not the 1st visitor to go by that name. Throughout her “trips” to the Goblin Market, Lundy grows into the person she was denied to be in her world (the story starts in 1962). Meanwhile, Lundy’s family cannot understand why she would choose to be anywhere else but with them, especially Lundy’s father. So, what does Lundy’s family do to her? They find ways to keep her from leaving them, even succumbing to enact guilt. This move begins a rift in Lundy as she tries to figure out a way to find “fair value” before the curfew.   

            The plot is a look back into Lundy’s early life—who can be viewed as a “tragic” character—and her childhood and her time in the Goblin Market. This is an intriguing view into how a child survives in “another world” with minimal adult guidance, which could be one of the actual dilemmas Lundy had to deal with as well, while remaining divided on which Home was her real one. The sad thing is Lundy was thriving in the Goblin Market for reasons her family was too blind to notice. There are 2 subplots and they are essential to the plot (and, the entire series). The first subplot regards the concept and the importance of the rules in each world. Throughout the series, readers learn which students haven’t returned Home due to the rules they broke, but there wasn’t too much context in their stories—except for Kade. Lundy is the first character who has to admit her choices to break the rules led to her permanent punishment (unlike Jill). The second subplot presents how and why schools like Eleanor West’s—remember, there are several others throughout our world—became the much-needed havens and fellowships travelers, especially children, never knew they needed. Lundy knew of 2 other travelers: Moon, who was already a permanent citizen of the Goblin Market; and, Franklin Lundy, Lundy’s father, who does everything in his power to stop his daughter from returning to the Goblin Market. Neither friend nor parent can give the guidance Lundy needs so badly. It makes you wonder what could have been if a school existed during Lundy’s childhood. It is obvious both subplots are necessary for the plot to develop throughout the story.

            The narrative in this story is told from Lundy’s point-of-view, but in 3rd person omniscient. This is because there are moments when the P.O.V. shifts away from Lundy—usually to her father—in order to fill in the smaller details of the story. The sequence is broken down into the events leading up to Lundy’s “trips” to the Goblin Market, particularly her first 3 visits. Each visit leads Lundy to staying at the Goblin Market for longer periods of time. However, it is the visits before the curfew, which receives the most attention. Lundy’s “trips” become more frequent, but for shorter visits, almost like they match Lundy’s hesitation instead of her heart. The narrative is a look back at the past, so it is NOT a flashback. This means most of the narration is told from Lundy’s stream-of-consciousness. And, because the narration leads to the end readers know is coming, Lundy is a reliable narrator.

            The style Seanan McGuire uses in In An Absent Dream is an intriguing one. The concept of the Goblin Market comes from the narrative poem of the same name by Christina Rossetti. The poem is about 2 sisters who meet goblins by the river encouraging all to “Come buy, come buy.” The synopsis of the poem is: one sister eats the fruit, while the other one does not. As time passes, the sister who ate the fruit begins to age unnaturally. This causes the other sister to go and buy some of the fruit to save her. The sister resists the temptation to eat the fruit, which saves her sister’s life. It is obvious the author took this children’s poem and retold it with the same dilemmas and the same morals. Seanan McGuire’s retelling of Goblin Market is easier to comprehend, but is just as much of a cautionary tale as the original poem. The mood in this story is the discord one’s desires can lead to within the individual, which is brought on by those closest to them. Once again, the illustrations done by Rovina Cai bring out the beauty in a world very few people know exist. 

            The appeal for In An Absent Dream have been positive. Not only was it nominated for a Hugo Award for Best Novella in 2020, but also it is one of the highest rated books in the Wayward Children series by readers on Goodreads and on other social media and (book) retail websites. This novella is an excellent addition to both the book series and the fantasy canon. I should mention that anyone who did enjoy this book because of the world of the Goblin Market should read both Goblin Market by Christina Rosetti and The Sisters of the Winter Wood by Rena Rossner. The latter is a historical fantasy novel with allusions to Goblin Market. After reading those, fans can move on to the next book in the series, Come Tumbling Down. 

            In An Absent Dream is a story so beautiful and tragic readers will be torn between wanting it to be real and wanting it to be a dream. This is my favorite book in the series next to Every Heart A Doorway. There are several reasons for this: the believable characters, the beauty of the Goblin Market, the split between family and where you belong, and the heart-wrenching end everyone knows is coming but doesn’t want it to happen. Not to mention, the reason and the importance of schools like Eleanor West’s for travelers in similar scenarios. Now, readers have a complete understanding of what these children really need: the desire to choose without any guilt. 

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

Why You Need to Listen to: “The Original”

The Original

By: Brandon Sanderson & Mary Robinette Kowal                Audiobook: 3 hours 24 minutes

Released: September 14, 2020                                                       Narrated by: Julia Whelan

Genre: Science Fiction/Thriller

            Have you ever listened to any audio story or audio narrative without the text or any visuals to follow along to? I believe the most familiar example of this would be Peter and the Wolf. This Russian “symphonic fairy tale” is presented with specific orchestra ensembles representing each of the characters with a narrator telling the rest of the story. There are audiobooks which are standalones (as in no written edition) and it relies on an excellent narration and an engaging story so that the audience’s attention is maintained from start to finish. The Original by both Brandon Sanderson and Mary Robinette Kowal demonstrates a strong collaboration, but it is the talent of Julia Whelan that gives life to the story through her narration. 

            Holly is the protagonist. She wakes up in a hospital with no memory of how she got there; and, her husband, Jonathan, isn’t with her. She is told by doctors and by Detective Skylar that she is a Clone of the “Original” Holly, and that she was created on the orders of a warrant because Holly murdered her husband. On top of that bit of news, Holly learns she is an “Edited Clone,” which means that changes were made to the body and the DNA that can make a Clone “better” than the “Original.” Finally, Holly is told one more thing: no one can locate the real Holly, and she has to find her and kill her in order to survive. Holly leaves the hospital with her mission to carry out with a set of skills her “Original” doesn’t have and didn’t ask for. The Clone Holly has to shift through shared memories, to survive attacks from people she doesn’t recognize, and to find her Original within 4 days or cease to exist. Does Holly want to live the life of her Original? Can she find her? And, if she does, then will she be able to kill her? 

            The plot is very interesting. A clone awakens, learns the reason for her creation, told her purpose, and is sent to carry it out. Of course, that’s the short version of it. Holly has less than 4 days to find her Original before she ceases to exist because a Clone and its Original cannot exist at the same time. Detective Skylar explains to Holly that after she finds and kills her Original she can live her life for the duration of hers. Meanwhile, Holly is trying to figure out what led her Original to kill Jonathan. She goes through her memories of her relationship and love for Jonathan, his occupation and hers, the last time they were together before the murder, and the murder itself. This leads to Holly having more questions than answers, but she decides that finding her Original and demanding to know why she killed her husband before killing her is how she is going to complete her mission. The subplot is the elements of world-building, many of which includes the idea behind clones and other scientific practices the society performs. In addition to clones, nanotechnology exists so that people can reverse aging and accelerate healing. Yet, Holly discovers that nanotechnology and clones are not wanted by everyone, including Jonathan. So, if Jonathan was against the idea of clones, then why is Holly being promised with a clone of Jonathan after she kills her Original? The subplot develops alongside the plot in which both the society and the conflict are explained further as the story continues. 

            The narrative follows the point-of-view of Clone Holly. This makes for an interesting P.O.V. experience because none of her past experiences are hers, and she cannot remember everything of her past before she was created. This is important to know because this means that when Holly remembers something, it is NOT a flashback! It is NOT amnesia! This is because, one, the memory isn’t hers; and two, Holly can’t remember all of the details surrounding those memories. Holly knows that she was created without all of her memories intentionally. This revelation does make Holly’s stream-of-consciousness very interesting because in between Holly’s confusion and exhaustion, the audience knows how frustrated Holly is throughout everything that is happening to her. This knowledge and the experience Holly goes through makes her a reliable narrator. As a clone, she is dependent on what is being told to her. It is obvious she is being manipulated, but it is not her fault. The audio presentation makes the narration easy to follow. 

            The style both Brandon Sanderson and Mary Robinette Kowal used for The Original delves into two “traditional” conflicts: individual versus society, and science versus nature. Reiterating these conflicts within this story not only demonstrates the reality within the fiction, but also leaves the audience to question their identities as well. The word choice used throughout the narrative was done intentionally by the authors so that the audience can comprehend the story with the scientific terminology, which allows for a thought-provoking story without too much thought. The mood in the story is anxiety. Both the protagonist and the audience are anxious throughout the story as both the truth and the existence is at stake for a clone who isn’t sure whether or not she wants to live. The tone gives the vibe of a cautionary tale. This story serves as a warning against scientific advancements and government control over individuals within a society. 

            This audiobook was narrated by Julia Whelan, and I have to say that I am beyond impressed with how she presented this story. Her voice of the characters are easy to distinguish and her voice for the narrative is enough to keep the audience immersed in the story. If it weren’t for the chapters, then it would have been easy to get lost in the story until the very end. I’m looking forward to hearing her narrate other stories in the future. 

            The appeal for this audiobook have been positive. Many listeners seem to enjoy the story, but have mixed feelings of it being just an audiobook. I know many readers don’t always listen to audiobooks, but what makes The Original standout is that it’s only available as an audiobook. I was able to keep up with the story with the narrator’s pace, but I understand if other listeners did not feel the same way. That being said, both Brandon Sanderson and Mary Robinette Kowal have confirmed during a livestream on YouTube that there is no hurry for a written edition of The Original. If an adaptation were to be done for this audiobook, then I could see it as a graphic novel—both the action sequences and the story’s tone is enough to visualize a graphic novel. Fans of science fiction and readers of novellas will enjoy this audiobook the most. In fact, anyone who is on a long commute and/or are doing household chores should listen to this audiobook. This is because by the time you’re done with the commute or with your chores, you should be done with the story and not have to worry about losing your place within the audiobook. 

            The Original is a brilliant collaboration between two bestselling authors of the speculative fiction genre. Do not be intimidated by the fact that this is an audiobook. If you’ve listened to Broadway musicals on audio, then you can handle a sci-fi thriller novella on audio. At least listen to the story for the second twist in this story! Did you really believe these authors would include only one twist? I’m not going to tell you what it is, so you’re going to have to listen to the story to find out what the other twist is, and it’s not what you think it is!

My Rating: Enjoy It (4 out of 5). 

Why You Need to Read: “Harrow the Ninth”

The Locked Tomb, #2: Harrow the Ninth

By Tamsyn Muir                                                                    Audiobook 19 hours and 51 minutes

Published: August 4, 2020                                                      Narrated by: Moira Quirk

Genre: Horror/Gothic/Dark Fantasy

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

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

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

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

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

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

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

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

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

My Rating: Read It (3.5 out of 5). 

Why You Need to Read: “Ring Shout”

Ring Shout

By: P. Djèlí Clark

Published: October 13, 2020

Genre: Horror/Folklore/Supernatural/Historical Fiction

Thank you Tor.com for sending me an ARC of this book.

            “The Birth of a Nation” had delivered all the souls they needed to stir up them old evil powers. Across the country, white folk who ain’t even heard of the Klans surrendered to the spell of them moving pictures. Got them believing the Klans the true heroes of the South, and colored people the monsters, (TWO). 

            They are one of the most infamous groups in modern society; yet, for some reason, American society fails to call them what they are: a hate group. The Ku Klux Klan emerged during the Reconstruction Era and sought destruction, especially against several Black American communities throughout the U.S., particularly in the South. While their white hoods presented and hid their identities, the freed slaves had a new fear, and they weren’t from their folklore, but from actual fears which manifested. P. Djèlí Clark combines two fears—the known and the unknown—into his latest novella, Ring Shout. 

            Maryse Boudreaux is a 25-year-old monster hunter. However, she and her companions have “The Sight” so that they can distinguish one monster—the Klan—from the other one—the Ku Kluxes. To everyone else, they are one and the same, but Maryse and the other monster hunters know better. There is Sadie, the best shooter in the group; and, Chef, a war veteran who has a talent for explosives. Nana Jean is a Gullah woman who uses her skills to offer protection from the Ku Kluxes. And, Michael George, the man who provides Maryse with reprieve from and motivation for fighting. Then, there are Aunties Jadine, Ondine and Margaret, “spirits” who guide Maryse on her quest to eradicate the Ku Kluxes, including gifting her with the sword she uses throughout the war against the supernatural threat. Maryse has her reasons for hunting the Ku Kluxes, but she cannot grasp how far these monsters are willing to go for domination. And, who is conjuring them? The revelation pushes her to make “deals” so that she and her companions have a chance to survive. Maryse is a fighter, but she knows all too well that she cannot do it alone. Her companions allow her to develop into the person she must become in order to defeat this threat. 

            The plot is straightforward. It is July 1922, 7 years after The Birth of a Nation was released, and 4 years since the Great War (a.k.a. World War I) ended; and, there is to be a re-release of the film in Stone Mountain, Georgia. What many people—White and Colored—do NOT know is that the movie is based on a book written by a sorcerer. The sorcerer uses moving pictures in order to conjure a spell so that evil beings can be summoned and walk amongst humanity. The cost: human souls. The Klan offered their souls and became Ku Kluxes, which go on to terrorize Colored people. So, monster hunters—consisting of a group of Colored people with “The Sight”—continue to fight them off after the Ku Kluxes make their return to power. The storyline within this plot is how the characters fight, live, and survive during these trying times where a force of evil—which is fueled by hatred—is unseen by almost everyone. It is the subplot that drives the plot in this book. The subplot focuses on the Black American Experience during the 1920s, and it is not an easy time for them. In addition to fighting the supernatural, the characters have to maintain their way of life while remaining segregated. Jim Crow laws and lynchings are a common and an everyday practice. Combined, both the subplot and the storyline allows for the plot to develop an appropriate rate. 

            The narrative is told from the point-of-view of Maryse. The sequence is a combination of stream-of-consciousness and flashback, which are necessary for the story. The events and the sequence occur in the present. However, it is the dialogue (and the dialect) of the characters that will keep the readers engaged throughout the narrative. 

            The style P. Djèlí Clark uses in Ring Shout includes allusion, history and folklore. The history is obvious to anyone who is familiar with (actual) American history and Southern culture. The allusion refers to historical moments such as: Prohibition, the reemergence of the KKK, the construction of the Panama Canal, the Black Wallstreet Massacre, etc. Yet, it is the folklore that influences the story. The mention of fairy tales as cautionary tales are mentioned throughout this book (i.e. Bruh Rabbit, eating strange food, sharing stories, etc.) and drive the story in a way so that both the characters and the readers are familiar with all of the story’s ongoings. Another factor the author wants his audience to consider are the similarities between Black American and Caribbean cultures, particularly the practices of the Gullah and the Obeah. The mood in Ring Shout is hatred; and, the tone within this book is manipulation (for power using hatred). Readers should know that the book’s cover is essential to the events which occur towards the end of the story. 

            The appeal for Ring Shout will be positive. This is because the author does a great job fusing fear and hatred with folklore and dark magic. The former are human emotions which often lead to harm, while the latter are elements of several cultures that are believed and are practiced. Fans of horror, paranormal and supernatural stories will enjoy this story. Fans of recent and related novellas such as The Deep by Rivers Solomon and Riot Baby by Tochi Onyebuchi will appreciate the continuation of the Black American experience being told blatantly and directly in the speculative fiction genre. However, Ring Shout will be canonized alongside The Year of the Witching by Alexis Henderson in the horror genre. This book can be read again and again, and it is a great addition to the genre. It should be mentioned that this book can be read and enjoyed by historians and folklorists as well due to the information written into the pages of the story.

             Ring Shout is a brilliant horror and supernatural story which will force you to recall all of the “stories” and the “magic” you’ve been exposed to throughout your life as you try to come up with an explanation for “the unknown.” Once again, P. Djèlí Clark has found a way to present readers with a story combining history and folklore into a believable, yet scary, tale that serves as a cautionary tale against hatred and sorcery. 

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