While everyone is busy binge watching TV series on Netflix and Amazon Prime, we spent this month enjoying a bout of binge reading. When we started Maggie Stiefvater‘s The Raven Boys, the first book in the series, we hadn’t realised that all the four books in the The Raven Cycle had already been published. Oh the joy of finding out that one can read the entire series in one go! It just added to the excitement. So there were the two of us indulging in a serious case of parallel binge reading, getting irritated with anyone and everything taking our attention away from the books and messaging each other about parts that we really liked.
The first book seemed to fit more into the paranormal genre but along the way the series converted into outright fantasy. Such fun! The Raven boys (Gansey, Ronan, Adam and Noah) are a foursome who attend a private school situated near the small town of Henrietta, Virginia. They end up forming a friendship with Blue, a local girl who’s the only non psychic in a family and house full of psychics. Henrietta lies on Ley lines which give the town and surroundings volatile magical energy and a mythology about a buried medieval Welsh king and members of his court who had possibly travelled to Henrietta through the Ley lines, or ghost road as Blue’s family call it. One of the boys, Gansey, is obsessed with searching for the buried king who is supposedly only asleep and the others get caught up in the search since it is believed that the king will grant a wish to whoever wakens him. In their search for the king and his court the five of them become a court of sorts of their own; with Gansey being the leader, Ronan the dreamer and poet and Adam the wizard. As such they form a little knot in the middle of everyone else, a part of the whole and yet separate.
Stiefvater very beautifully juxtaposes modern kids with their cell phones, modern vocabulary and their obsession with cars, with the search for a medieval king, forests that speak Latin, boys that can bring objects out of their dreams and zany psychics. Her characters have quirks which makes them likeably weird. Stiefvater offsets the very dark portions in the books with the main characters’ staunch loyalty to each other and the affection of people around them. Without that we felt the books might have been too dire a read for us. We also learnt a lot about different types of cars which are mentioned repeatedly in the books, almost as if they were characters themselves (like Gansy’s orange Camaro).
We also really liked Stiefvater’s use of Latin through the books which made it different and interesting. Strangely this did not distract from the story, despite us having to look up the meanings, since not all of them were obvious. The style of writing makes the books more than just the story, which for us, as always, provided the likeability factor. A series one can truly be absorbed in.
Deep within the forest near the town of Fairfold there is a glass casket with a beautiful horned boy sleeping in it. Hazel and her brother Ben along with their friends and generations of Fairfolders before them have been fascinated by him and dreamt of breaking him out. This boy is very much a part of the town’s life and also brings in tourists who come to Fairfold not only to see him but also because the town is known to have a connection with the Fae. Holly Black‘s ‘The Darkest Part of the Forest’ is a dark and layered fantasy in which the modern world of today with its technology overlaps with the tricksy and beguiling world of faeries.
The people of Fairfold are on the one hand living and working regular lives, using cell phones, the internet and watching Star Trek but they also remember to carry iron or rowan wood in their pockets and wear their socks inside out. The court of the Alderking overlaps the woods near the town and a pact keeps the residents of the town of Fairfold safe-ish. Not so the tourists, who are considered fair game.
As stories go, The Darkest Part of the Forest is dark and unsettling. Pact or no pact, the Fae are uncomfortable neighbours. Either they take the form of monsters or they are out to trick the unwary for their own fun. But this is also a book which is all about changing the narrative of fairy stories that one is brought up with and for us that was the best part about it.
(Spoilers ahead for those who haven’t read it.)
In the story it is the girl, Hazel, who takes on the mantle of saviour of everyone. Like a knight she feels compelled to fight the monsters and protect those around her. She is the one who frees the sleeping prince. But neither she nor the prince choose each other in the romantic sense. Instead the prince chooses the brother who has been in love with him right from the beginning. The story tells us that the knight does not have to be a man; the boy who you have been friends with all your life can be a prince; and despite all the human fascination with faeries and their world, it can go both ways – a faery child can choose to live a human life.
It took us some time to get into the book and accept the alternate narrative but once we did we found ourselves gripped by the story and all its subtle and diverse messages.We would say it is worth reading the book just to appreciate the last paragraph. People always talk about the first sentence or the opening paragraph of books, but this book is our pick for having the best last paragraph and in fact the best last sentence.
It’s rare that a second book in a trilogy not only manages to stand on its own but is in fact, far better than the first book. The Girl in the Tower (Winternight Trilogy) by Katherine Arden came as a pleasant surprise. We had read and reviewed the first book, The Bear and the Nightingale, last year. Though interesting because it was so different, we had not found it riveting. But the second book was gripping and fascinating in equal measures and we found we couldn’t to put it down and became resentful when forced to.
The setting of the tale in Russia and much of it in Moscow, during a period we don’t know much about, makes the book an intriguing read. In medieval times Rus was a vassal state of the Khans in Sarai and the story is set some years after the death of Genghis Khan. Culturally Rus was more influenced by the east rather than the west, which possibly explains the system of enclosing noble women in terems and not allowing them out in public. There was also considerable conflict between the old traditions and Christianity. Arden has added fascinating little details such as the different looks that people wear in different seasons; in winter they were wan and thin as opposed to the fuller cheeks of summer. And the descriptions of the bathing houses where people would sweat in hot steam and then jump into freezing cold water. As a result of these details, the book reads like a mix of fantasy and history.
In the story, Vasya, who is now grown up, decides that traveling holds more appeal than joining a convent or getting married. Disguised as a boy and along with her faithful nightingale/horse Solovey, she sets out to discover the world. But while rescuing girls kidnapped by bandits she gets caught up with court of the Grand Prince of Moscow whose adviser is her brother Sasha and she travels to Moscow with them. She is also reunited with her sister in Moscow and ends up battling supernatural forces once again. To some extent her relationship to Morozko the winter king is shaping up and we particularly liked the fact that she insists on standing her ground even with him and is herself unhappy about not knowing where precisely he figures in her life. But we have a feeling there is more to come.
Compared to the earlier book, this story is much more gripping mainly because Vasya can be more free and has Solovey to back her up. We are still wondering what the connection is in old Russian folklore between horses and birds. The glossary does not clarify this point but is otherwise an integral part of the book, we read it with as much relish as we did the story. Arden’s writing has matured since the last book with the story flowing a lot better in this one. And we definitely cheered when we found out that the third book is out in August this year. Not much of a wait.
What happens when Netflix/Amazon/Hulu or any of the regular TV channels produce a series based on a little read book which was published 20 or 30 years back? Or even a more recently published one, popular mainly with genre readers? The answer to that question is that suddenly the books start flying off the shelf, much to the publisher’s delight. In the case of the authors, the feelings are probably mixed as new found popularity will have them scrambling around in their brains to explain to interviewers why they wrote what they did. After all, thirty years is a long time and who remembers?
Terry Brooks wrote the first book in the Shannara Chronicles forty years ago and now finds his events packed with very young people who have watched the series and as a consequence have discovered his books. The libraries have huge queues for books which had indolently been sitting on the shelves for a long time. Margaret Atwood’s amazingly thoughtful and disturbing book, the Handmaid’s Tale is being considered the story for this age although it was published in 1985. People who had never heard of Margaret Atwood are now reaching out for her books and attempting (or pretending) to read them. If nothing else, they look good on the book shelf or the side table. Terry Pratchett and Neil Gaiman wrote Good Omens in 1990 and it is being made into a mini series to be released on Amazon Prime next year. Amazon has already released the TV series of Gaiman’s American Gods.
This happens with classics all the time, with each new movie or TV series, the author is back in fashion. Not that people like Gaiman ever went out of fashion but their readership is limited because of their books being classified, ridiculously so, as genre books. For the writers, to find books they had written years ago as the hot topic of conversation and reviews, it must surely be a surreal experience. Though no doubt a very pleasant one. Readers who never read fantasy are watching these series and then getting drawn to the books. The flip side is that those who have read the books and loved them are sometimes up in arms about the depiction of favourite characters and vent to the author. This happens particularly with fantasy books as the fandom tends to be vocal and strident. And it is a rare director or scriptwriter who can truly understand the essence of the genre and deal reverently with the book. Not many realise that fantasy is not just sword and sorcery or dungeons and dragons. Sometimes, even if they do, they are too lazy to explore the depths. This happened catastrophically in the series adaptation of the Earthsea books. The readers were horrified at the clueless and careless production based on an amazing series of books. As indeed was the author, Ursula K. Le Guin, who called it a ‘generic McMagic movie’.
As fantasy readers, the increasing trend of adapting fantasy books to the screen is exciting because we are wondering what’s next and keeping our fingers crossed that a complete hash would not be made of a much loved book. After all, there is only one more season left of Game of Thrones and there are so many, many books that could fill that slot. More power to the magicians.
Caraval by Stephanie Garber is a good example of why one should not go by covers and reviews when picking up a book to read. Although, there is little else to go by these days. It was a good thing that we borrowed the book from the library instead of buying it.
A magical game on an isolated island to which you need an invitation and you can choose to either participate or watch, had so much potential. The main character Scarlett had been writing for years to Legend, the mysterious game master of Caraval, requesting an invitation. From the time she and her sister were little girls, they hoped that a participation in the game and the chance to win a wish would help them to get away from their tyrannical father. After years of no response forthcoming, the invitation finally comes just before Scarlett’s wedding. But she is now reluctant to participate and her sister Tella pretty much abducts her and takes her to the island where Scarlett finds herself unwillingly drawn into the game.
The rest of the story is a roller coaster where the reader along with Scarlett does not know what is real and what is part of the game. The game takes place within what seems to be a large amusement park type setting, which can be, at times, quite frightening. Everything gets turned on it’s head at some point and none of the characters are what they seem. The descriptions of Caraval are lavish and Garber successfully brings out the decadence of it all. The story could have been exciting had it been strung together a little more tightly and had the characters not been so shallow. Events are just randomly put in without much explantion to make the story move to the author’s convenience.
There were no plausible reasons given to explain the intense cruelty of the girls’ father or their grandmother’s obsession with Legend. Scarlett’s haste to get out of the game after having spent her entire life trying to get there and her constant guilt for one thing or another becomes irritating. There was no real sense of a competition taking place and the ending was just too convenient and contrived.
While reading, the book moves at a rapid pace and the reader goes along willingly with it, accepting the twists and turns, with the expectation that all will be explained and answers will be found. It’s only once the book has ended that one feels cheated and hence irritated since there are no answers. Unless the author has left everything to the sequels, which in itself seems unfair. Besides, even fantastical magic should have some rules and explanation for the way it works. world building for a fantasy novel is of the utmost importance. This was truly a YA book in the sense that it lacked depth and the numerous comparisons to The Night Circus are totally unwarranted. Frankly we can’t understand why the book got such amazing reviews and was mentioned all over the place last year. It can be read if one has nothing better on hand.
The Goblin Emperor by Katherine Addison, is a ridiculously optimistic story with a ridiculously decent protagonist. Good thing then that it’s a fantasy novel, or else, in all our cynicism, we would have dismissed it as being ridiculously unrealistic. That is not to say that we didn’t enjoy the book. We did.
Maia, the half goblin son of the Elf Emperor is too likeable a character, and the book too full of the twists and turns of political intrigue to not be enjoyable. The mixed race Maia, who has been kept in penury away from court, suddenly finds himself the Emperor after his father and all his half brothers die in an accident. Friendless and an outsider, that too of mixed race, he finds himself dealing with all the intrigue and political machinations of those who have been steeped in it their entire lives. And strangely, he comes out each time, doing the right thing for his seemingly ungrateful people.
There are no battles, in this book, with the forces of evil or any sword and sourcery or even dungeons and dragons. All the action comes from the political ambitions and scheming of the characters and Maia learning how to deal with his new situation. We particularly enjoyed his struggles in maintaining all conversation in the royal plural “we” as befits the Emperor.
Maia’s compassionate, non discriminatory, gender equalising, and basically ‘good’ route to power consolidation makes the book a heartening and refreshing read. A fantasy, truly. Just right for Christmas.
A fantasy series based on Russian folklore is unusual and as such The Bear and the Nightingale by Katherine Arden is an intriguing read. Set in medieval Russia when it was still called Rus, the story is about Vasya, a head strong and free spirited girl, gifted with ‘sight’ and growing up in a small village in the northern provinces.
Arden has very atmospherically described the severity of winters, shortage of food, runny noses and chilblains. The freezing cold of winter is offset by the warmth of Vasya’s family kitchen where the entire family sleeps on the flattop of the oven and where Vasya’s nurse tells magical tales. The province is a place where the summer sun is watery at best and winter with its god, known as the winter king or Morozko, one of the old gods, is predominant. But Morozko is more benign than his brother, the bear Medvedev, who is forever in search of supremacy.
The book, through Vasya’s story, is really about the conflict between the old religions and the new. Vasya and those in her village, though Christians, continue to leave out food for the old gods and spirits of home, hearth, land and forest. This brings them up against the newly appointed priest in their area who wants to wipe away all the old beliefs. In the process of taking control and in his arrogance and self righteousness the priest falls under the sway of Medvedev and ends up strengthening the evil of a being he does not believe in. The story is allegorical in the sense that denial of something’s existence is the best way to fall under its sway, being unprepared to counter it. In Yoda’s (Star Wars) words “Named must your fear be, before banish it you can”.
We find that a lot of fantasy books have a combination of ridiculously old men (who look very young) and feisty young girls (who actually are young) developing a relationship. Is this the Twilight effect, we wonder? But it is getting a little creepy now and makes us worry as to what it says about society. At least in this book Arden has left the relationship between Vasya and the winter king ambiguous but the second book is already out and might have more clarity.
Overall a magical fantasy about winter, the old gods, a girl with magical powers and a horse that is more than a horse. We enjoyed it but we did not find it riveting.