Why You Need to Read: “The Burning God”

The Poppy War Trilogy, #3: The Burning God

By: R.F. Kuang                                                                       Audiobook: 23 hours 47 minutes

Published: November 17, 2020                                              Narrated by: Emily Woo Zeller

Genre: Historical Fantasy, Grimdark, Military Fantasy, Folklore

            What was wrong with her? She’d started and ended wars. She’d buried a god. She’d incinerated a country. There wasn’t an entity on the planet that could face her in a fair fight and win. She was certain of her own strength; she’d sacrificed everything to make sure she never felt powerless again. 

            So why was she so afraid? (Chapter Eight). 

            History presents war with selections to choose from; some wars are revolutions, some wars are civil, some wars are invasions, and so on and so forth. The surface of war may be simple, but the layers run so deep it’s difficult to determine the alliances and the motivations for it. Not to mention, war affects EVERYONE and EVERYTHING. The Burning God—the third and final book in The Poppy War Trilogy—by R.F. Kuang, delves into the power and the warfare of a war that doesn’t seem to end. 

            Fang Runin “Rin” is still alive, but she’s without her troops, her allies, and her hand. Betrayed again by those who wanted to use her powers as a shaman for their goals, Rin decides to return to her home province in the south in order to liberate them from both the Dragon Republic and the Hesperians. There, she learns that her past actions have turned her into a living legend amongst the common people. And, they want to fight with her. Rin’s friends are Kitay, her friend from Sinegard, and Venka, her classmate and her former rival turned ally. Then, there’s Nezha, the son of the Dragon Lord, who is serving his family’s cause instead of Rin’s. While Nezha is Rin’s opponent, he isn’t the only antagonist Rin has to kill in order to liberate Nikan. However, will her new alliances led to more betrayal? Rin continues to develop in a way so that we can still root for her while trying to overlook the numerous atrocities she commits for liberation and for revenge. In Rin’s case, you can’t have one without the other. 

            Similar to the first 2 books in the trilogy, there are 3 parts in The Burning God; and, each part focuses on the antagonist(s) Rin must defeat to claim victory once and for all. Part I has Rin, Kitay, Venka, and what remains of their army marching into the Southern Provinces to liberate them from the Dragon Republic. Rin returns to Tikany for the first time since she left for Sinegard, and what she discovers there strengthens her conviction to transform Nikan into an independent nation. Rin’s new army consists of the common people and those who rebelled against the Dragon Republic. From them, Rin and her army are taught about elements of war that they didn’t learn at Sinegard. It turns out, guerilla warfare works for revolutionary purposes. But, what about against an invading nation? 

            Part II has Rin betrayed (again) and separated from her friends. From here, Rin makes an uneasy alliance with one of the last individuals she expected to see again. However, Rin knows this alliance this the only way to defeat both the Dragon Lord—Yin Vaisra, Nezha’s father—and the Hesperian fleet. During the march to regroup Rin’s troops and to rescue her friends, Rin learns the truth about her shaman powers and the Trifecta. Now, Rin has to decide where and who her loyalty lies with, and whether or not the end justifies the means.

            Part III has Rin and her army at full force. Rin, Kitay and Venka defeat all of their enemies and have liberated Nikan. However, the end of the war isn’t over until all hostile forces either surrender or die. In addition, Nikan has been ravaged by war for so long that there is no short-term plan for the survivors to carry on living. On top of that, Rin has the power and the recognition she always wanted, but like each war leader in (our) history, Rin struggles to maintain power and control for herself. All Rin has to do is weed out the remnants of her enemies—including Nezha—and find a resource to make Nikan self-sufficient in the years to come. Unfortunately, war is NOT a game, and it doesn’t end until all of the foes from one side are dead. 

            In addition to the plots in each Part in the novel, there are several subplots which enhance both the narrative and the character development. Some of the subplots include: the destruction of Speer, the fragility of the Trifecta, the Yin Family, Rin’s return to Tikany, and shamanism. All of the subplots tie in the plots of this story as it reaches its end. The characters’ story arcs end in ways that match the mood of the series, which is a combination of shocking and appropriate. Not only do these subplots wrap up the plots going back to the first book in the series, but also presents the conflicts all of the characters face throughout (and before) it. 

            The narrative is in 3rd person limited, which means readers learn everything going on from Rin’s point-of-view and from her stream-of-consciousness. The latter is essential because readers are able to understand why Rin makes the choices—both good and bad—throughout the narrative. It should be mentioned that there are a Prologue, an Epilogue, and 2 Chapters which are not told from Rin’s P.O.V. These serve as memory sequences which enhance the story and the conflicts, and lets readers know what Rin is up against. The narrative is what drives the story; it is well-written, and it can be followed by the readers easily. 

            The style R.F. Kuang uses in The Burning God brings The Poppy War Trilogy to a full circle. As the author ends the series, she reintroduces everything from The Poppy War and The Dragon Republic in order to remind her readers about the cost and the effect of war. In addition, this finale presents grimdark through a historical lens. After the release of The Dragon Republic, Kuang announced the historical figure Rin was supposed to represent. Anyone who is familiar with what happened in China after the Second Sino-Japanese War (1937-45), knows what Rin’s victory could mean for Nikan. The mood in this novel is puissance; it is a non-stop power struggle from start to end. The tone in this novel is the evanescence of power; the effects of war last much longer than an individual’s power and influence. 

            The appeal for The Burning God have been positive. Fans and readers who have stuck with this series will not be disappointed with the story’s conclusion. Fans of historical fantasy, military fiction and revenge stories—The Priory of the Orange Tree, The Rage of Dragons and Nevernight, respectively—will enjoy this book (and series) the most. There have been criticism of this book due to the realistic violence portrayed throughout the trilogy. However, this portrayal of warfare and of violence is the reality within the fiction, sadly. As I mentioned in a previous post, this series is the most similar to George R.R. Martin’s A Song of Ice and Fire series—and, maybe Joe Abercrombie’s books (I haven’t read them yet, but I will very soon)—so, his fans might enjoy this series as well. I listened to the audiobook edition of this book, and the narrator, Emily Woo Zeller, did an amazing job.

            The Burning God is a blazing finale to a series that started off as a school fantasy, transformed into a military historical fantasy, and ends as a grimdark series. R.F. Kuang delivers a powerful end to a series with Asian roots and influence. Do not wait as long as I did to read this book, you have no idea on what you’re missing out on. 

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

P.S. Thank you Sasha for getting me to finish this trilogy through out buddy read!

Why You Need to Read: “A Spindle Splintered”

Fractured Fables, #1: A Spindle Splintered

By: Alix E. Harrow

Published: October 5, 2021

Genre: Fantasy, Fairy Tales, Folklore

            …I’ve fallen out of my own story and into one that might have a happy ending. Because this is my last chance to have a real adventure, to escape, to do more than play out the clock, (2).

            Fairy tales have existed since oral and literary traditions became embedded in folklore and culture. For example, there is a “Cinderella” story for each region and culture in the world; and, it is one of the “oldest” folktales in human existence. In fact, anyone can recite a few fairy tales orally and include all of the “elements” within it. Disney movies aside, fairy tale retellings continue to exist, and there have been numerous stories released recently, which demonstrates how these tales continue to entertain us. In Alix E. Harrow’s novella, A Spindle Splintered, she fuses traditional variants with modern knowledge. 

            There are 2 things you need to know about the protagonist, Zinnia Gray. First, she is obsessed with the tale of “Sleeping Beauty”; second, Zinnia is dying from a rare genetic disease. In fact, she is not expected to live past her 21st birthday, which is today (in the story), and time is limited as Zinnia starts to process her “last days.” Fairy tales have been a coping mechanism for Zinnia—she earned a Master’s degree in Folk Studies—and, it is the story of “Sleeping Beauty” she finds most relatable to her. And yet, Zinnia’s best friend, Charmaine Baldwin a.k.a. “Charm,” has stood by her since childhood. Furthermore, Charm insists that her best friend attends the “Sleeping Beauty” themed birthday party she put together for her. There’s even a spinning wheel! But, what happens when Zinnia pricks her finger on it? And, who is the young woman claiming to be a princess? Readers learn quickly that Zinnia is more than just a “sick girl.” Her determination and her resilience allows her to view her current predicament as an opportunity to save her life, and another’s as well. 

            The plot of this story is Zinnia dreading her impending death. Her disease means that she won’t live past 21, and there is nothing anyone can do to change it. That is, until a spinning wheel provides a rare chance to change her fate. At the same time, Zinnia might be able to rescue a princess from hers. There is a subplot in this story, and it is fairy tales: their origins, their evolution, and their “lasting appeal.” Remember, every story is a story unless it’s yours; that’s when the story becomes one’s experience. The subplot drives the plot in this narrative, which brings out the reality (and the magic) within the fiction.

            The narrative is in 1st person from Zinnia’s point-of-view, and it is told in the present. Zinnia’s stream-of-consciousness is vital to the narrative because her knowledge of the past helps her with her quest and her phone lets her (and us) know that all of the events within the narrative are happening—Zinnia is NOT under a sleeping spell. A few revelations throughout the quest leads to genuine moments of awe and of shock through Zinnia, which makes her a reliable narrator with a narrative that can be followed easily. 

            The style Alix E. Harrow uses in A Spindle Splintered is different from her novels. Instead of allusions to previous stories, myths, legends and magic, this novella delves into the evolution of fairy tales—also known as Märchen, or “magic tale” by folklorists—many in which, “expresses the escape from reality,” (Dégh 59). In addition, this story is NOT a fairy tale retelling, but a “fractured fairy tale.” A fairy tale is “a story involving the fantastic, usually involving familiar traditional formulas and often ending in eucatastrophe (after which people live happily ever after),” (Mendlesohn and James 253). A fractured fairy tale is the practice of breaking fairy tales (from as small as a split to as large as a chasm) up so that the storyteller can rewrite them to reflect the present world while maintaining key elements from the fractures that get used in them. In other words, new variants of the older variants of fairy tales must have something in it so that the audience can identify the (new) tale being told. The most popular example of this is Disney and how they took older variants of these folktales and retold them in a way in which the audience knows it’s the “Disney variant.” A fractured fairy tale is another way for stories to be “told and retold in many different ways. They are guised and disguised,” (Yolen 4). Another explanation is that the author has taken parts of the tale of “Sleeping Beauty,” kept the parts that would identify it as “Sleeping Beauty,” include the possible origins of the tale within a modern conflict that presents the tale as a new variant. In short, and I repeat, this is NOT a fairy tale retelling (per se), but a modern fairy tale. How many fairy tales have working smartphones in them? The mood in this story is dread. 2 young women are fearful of their impending 21st birthdays. The tone is resilience. Both young women actively seek out ways to change their fate.

            The appeal for A Spindle Splintered will be positive. Fans of the author’s previous works will enjoy this one; however, they should know that this book is closer to a fairy tale than a fantasy story—similar yet different. If you’re not a fan of fairy tales, then this book might not be for you. Fans of Jane Yolen and Robin McKinley will enjoy this book the most. But, fans Naomi Novik, Katherine Arden and Rena Rossner should consider reading this story, too. Anyone who studied folklore—such as myself—will appreciate all of the scholarly references mentioned throughout this tale. And, anyone who enjoys this book will be pleased to know that the follow up—A Mirror Mended—will be released next summer.

            A Spindle Splintered is a tragic yet entertaining story about the lasting affect of fairy tales, and what an individual should do when they find themselves in one. Once again, Alix E. Harrow reminds her audience of the significance of fairy tales and their everlasting impact throughout culture and humanity. This is the “Sleeping Beauty” tale for the 21st century.

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

                                                                        References 

Dégh, Linda. “Folk Narrative.” Folklore and Folklife: An Introduction, edited by Richard M. Dorson, The University of Chicago Press, 1972, pp. 53-83.

Mendlesohn, Farah, and Edward James. A Short History of Fantasy. Middlesex University Press, 2009.

Yolen, Jane. How to Fracture a Fairy Tale. Tachyon Publications LLC, 2018. 

Why You Need to Read: “The Gilded Ones”

The Gilded Ones, #1: The Gilded Ones

By: Namina Forna

Published: February 9, 2021

Genre: Young Adult, Fantasy

TRIGGER WARNING: This book contains elements of rape, misogyny, familicide, dismemberment, human trafficking, and violence against females. Be advised.

            Confusion lines my face, and I frown at her. “An invitation for what?”

            “For you, Impure One. Emperor Gezo has decided to create an army of your kind. He invites you to join it and protect our beloved Otera from those that would oppose her will,” (3).

            Readers have become familiar with genre-blending—the blending of at least 2 distinguished genres and/or subgenres within a book or a book series—but, every now and then there are books which are “crossovers” for the audience. For example, consider which books you had to read in secondary school for your literature class. You know many of those books were written for adults, right? And yet, many adolescents have at least 1 book from school that they remembered reading, and some even enjoyed the story. There are several examples of books written for adults that should NOT be read by younger readers—The Nevernight Chronicle by Jay Kristoff—but, there are several young adult books containing numerous adult themes that should be read both by adolescents and by adults as well. The Gilded Ones by Namina Forna is the latest book to tackle how the “adult world” influences the youth negatively and why certain societal practices continue to exist through posterity. 

            The protagonist is Deka. She is 16 years-old and is about to undergo the “Ritual of Purity,” a rite to see if a female’s blood runs red or gold. If a girl’s blood runs red, then she is declared a woman and becomes a member of the village they reside in. Deka has become even more terrified of the Ritual since her mother’s death 3 months earlier; her father is the last family member she has left. However, she has 2 close friends who she envisions remaining close to after she passes the Ritual. Unfortunately, 2 events occur on the day of the Ritual that changes Deka’s life. First, her village is attacked by creatures known as Deathshrieks who kill several people. Second, her blood runs gold—the blood of the Impure—and she is ordered to be “cleanse…” that is until a figure—a woman with white hands—arrives with an offer to reclaim her identity: join the emperor’s army of Impure women to defeat the Deathshrieks for good, or be sentenced to death. Almost immediately, Deka leaves her fanatical village for a chance at “absolution.” Along the way, Deka meets and befriends Britta from the Northern Province. Once at the compound, she meets twin sisters, Adwapa and Asha from the Southern Province; Belcalis from the Western Province; and, Gazal and Jeneba their “Honored Elder or Senior Bloodsisters” who help the girls with their training and to become acclimated with their new life. Then, there is Keita, an uruni—(human) men partnered with each of the girls to work together with (and to spy on) the women as they fight against the Deathshrieks. Last, is White Hands, the Impure woman who brought Deka and Britta to the compound for a chance at absolution; but, she has a close relationship with the Emperor, and she has an interest in Deka, and Deka doesn’t know why. All of these characters help Deka accept her new life and her purpose as she becomes stronger—physically, mentally and emotionally—and determined to protect Otera. 

            The plot of this novel has several parts. First, is Deka’s journey towards absolution after her blood classifies her as a demon. Second, is the explanation of the “Infinite Wisdoms,” the religious mandate practiced in most of the provinces in Otera, which limits the roles of females to their families and their households; but, an army of Impure Ones has existed for some time. Last, is the world-building that occurs throughout the narrative including the various provinces of Otera, the history of Otera—including the goddesses and the Infinite Father. There are 2 subplots in this novel. The first is about the Deathshrieks. What are they? Why have they been attacking villages? Why have their numbers continued to grow? The second subplot is about the “Impure Ones,” or “demons” who are descended from the Gilded Ones—the goddesses who founded Otera. It seems that there are some unknown benefits to being “impure,” which are known by those who are “impure.” In addition, why are all the “Impure Ones” female? What about males? These subplots are essential to the plots as the reader(s) learn more about the characters and the world through them and their conflicts. The plots and the subplots go at an appropriate rate as the story reveals everything that will happen in it.

            The narrative is in 1st person from Deka’s point-of-view. And, the narrative is presented in the present tense. This means that the reader experiences everything and learns about everything through Deka’s P.O.V. and her stream-of-consciousness. Deka’s growth from devout outcast to lead warrior—including some revelations about herself—make her a reliable narrator. A reminder that the narrative is intended for young adult readers, and it can be followed easily by both YA and adult readers. 

            The style Namina Forna uses for The Gilded Ones is NOT new, but it is one of the most candid seen in (YA) literature for some time. The author wanted to examine the idea of the patriarchy—how and why it is practiced—and how religion continues to influence this societal practice. Namina Forna is from Sierra Leone and—when she moved to the U.S.—she saw no difference in the practice of patriarchy between Africa and America. And, given what many of us know about similar practices in the rest of our world (i.e. Asia, the Middle East, etc.), this book is a commentary on how females continue to be treated throughout the world. Feminism and misogyny are international themes and issues that continue to permeate into individuals worldwide. Personally, I believe that one of the reasons “change” and “equality” haven’t happened for women yet is because every region of the world acts like gender equality is “better” where they are; and that is a HUGE lie. Namina Forna presents the harsh reality females—especially young ones—face because some males desire to express their dominance over them. Regardless of age, race, sexuality, gender identity, religion, or ethnicity, this book speaks volumes of what girls and women experience throughout their lives. The mood in this novel is domination. The females are dominated by the males and their religion, even the “Impure Ones” are oppressed by men. The tone in this novel is belligerence. The “Impure Ones” are trained to fight their foes, but are they limited to the Deathshrieks? There is a map of Otera at the front of the book and it should be used by the reader(s) whenever they need to consult it. 

            The appeal for The Gilded Ones have been mostly positive with 75% of the ratings on Goodreads being 4- and 5-stars. One thing that needs to be mentioned is the book’s publication. This book’s release was delayed due to the COVID-19 Pandemic. That being said, the hype surrounding the author’s debut novel made the wait worth it (I read an eARC of this book). This book is described as being for fans of Children of Blood and Bone, Shadow and Bone, Legendborn and Raybearer. I would describe The Gilded Ones as a combination of The Year of the Witching and Speak. Once again, this book is written for YA readers containing “adult” themes they know exist in our world. Not everyone will view this book for what it is, and that’s all right because it means that the book wasn’t written for them. The next book in this series—The Merciless Ones, which releases in April 2022—continues Deka’s journey to discovering her role within the Impure Ones and warring against those who want her dead.

            The Gilded Ones is the book young girls crave and adult women wished they had as children. Namina Forna found a way to present the truth within the fiction for adolescent readers, but made it alluring for adult readers as well. While this book should NOT be read by everyone, it should NOT be missed by anyone. Go and read one of the best (debut) novels of this year!

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

Why You Need to Read: “Over the Woodward Wall”

The Up-and-Under, #1: Over the Woodward Wall

By: A. Deborah Baker

Published: October 6, 2020

Genre: Fantasy/Children’s Literature

            Because of their houses, Avery’s and Zib’s both, were on the side of the street where the forest loomed, there were no corners: they lived, unwittingly, only three doors down from one another. But across the street from them was another road, right between the one where Avery walked to school and the one where Zib walked to school. They approached it, Avery walking with quick, precise steps, Zib skipping and strolling and sometimes outright running, and they reached their respective corners at the same time, (One: The Same Ordinary Town). 

            Creativity and imagination are used interchangeably when fiction writers—especially genre fiction—are praised for their stories. The stories presented by these authors remind us how infinite creativity and imagination are to everyone else. The range of such talent goes from authors who devote their entire lives constructing 1 world with 1 extensive timeline, to authors who can juggle multiple worlds with their own set of characters, timelines, and—at times—rules about magic. Seanan McGuire is an example of the latter, and this time she is writing as A. Deborah Baker with Over the Woodward Wall, the first book in The Up-and-Under series, which is mentioned in her novel, Middlegame.

            The protagonists are 2 children—a boy and a girl—who are the same age and live 3 doors down from each other, but whose paths have crossed barely until now. Hepzibah, or Zib, lives with her “eccentric” parents, and Avery (Alexander Grey) lives with his “efficient” parents. One day, at the same time for the same reason, both children take a detour to school, come across a wall, climb over it, and find themselves in a new world. Avery and Zib—who focus more on their differences over their similarities—must travel to the Impossible City on the Improbable Road so they can return home. During their journey they meet: a crow, an owl, a queen, a page, and a king. Throughout their journey, both Avery and Zib must learn about each other, learn how to get along with each other (they are young children), and learn about the Up-and-Under—the world they entered unknowingly. The protagonists are as resilient as children can be, but they cling on to the rules of our world as they move away further from it. Avery and Zib are not complex, but the other characters are, which makes the protagonists more intriguing. 

            The plot of this book is straightforward in its own way. Two children stumble into a world that isn’t familiar to them (or, to us), and in order to return to our world, they must meet with the ruler who lives in the center of it. Hence, their adventure begins. Along the way, Avery and Zib meet the inhabitants of the Up-and-Under. Each meeting with each denizen is a subplot within the story. During these encounters, the children learn more about the world and its rules. Each subplot develops alongside the plot as the children travel closer to the heart of the world they stumbled into by accident.

            The narrative is presented from the points-of-view of both Zib and Avery in the present. In addition, the story is told in 3rd person omniscient which is relevant to how the story is being told. Given that the protagonists are young children, it would make sense for the narration to be from a figure who knows more about what is happening because otherwise, the story would be confusing for everyone. Not to mention, this type of narration makes Zib and Avery reliable narrators. Their streams-of-consciousness—and, the narrator’s—allows the story to be followed easily. 

            The style Seanan McGuire uses as A. Deborah Baker is both an allusion and a tribute to classic children’s literature, particularly adventure stories. The word choice and the sentence structure expands the audience of readers (children to adults), while the story itself will remind other readers of books written by Lewis Carroll, L. Frank Baum, C.S. Lewis, Holly Black, and others. However, this book tells its story in a way that is can be distinguished from the series by the authors mentioned. The mood in this book is improbable—which comes directly from the book. All of the events throughout this adventure should be unlikely, but occur because the Up-and-Under follows the rules of its world. The tone in this book is eccentric. From when we first meet the protagonists to the end of this book, EVERYTHING deviates from the norm from the protagonists’ actions to the Improbable Road.

            The appeal for Over the Woodward Wall have been positive. That being said, there has been some confusion about The Up-and-Under series. According to the author, this series is mentioned in Middlegame, but there is NO (direct) connection or tie-ins between the 2 series. This means that both series can be read and enjoyed separately. So far, this series belongs in both the speculative fiction and the children’s literature canons. Fans of Alice’s Adventures in Wonderland, Through the Looking Glass, the Oz series, and The Spiderwick Chronicles should read this series because they will enjoy it the most. The next book in this series, Along the Saltwise Sea—which will be released later this year, will pick up where the first book ended.

            Over the Woodward Wall is a brilliant series based on the Hugo nominated book, but you don’t have to read Middlegame to enjoy this story. A. Deborah Baker presents a story that is familiar to readers, yet it manages to stand on its own. Fans of the genre shouldn’t hesitate to read this book, and fans of Seanan McGuire should not wait any longer to read this book. The story is a delightful throwback to children’s (fantasy) adventure books. Seanan McGuire’s talent for storytelling is as lengthy as The Improbable Road.

My Rating: Enjoy It (4.5 out of 5). 

Why You Need to Read: “Chaos Vector”

The Protectorate: Book 2: Chaos Vector                               

By: Megan E. O’Keefe                                                           Audiobook: 19 hours and 5 minutes

Published: July 28, 2020                                                      Narrated by: Joe Jameson

Genre: Science Fiction/Space Opera

            “It’s been two years. Why would things escalate now?

            Graham smiled slyly. “Because you’re back, kid. Two years and some change was about the time you disappeared, about the time Icarion lost control of Bero. Nakata, Kenwick, Lavaux—they’re all tangled up somehow, and Harlan and his crew crossed paths with that lot,” (Chapter 6: Can’t Count on a Spy). 

            Cliffhangers have always been an interesting concept in storytelling. I’ve mentioned in previous posts that cliffhangers are excellent ways to keep the audience engaged in the narrative. There are several cliffhangers the storyteller can use, but depending on the narrative, one fits better than others. In the case of Megan E. O’Keefe and her The Protectorate trilogy, Chaos Vector—the sequel to Velocity Weapon—picks up immediately after the revelations in the first book. And, that includes both the plot and the pace.

            There are 4 protagonists in this book. First, is Sanda Greeve, who went from “Hero of Ada Prime” to suspected murdered of a Keeper. Now, she’s on the run to clear her name after a brief reunion with her family and to discover what is in the Keeper Chip that is embedded in her skull. After learning some about one of her fathers’ past, Sanda joins up with Arden, Nox and everyone else in Harlan’s crew in order to solve 2 mysteries with 1 person of interest, Rainier Lavaux. Second, is Biran Greeve, Sanda’s younger brother and one of the Keepers. Life as a Keeper begins to catch up with Biran as he does damage control, first for his sister and then for the Keepers; and, he begins his investigation into the missing Keeper, the stolen Keeper Chip, and The Light of Berossus, all while trying to figure out who among the other Keepers are his allies. Third, is Jules, whose circumstances and previous actions now have her working for Rainier Lavaux. She hides herself from her friends as she does everything she can to save one of them, but is she being played? Last, is Tomas Cepko, the agent from Nazca whom Biran hired previously. Now that his mission is complete, Tomas is given a new assignment; and, it’s Rainier Lavaux. All of the protagonists and the other characters are beginning to comprehend the effect their recent actions have on one another, for the rest of Ada Prime, and the Icarions. Not to mention, what happened to Bero? 

            The first plot in this novel carries over from the first book, only now there are more questions than answers. But, everything revolves around Rainier Lavaux, the wife of the murdered Keeper. Somehow, she knows about both The Light of Berossus and the Keeper Chip; but, which one will she go after? And, why is she so interested in Jules? The second plot revolves around the Keeper Chip lounged in Sanda’s skull. Sanda is on a mission to discover the contents on the Chip before Ada Prime’s enemies track her down and reclaim it. Meanwhile, Biran looks into which Keeper went missing and why that Keeper’s Chip stands out more than the other ones. There are 2 subplots, which develop alongside the 2 plots which enhances and expands the narrative. The first one focuses on Jules’ efforts to thwart Rainier Lavaux’s plans, which pulls Jules further into an intergalactic conspiracy that she never would have imagined getting involved in. The second subplot delves into the events of the past which may or may not have impacted the present. As everything converges, it begins to make sense. 

            The narrative is more straightforward than in the first book. There are 2 years that the narrative focuses on: Prime Standard Year 0002 (the past) and Prime Standard Year 3543 (the present). All of the narratives are told in the 3rd person limited in the present tense from the points-of-view of the protagonists. Unlike the previous book, the sequence of events allow the narrative to be followed easily by readers (and by listeners). The streams-of-consciousness of the protagonists not only give the audience a complete understanding of the revelations, but also make the characters reliable narrators.

            The style Megan E. O’Keefe uses in Chaos Vector flows from Velocity Weapon. There is a political conspiracy that is starting to unravel, but the majority of the citizens seem focused on the continued conflict between 2 feuding nations. This conflict reflects the mood of this novel which is distraction. The leaders of Ada Prime do not want their citizens to worry about “threats,” so they make announcements about falsehoods to keep everyone “calm” as they continue to work on a cover-up instead of addressing the conflict. This leads to the tone of this book which centers around the idea of duty. Some of the characters are more willing to follow up on their obligations than others including their superiors. It remains to be seen whether or not the characters’ choices will have negative consequences for the rest of the galaxy.

            The appeal for Chaos Vector have been positive. Fans of Velocity Weapon will be pleased to know that the author presents a strong and fast-paced sequel to this familial space opera. Science fiction fans and anyone who is interested in an intriguing space opera should read this series, especially with the third and final book in the trilogy—Catalyst Gate—releasing this summer (2021)! If you cannot read the book, then you can listen to the audiobook like I did. Once again, Joe Jameson does an excellent job narrating this story, and I hope he does the next book!

            Chaos Vector is a strong and an entertaining sequel to this underappreciated space opera. Both the characters and the plot develop as answers lead to more questions. Everything Megan E. O’Keefe has written in her story guarantees a promising conclusion to this trilogy! Don’t wait any longer, start reading The Protectorate

My Reading: Enjoy It (4.5 out of 5). 

Why You Need to Read: “Fugitive Telemetry”

The Murderbot Diaries, #6: Fugitive Telemetry

By: Martha Wells

Published: April 27, 2021

Genre: Science Fiction

            But whatever, now I just needed intel for threat assessment so I could figure out if GrayCris had killed the dead human or not and go back to my happy boring life on Preservation Fucking Station, (Chapter Three).

            I LOVE MURDERBOT! And, I’m so happy that both Martha Wells and TorDotCom continue to write and to release stories about this snarky, astute and loyal rogue SecUnit. Following up on the success of the Murderbot novel, Network Effect—which, I haven’t read yet—fans get to read, Fugitive Telemetry, the next novella in the series, whose story takes place AFTER the events in Exit Strategy and BEFORE the events in Network Effect

            Murderbot, the rogue Security Unit, is starting its new life on Preservation Station after rescuing Dr. Mensah from GrayCris. However, that is easily said than done. Dr. Mensah is experiencing P.T.S.D., certain members of her team still don’t trust Murderbot—for example, it can’t use its name because it might scare everyone off—and, oh right, there was a murder of human and Station Security is trying to figure out what happened. Murderbot is worried that GrayCris might have something to do with it and decides it’s going to investigate the scene so it can go back to adapting to its new life. Whether or not it wants to admit it, Murderbot wants to continue protecting Dr. Mensah and her team. It would never admit it, but it feels both welcomed and needed by them.

            The plot in this novella focuses on the murder mystery at Preservation Station. Who was the dead human? Who wanted him dead? Is there a connection between the dead human and GrayCris? Regardless, Murderbot is willing to work with Station Security—through its own methods and strategies—to put its humans at ease. The subplot in this novella is Murderbot becoming acclimated with its new life. While it is no longer a SecUnit for hire, Murderbot is not one to relax—although it wants to very much. In order to adapt to its new life, Murderbot has to compromise with Station Security, Dr. Mensah, and its instincts. 

            The narrative is told from Murderbot’s point-of-view in the past tense. The name of the series is more than a hint as to how the narrative is presented, which is in the format of a report that recounts all of the events after they occurred. Given that Murderbot is an A.I., the narrative includes the sequence of events based on its stream-of-consciousness, which makes it a reliable narrator. This brilliant narrative technique presents a straightforward and hilarious narrative that can be followed by readers easily.

            The style Martha Wells continues to use in her Murderbot series reminds us that diaries are private for a reason. Murderbot keeps track of his actions and activities in a way sci-fi fans believe an A.I. would when necessary. And honestly, if all reports were written the way the author has written for her protagonist, then they all would be just as entertaining to read. The mood in this novella reflects a dark comedy—or, a style of comedy that points out a subject matter that is too serious to present straightforward. There is a “dead human” and Murderbot has no intention of using euphemisms because everyone else is “upset” about it. The tone reflects agency, especially Murderbot’s. Say whatever you want about it, but Murderbot knows A LOT about humans, which is why it is so reliable to its allies. 

            So far, the appeal for Fugitive Telemetry have been positive. Several other readers and fans have given this novella 4- and 5-star reviews. This latest novella is an excellent addition to the series and the science fiction canon. And, with Network Effect winning this year’s Nebula Award for Best Novel, fans can relax because they are not the only ones who love this series. In fact, we can expect at least 3 more Murderbot books in the future. Where will those books fall within the series? We’ll have to wait and see.

            Fugitive Telemetry is a humorous murder mystery story that happens to be about a prickly A.I. who refuses to admit that it cares about humans. Fans can rest easy because neither the author nor her protagonist have lost their spark in this latest entry. Newcomers to the series have no idea what they’re in for and they should be prepared to binge read the series, and then wait for the next book with the rest of us. Now, I have to read Network Effect!

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

Thank you TorDotCom for sending me an eARC of this book!

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).