LEC Book Reviews

The King's Blood by Daniel Abraham

2012-05-10T09:00:00.000+02:00

Last year’s The Dragon’s Path was Daniel Abraham’s answer to the familiar epic fantasy saga à la Eddings or Jordan. After having taken us to lands never before travelled with his excellent Long Price Quartet, Abraham consciously sought to craft the ‘perfect’ epic fantasy by pulling together all sorts of tropes, characters, and themes from fantasy, history and beyond. And, in my own words the first book of The Dagger and the Coin was ‘one of the very best “classic” epics.’ Needless to say, expectations for The King’s Blood - as with any Abraham book - were high. However, once again Abraham sweeps us up in his world, his finely crafted characters giving us one of their very best performances. Yet another strong example of Abraham’s mastery.

Blurb:

Geder Palliako’s star is rising. He is a hero of Antea, protector to the crown prince and darling of the court. But storms from his past are gathering, and with them, a war that will change everything.

Cithrin bel Sarcour founded a powerful bank on stolen wealth, forged papers and ready blades. Now every move she makes is observed, recorded and controlled. Unless Cithrin can free herself from her gilded cage, the life she made will be for naught; war may provide just the opportunity she needs.

An apostate priest sees the hidden hand behind all: a long-buried secret of the dragon empire threatens everything humanity has built. An age of madness and death approaches, with only a few doomed heroes to stand in its way.

In the state of events The Dragon’s Path ended in, things could only get more exciting from here. As the second novel in a series, and following an action-packed opener, one might have expected The King’s Blood to be a bit more down tempo. There is no sense of that here however, with Abraham unfurling a whole slew of new thrills for characters and readers alike. Indeed, if there’s one thing Abraham did not emulate of other epic fantasies it’s their often staggering length. Coming in below five hundred pages, there’s very little room for needless exposition, lending an added sense of purpose to the narrative.

The narrative in this second outing is less heavy on the medieval banking, but walks the path of war much more confidently. If there’s an aspect of Abraham’s writing which is easily criticized, it’s his often rushed or circumspect approach to writing battle scenes. In his previous books, they’ve either been lamentably short, or have happened off screen. This fit the style of the Long Price well when it occurred in those books, but grand battles and fighting are story elements that must be indulged in the type of fantasy Abraham wants to write with The Dagger and the Coin. In The King’s Blood he appears to have recognized this, allowing time for a few select scenes to cover this aspect of the plot.

Much like the first book though, there’s intrigue aplenty, with court politics being taken to a whole new level in a later part of the book. Center-stage is Geder Palliako, the misconstrued hero of Imperial Antea’s previous war, and now most powerful man in the kingdom. Abraham uses his woefully inadequate skill set, pettiness, and brash decisions to drive most of the plot. Most of the other events are a consequence of what Geder has done or decided, and the other point of view characters orbit him. In this sense, The King’s Blood is a more concise novel, with fewer independent storylines. On the side, Marcus Wester continues to struggle with his past and his place in the world, Dawson Kalliam continues to be subservient to his principles, and Cithrin attempts to grow - legitimately this time - into the bank manager she dreams of becoming.

As we’ve come to expect, Abraham takes every available opportunity to weave in a fascinating commentary to the narrative. He may only be trying to create up to date version of the epic fantasies of the 80s, but he can’t help himself adding his own take on things - a welcome hint of personality. Themes broached in The Dragon’s Path are explored in more depth. Racism is one of the prominent ones, being rampant throughout the world Abraham has created. Many readers may be put off by it’s particularly strong presence in Dawson’s character. He’s a character driven by honor and morals, but that doesn’t stop them from being extremely conservative morals. He’s the perfect case of a character we can admire for his faith in what he believes, while being wary of what those values represent concretely.

This ambiguity is present more and more in Geder too. When literally reading things from his perspective, it’s extremely difficult to outright despise the man. His naivety and lack of experience, which are only really perceivable when we share his thoughts, are an understandable excuse for the terrible decisions he makes. Despite his pettiness, we’re led more to feel pity for him than hatred. But his depiction through the eyes of the other characters is much different. He’s the man who burned down an entire city, a man who sends others to war, who kills without piety, and a man who has fallen under the influence of ‘religious fanatics.’ A bad man. In this way Abraham ably touches upon the importance of perspective, which has become a recurring theme in his books.

It is these sorts of half-hidden universal musings which make The King’s Blood so great. Otherwise insignificant conversations between characters are made almost more enjoyable than the action because of it. The dry wit in the exchanges between Marcus and Yardem, or the casual cynicism of Cithrin’s political and financial analyses were certainly some of the high points of the novel for me. As was his goal though, the action and fantasy oriented aspects of the story are similarly entertaining. Being spread over five books, it feels like some of the overarching threads of The Dagger and the Coin are only now starting to come to light, but things are shaping up to be quite fascinating.

Continuing well in the same vein as The Dragon’s Path, Daniel Abraham’s second entry to The Dagger and the Coin does not disappoint. Blending the familiarity of the plot with still a good element of mystery, he manages to keep us thoroughly entertained. The succession of events is riveting, and conclusions are often surprising. Abraham’s superbly intelligent writing makes The King’s Blood something more than your average epic fantasy, despite it’s trappings. If you’ve not yet taken the plunge, there’s absolutely no reason for you not to; Abraham has more than demonstrated he’s a writer of substance, The King’s Blood is just further proof. An excellent read, highly recommended.

Links:
Daniel Abraham's Website: http://www.danielabraham.com

Buy The King's Blood:
Amazon.com
Amazon.co.uk
Bookdepository.co.uk

Sea of Ghosts by Alan Campbell

2012-05-08T21:19:00.000+02:00

Sea of Ghosts marks the beginning of a new fantasy series, The Gravedigger Chronicles, for Alan Campbell, previously known for his Deepgate Codex. Originally published last year, it was only with this year’s paperback release that the book finally caught my eye (blue covers more attractive than beige?). Sea of Ghosts turned out to be a startlingly original novel, at least with regards to it’s worldbuilding, and as one who often goes on about that sort of thing, it was a welcome surprise. With a clear intent to mix science with fantasy, Campbell creates a world of harsh conditions, and peoples it with characters who do not always possess the most depth, but are nonetheless very endearing. Coupled with a somewhat classic narrative of ‘world-defining’ proportions, this results in a fine offering on Campbell’s part.

Blurb:

When the last of the Gravediggers, an elite imperial infiltration unit, are disbanded and hunted down, Colonel Thomas Grange takes refuge in the unlikeliest of places, He becomes a jailer in Ethugra - a prison city of poison-flooded streets. But when Granger takes possession of two new prisoners, he realizes that he can’t escape his past so readily.

Ianthe is a young girl with an extraordinary psychic talent. A gift that makes her unique in a world held to ransom by the powerful Haurstaf - the sisterhood of telepaths who are all that stands between the Empire and the threat of the Unmer, the powerful civilization of entropic sorcerers and dragon-mounted warriors.

But when other factions learn about Ianthe’s unique ability, Granger’s skills are tested to their limits. And another threat is surfacing: out there, beyond the bitter seas, and old and familiar enemy is rising - one who, if not stopped, will drown the world and all of humanity with it...

It’s an undeniable truths that some secondary worlds need very little introduction. They’re so deeply rooted in tropes or are so commonplace (fantasy medieval analogue, we’re looking at you) that stepping into them is like entering you’re own living room. You - almost instinctively - know where everything is, the purpose of the different furniture, and if you’re lucky you might even remember where you left the TV remote. Some fantasy authors will occasionally play a few tricks on you by reorienting the couch, or making the coffee table into a bench, but for the most part it takes very little time to take your bearing. Not so with those authors who construct worlds which are purposefully different. Then it might take a bit more time.

On the surface, you’d expect this to be the case with Sea of Ghosts, what with Campbell having created a world quite different from your usual fantasy world. People (or creatures?) with psychic powers abound, and one particular race of people, the Unmer, use a strange kind of scientific magic that not even the book’s characters understand. Plus, the physical characteristics of world are a bit special - that tends to happen when the whole place is slowly drowning in acid-water-which-also-happens-to-turn-people-into-swimming-zombies. Thankfully, Campbell does a marvelous job of introducing the entirety of it with tact and steady pacing. Never too much to overwhelm, but enough to be able to keep up.

And keeping up is important. Sea of Ghosts doesn’t move at a furious pace, but at a brisk one. After the relatively dynamic beginning, things do slow down a bit, but for most of the novel the story moves along at a healthy, steady march. So it’s important to be able to stick with it. The list of characters is not exhaustive, but there’s variety enough in the characters’ personalities to please most. The first protagonist, Granger, is your typical sort of hero. A successful military man who was dismissed from service not through any true fault of his own but due to the hypocrisy of a monarch, he’s the sort of honorable, will-stop-at-nothing characters we’ve all seen before. This serves the story well, and through his eyes the reader slowly discovers more about the world, and the mysteries which threaten it.

Ianthe is a much stronger character in comparison. Her particular abilities will probably be one of the primary interest of some, but the difficult sequence of events she is dragged through during the novel has undeniable appeal. Secondary characters tend to be a bit more colorful, with a psychopathic scholar, telepath, and a number of entropic sorcerers (the Unmer) being some of the highlights.

Elements of the plot are continuously made more interesting by the peculiarities of the world Campbell has created. Following Granger as he goes about the city he lives in (a city made up entirely of prisons, it should be noted) is certainly made by hazardous by the need to avoid the acid water which has flooded the city up to multiple storeys high, for example. Similarly, Campbell’s clever mix of theoretical science with magic to explain some of the events that take place adds texture to the novel. The story, though, has much to say for itself. Dynamic, of a wide scope, and with a satisfying conclusion (for the first in a series), Sea of Ghosts will likely keep you reading at a good speed.

Conclusion? I very much welcomed the creativity and thought Campbell put into the creation of his world. It wasn’t too extravagant, but had some major variances which allow it to stand out. The prose was neat and efficient, conveying a tale that was perhaps not as fresh as its world, but which has some flourishes. And its also quite a bit of fun. Campbell often also demonstrates he has a sense of humor, particularly in the crafting certain colorful characters, and elements of the plot. The characters have an appeal, but aren’t always wholly convincing. On the whole, this was a very enjoyable read, and one easily recommendable to the experienced genre reader, but not one without its drawbacks.

Links:
Alan Campbell's Website: http://www.alanmcampbell.co.uk/

Buy Sea of Ghosts:
Amazon.com
Amazon.co.uk
Bookdepository.co.uk

The Pack by Jason Starr

2012-04-30T22:26:00.002+02:00

The Pack is a werewolf thriller imported from US writer Jason Starr, better known for his crime fiction. I feel it will be difficult to say anything very conclusive about The Pack, mostly because I realize about half way through that it really wasn’t my cup of tea. Now, I’ve not shied away from reading outside my comfort zone in the past, in fact I’ve often enjoyed exploring new literary venues, but still The Pack really wasn’t for me. I can see what Starr was going for with this book, but for a genre fan like me, his half-hearted attempt to blend mythological elements with a thriller plot-format came out thoroughly muddled - a creaky amalgamation of genres which has difficulty holding itself together.

Blurb:

When Simon Burns is fired from his job without warning, he takes on the role of stay-at-home dad for his three-year-old son. But his reluctance pushes his already strained marriage to the limit. In the nestled playgrounds of the Upper West Side, Simon harbors a simmering rage at his boss’s betrayal.

Things take a turn when he meets a tight-knit trio of dads at the playground. They are different from other men Simon has met, stronger and more confident, more at ease with the darker side of life - and soon Simon is lured into their mix. But after a guys’ night out gets frighteningly out of hand, Simon feels himself sliding into a new nightmarish reality.

As he experiences disturbing changes in the his body and his perceptions, he starts to suspect that when the guys welcomed him to their ‘pack,’ they were talking about much more than male bonding...

The Pack kicks off essentially with Simon getting fired from his job. Initially, the commonality of the plot, of Simon and Alison’s marital and financial troubles is refreshing from the point of view of a genre fan. For me it evoked the tropes of the French ‘genre fantastique’ which unlike it’s anglophone counterpart has a very well defined structure. The first stages of any ‘histoire fantastique’ are grounded in reality, then slowly but surely subtle fantastical elements are woven in until the story suddenly ‘bascule’ (literally ‘tips’ or ‘tumbles’) into darker fantasy territory, almost more reminiscent of horror. From the way the novel kicked off, this is exactly what I was expecting to occur in The Pack. But it didn’t.

Unfortunately, Starr kept the novel buried in the everyday cycle of Simon’s life. Genre elements (you know, the werewolf bits...) were thrown in haphazardly, with little fleshing out, and only very superlative and repetitive attempts to make them relevant to the plot. Basically, it appears Starr’s main reason for having lycanthropic elements to the plot was so his characters could have more sex. Lot’s and lot’s of sex. Because apparently being a werewolf makes you horny - both literally and figuratively - and makes away with any sort of moral integrity you may possess. To the male characters in The Pack, women are downgraded to ‘things you use to make those annoying boners go away.’

Starr’s depiction of interpersonal relationships is frightening. Not only are the men incapable of treating women as anything other than animals sexually, the women are disturbingly submissive. Because apparently it’s also cool to be raped by a man-wolf in the forest. In this book, one of the phrases continually proposed to be erotic is a cold ‘Get naked.’ That should give you a measure of how horribly bad the characterization is. Throw in a weak ‘what did I do when I was a wolf’ mystery/guilt plot, and you’ve covered most aspects of The Pack.

Still, I can’t help but feel that some people might actually enjoy this book. I can definitely think of someone people who might get a kick. I’m thinking here the older, male counterparts to all those Twilight-crazed teenage girls. Despite my limitations towards the quality of the narrative, Starr still managed to keep me reading, so there’s something to say about his talent for keeping a reader hooked. Also, I’m just not much interested in the troubles of a middle-aged man, but looking at any sort of demographics statistics tells me quite a few people would probably be able to relate.

So at the end of the day, for any true genres fans (that probably means most of you loyal readers of this blog), I would recommend you pass. If by some lucky Google search you landed on this page and don’t fit in the previous category but rather enjoy a decent thriller, some werewolf-action to spice things up, and a pinch (ok, more than a pinch) or gratuitous sex, then The Pack may just be for you. Apparently movie rights have been sold, and Starr is busy writing a sequel, but for my part I think I’ll pass on any more from Simon and the gang.

Links:
Jason Starr's Website: http://www.jasonstarr.com/

Buy The Pack:
The Pack
Amazon.co.uk
Bookdepository.co.uk

Exogene by T.C. McCarthy

2012-04-12T21:52:00.001+02:00

T.C. McCarthy appeared without warning on the genre scene with a thought-provoking and extremely well-written debut in the form of Germline. This military SF set in a somewhat-far future delivered unto readers a bold, emotionally insightful, and dark narrative more reminiscent of a real-life veteran’s memoirs than a science fiction book. But it was more than that, because it grounded you in the immediacy of war, in characters’ desperation. So, it was really good. Exogene is the sequel which had to fill those big shoes and, without a doubt, it did. Approaching the same conflict from a different perspective, McCarthy demonstrates once more a talent for writing the kind of gritty, unrelenting narratives we long for.

Blurb:

Catherine is a soldier. Fast, strong, lethal, she is the ultimate in military technology. Bred by scientists, indoctrinated by the government, she and her sisters will win this war, no matter the cost. And the costs are high. The life span of these genetic soldiers is short, and they become unstable as they age. Then on their eighteenth birthday, when their duty is fulfilled, they are discharged - lined up and shot. But the truth is, Catherine and her sisters may not be strictly human, but they aren't animals either. Catherine may have only known death, but she dreams of life - and is prepared to pay any price to get it.

McCarthy wastes no time with introductions. From the first page to the very last, he immerses the reader in the experience of war and it’s consequence on the human (or not-so human?) psyche. Exogene follows the same narrative style as Germline, only substituting one of the genetically engineered female soldiers reaching the end of her shelf life in as a main character, and victim of war - Catherine. This particular perspective lends itself well to the exploration of certain themes McCarthy wasn’t quite able to touch upon in Germline. Drugs, narcotics, and dependency featured heavily in that book, but since the Genetics have been bred to have unwavering faith in God and the promise of heaven once their service is over, Catherine’s point of view lends itself well to discussions of religion, faith, and loyalty.

For a character making her way through war-torn landscapes, pursued by those that her supposed to be ‘on her side,’ these types of doubt come up a lot. Even if she’s been programmed not to. This is where the science fiction elements makes things more exciting for what would otherwise be a purely military piece of fiction. On top of the cutting-edge, futuristic military technology which makes the battlefield all the more thrilling (and deadly), the science fictional nature of the main character adds just that little twist to the story. Rather than a soldier just questioning his loyalty, we have a super-soldier who’s questioning her programming, her reason of being, since if she’s not doing what she was bred to do, then what is she supposed to be?

Moving away from its more philosophical nature, Exogene remains an engaging war thriller. Chase scenes, skirmishes, and pulpy fights abound. And the beauty of the first-person narration is that it really brings the reader into atmosphere of the text. Much like the common soldier (or loyal Genetic), we're never quite aware of what the next step is, where McCarthy will take the story next. We are engrained in the present, stuck in the harsh reality of the futuristic war he describes, with tortured combatants as our sole companions. In essence, we see everything through Catherine’s eyes, allowing us to get a greater understanding of the hardships she goes through.

Exogene, like its predecessor, is a true success. McCarthy writing feels a lot like the literary science fiction of old, that which accorded more attention to the human condition, and liked to tests its limits in fictional futuristic setting. It’s this sort of experiment which he attempts in Exogene, a detailed study of the emotional consequences of war on humans Surprisingly, McCarthy shows the reader that a being built to possess the merest facsimile of human emotion can be as revealing as the real deal. Undoubtedly, the themes broached in this novel transcend the genre, with existentialist musings aplenty. I couldn’t recommend this book more highly, whether you’ve read Germline or not. If you haven’t though, check that one out too.

Links:
T.C. McCarthy's Website: http://tcmccarthy.com/

Buy Exogene: Amazon.com
Amazon.co.uk
Bookdepository.co.uk

Cover Art | The Air War & Stormdancer

2012-04-04T15:32:00.002+02:00

via Tor Blog

If I'm honest, I have no idea exactly how 'new' these two covers are, but having stumbled across both in the space of 24 hours, I felt they would be worthy of a post.

The first of the covers is for the upcoming eighth Shadows of the Apt volume, The Air War, by Adrian Tchaikovsky. This is a series which Tor UK has recently been revising the look of, having already re-issued the first three novels with brand-new cover art and with the others to follow. It's given them a chance to unify the look of the series, which had already gone throne a number of artistic directions before. I was, however, under the impression that the final three books in the series would be initially released with covers from long-time series artist, Jon Stewart. This doesn't seem to be the case, as The Air War is all decked-out with Alan Brooks' rather eye-catching art.

I can't say I'm a huge fan of what I would consider to be an overuse of orange shades in the above artwork. Brooks' other covers made slightly better use of colors (except for the horrid palette for Salute the Dark) but I'm really unconvinced by this one. At this point, though the first few covers were really quite good, I'm not seeing how these will help sell more of Tchaikovsky's books than their previous covers. But, alas, there's nothing to do but sit back and wait to see what Brooks delivers for the remaining volumes (and hope for the best).

via Tor Blog

I'm much more a fan of this second cover, for Jay Kristoff's forthcoming debut, Stormdancer. For one thing, unlike Brooks, it appears Colin Thomas can actually competently draw human figures. Much can be said about the artwork's reliance on oriental-themed imagery, but from what I've heard of Stormdancer, it seems to fit. It's a shame they couldn't get a bit more steampunkery into the cover since the novel has in fact been described as: "an adventurous dystopian fantasy with a hint of steampunk and a flavour of feudal Japan." It's also a shame that this is purely and assortment of images assembled by designer Neil Lang, rather than wholly original art, but I have to give him credit for his success. The cost-effectiveness of such system, as opposed to commissioning an illustrator, is also understandable.

I heartily recommend clicking on the link below the cover, it will take you to the cover launch post on the Tor blog, which includes both Kristoff's and Lang's comments on the cover, and new tasty details on the plot.

Throne of the Crescent Moon by Saladin Ahmed

2012-04-04T10:21:00.002+02:00

Even before his debuted novel was chosen for publication, Saladin Ahmed was being praised for his efforts in short fiction, where he introduced to readers his own particular brand of fantasy, one with a touch of the Arabian Nights. With Throne of the Crescent Moon, his first full-length novel and start to a new series, it seemed he wished to continue in the same vein, providing us with a well-plotted, richly transcribed tale of ghul-hunters, holy warriors and lion-men. More importantly, the story remains set in the cadre of a decidedly Arabic culture, a welcome change from the often monotonous setting of your average fantasy fare.

Blurb:

The Crescent Moon Kingdoms, home to djenn and ghuls, holy warriors and heretics, are at the boiling point of a power struggle between the iron-fisted Khalif and the mysterious master thief known as the Falcon Prince. In the midst of this brewing rebellion a series of brutal supernatural murders strikes at the heart of the Kingdoms. It is up to a handful of heroes to learn the truth of the killings:

Doctor Adoulla Makhslood, ‘the last real ghul hunter in the great city of Dhamsawaat,’ just wants a quiet cup of tea. Three score and more years old, he has grown weary of hunting monsters and saving lives, and is more than ready to retire from his dangerous and demanding vocation. But when an old flame’s family is murdered, Adoulla is drawn back to the hunter’s path.

Raseed bas Raseed, Adoulla’s young assistant, is a hidebound holy warrior whose prowess is matched only by his piety. But even as Raseed’s sword is tested by ghuls and manjackals, his soul is tested when he and Adoulla cross paths with the tribeswoman Zamia.

Zamia Badawi, Protector of the Band, has been gifted with the near-mythical power of the lion-shape, but shunned by her people for daring to take up a man’s title. She lives only to avenge her father’s death. Until she learns that Adoulla and his allies also hunt her father’s killer. Until she meets Raseed.

When they learn that the murders and the Falcon Prince’s brewing revolution are connected, the companions must race against time - and struggle against their own misgivings - to save the life of a vicious despot. In so doing they discover a plot for the Throne of the Crescent Moon that threatens to turn Dhamsawaat, and the world itself, into a blood-soaked ruin.

Throne of the Crescent Moon sets off at a brisk pace - if nothing else, this book is pacy - with Ahmed throwing gruesome murders, and strangely charismatic revolutionary bandits in the very first chapters. At the same time, Ahmed deftly sets out the groundwork, bringing in bits of history of Dhamsawaat (the fictional city in which the novel is set) and allowing us to establish a good rapport with Adoulla Makhslood: principal character, and ghul-hunter extraordinaire. Or something like it, as he himself would think.

One of Ahmed’s strengths in Throne of the Crescent Moon is to keep his heroes humble. From the start, each is possessed of limitations which make them human, that which ultimately makes them relatable. Adoulla’s age is his one great weakness, a weakness perceived by his entourage, and more intimately so by himself. Raseed’s blind adherence to his faith is one which inevitably is called into question at every turn. Zamia’s sense of duty to her band is a heavy weight which she bears with difficulty. And the list goes on. But these intelligent choices in characterization are part of what make this book stand out - separate it from otherwise empty magical adventures.

This is not to say that Throne of the Crescent Moon isn’t a whole heap of fun itself. To the contrary. It’s other most redeeming quality, I would say, is its truly escapist nature. This is in part derived from the freshness of the setting. The effects of this particular choice of setting are seen not just in descriptions and such, but also in the vocabulary, dialogue, and the themes broached. To be fair, others have done this before Ahmed, but he certainly has written the best Arabian-tinged fantasy I’ve read in a while.

And in general, the fun can be found in Ahmed’s wonderfully exciting storytelling. Indeed, with its more than fair share of bandits, conspiracies, magical crises, evil spirits, romantic entanglements, and so forth, one could hardly say Throne of the Crescent Moon doesn’t strive to be entertaining. At the same time, it is a bit a victim of its own success, as at times its high-spirited narrative comes across as a bit too lighthearted for the ghul story it makes itself out to be. Partnered with the right dose of horror and thrills, the otherwise exuberant story could have been that much better.

That Throne of the Crescent Moon is Saladin Ahmed’s debut is surprising - one would rarely expect this level of quality in a first novel. But it means his writerly offerings can only get better. This first novel-length taste of his talent certainly wasn’t perfect, but it’s an adventure-filled Arabian tale I would easily recommend. Ultimately possessed of a jovial, romantic outlook, and littered touching characters, Throne of the Crescent Moon offers fantasy escapism of the best kind: imaginative and hugely riveting.

Links:
Saladin Ahmed's Website: http://www.saladinahmed.com/

Buy Throne of the Crescent Moon:
Amazon.com
Amazon.co.uk
Bookdepository.co.uk

The Troupe by Robert Jackson Bennett

2012-03-12T19:16:00.003+01:00

Usually, after having read three books from any one author (in this case, all the books he’s published) I feel I can safely say that I’m starting to get an idea of what he or she is all about. With Robert Jackson Bennett, this is far from being the case. His first two offerings, Mr. Shivers and The Company Man, were vastly different books; one a sublime horror tale set in America of the Great Depression, the other a twisted noir investigation. With his third work, Bennett takes us somewhere else again, setting-wise of course, but more notably, thematically. At times dazzling, eerie, touching, but always captivating, The Troupe is Bennett continuing to prove his mettle as a writer of fine fiction, and redefining the notion of ‘versatile writer’ as we know it.

Blurb:

Vaudeville: mad, mercenary, dreamy, and absurd, a world of clashing cultures and ferocious showmanship and wickedly delightful deceptions.

But sixteen-year-old pianist George Carole has joined vaudeville for one reason only: to find the man he suspects to be his father, the great Heironomo Silenus. Yet as he chases down his father's troupe, he begins to understand that their performances are strange even for vaudeville: for wherever they happen to tour, the very nature of the world seems to change.

Because there is a secret within Silenus's show so ancient and dangerous that it has won him many powerful enemies. And it's not until after he joins them that George realizes the troupe is not simply touring: they are running for their lives.

And soon...he is as well.

In The Troupe, Bennett drops us into the world of an unbelievably talented young pianist, George. It is by his side that we discover the curious Silenus Troupe, Vaudeville players with a bit of a secret. With mysteries and magic abounding, The Troupe tells a wonderful tale, one which glitters and shines, but also intrigues. Undoubtedly, it draws its strength in part from variety of storytelling it encompasses, being at once historical fiction, drama and magical adventure. Because of this, rarely (if ever) is it plodding, or uninteresting. Rather, Bennett keeps the reader hooked throughout by appealing in so many different ways to our desires and expectations - explications he often simply surpasses.

The key to the success of his narrative, however, are it’s characters. They’re the ones who tie the manifold plot elements together, and none more so than George. I’d previously noted Bennett’s power to create rousing main characters - Connelly and Hayes, from his previous novels, were solid leads - but George wins all. Bennett conveys equally well the boisterous enthusiasm and naivety of his youth, as well as his pains. These are only better emphasized during his quest for his father, and the hardships it brings him.

All around, Bennett’s characterization is excellent, and though as said George is clearly the best developed, there’s still something to be said of the strength of the secondary characters. After all, The Troupe wouldn’t be a very apt title if the ranks of the eponymous group of entertainers were not filled with characters who shine in their own ways. For the most part, their presence within the plot is to distracting intrigues from the main storyline, but eventually Bennett masterfully folds these threads back into the core story of the novel.

In terms of atmosphere, The Troupe’s is somewhat surreal, dreamlike. Bennett makes us feel like we are getting a privileged look at lives of these vaudeville players, and the heavy burden of their unlikely mission. Coupled with the always appealing setting of the turn-of-the-century Midwest, this has the effect of thoroughly drawing us into the novel, if only to discover more of intricacies and curiosities. Much like the audience at one of the Silenus Troupe’s shows, we feel entranced and entertained, but in a manner so subtle it leaves us wondering how Bennett achieved it.

Because above all else, The Troupe is charming. Its characters, plot and imagination will provide the initial attraction, but it is Bennett’s delightful prose, and first-rate characterization which will keep you coming back. This third novel may be different from Bennett’s two others, but it isn’t without his now almost characteristic literary flair, and attention to detail. Having this timed tamed the plot-issues which hampered The Company Man, The Troupe has none of these issues, and leaves me once more in full, uncontested awe of Bennett’s skill. Bring on the fourth book!

Links:
Robert Jackson Bennett's Website: http://shufflingandmuttering.blogspot.com/

Buy The Troupe:
Amazon.com
Amazon.co.uk
Bookdepository.co.uk

Heir of Novron by Michael J. Sullivan

2012-01-29T19:01:00.002+01:00

Though I gave the first of Michael J. Sullivan’s Riyria Revelations volumes - Theft of Swords - a review back in November, I never did get around to sharing my thoughts on the second installment, Rise of Empire. In fact, I haven’t really gotten around to review much in the past... two months. This changes today. Lucky you. As I was saying: I never got around to saying anything about Rise of Empire. For the purposes of discussing the final volume of Sullivan’s initially self-published, old-school fantasy epic, let me just say it was a solid follow up to its predecessor. With Heir of Novron, Sullivan brings the ever-enticing tale of Royce and Hadrian to an end with two final adventures that blow the four that came before out of the water. Everyone loves and epic ending to, well, and epic fantasy - Sullivan proves how well he can deliver just such an ending.

Blurb:

The New Empire intends to mark its victory over the Nationalists with a bloody celebration. On the high holiday of Wintertide, the Witch of Melangar will be burned and the Heir of Novron executed. One that same day the empress faces a forced marriage, with a fatal accident soon to follow. The New Empire is confident in the totality of its triumph but there’s just one problem - Royce and Hadrian have finally found the true Heir of Novron.

Sullivan has always been outspoken about having no greater intention than to write fantasy that fans of the genre would love to read. Not the most lyrical, unique brand of novels, but ones which would present the reader with heroes they could come to admire, and adventures to capture their imagination. Theft of Swords undeniably unfolded in this tone, and Rise of Empire similarly, but not until Heir of Novron is this sentiment better felt. As they head into the concluding events of their story, Royce and Hadrian are more endearing than ever, and there are yet many mysteries to uncover.

The first of the novels contained within Heir of Novron, Wintertide, is of the two the most similar to the four that came before. The endgame is yet only afoot, and some elements still need to be maneuvered into place before the reader can get the payoff. Sullivan capably makes this happen, but he is also careful not to dedicate the entirety of Wintertide to simply setting up the coming conclusion in Percepliquis - this novel has its own story to tell. And an entertaining story it is. Half of our favorite thieving outfit finds himself in a troublesome stiuation, while the other faces a continued battle with ghosts of his past. With several characters coming into their own in Wintertide, Sullivan continues to display a welcome attention for characterization.

As we move into the second part of this volume, Percepliquis, Sullivan ramps the action. Much like The Emerald Storm (second part of Rise of Empire), this is a quest story true to form. It’s hard to discuss here the exact circumstances that lead to Royce, Hadrian & Co. embarking on this journey, but since the title sort of gives it away let me just ask: what could be more epic than a bunch of merry heroes ranging underground to seek out the long lost capital of the greatest Empire ever known? Needless to say, Percepliquis is pure fantasy bliss. Sullivan marries together strong undertones of nostalgia, sacrifice, valor and companionship as our protagonists brave ever greater threats amongst the ruins of a crumbled society and attempt to decipher the mysteries surrounding its downfall.

And meanwhile, there’s still the fate of their entire world to be decided. In the very last stages of his epic, Sullivan goes from strength to strength with always another twist or revelation just around the corner. Sure, a few are predictable, but for the most part, he will likely keep you on the edge of your seat. A single day was too long a period for me to finish it - I was compelled to finish it in less time than that, in mere hours. Having so ably made us care for his characters, Sullivan delivers unto us the culmination of their tale with a sense of loss, certainly, but more than anything else with a sense of contentment

Fans of the first two volumes, then, will be comforted to know the Riyria Revelations come to a close in fine fashion. Sullivan will have kept a few twists up his sleeve to the very end, while we as readers will have been enthralled by the extraordinary deeds of Royce and Hadrian. I heartily recommend Heir of Novron and its predecessors to fans of classic epic fantasy tales. Proponents of the ‘dark & gritty’ school of fantasy, however, beware. As this volume is the last in the series, there are no plans to continue the story of Riyria beyond this point, though Sullivan reportedly has a prequel in the works. Heir of Novron was published by Orbit in both the UK and US this January.

Links:
Michael J. Sullivan's Website: http://www.riyria.blogspot.com/

Buy Heir of Novron:
Amazon.com
Amazon.co.uk
Bookdepository.co.uk

The Great LBR 2011 Retrospective, Part II

2011-12-24T18:26:00.003+01:00

In yesterday’s ‘The Great LBR 2011 Retrospective, Part 1’ I took a look at the ten best genre novels of the year. Today, it’s time to take a look at the best genre publisher or imprint for the year. I don’t want to take up too much of your time on this fine Christmas Eve, but before I get around to doing all the proclaiming winners and what not, I’d like to give a bit of an overview of the thought process I went through to select the winner. Then, we’ll see who won. Shall we begin?

First off, what defines - in this blogger’s opinion - the best publisher/imprint of the year? The answer, simply enough, is: the one who releases the largest amount of good books - or great books, of course. There are, however, a few complexities and limitations to this definition. In my mind, it isn’t just the numerical amount of good books released that counts, since this would unfairly advantage larger publishers. Sure, not all of the books they put out may be good, but it stands to reason that the more books you publish, the more likely I’ll find one I like.

That’s why there’s a consistency criteria. Not only must the publisher/imprint publish good books but do so consistently. That means if, despite however many good books they’ve released, the other half of their titles are try are mediocre, the publisher/imprint gets marked down.

Variety also, has it’s role to play. This one’s straightforward enough: does the publisher/imprint cover a wide variety of genres and sub-genres within the bounds of SFF? I have a tendency to read more fantasy than anything else, so clearly I might be slightly biased towards a publisher which releases more of that, but I’ve tried to look at the overall variety of the publisher, also counting those titles I’ve not read.

With those three criteria in mind - quality, consistency, and variety - and reminding you once more that this post is the representation of my sole opinion, let’s get to the award....

LBR’s Best SFF Publisher or Imprint 2011

If you’re a reader of the blog, this shouldn’t really be a surprise to you. Already last year Pyr Books had tied with TOR UK for this same position. Also, throughout the year, in almost every review of their titles I’ve written you’ll have noticed some mention of how great Pyr is. Under the deft editorial management of Lou Anders, this imprint of Prometheus Books continued to grow on the genre scene this year, even expanding to include a new YA-oriented line of books. But more importantly, Pyr continued to do what we love it for; publishing consistently first-rate genre novels, adorned with gorgeous artwork from their Art team.

Pyr doesn’t necessarily publish the most thought-provoking novels or those with great literary ambitions - they publish the devilishly creative, offbeat, and fun ones. Their books are often pulpy, hilarious, colorful, and brimful with fantastical goodness. Pyr knows how to pick them, and we’re glad they do.

Runner-up

Last year’s prize was a tie, but since this year there is a single winner, I’ve decided to announce a runner-up.

Orbit, both in the US in the UK, impressed me greatly this year. It’s a big publisher, so it’s got a bit of the unfair advantage we talked about earlier, but that doesn’t really matter here. More than in 2010, I feel like Orbit have stepped up their game, bringing us a staggering amount of quality genre reads. Some of my personal highlights (by which I judge it) are Parker’s The Hammer, Correy’s Leviathan Wakes, Abraham’s The Dragon’s Path, Sullivan’s ‘Riyria Revelations’, and Canavan’s The Rogue, to name but a few. What kept it from the top spot are the misses its had. I sincerely hope, however, that it will keep this up in the new year.

The Great LBR 2011 Retrospective, Part I

2011-12-23T17:09:00.003+01:00

It’s been quiet around here, don’t you think? With not a single review in a month, it’s fair to say I’ve been a bad, bad blogger. But hey, I’ve been busy. And for reasons unknown to me, I’ve been struggling to force myself to write reviews (which is why I haven’t written any). The holiday season, however, is much progressed and the end of the year is nearly upon us. Not to end the year on a bad note - and as a show of good faith for my dedication to reviewing - I give onto thee LBR’s 2011 retrospective. Rankings, awards, and reflections follow...

Last year’s equivalent of this post was entitled ‘2010 In Review & Anticipation for 2011’ but as you’ll have noticed, this year’s title doesn’t follow the same convention. Firstly, I’ve decided to split the ‘In Review’ and ‘Anticipation’ parts into two separate posts. Secondly, I felt ‘The Great LBR 2011 Retrospective’ sounded that bit grander, in a falsely arrogant way. Wouldn’t you agree?

Anyway, I took a look at 2010 from the perspective of a blogger/reviewer who hadn’t quite reached his first year of reviewing, and I must say that with another year on, I’m not looking at things from the same perspective at all. I feel like I was quite a bit more lenient with myself reviewing-wise this year, but also reading-wise. Last year, I managed to consistently post 7-10 reviews a month - and read that many novels - while this year I’ve averaged about 6ish for the first half of the year, at which point my consistency deteriorated until I was struggling to put up 2 reviews a month.

Needless to say, I hope this will change, but this trend clearly affects my judgement in rankings present below. In 2011 I didn’t read any (or much) less than I did in 2010, the difference is quite a few of these books were never reviewed. I also didn’t force myself to get around to reading all of the ‘big’ genre releases of the end of the year (like Morgan’s The Cold Commands which currently sits with a bookmark on page two on my bookshelf). I didn’t even keep up to date with certain series I enjoyed in the past (Wooding’s The Iron Jackal sits beside me, waiting patiently; or Mayer’s Heart of Smoke & Steam).

A rising trend however was my interest in graphic novels/comics.Though a big fan of french-language ‘bandes-dessinées’, in January 2011 I owned a grand total of zero english-language comics or graphic novels. Now, over thirty decorate my shelves, and I plan on arranging to have more join them soon. Most of these are volume editions of monthly comics, and so this year I have discovered the wonderful worlds of Chew, Fables, Locke & Key, Incognito, The Walking Dead, Sweet Tooth, The League of Extraordinary Gentlemen, Swamp Thing, I Kill Giants, and Serenity, amongst others. Graphic novels have been a means for me to quench my desire for entertaining genre stories at a time when I’ve never been busier, and their shortness a blessing when I couldn’t dedicate time to a novel.

This is all to say that 2011 has been a very different ‘reading year’ to 2010, and so you should keep that in mind when reading the rankings I have prepare below. I read over one hundred books this year, of which more than ninety where either genre novels or graphic novels. The lists below are compilations of my favorite reads, publishers and authors.

I have no wish to bore you (yet), so without further ado, let’s get to it!

LBR’s Top Ten 2011 Novels

I started out the year keeping track of all the genre novels I read and constantly ranking them against each other. That didn’t last much past May, so I’ve had to revaluate quite a few novels and see where they place.

This top ten simply embodies, in my humblest of opinions, what genre literature was about in 2011. These may not be the most popular books published this year, but they are the ones I would most recommend to readers wishing to sample 2011’s vast publication output. This year, as opposed to last year, I’ve ranked the books from 10th to 1st (though I cheat a bit). Don’t take this too seriously, it’s just the representation of one man’s opinion.

10th - Among Thieves, Douglas Hulick

Were it not for the title that follows it on this list, Among Thieves would have surely been the standout fantasy debut of 2011. Douglas Hulick’s tale of the thief Drothe was a thrilling story, and perfectly set the scene - in a wonderfully dark and exciting fantasy world - for the next books in the ‘Tales of the Kin.’ This book single-handedly marked out Hulick as a talent to look out for in the future.

9th - Prince of Thorns, Mark Lawrence

Most probably the fantasy debut which received the most spotlight this year, Mark Lawrence’s debut deserved every bit of attention it got. It is not everyday a write gets called the ‘British George R.R. Martin’ (this in Martin’s own biggest year), but one can certainly see how Lawrence’s darkly twisted book would draw such comparisons. With Jorg, Lawrence has created one of the most cruel anti-heroes known to fantasy, and we just cannot wait to read what atrocities he commits next.

8th - Germline, T.C. McCarthy

Germline came out of no where. With very little publicity or hype to speak of to launch T.C. McCarthy’s science fiction debut, the was little to prepare us for what it would contain. In his tale of war-induced emotional and mental sorrow, McCarthy introduced us to some of the most authentic characters in the science fiction genre. The story in Germline is essentially secondary to the turmoil undergone by it’s disturbed, deeply flawed protagonist Oscar Wendell, yet the fictional events it depicts remain etched in my mind. This is one of the darkest books on this list, but also one of its most complex and fulfilling.

7th - Leviathan Wakes, James S. A. Correy

The tag-team of Ty Franck and Daniel Abraham writing under the monicker James S.A. Correy brought us a revitalization of the space opera genre with the explosively entertaining Leviathan Wakes. Abraham’s writerly skill was already known, but combined with the imaginative detail of Franck’s prediction for the future of our solar system, this novel really managed to stand out amongst its peers. Leviathan Wakes is strong prose, well-crafted characters, and thoroughly plotted story which blends elements of other genres into an exciting space opera.

6th - The Book of Transformations, Mark Charan Newton

It always feels cheap to put sequels into these lists, since I feel like readers should be able to pick any book on this list and go off and read it without having to catch up first. Mark Charan Newton’s third book in his ‘Legends of the Red Sun’ series, however, undoubtedly deserves a mention. Newton’s first two books were brilliant in their own way, but in my mind The Book of Transformations more than either of the others demonstrated the finesse of Newton’s subtle melding of genres and tropes. In this book superheroes meet noir, weird, and epic fantasy in a story executed with tact and increased evidence of Newton’s literary skill.

5th - Expedition to the Mountains of the Moon, Mark Hodder

In September 2010, Mark Hodder threw at us one of the most fantastic, mind-bendingly fun steampunk adventures ever created. It seemed he was able to take all of the best elements of this funky sub-genre and throw them into a rich tale, a mix of alternate history and time-travel. He came at us again with The Curious Case of the Clockwork Man in March of this year, and a week ago it would have been this title featured on this list. However I hadn’t, then, read the third ‘Burton & Swinburne’ adventure: Expedition to the Mountains of the Moon. This final novel in the first story-arc of the series showcased Hodder at his best. Though the steampunkery was tuned down, characterization and plotting where better than ever before, and Hodder still managed to give us a good dose of wild genre goodness to sate our thirst. Look for my full review of this soon.

4th - The Kings of Eternity, Eric Brown

Eric Brown has been an established mid-list author for quite some time, but never before The Kings of Eternity had I dipped into his work. The more fool me. This book took me entirely by surprise, in its shortness, simplicity and excellence. This is not in any way, shape or form a novel which bends any genre conventions, or attempts to be particularly original in any way. Brown just wants to tell a good story and does exactly that. This book is simply on this list (and so high up) because it thoroughly entertained me when I wasn’t at all expecting it to, and for that it deserves other readers’ attention.

3rd - The Dragon’s Path, Daniel Abraham

Daniel Abraham showed us his stuff, so to speak, with his ‘Long Price’ quartet in which he delivered an unconventional epic fantasy which featured ephemeral magics and deities, and a story irregularly grounded in its strongly characterized personages. With The Dragon’s Path, Abraham had the desire to bring this type of focused storytelling to a more classical epic fantasy tale. What came out of it is one of the best epic fantasies in years, both familiar in its bearing and fresh in its narration. Solid characters ventured out into a vast world in this first book of a new series, and we simply can’t wait to see where they go from here.

1st - Embassytown, China Miéville with I Don’t Want to Kill You, Dan Wells

Again, I always feel guilty putting a sequel in these lists. Were I not prone to this guilt, you would likely find China Miéville’s stunning Embassytown in second and the conclusion to Dan Well’s brilliant ‘John Cleaver’ books, I Don’t Want to Kill You, in first. But this would largely be due to an emotional decision more than anything else. This is why I chose instead to award a tie for first between these two excellent titles.

Miéville’s latest embodies everything that make his books and approach so wonderful. He took a new genre, space-based science fiction, and gave him his unique treatment of weird, noir and intellectual inquiry. No other book quite enthralled me like Embassytown this year, immersing me completely in the complex and linguistically-peculiar world of Embassytown.

I Don’t Want to Kill You inevitably gets lumped with its two predecessors in my mind. Walking the line between young adult and regular fiction, Dan Wells’ books are amongst my all-time favorites, and the thing is.... I don’t really know why. There’s something in Wells’ intimate retelling of the high school life of John Cleaver, diagnosed psychopath and budding serial killer, which gets to you. As the final volume in the series, I Don’t Want to Kill You was the most emotionally palpable of the lot, and therefore stands out, to me, as the top book published this year. If you’ve not read it, then I once more recommend you check out Wells’ first: I Am Not a Serial Killer.

Notable Mentions

There are a few other novels that stand out for 2011. A few are the ‘big ones’ which were omitted more because everyone knows their worth already than due to any real deficiency on their part. All of these came very close to being featured on the list above.

The Hammer, K.J. Parker

The Winds of Khalakovo, Bradley P. Beaulieu

The Rogue, Trudi Canavan

The Sea Watch + Heirs of the Blade (Shadows of the Apt), Adrian Tchaikovsky

The Ritual, Adam Nevill

The Order of the Scales, Stephen Deas

The Wise Man’s Fear, Patrick Rothfuss

The Alloy of Law, Brandon Sanderson

A Dance With Dragons, George R.R. Martin

Rivers of London + Moon Over Soho, Ben Aaronovitch

Tomorrow we’ll take a look at this year’s top genre publisher as well as having a bit of discussion about the Graphic Novels I discovered, and most enjoyed, this year.

Theft of Swords by Michael J. Sullivan

2011-11-21T12:07:00.001+01:00

Michael J. Sullivan’s road to publication is the dream of every self-published writer out there. After having released the first five books in his epic fantasy series the Riyria Revelations by his own means and seeing his books met with fulgurant enthusiasm (and sales figures), Orbit opted to pick up all six of the books in his series. Theft of Swords - the Orbit published omnibus version of the first two books - showcases Sullivan’s lean prose and fun, classically oriented storytelling style. Though overly simplistic in some regards, the first volume in Sullivan’s series is an enjoyable and well-crafted one.

Blurb:

They killed the king. They pinned it on two men. They chose poorly.

Royce Melborn, a skilled thief, and his mercenary partner, Hadrian Blackwater, make a profitable living carrying out dangerous assignments for conspiring nobles - until they are hired to pilfer a famed sword. What appears to be just a simple job finds them framed for the murder of the kind and trapped in a conspiracy that uncovers a plot far greater than the mere overthrow of a tiny kingdom.

Can a self-serving thief and an idealistic swordsman survive long enough to unravel the first part of an ancient mystery that has toppled kings and destroyed empires?

And so begins a tale of treachery and adventure, sword fighting and magic, myth and legend.

Theft of Swords’ first part, The Crown Conspiracy - originally published as the first book in the Riyria Revelations - introduces readers to Sullivan’s style of storytelling, his world and its characters with great ease. Sullivan’s strong characterization means that only a few pages in the two ironically moral thieves that serve as protagonists, Royce and Hadrian, feel like old friends. It’s easy too to get a grasp for the world the novel is set in. Unlike many other epic fantasies, most readers should be quick to orientate themselves within Avryn.

Sullivan’s simple, effortless prose also translates to well-plotted but somewhat rudimentary tale. Hired to steel a famous sword by a mysterious stranger, Royce and Hadrian, unbeknownst to themselves, step into a far larger conspiracy. From this basic premise, Theft of Swords expands along the lines of many of fantasy that has come before it. Unashamedly so. And so ensue: a journey across the kingdom; an encounter with a very old, very powerful magician; knights in armor; and crumbling castles (with princess inside).

One of Sullivan’s stated intents with the Riyria Revelations is to go against the current ‘dark & gritty’ fantasy movement in search of the good, clean epics of decades past. This goal is certainly achieved, and undoubtedly in an entertaining manner, but there’s still the feeling that something’s missing when The Crown Conspiracy concludes. As this volume’s second tome, Avempartha, opens it’s not quite a reset, but it feels a lot like a new episode of a highly episodic television show rather than the second novel of a fantasy epic.

But soon enough, those characters and plot arcs that were introduced in The Crown Conspiracy resurface (other than Royce & Hadrian, who are present from the start) - if a bit conveniently - and the story picks up, highlight heavily for the first time that there is an overall arch to the Riyria Revelations which has yet to be fully revealed. Even more so than in the first part of Theft of Swords, excitement, mystery and heartfelt character moments abound. Avempartha also confirms that Sullivan’s greater strength, rather than plotting or worldbuilding, is characterization. Royce and Hadrian, of course, are the true stars but the strong, colorful cast of supporting characters aren’t to be undone either.

So verdict? How well do(es) Sullivan’s first (two) book(s) stack up? Remarkably well, I would say. Some will obviously point out its inherent lack of originality, its propensity for predictability or its rather simplistic outlook. That sounds bad, I know. But Theft of Swords, because of these faults, also happens to fall into one of the best categories of books - those that are unrestricted by any need to be anything more than fun-oriented, trope-embracing reads. Because of this, Sullivan’s first is a gripping page-turner with memorable characters, and serves as a solid opener to a new series. Theft of Swords was released by Orbit in both the US and the UK earlier this month.

Summarizing Info:
My Rating: 4 out of 5
Reading Age: 14 and up

Links:
Michael J. Sullivan's Website: http://www.riyria.blogspot.com/

Buy Theft of Swords:
Amazon.com
Amazon.co.uk
Bookdepository.co.uk

The Warlock's Shadow by Stephen Deas

2011-11-10T19:05:00.001+01:00

Stephen Deas - most-famously author of the Memory of Flames series that began with The Adamantine Palace - came at us last year with a fresh offering set in his established world and geared towards a slightly younger audience. The Thief-Taker’s Apprentice was a fine beginning to a new series. Though the core investigation featured was largely less enticing than it could have been, the novel’s setting and well-wrought characters presented much possibility for the future. Making away with distracting side-plots, Deas in this second Thief-Taker novel, The Warlock’s Shadow, tightens the plot, focusing it on Berren and he continues to haphazardly seek his place in the intrigue-tinged and vibrant city of Deephaven.

Blurb:

Berren is not enjoying himself. Trapped in a temple, forced to learn how to read, how to write and how to recall the histories of the Saints, all he wants is to be given a sword. As a thief-taker’s apprentice he imagined a world of daring night-time chases, glorious victories and a life of excitement. His dreams aren’t quite coming true.

So when a prince - the first and last prince he’ll ever see - hires the thief-taker as a bodyguard, Berren is thrilled. When he hears that a troupe of Dragon-Monks - exotic warriors and the best swordsmen in the world - are visiting, he sees an opportunity to learn how to fight. When one of the Monks turns out to be a girls of his own age, his future suddenly seems a lot brighter.

But when a shadowy figure launches an attack on the life of Prince Sharda, Berren finds himself plunged into a world of danger, intrigue and terror. He may discover that being trained with a sword isn’t enough - sometimes, you have to know who to fight...

I may not have realized it at the time, but The Thief-Taker’s Apprentice wasn’t the best book it could have been. In fact, I was relatively praiseful of it a year ago. Only reading The Warlock’s Shadow has enabled me to determine this. For whatever reason, Deas has come back to this series with a certain freshness and a keener sense for plotting. The Warlock’s Shadow gets off to a first start and never relents. Whereas the its predecessor tried to include a investigation into a pirate cartel, linked to protagonist Berren’s apprenticeship to a Thief-Taker - a glorified private detective/law-enforcer - The Warlock’s Shadow offers a much less convoluted story that brings in interesting elements from the characters’ pasts and sets things up nicely for future novels.

The Warlock’s Shadow is also helped by being a second novel. It does not have to go through the process of introducing all of the characters (and Deas does do much in the way of re-introducing them) and as the setting is virtually unchanged, most of the world-building was already over and done with in the first book. Instead Deas immediately builds up the intrigue with the arrival to Deephaven of a young and pompous Prince to which Berren and Master Sy are assigned as part of a security detail. Things quickly become interesting when an assassination attempt is stopped in its tracks by a surprised Berren.

In his choice of reward for his actions and in many other decisions taken in The Warlock’s Shadow, Berren demonstrates the earnest ambition - and inherent foolishness - of youth. Deas’ characterization of the driven apprentice thief-taker is particularly strong in this second novel. His personality is shaping up to be that of a strong determined hero, but Deas is careful in leaving him plenty of room for him to make mistakes - to our enjoyment, and appreciation of him as a character.

The Thief-Taker’s Apprentice was a book I thought would very much appeal to younger readers because Deas wrote what he thought they would enjoy rather than what he thought they should enjoy. It was a bit edgier than you would expect the typical YA fantasy to be. The Warlock’s Shadow continues in the same vein, blending gritty - even gory - action with themes of betrayal, death, blossoming youthful love, but also magic and adventure, of course. The book’s overall tone gives the sense of having matured at the same rate as Berren. He’s more mature now, so is the story.

Still not perhaps an extraordinary read, Deas’ latest thief-taker book is nevertheless a noticeable improvement on an already worthy volume. Berren shines in The Warlock’s Shadow as his mentor takes a bit of a back seat, and the scope of the story continues to grow. Dragon-monks, assassins, necromancy and enemies long-forgotten are all at the rendez-vous in this greatly entertaining novel. With this and Order of the Scales out this year, Stephen Deas really has shown much growth as a writer, and hopefully he will continue to do so with The Black Mausoleum (Memory of Flames 4) and The King’s Assassin (Thief-Taker 3) are released.

Summarizing Info:
My Rating: 4.5 out of 5
Reading Age: 13 and up

Links:
Stephen Deas' Website: http://www.stephendeas.com/

Buy The Warlock's Shadow:
Amazon.com
Amazon.co.uk
Bookdepository.co.uk

The Islanders by Christopher Priest

2011-11-04T12:03:00.001+01:00

Every once in a while there comes a book I feel absolutely unqualified to review. The latest of these is Christopher Priest’s (of The Prestige fame) newest book, The Islanders. Having not read anything from Priest in the past, I was both tentative and truly excited to dig in. What I was met with is a piece of fiction so vibrant, subtle, passionate and so damn clever it made me feel inadequate. But in a good way. The kind of way where I’m more than happy to reduced to a state of primal awe at an artist’s expression of his thoughts on themes and topics equally diverse and important, and do so intelligently, gracefully without sacrificing readability. For a first experience, Priest sure knows how to impress.

Blurb:

The Islanders is a tale of murder, artistic rivalry and literary trickery; a chinese puzzle of a novel where nothing is quite what it seems; a narrator whose agenda is artful and subtle; a narrative that pulls you in and plays an elegant game with you.

The Dream Archipelago is a vast network of islands. The names of the islands are different depending on who you talk to, their very locations seem to twist and shift. Some islands have been sculpted into vast musical instruments, others are home to lethal creatures, others the playground of high society. Hot winds blow across the archipelago and a war fought between distant continents is played out across its waters.

The Islanders serves as an untrustworthy but enticing guide to the islands, an intriguing, multi-layered tale of a murder and the suspect legacy of its appealing but definitely untrustworthy narrator.

If that blurb didn’t convince you to read this book than I don’t think anything I will add will change that. I’d be hard pressed to come up with a more apt description of my own. I will, however, give it a try. Priest’s latest is the kind of book most fans of literature hope to read when they crack open a new tome; an elaborate, multi-faceted piece of writing which both challenges the reader in its subtlety and rewards in its inventiveness. One read through of The Islanders - literary geniuses apart - will not be enough for most readers to fully grasp it in its entirety, and that’s part of what makes it so delightful.

Also, it would be difficult to safely classify The Islanders in any particular genre. The mystical, nebulous nature of the Dream Archipelago lends itself well to a genre comparison, but unlike the majority of the books reviewed here on LBR, the ‘genre element’ really isn’t at the core of Priest’s novels. Instead, this is a bizarre look at artistic passion, mixed in with an inkling of a mystery plot and, frankly, a lot of other things I’d be hard pressed to define.

One thing is clear, you shouldn’t go into The Islanders expecting anything resembling a normal novel. It doesn’t even respect any form of conventional format, alternating between a strictly gazetteer/almanac style reference guide and mysterious short stories that may or may not be linked to each other. Which means, there isn’t much in the way of a central plot either. Sure, there are overall themes which Priest keeps coming back to, but the only sort of narrative we are treated to is a fleeting one, told in bits and pieces, not chronologically and with the details - like much else in this book - never fully revealed.

This aura of mystery that surrounds the lives of the sparse cast of characters is as I mentioned one that is engrained in the very setting of the book. This, for me, was one of the most enjoyable elements of the novel. Priest kept me guessing, dropping hints before I even knew to look for them, and somehow assembling a complex story full of mystery which I was simply dying to unravel.

I could probably go on about this book - such is its power - but I already feel like I’ve started rambling. Long story short: read this book. Sure, it won’t be as mind-numbingly simple a read as some epic fantasies (or, dare I say it, paranormal romances) but this in itself is a promise of something much more carefully wrought and something much more rewarding. Priest is a clever man and he’s not afraid to show us how much control he holds over his art, but never does The Islanders become condescending or self-indulgent. Give it a try.

Summarizing Info:
My Rating: 5 out of 5
Reading Age: 16 and up

Links:
Christopher Priest's Website: http://www.christopher-priest.co.uk/

Buy The Islanders:
Amazon.com
Amazon.co.uk
Bookdepository.co.uk

Heirs of the Blade by Adrian Tchaikovsky

2011-10-11T09:42:00.002+02:00

If you’ve been reading LBR for a bit, you’ll know I’m an avid fan of Adrian Tchaikovsky’s momentous Shadows of the Apt series. Not only has Tchaikovsky managed to produce an doorstop-length novel bi-annually for the past three years, but the quality of his work has been on the rise nearly since book one. Heirs of the Blade is the seventh novel in the series, following on February’s The Sea Watch, and the third (and assumed final) volume of the series second arc. Much like the two last installments preceding it, Heirs of the Blade dually focuses on the continued exploration of the series’ landscape, and an in-depth look at a few select characters. Once again, Tchaikovsky has managed to take us in a somewhat unexpected direction, though this latest seems to unfortunately lost some of the excitement and drive of its direct predecessors.

Blurb:

Tynisa is running, but she cannot escape the demons of her own mind. Amidst the fragmenting provinces of the Dragonfly Commonwealth her past will at last catch up with her. Her father’s ghost is hunting her down.

At the same time, the Wasp Empress, Seda, is on the move,her eyes on the city of Khanaphes, the fallen jewel of the ancient world. Whilst her soldiers seek only conquest, she sees herself as the heir to all the old powers of history, and has her eyes on a far greater prize.

Seven books in, it becomes difficult to discuss any aspect of a book without simply considering it in the context of the series as a whole. There comes a point - and with the Shadows of the Apt I think this point has long been surpassed - where a novel is almost impossible to consider as anything other than a further chapter of a whole. Tchaikovsky’s decision to divide his series into a number of sub-arcs, the first of which was comprised of books one through four, the second books five through seven and presumably the final arc will be made up of books eight through ten. As the final novel in an arc, Heirs of the Blade feels very different to the Salute the Dark, the fourth novel of the series.

It appears the trend for this second arc is one which sees Tchaikovsky take somewhat of a break from telling the story we really want to know about: the clash between the Wasp Empire and the Lowlands under Collegium. Of course, the war has actually been suspended in the plot of the story, so Tchaikovsky makes use of this time to refine the world of the Shadows of the Apt by visiting new places, introducing all sorts of new Kinden and generally prepping things for what we can only assume will be the final confrontation.

However, Tchaikovsky has also taken the opportunity to use these three books to check in with a few of the main characters which may have been somewhat sidelined in the hectic, intense, large-cast act which were the first four books. This wasn’t exactly true of Che around which The Scarab Path focused, but it certainly is of Stenwold who we reconnected with in The Sea Watch, and now Tynisa in Heirs of the Blade. This seventh novel is an intimate observation of how she is dealing with the consequences of the first Wasp War, of her mistakes, and dealing with her losses.

That the intriguing, feudal and previously unexplored Commonweal happens to be an appropriate place for Tynisa to confront her past is convenient. While following her on a deeply traumatic and emotional journey, we’re also taken to a whole new land, and exposed to the original culture of the Dragonflies which have up to now heavily featured in the books, but are a kinden for which we got comparatively little insight. Tchaikovsky’s choice of setting, therefore, is a wise one - he also proves here that he’s still able to shows us fresh aspects of his world while encompassing the story and characters we are already familiar with.

Where this novel disappoints is in the lack of connections with the sixth book, The Sea Watch. A follow up of Che and her adventures from The Scarab Path is appreciated, but after the very overt build up in The Sea Watch, it’s a bit of a let down to discover that Heirs of the Blade doesn’t continue to ramp up that anticipation. Instead, when you consider the latest three books in the series, they’re almost standalones. At the end of the sixth, I was fairly excited for the widespread, epic action to resurface or at least being to resurface but it seems Tchaikovsky is saving this for the eighth novel. Only the very last chapters of this book make any acknowledgement of the brewing conflict in any tangible terms - thankfully, what is said appears to indicate that the next volume should bring us back to the scope of the first books.

In spite of this small shortcoming, the immersive nature of Tchaikovsky’s storytelling remains as entertaining and as welcomed as ever. Coming back to a world with such an extensive mythology and backstory, I always have the fear that my memory will fail me, but every time the power of Tchaikovsky’s prose and character’s make it a breeze to reintegrate this world. I’ve said it before and I’ll say it again: the Shadows of the Apt series is simply one of the best epic fantasy series out there. It might not have as high a profile as some other lengthy series, but you should not be deceived by this, if anything its an under-appreciated gem. Heirs of the Blade is out from Tor UK now, and should eventually become available from Pyr in the US. The tentatively entitled eighth book, The Air War, is projected to hit stores next summer.

Summarizing Info:
My Rating: 4.5 out of 5
Reading Age: 14 and up

Links:
Adrian Tchaikovsky Website: http://www.shadowsoftheapt.com/

Buy Heirs of the Blade:
Amazon.com
Amazon.co.uk
Bookdepository.co.uk

Blackdog by K.V. Johansen

2011-09-26T13:46:00.001+02:00

Having previously dealt mostly in children and teenage fantasy fiction, Canadian writer K.V. Johansen makes her entrance on the adult epic fantasy scene with Blackdog, an ambitious standalone novel filled with gods, goddesses, entrancing magics and touching characters. Boasting a scope and depth easily the equal of any ten-volume epic, Blackdog mixes the scale and feel of the greatest fantasy sagas with a succinct, character-driven storytelling, blending the two into a (relatively) meager, highly enjoyable five hundred fifty pages.

Blurb:

In a land where gods walk on the hills and goddesses rise from river, lake, and spring, the caravan-guard Holla-Sayan, escaping the bloody conquest of a lakeside town, stops to help an abandoned child and a dying dog. The girl, though, is the incarnation of Attalissa, goddess of Lissavakail, and the dog a shape-changing guardian spirit whose origins have been forgotten. Possessed and nearly drive mad by the Blackdog, Holla-Sayan flees to the desert road, taking the powerless avatar with him. Necromancy, treachery, massacres, rebellions, and gods dead or lost or mad, follow hard on their heels. But it is Attalissa herself who may be the Blackdog’s - and Holla-Sayan’s - doom.

Beyond the obviously gorgeous and suitably epic artwork from Raymond Swanland, what drew me to Blackdog was the book’s blurb which suggested an earnest desire to tell an epic, slightly old-school story on Johansen’s part, all in one neat volume. From the way this tale began, with a relatively narrow focus, it wasn’t immediately obvious that we were dealing with a story and a setting that presented an amount of worldbuilding and scope worthy of the likes of Sanderson, Martin or Jordan. Unlike these writers, however, Johansen - even once we’ve followed the characters out into the world - never reveals too much about the world she’s built other than what is currently relevant.

Through the characters’ journey out of the mountains, into the desert and across hills, rivers and steppes, we catch a glimpse of the wider world this story subsists in. In the small part of this land we get the chance to explore we already encounter a diverse range of people and cultures. This is a world in touch with their spirituality, due to the accentuated presence of their deities, the gods and goddesses being of a very earthly nature and known to get involved and appear to their followers.

Into this vivid setting, Johansen, inserts a few key characters around which Blackdog’s story revolves. Holla-Sayan, the Blackdog, and Attalissa are, obviously, the chief protagonists and are fair ones at that. Johansen’s characterization is one of the notable aspects or her books to which she adds a touch of modernity in contrast to an otherwise fairly typical fantasy tale, building great depth into characters’ personalities and approaching the storytelling from a very intimate angle.

Attalissa exemplifies the complexity of character Johansen has built into her creations, as a goddess made flesh fighting internal battles with the all-too familiar strifes of adolescences and the difficulty and weight that anchor a deity to her people. This unique position is portrayed by Johansen in a deeply humane and appropriately inspiring way. Somehow, Johansen has managed to create a new type of epic fantasy hero, one that is both mortal and immortal, infinitely powerful yet limited by her perspective and troubles, and one which very few will have difficulty caring for.

The successful characterization applies also to Holla-Sayan, if to a lesser degree, as he is a character that more easily fits genre arch-types. His own internal struggle and emotional journey, like that of Attalissa, is well developed and serves as a solid secondary arc for the novel. Surrounding these two main characters are an equally entertaining and well-characterized bunch of people, from warrior-priestesses, to caravan-leaders, freedom-fighters and age-old entities, each adding his or her own flavor to the story.

Themes of mysticism abound in Blackdog, and as Johansen opts to leave her magic as undefined as possible, there is a strong aura of mystery and wonder to the story. And yet, the way in which the characters interact with magic and their acceptance of it a common occurrence adds to the worldbuilding’s credibility form a story telling point of view. Along with its thrilling skirmishes, rebellions and duels, this wispy embrace of the fantastic makes Blackdog a distinguished reading experience, setting itself apart from other novels yet suggesting familiarity all the while.

With little to nothing to hold to complain against it, Blackdog is an elaborate piece of fantasy storytelling that heralds the coming of a new talent in epic fantasy, should K.V. Johansen choose to return the adult fiction a second time. A mystifying, genuinely absorbing take on traditional high fantasy trappings with a keen eye to characters and their emotions, Blackdog deserves you give it a try. Highly recommended. Blackdog was published by Pyr in September in the US, and is available by import in the UK.

Summarizing Info:
My Rating: 5 out of 5
Reading Age: 15 and up

Links:
K.V. Johansen's Website: http://www.kvj.ca

Buy Blackdog:
Amazon.com
Amazon.co.uk
Bookdepository.co.uk

The Rift Walker by Clay Griffith & Susan Griffith

2011-09-13T11:46:00.002+02:00

The husband and wife writing duo that makes up Clay and Susan Griffith made quite the rounds a year ago with their genre-bending debut garnering an attention in reviews greater than for any other Pyr release to date. Because of the generally highly-regarded quality of the first tome of the ‘Vampire Empire’ trilogy, expectations for the second volume, The Rift Walker, was equally high. For some reviewers having already given their verdict, this sequel is not as strong as its predecessor, yet I would maintain that this is a surprisingly strong second outing. All the juicy elements of the first book are there - vampires, magic, steampunk, romance, political scheming and war - and the Griffiths make do without the obtrusive ‘I’m an imprisoned princess’ passages that bogged down The Greyfriar. All in all, the Griffiths continue to show us the strengths and benefits of combining a variety of genre tropes into one, lean novel.

Blurb:

Princess Adele abandons duty and embarks on a desperate quest to keep her nation from genocide as the Equatorian Empire and American Republic allies strategize plans for victory against the vampire clans of the north. Reunited with her great love, the mysterious adventurer known as the Greyfriar, Adele is pursued by her own people and her vengeful husband, Senator Clark. With the human alliance in disarray, Prince Cesare, lord of the British vampire clan, strikes at the very heart of Equatoria.

As Adele fights to bring order to her world, she learns more about the strange power she exhibited in the north. If she could ever bring this power under her command, she could be death to vampires. But such a victory would also cost the life of Adele’s beloved Greyfriar.

First off, a minor caveat. As mentioned above, from what I can surmise, expectations for The Rift Walker were, generally speaking, quite high while I can only admit to feeling only modest excitement for the novel. With expectation lower than the norm, I would say, there’s a chance that to me, The Rift Walker did not disappoint - as other reviewers have claimed - simply because I wasn’t looking for it to do more than it did. Please bear that in mind as you read this review, especially if you’re one of those that were/are anxious to get your paws on this book (though I imagine, if you are, you’ve probably already done this). Now let’s get to the actual review, shall we?

The Rift Walker kicks off in a much less spectacular fashion than its predecessor - no surprise vampire attacks on flying steamships here, just Alexandria, twenty-first century capital of the still very Victorian Equatorian Empire. Arguably, the first hundred pages aren’t the best showing of the Griffiths’ work, a bit slow and plodding and with very little excitement to go around. Yet this is the second, middle volume in a trilogy, without the need to pull the reader in with the big flashy ‘bang’ of the start of a first novel or the palpable tension of a third volume. I myself cherished the opportunity to get properly reacquainted with the characters without having to keep track of a million events. And really, it’s not like nothing at all is happening.

From the moment the Greyfriar makes his appearance in Alexandria, the novel undergoes a pronounced shift into high gear. The Griffiths, after having dabbled for the first hundred pages in solid characterization, offer us what we came looking for: unrelenting action, adventure, romance and a fair bit of magic. There really is something for everyone here, and this, I think, really is the what makes the Griffiths’ writing so endearing. Some will mention the noticeable downgrade in emphasis on the steampunk elements of this world, but more worth a mention is the equally noticeable increase in magic. This is an element of the world’s mythology that was clearly hinted at - even outright displayed - in The Greyfriar, but it makes a grand appearance in The Rift Walker. This could yet become an epic fantasy too!

Adele and the Greyfriar continue to be captivating characters as individuals and in their unconventional love affair. Both are characters that have great depth and strong personalities but Adele in particular grows in these areas in the second book. Well plotted events advance her character-arc further than any other character in the novel, and perhaps even further than her character progressed in the first novel. We really are able to witness first-hand her evolution, and that’s a testament to the Griffiths’ strong characterization. The Greyfriar - out of his element in this book - takes a bit of a backseat, though any appearance en force by him shines.

At the end of the day though, what I keep reading ‘Vampire Empire’, and what I imagine a lot of other readers keep reading these books for, is the all out epic entertainment they provide. In this respect, The Rift Walker really outdoes the first book, providing us with devilish conspiracies, all-out war on a reclusive vampire clan, airship chases, betrayals, heroics and complicated affairs of the heart, all told from a massive, epic scope. This is some of the same stuff we saw in The Greyfriar, but it has gotten old enough yet that we don’t desire more and more every time Clay and Susan Griffith serves us a bit of genre goodness.

So fans, have no fears, unless your expectations were ridiculously high, I don’t think Clay and Susan Griffiths will let you down. Their continued mixing of tropes from steampunk, epic fantasy, urban fantasy and adventure is still refreshing and proof of how a bit of of innovation - even in a purely gratuitous entertainment sense - can bolster a novel’s quality. If you haven’t yet gotten in on the Griffiths’ highly enjoyable, highly diverting ‘Vampire Empire’ trilogy I suggest you do so now. No matter what genre background you have, I can almost guarantee you’ll find something to your liking here. The Rift Walker is available from Pyr books in the US now, and by import to the UK.

Summarizing Info:
My Rating: 4.5 out of 5
Reading Age: 14 and up

Links:
Clay Griffith & Susan Griffith's Website: http://clayandsusangriffith.blogspot.com/

Buy The Rift Walker:
Amazon.com
Amazon.co.uk
Bookdepository.co.uk

The Straight Razor Cure/Low Town by Daniel Polansky

2011-09-09T13:37:00.002+02:00

The Straight Razor Cure, also known to US readers as Low Town, is Daniel Polansky’s debut novel and a notable one at that. Polansky choses not to follow the beaten path, offering us a rich and unusual setting of drug and crime-ridden streets populated by characters that do not play by the book and can well and truly resonate with us readers. Amidst a supernatural serial killing case, dealing with corrupt police services and fighting his own personal battles, Warden’s tale is one worthy of readership.The Straight Razor Cure is by no means perfect, but it is a damn good offering on the part of a debut novelist.

Blurb:

Welcome to Low Town.

Here, the criminal is king. The streets are filled with the screeching of fish hags, the cries swindled merchants, the inviting murmurs of working girls. Here, people can disappear, and the lackluster efforts of the guard ensure they are never found.

Warden is an ex-soldier who has seen the worst men have to offer; now a narcotics dealer with a rich, bloody past and a way of inviting danger. You’d struggle to find someone with a soul as dark and troubled as his.

But then a missing child, murdered and horribly mutilated, is discovered in an alley.

And then another.

With a mind sharp as a blade and an old but powerful friend in the city, he’s the only man with a hope of finding the killer.

If the killer doesn’t find him first.

Praise must be given to Daniel Polansky for not following the most typical of routes in building his fantasy novel. I wouldn’t go as far as saying that The Straight Razor Cure is an out-of-this-world original novel, but it does have a certain uniqueness in feel and pace that make it standout from other similar fantasies. The setting plays a big part in this, Low Town being the slightly unsettling hybrid of your typical fantasy story and our own modern metropolises. With a fair number of would-be anachronisms - modern vernacular, contemporary police procedures, etc. - Polansky’s Low Town reminds me most of Mark Charan Newton’s Villjamur, also noted for it’s uncommon melange of mock-historic and modern.

This captivating setting has the effect of bringing us into the story. On that point, Polansky does a good job for the most part, constructing a puzzling trail of murders for us to elucidate alongside Warden, complete with a twist which in retrospect seemed somewhat obvious, but which I did not foresee while reading (which either says something about me, or Polansky’s skill - don’t know). Polansky’s control of plot as a debut writer is remarkable, but this doesn’t stop the it from having a tendency to wander and slow the pace of the novel down. Thankfully, the strong characterization makes up for this...

Through its first person narration, The Straight Razor Cure gives us the opportunity to get to intensely know the protagonist, Warden. He is without a doubt the heart of the story. On the exterior cold and calculating with all the appearance of a common criminal, Warden reveals himself to be much more than that. Plagued with a tumultuous past of long-fought wars and service in the special operations branch of the Low Town police, it’s fair to say that he’s been through a few things in his time. His position as a renowned drug dealer - albeit one with a hint of morals - puts him in an interesting position when he decides to do the semblance of a good thing: investigate the murder and butchering of a young girl.

Warden’s mind is perhaps the most intriguing element of the book to explore, despite the novel’s terrific setting and it’s well-wrought plot. At times dark, conflicted and desiring nothing but a fix, while at other times brilliantly fast-witted and investigative, or again pensive and philosophical, Warden’s mind is a place you can never get to know fully. It goes without saying that Polansky’s characterization is well beyond average, succeeding in making this past-his-prime vigilante junky an attractive - if deeply flawed - hero. More than anything else, it was he peculiarities and strength of character that kept me reading The Straight Razor Cure, especially in instances of meandering pace.

An occasionally slow and wandering plot apart, Daniel Polansky’s very first fantasy novel has much to acclaim. With some seriously good characterization, well thought out setting and a good supply of mystery, corruption, drugs and criminality, The Straight Razor Cure has much going for it. As good as it is, I don’t think it deserves to be an essential read, as some books are wont to be, but if the opportunity arises, or if it has already caught your eye, then I readily recommend you give a trip through Low Town a try. The Straight Razor Cure is already available from Hodder & Stroughton in the UK and as Low Town from Doubleday in the US.

Summarizing Info:
My Rating: 4.5 out of 5
Reading Age: 15 and up

Links:
Daniel Polansky's Website: http://www.danielpolansky.com/

Buy The Straight Razor Cure/Low Town:
Amazon.com Amazon.co.uk
Bookdepository.co.uk

Cover Art | New Editions of Shadows of the Apt by Adrian Tchaikovsky

2011-09-05T18:46:00.005+02:00

via Julie Crisp

Julie Crisp, Editorial Director at the Tor imprint of Pan Macmillan in the UK, had some weeks ago alluded to a re-edition of Adrian Tchaikovsky's Shadows of the Apt series. One of the notable changes of these new editions will be a shift up from mass market to B-size novels but it was also revealed that the earlier novels in the series would also benefit an all new cover treatment. Today, on her Twitter account, Julie Crisp posted the new artwork for the first two books in the series, Empire in Black and Gold which you can see above, and Dragonfly Falling which you'll discover if you scroll down the page.

What hadn't been announced was that the art had been commissioned from Alan Brooks and not from Jon Sullivan who's art has graced the covers of both the UK (first novel apart) and US editions up until now. I can't say this decision is a bad one as the art above and below is certainly stunning. I like the softer tones of the art as well as the detail and color of the backgrounds, especially that of Empire in Black and Gold, but am unsure of the font used for the title. Though the lone-character covers of the originals were quite bare, I had no issue with the style of font used on the first editions of the novel, and see no reason why they could not have been used here too.

While the background is particularly beautiful for the new cover of the first volume, Brooks' depiction of Felise centerfold on the cover of the second novel is, I think, a much better rendition than that of the original. The hood has been done away with (for once) and reveals beyond doubt that the figure is female - something the original embarrassingly could not claim to achieve. Overall, these are some very strong covers. It'll be interesting to see how Brooks will choose to illustrate the covers of the third and fourth novels. There is no word on whether the fifth, sixth and seventh (which is only released in October) books will get a similar treatment, though it appears likely. Already, the seventh will be published in the larger b-format from the start. So much to look forward to content-wise with this series and almost just as much from the art-side of things...

The Third Section by Jasper Kent

2011-09-05T13:26:00.001+02:00

Ever since I first delved into Twelve, Jasper Kent’s Danilov Quintet has been a reference for me in terms of historical fantasy and vampires that don’t sparkle. Kent’s debut was both an entrancingly thematic exploration of Napoleonic Russia and a refreshing take on the most famous of bloodsucking beasts, and Thirteen Years Later was an even more thrilling tale of mysteries, conspiracies and vicious creatures of the night. The sequel, the aptly named The Third Section, marks a change in protagonist and a significant shift forward in time, telling a story just as colorful and historically rich as its predecessors yet is somewhat lacking in the narrative department.

Blurb:

1855. After forty years of peace in Europe, war rages. In the Crimea, the city of Sevastopol is under siege. To the north, Saint Petersburg is blockaded. But in Moscow there is one who sits and waits - for the death of a tsar, and for the curse upon his blood to be passed to a new generation.

As their country grows weaker, a man and a woman - unaware of the hidden ties that bind them - must come to terms with their shared legacy.

In Moscow, Tamara Valentinovna Komarova - and agent of the tsar - uncovers a brutal murder. It seems this is not the first death of its kind, but the most recent in a sequence of similar killings committed by one who has stalked the city since 1812.

And in the ruins of Sevastopol, Dmitry Alekseevich Danilov confronts not only the guns of the British and French but also another, unnatural enemy: the creatures his father had thought buried beneath the earth, thirty years before.

Where the first two installments of the Danilov Quintet centered around the tumultuous life of Aleksei Danilov - albeit with a thirteen year gap of uneventfulness between the two - this third entry in the series shifts its perspective to that of Aleksei’s son, Dmitry, and lovechild, Tamara. Still, even with their father out of the picture, Aleksei’s progeny still finds itself entangled in the stories of his past notably, of course, his encounters with the hated voordalak - vampires - including his old nemesis Iuda. The widening of the scope, after two books, is no bad thing and Dmitry and Tamara quickly emerge as captivating characters.

But at the same time, in many ways, their story pales compared to that of their father’s. Perhaps its the fact that in so many ways those stories are the same. Kent, for reasons known only to him, choses to have The Third Section - in part - be the account of Tamara’s uncovering of her father’s eclectic tale. The problem is, as well-told as Tamara’s discoveries are and though the novel’s Muscovite backdrop continues to be as sublime as ever, we already know this part of the story. That’s what the first two books were about. Thus, the story lacks any sort of tension (or a lot less than it should) and true mystery.

The Third Section must rely instead on Dmitry’s plot-arch for novelty. He is very much the bridge from Thirteen Years Later to its sequel, having played an integral part in the events told within that second volume, but his part in The Third Section is much weaker. First off, it takes much too long for his arc to find its stride, and then when it has finally found it, there’s a shift in storytelling and it appears everything has to start from the beginning again. As much as his story grows in this new direction, the end feeling I was left with was one of disappointment.

Meanwhile, The Third Section does maintain some of the strengths of the first two books. The background of the Crimean War brings is reminiscent of the perilous Napoleonic invasion of Twelve with numerous welcomed references to that war. Moscow continues to be the main setting, almost a character of its own, with the opportunity this time around for us to explore the Kremlin and revisit the small bordello who’s confines we first entered in Twelve. The treacherous, cunning Yudin (Iuda) is also back and, like before, is thoroughly delightful in his villainous role.

So at the end of the day, I don’t think any who read the first two books should be deterred from reading this third, only a slight dip in quality plot-wise should be expected. Despite the immersive setting and solid prose, there just doesn’t seem to be enough plot in The Third Section to fill a novel. A slight mark down for Kent, then, yet in the overall scheme of things, The Third Section does very little to abase the quality of this series. If anything, it just proves that even the best can’t get it right everytime. However, if things do pick up again in the penultimate volume, as I have hope they will, we should be in for yet another gratifying experience indeed. The Third Section is already out from Bantam Press in UK and is due to hit US store shelves through Pyr this October.

Summarizing Info:
My Rating: 4 out of 5
Reading Age: 16 and up

Links:
Jasper Kents' Website: http://www.jasperkent.com/

Buy The Third Section:
Amazon.com Amazon.co.uk
Bookdepository.co.uk

Cover Art | Sworn in Steel by Douglas Hulick

2011-09-01T21:04:00.005+02:00

via Wyrdsmyths

This picture may not be of the best quality, but it does offer a look at the UK art for Douglas Hulick's sophomore effort, Sworn in Steel. Keeping much the same style (Drothe - the main character - centerfold in the shadows) as that for the cover of Among Thieves - the first 'Tale of the Kin,' Larry Rostant has however opted for a more colorful palette. Overall, when you account for the added dynamism, I would say that Tor has noticeably increased the quality of the art, and making it more attractive to potential readers. Also, based on the quality of its predecessor, this should be just be a damn good book. If it's the US cover art that interests you more, follow the source link underneath the image above which should take you to a page displaying both the American and British versions of the cover.

Vacation Reads | Reviews of Germline, A Princess of Mars and Stands a Shadow

2011-08-23T19:20:00.003+02:00

As you might have noticed if you’ve been checking on LBR (as I’m sure you have) you’ll have noticed that it’s been quiet for the past three weeks. Deadly quiet. There’s one reason for this, and that is I’ve been away from home for all of that time. A mixture of lack of time, unreliable connectivity to the internet by staying with various relatives as I traveled across most of the eastern half of Canada meant I had very few opportunities to write any reviews or post anything at all. I did, however, have the time to read quite a decent mixture of novels and graphic novels, which for lack of having much more time now that I’m back home, I will review in series of posts consisting of condensed reviews. Below are reviews of the first three of the eclectic bunch of novels I read. A second post concerning with novels read and another looking at graphic novels will follow shortly.

Germline by T.C. McCarthy

T.C. McCarthy’s debut science fiction novel is one I paid very little attention to until the opportunity arose for me to get my digital paws on an electronic advance reading copy of the novel. I went in as close to without expectations as I’m ever likely to and the reading experience close to blew me away. Literally. The dark, oppressive and uncomfortably personal story of journalist Oscar Wendell, I’ll admit, put me off a bit at first. Given the choice, I’ll more often choose a novel that concentrates on levity than one distinctively dark. But once past an initial discomfort - something which, in retrospect, amounted to a sort of acclimatization to the very particular nature of the novel - McCarthy’s stark prose and the brutal honesty of Wendell’s tale drew me in and dragged me along for an intense, but very rewarding read.

In a future where wars are not at all fought like they are now, Wendell, journalist for the Stars & Stripes, is given the opportunity of a lifetime to experience the ongoing resource war between the United States and Russia from the front line. McCarthy takes us deep into the trenches, tunnels, bunkers and command centers of that futuristic war-zone as well as deep into the character of Oscar Wendell. Life scarred even before putting on any battle suit, we watch Oscar battle through the actual fighting, but more interestingly through drug addiction, depression and all the other emotional torments brought on by war.

T.C. McCarthy calls on his own heart-wrenching life experiences to add life to Germline’s characters and attach an undeniable authenticity to the events depicted within. It would be difficult for me to recommend this novel to every and all science fiction fan, but those willing to dig a little deeper into Oscar’s immensely damaged personality and a little deeper into their own psyche will find this to be a hugely engaging and rewarding novel. But having created one of a the most veracious portrayal of warfare in any modern science fiction (or any fiction) I have read, it’s safe to say the McCarthy has won a hard-fought right to be on your bookshelves, so others should definitely also give him a try. I’ll certainly be back for more when the second volume in the ‘Subterrene War’ trilogy, Exogene, is released next year.

5 out of 5

A Princess of Mars by Edgar Rice Burroughs

This is the classic I alluded to in my introduction (though I also did read Orwell’s Animal Farm for the first time during this vacation too). Edgar Rice Burroughs tale of a Civil War veteran inexplicably sent to Mars was not one, sadly, I was familiar with until recently. The name of the central character John Carter of Mars, was one I’d heard mentioned before, of course, but it was the upcoming filmic adoption of his adventures (simply titled John Carter) which led to my wanting to discover the original novel. Published for the first time in 1911, A Princess of Mars holds up surprisingly well to time as long as you’re willing to recognize its age and thereby acknowledge its propensity for stereotypes and clichés.

I won’t go into too much more depth other than to say that I enjoyed the novel. It’s short length lends itself perfectly to travel reading (which is what I did) allowing you to discover a worthwhile classic of the genre while fending off boredom. The story might appear wacky to a lot of modern readers, science fiction authors having moved away from writing tales about Martians in the past century, but again, in its context, A Princess of Mars can be a highly enjoyable read and one I would easily recommend.

4.5 out of 5

Stands a Shadow by Col Buchanan

Col Buchanan’s debut fantasy, Farlander, did not leave me entirely convinced I was a fan. The premise was there, but something appeared to be missing for it to be a fully enjoyable read. With Stands a Shadow Buchanan comes back with a stronger story and improved prose, but he has ways to go yet. A couple of the main issues:

Characters - Stand out characters are few and far between in Stands a Shadow. The pitched conflict between the Empire of Mann and the determined Free Ports continues to be motivation enough to keep on reading but it doesn’t seem sustainable for a series arc. Some will make a case for Ash being an interesting character, but like in Farlander I found nothing to make him more interesting than your average protagonist. Thankfully the departure of Nico’s viewpoint from the first book is filled with those of a set of characters that enliven and diversify the story.

Structure - Stands a Shadow still lacks much of a coherent story structure. But it’s getting there. Like Farlander, the plot has a strong tendency to be revealed in a clunky manner. Without making it entirely incomprehensible, this does affect the clarity - and by extension quality - of the book. Things appear to be more under control in the final act of the novel but this is not enough to compensate for the disjointed nature of the rest.

It’s a shame Buchanan cannot get these things right, because these issues apart, Stands a Shadow is a pretty solid fantasy. The battle scenes are gorgeous, the tension often palpable and the politics being played in the background are intriguing, which is why I still hold out hope for Buchanan and his series. The improvements over the first novel are strongly evident but I hope to see more with the next novel. Third time’s the charm.

3.5 out of 5

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Fuzzy Nation by John Scalzi

2011-07-28T12:56:00.002+02:00

I went into Fuzzy Nation unsure of what to expect - I mean a novel reboot? - but I trusted in Scalzi. And he didn’t let me down. This is a smart, compelling science fiction novel with a bit of an offbeat nature. Far from the galaxy-wide military science fiction of Scalzi’s previous books, Fuzzy Nation concentrates on the fate of one small planet, on the fate of one small people, on the evaluation of what makes a species sentient or not. The varied, intelligent characters are effortlessly engaging carry us through this well executed story. It’s not perfect, but Scalzi’s latest comes close: diverse, thoughtful and just plain entertaining.

Blurb:

Jack Holloway works alone, for reasons he doesn’t care to talk about. One hundred seventy-eight light-years from ZaraCorp’s head office on Earth, hundreds of miles from their headquarters on-planet, Jack is content as an independent contractor, prospecting and surveying at his own pace.

Then, in the wake of an accidental cliff collapse, Jack discovers a seam of unimaginably valuable jewels, to which he manages to lay legal clam just as ZaraCorp cancels their contract with him. Briefly in the catbird seat, Jack pressures ZaraCorps into recognizing his claim, and cuts them in as partners to help extract the wealth.

But there’s another wrinkle in ZaraCorp’s relationship with the planet Zarathustra. Their entire legal right to exploit the verdant Earth-like planet is based on being able to certify to the authorities of Earth that Zarathustra is home to no sentient species.

Then a small furry biped - trusting, appealing, and ridiculously cute - shows up at Jack’s outback home, followed by its family. As it dawns on Jack that, despite their stature, these are people, he begins to suspect that ZaraCorp’s claim to a planet’s worth of wealth is flimsy indeed... and that ZaraCrop may stop at nothing to eliminate the “fuzzys” before their existence becomes more widely known.

Josh Holloway is a social outlier by choice - he doesn’t get along too well with people - yet he’s an appealing character from the start. Holloway carries Scalzi’s well-known humor and sarcastic dialogue, helping us overcome his unsocial ways and get closer to him through comic relief. How can you not like a character who in the first few pages of a book has his dog set off explosives for him? More than anything else, Holloway is entertaining. He might be a self-absorbed, anti-social man, but he’s a funny man and one that has the tendency to get confrontational with people in the most amusing manner.

Unlike Scalzi’s most famous work - his ‘Old Man’s War’ series - Fuzzy Nation is not military science fiction. That means no shoot-them-up action, space-side battles or planetary assaults, but rather an intimate look at the commercial and judicial turmoil that has arisen on an unexpectedly significant world. A surprising amount of the novel is dedicated to a court case, which is rather unusual for a science fiction novel. The trial in question, in fine Scalzi fashion, is riveting both inside of the court room where Holloway as an unconventional lawyer shines, and out with the intrigue surrounding the case.

One of the best parts of this book is that despite him being the main character, Scalzi doesn’t reveal all about Holloway’s motivations, leaving us to puzzle them out ourselves. It is clear that Scalzi was shooting for a level of ambiguity depicting him at times as self-centered and greedy, and on other occasions as uncommonly altruistic, but always with the chance of having ulterior motives. Not only does this make the outcome of the story less predictable, but when all is said and done, we can always have some doubts about Holloway’s integrity, which is not something that can be said of most protagonists. If nothing else it makes him intriguing and lends authenticity to his portrayal.

Fuzzy Nation moves at a hearty pace and, like all Scalzi novels, is a painless read, any flaws it might have quickly set aside in favor of the overall appeal. Some will wonder weather it lives up to Scalzi’s other novels, but such a comparison would ultimately be useless. Fuzzy Nation certainly has recognizable Sclazisms, but it’s a very different type of book from any of his others I’ve read. Fans aside, this fun, clever and absorbing novel should be a guaranteed read for any science fiction enthusiast with a mind to read a good novel. Fuzzy Nation was released in May by Tor Books in the US but is also available in the UK.

Summarizing Info:
My Rating: 4.5 out 5
Reading Age: 15 and up

Links:
John Scalzi's Website: http://www.scalzi.com/

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Ghosts of War by George Mann

2011-07-26T13:17:00.001+02:00

I usually make use of this paragraph to preface and somewhat summarize the review to follow, but I feel I’ve gone into enough details in by criticism below to warrant a shortened introduction. George Mann, most famous for his delightful victorian steampunk series of ‘Newbury & Hobbes Investigations’ comes back with the second volume of his New York based steampunk superhero saga, Ghosts of War. Though on the whole more enjoyable than not, this second volume suffers many of the same pitfalls as its predecessor though it does show hope for progress. Read on past the blurb for a more comprehensive explanation.

Blurb:

New York City is being plagued by a pack of ferocious brass raptors - strange skeletal creations with batlike wings that swoop out of the sky, attacking people and carrying them away into the night. The Ghost has been tracking these bizarre machines in an effort t locate their nest and discover the purpose of the abductions, but so far has found himself at every turn.

Meanwhile, Inspector Donovan of the NYPD thinks he may have stumbled upon a plot to escalate the cold war with the British Empire into a full-blown conflict, a war that would bring utter devastation, not just to Britain, but to the world.

Their efforts to put an end to this conspiracy bring the two men into an uneasy alliance with Peter Rutherford, a British spy who is loose in Manhattan, protecting the interests of his country. They also have the unlikely assistance of Ginny, the Ghost’s drunken ex-lover and sharpshooter, who walks back into his life having disappeared six years earlier under mysterious circumstances.

Suffering from increasingly lucid flashbacks to World War I and subjected to a rooftop chases, an encounter with a mechanized madman, and the constant threat of airborne predators, can the Ghost derail the conspiracy and prevent the war with the British from escalating out of control? The fate of the world is hanging in the balance.

Mann truly is at it’s best when things get fun. When he serves up the likes of the final confrontation/take down of the indiscriminate big baddy of this novel, there’s really no denying that he knows how to play to his strengths. Like with his previous books, at its best Ghosts of War plunges us into bouts of steampunk-tinged euphoria with wild action and adventure galore, all executed in brilliant fashion. It’s almost enough to make up for the barely more than mediocre plot that fills the rest of the novel. Ghosts of War definitely marks an improvement of the series over Ghosts of Manhattan, but it shamefully does not meet the standards of Mann’s ‘Newbury & Hobbes’ books.

I’m aware that the first ‘Ghost’ book got its fair share of praise - of criticism too, but more praise - and so I before launching into the writing of this review I decided to look at what the main arguments in favor of Ghosts of Manhattan were as I was not entirely convinced by it myself. Reading my largely positive review, you might be surprised at how critical I’m being now, but looking at it myself, I can’t help but read naivety in my review. With a year’s worth more of reviewing behind me (that’s about 100 more reviews, for those counting) I find myself a bit jaded about a few of my earlier reviews, that of Ghosts of Manhattan included and find myself unimpressed with that novel.

But let’s get back to major recurring argument made in its favor: it has no desire to be taken seriously, and any lack of depth or complexity is a direct result of a clear, modest pulp aspiration. I get that. I have no problem with fun for the sake of fun (as long as it’s appropriate). Read no further than my review of The Goblin Corps for that. Or even of Mann’s other novels. But I do have a problem with that fact that in spite of this, it still looks to me as if Mann wants his ‘Ghost’ books to be read as something more than a solid, entertaining pulp-like novel.

In Ghosts of Manhattan that manifested itself in the form of the borderline ridiculous attempt of portraying Gabriel/The Ghost as two separate characters (sorry, spoilers... except not really), one a rich, wasteful bachelor and the other a vigilante, without the reader realizing it until late in the novel. As if none of us had ever heard of Batman before. Thankfully Ghosts of War is beginning to lose the Batman vibe but still instead of the multiple personas, now Gabriel is plagued with traumatic World War I memories. As if it wasn’t bad enough that the personality troubles somewhat persist, now he’s got war stories to justify it.

This, again, would be fine if Mann was truly making a play to get away from the simple pulp/steampunk-superhero book, but his continued attempts at giving Gabriel depth are unconvincing and become plain useless as the flashbacks start breaking up the flow of the story. It’s an improvement on the intelligence-insulting structure of the first novel, so I still hold out hope for the third novel, but I’m starting to realize that I really wish Mann wouldn’t try so damn hard. We know what he’s good at, and I assume he does to from the continuously increasing quality of ‘Newbury & Hobbes’ but he seems to adamantly refuse to concentrate on his strengths in the ‘Ghost’ novels, other than, obviously, those bits that are good.

Part of the problem most likely lies with Gabriel himself. He’s a good character for the noir setting of the book, but because of his lack of human attachment to anyone else, it’s difficult to relate to him, even when he shares his horrifying war stories. The closest thing to love he has is for the city, Manhattan, but let’s face it, most of us don’t hold the kind of love for a city that would lead us to risk our lives for it. And I’ll admit it, the way it’s set up and the way his relationship with other characters develop in Ghosts of War not to mention his solving of a few personal issues means things are looking much better going forwards. For the moment it just doesn’t cut it.

I really don’t mean for this review to sound too harsh (though it does) so for those still reading, I’d like to say I did like this book. But it has so much potential, it angers me to see it wasted. The way I see it, the ‘Ghost’ series could head in two separate directions: Mann could continue to groom his characters into more realistic and more relatable beings, or the series could wholeheartedly embrace what it does best, the ‘fun factor,’ a.k.a. lot’s of exciting action in a clever steampunk world. Mann obviously looks to be taking the first option, and knowing what he was able to achieve on his third try with ‘Newbury & Hobbes’ I can’t blame him. I just hope he gets things in gear.

Since I’ve been so long-winded I’ll take the time to sum things up. At the end of the day, those of you who enjoyed Ghosts of Manhattan will not be disappointed by Ghosts of War. Those of you who harbored discontent at that first volume will not see those issues addressed, though there’s strong indication that we might be getting there. As for myself, I found myself tremendously entertained by Ghosts of War at its height and sorely disheartened in its lesser moments. But on the whole, I found myself taking pleasure in the story, which is why, in spite of all my ranting, I’m still looking forward Mann’s next ‘Ghost’ novel. Ghosts of War was published by Pyr on the 26th of July in the US and will be published in September in the UK.

Summarizing Info:
My Rating: 3.5 out of 5
Reading Age: 15 and up

Links:
George Mann's Website: http://georgemann.wordpress.com/

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Heaven's Shadow by David S. Goyer & Michael Cassutt

2011-07-25T12:40:00.001+02:00

Coming from renewed The Dark Knight writer and comic-book author David S. Goyer and television producer Michael Cassutt is Heaven’s Shadow, a blend of modern space exploration and alien contact, but neither quite like we would expect. No brilliantly innovative piece of science fiction, Heaven’s Shadow is nevertheless an entertaining read not unlike a Hollywood film, with noteworthy characters and its fair share of intrigue. We see characters pushed to the limits while attempting to survive in a unforgiving environment and intraterrestrial and extraterrestrial tensions mount - all in all a more than decent, heart-thumping space saga.

Blurb:

Heaven’s Shadow begins with the discovery of an object of unknown origin headed toward Earth. Speculation as to what it might be runs high, and leads to an international competition to be the first to land on it, to claim both the prestige and whatever other benefits there might be. Thus, two rival teams of astronauts begin a thrilling and dangerous race – but what they find when they reach their goal will turn out to be unlike anything they could have imagined . . .

What they have landed on is no asteroid but a spacecraft from a civilization that has travelled tens of thousands of years to reach earth. While the team try to work out what it is they are needed for, more sinister occurrences cause them to wonder if their involvement with this alien race will lead to anything but harm for humanity.

Heaven’s Shadow reads as a very ‘cinematic’ novel - which really doesn’t come as much of a surprise from two authors who are screenwriters in the main. The pace is quick, the scenes are short and the novel rotates through a series of viewpoints, altogether keeping things moving and varying often, much like a movie. There’s also lots of dialogue, lots of very good dialogue, in fact. Goyer and Cassutt have admitted elsewhere that they very much wanted this to be a novel before being a film (the rights were already sold pre-publication) but because of their professional backgrounds and that Heaven’s Shadow was originally pitched as a film, it was inevitable that it end up with a very blockbuster-like novel. And this is by no means a bad thing.

At the same time the writers us a very thoughtful science fiction thriller. Set in the very near future, Heaven’s Shadow starts off as a tale of modern space exploration with all the things we associate with it: Houston, NASA, mission protocols, broadcasts, political tension et al. Zach Stewart is the brilliant mission commander chosen to lead a very special space mission which unfortunately for him (but no so for us) doesn’t go according to plan. The writers supply a particularly welcome tweaking of certain tropes, notably vis à vis first contact, and the number of cultural references that make the novel both more accessible to non-diehard sci-fi fans and more authentic.

The sources of tension and excitement are many. Initially, Heaven’s Shadow pulls us in because of the danger inherent of any space mission as well as the anticipation of witnessing - if only in fiction - the first human landing on a ‘near-earth object. The things decidedly take a turn for the worst, and the weirder, as Stewart & Co. hit more than a few difficulties. From then on it’s the thrill of discovery, and the latent danger present throughout which keep us hooked. There are certainly ups and downs to the novel’s intensity, and occasionally it does stray into needless and therefore much less interesting detail, but for the most part the narrative remains dynamic and engaging.

The conclusion is somewhat unexpected. I say somewhat because some of the big reveals occur earlier on and so the general direction of the story is largely predictable, yet the exact nature of the conclusion is still a surprising one. It’s a bit rushed too, but ultimately it’s a very intriguing way to end this first volume in the Heaven’s Trilogy. The writers take our expectations surrounding this type of story – the like of which we’ve admittedly seen before – and without putting a completely original twist on it, they play or expectations against us. I’m genuinely curious to see where Goyer and Cassutt plan on taking us next.

Heaven’s Shadow is a very accessible novel. Goyer and Cassutt make a definite attempt at staying true to the science as much as possible – it’s mostly quite simple – but the casual cultural references outnumber by far the scientific explanations making this a novel that you can easily lend to friend without fearing they will be deterred. From the creative and marketing push behind the novel it would seem reaching out to a wide audience is very much intended. With a screenplay (adapted by Goyer himself) already in the works it is very likely that we will be hearing lots about Heaven’s Shadow for a while yet. It’s not an outstanding novel, but the speed of reading, accessibility and the entertainment value it offers means I have no trouble recommending it, but I wouldn’t go out of my way if I were you. Heaven’s Shadow was released on the 15th of July by Tor in the UK and on the 5th of July from Ace in the US.

Summarizing Info:
My Rating: 4 out of 5
Reading Age: 14 and up

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Prince of Thorns by Mark Lawrence

2011-07-22T12:44:00.001+02:00

Mark Lawrence is a new name in fantasy, yet his presence on the online scene and the amount of hype surrounding his debut, Prince of Thorns, would make you think otherwise. Even more so the quality of that first novel. An utterly ruthless read, in its relatively short length its ferocity will shock you, its characters will astound you and its tale will entrance you. Prince of Thorns is a vastly compelling, fast-pace read - once the end has come, Lawrence will leave you wishing for more.

Blurb:

Before the thorns taught me their sharp lessons and bled weakness from me I had but one brother, and I loved him well. But those days are gone and what is left of them lies in my mother's tomb. Now I have many brothers, quick with knife and sword, and as evil as you please. We ride this broken empire and loot its corpse. They say these are violent times, the end of days when the dead roam and monsters haunt the night. All that's true enough, but there's something worse out there, in the dark. Much worse."

Once a privileged royal child, raised by a loving mother, Jorg Ancrath has become the Prince of Thorns, a charming, immoral boy leading a grim band of outlaws in a series of raids and atrocities. The world is in chaos: violence is rife, nightmares everywhere. Jorg's bleak past has set him beyond fear of any man, living or dead, but there is still one thing that puts a chill in him. Returning to his father's castle Jorg must confront horrors from his childhood and carve himself a future with all hands turned against him.

For this type of fantasy, Prince of Thorns is remarkably short, but this doesn’t stop it from being dense. Like the story he tells, Lawrence is merciless when it comes to pacing - this is a novel that moves fast - and prose - he simple elegance of the prose suits Jorg’s cold, calculating nature well. The first-person narration adds immediacy to the storytelling and allows for much insight into Jorg’s twisted mind. And what a captivating mind it is to observe.

Old and wise (if you can call it that) beyond his years, Jorg has a dark heart, a cunning mind, and a past troubled enough to haunt him which is justification enough - in his own mind - to support the enraged quest for power and, more importantly, revenge he has embarked on. Lawrence does a wonderful job of building depth into Jorg’s character. There’s a reason why he is so interesting to read about, and that is because his is presented as realistically complex. He is not just a vicious boy, but he also has his emotional turmoil, and despite seeing his decisions as being the result of unquestionable logic, we see him struggle with their consequences.

The vast landscape of the Broken Empire is only partially uncovered in this first tome, yet Lawrence is able to pack in enough detail to make it brutally appealing. The chaotic political scene of ‘the Hundred’ (kings, counts, barons, lords) all vying for the the throne of the long-shattered Empire is felt through the barbaric, unruly feeling the places we visit give off. Then there is the hints dropped by Lawrence that this may be a world more familiar than we think, just far in the future. Mentions are made of Persia, the Hindus, Plato, Aristotle and the Christian faith (which is still active). Whether this is our world reverted to the middle ages or not, it’ll be interesting to see how Lawrence continues to expand this particular landscape.

There is also a strong emotional element to Prince of Thorns. After all, Lawrence is able to make us keenly interested in a boy which, by all accounts, we would usually shun for his lack of recognizable morality. The natural human curiosity for that which is different from us without a doubt plays a part in keeping us bound to Jorg and his story, but credit must be given to Lawrence’s world and its characters for keeping us riveted throughout. Perhaps one of the most fearsome aspects of this novel, beyond the violence and callousness described within, is its capacity to make us readers invest in it emotionally.

Certainly, Mark Lawrence’s debut is an unforgiving, bloody piece of fiction - fantasy with one hell of an edge - and this may indeed cause issue with some readers. Prince of Thorns goes beyond even the grittiest of recently popular fantasies in its stark depiction of unabashed cruelties. If you can, however, get past it you will discover one of the most thoroughly entertaining novels of the year. Don’t be one to miss Lawrence’s spectacular entrance onto the genre scene. Let’s hope the next tome in his ‘Broken Empire’ series is not too long in coming! Prince of Thorns will be published August 4th by Voyager in the UK and August 2nd by Ace in the US.

Summarizing Info:
My Rating: 5 out of 5
Reading Age: 15 and up

Links:
Mark Lawrence's Website: http://www.princeofthorns.com/

Buy Prince of Thorns:
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