“Ajencis once wrote that all men are frauds. Some, the wise, fool only others. Others, the foolish, fool only themselves. And a rare few fool both others and themselves — they are the rulers of Men…”
World-born men, Kellhus had found, despised complexity as much as they cherished flattery. Most men would rather die in deception than live in uncertainty.
If The Silmarillion and Dune had a baby, and it had a truly dark soul, that baby would be the Prince of Nothing series. The Warrior-Prophet is book 2 in a trilogy sub-series. Another trilogy comes after whose third book is expected to come out later this year, depending on how long Bakker continues working on it since the first draft has been completed already. After that there may still be some other kind of follow-up in the form of duology or something similar, and what is important to consider is that all of this was already part of the original vision and not further extensions to take advantage of some success, since the risk here is the inverse: that the relatively narrow reach of such a work may cut its expression before it reaches the end. At least we know that the final book of the second trilogy is going to happen, and that it should lay out Bakker’s Grand Plan in its full potential, if not exhausting it. Potential new readers should then consider that this is already a satisfying work even in its current state.
Instead I’m still at book 2. This one is by far the biggest in the first trilogy, 200k words for 600 pages. Maybe not that HUGE compared to other typical epic doorstopper, but to me Bakker’s books feel so packed with ideas and tight focus that they lose none of the feel of epic breadth. More to the point, he deliberately channels with his writing style and tone the biblical feel that can make characters and events bigger than they are. I think the greater majority of Bakker’s effort when writing goes in this aspect: make every line of text the bitch of his purpose. Bakker, the writer, is a madman possessed of clear intent and indomitable determination. Nothing escapes his writing. It’s all heightened sight focused on purpose, and you could say that this, right here, is where he loses most potential readers.
Bakker’s writing is, if you let me play a bit, mono-tone. In the sense that every page sustains the same purposes and similar focus. This book has a true center in its protagonist, the nail of the revolving heavens, and there converges everything else. Mono-tone not in the sense of “dull” or “boring”, but meaning that the same obsession that drives every line also drives the story and characters. It drives the events and all the themes that smolder underneath. Other writers can have an advantage playing with a range of different tones, breaking rhythm through a different sense of pacing. Alleviating tension while building familiarity and camaraderie. But Bakker’s writing gains in integrity and consistence. Every part of the book serves its purpose. There’s no digression, no distraction. No “fanservice” to reach for a certain audience to please it. No compromises. It feels, maybe, “driven”. As driven are the people in the book blindly following their holy faith. Everything sacred and holy is what’s at the heart of the book, and Bakker approaches and seizes it with blasphemous ferocity.
And Cnaiür grinned as only a Chieftain of the Utemot could grin. The neck of the world, it seemed, lay pressed against the point of his sword.
I shall butcher.
This is not a tale conceived to be narrated to a reader. It’s more an inward kind of study and, with no compromises, can very easily drive readers away. But it is not hostile, it is not falsely pretentious or esoteric. It definitely tests a reader. It is not a test of “purity” or “worthiness”, but it’s definitely a test in prejudices and a challenge to how far you can reach, or how close you let it cut. It’s even easy for me to acknowledge some criticism against this book, accuses of misogyny and brutal violence. I do think that here and there some compromises would HAVE helped. A few things felt gratuitous and trying too hard. The very last scene could have been removed and the book would have lost absolutely nothing, and maybe gained some from it. The “Circumfix of the Warrior-Prophet” is another of those things that tips the balance over to the ridiculous, mirroring quite closely (I even suspect Bakker may have glimpsed this at some point) the scene where Achamian tells his story, thinks he’s finally reached his audience, when in the end they all burst in laughter. But it is true that Bakker would rather cut himself for playing on that edge over and over again, than back off and desist. He becomes Achamian (a kind of self-reference being played), ready even to humiliate himself just as long he stays “true” to his purpose. The other way, I’m sure, would have been easier. And this, I think, makes Bakker more like an ideal “artist”, who surrenders to art in order to serve it fully.
So “grimdark”. The Prince of Nothing is grimmer and darker than grimdark. Violence, sex, and sexual violence. Monstrosity, blasphemy. There’s filth and this book bathes in it as if the only possible and ideal place where to be. But again all this doesn’t serve a deranged appetite, only truths that are way more complex than how they appear. The horrors in this books are horrors that other books try to hide or completely deny. Like an inverted horror story where you pray the Boogie Man won’t come, but HE IS. Places where you’d rather not be. Other books are harmless, this one is not. But all this “ugliness” isn’t merely justified by some higher purpose, it is there because it is part of everything this story is. It is not simply excused to be there by the kind of setting the story uses, but it’s instead the fabric it is made of. The Inchoroi, the mysterious otherworldly race obsessed over human carnal activities and exploiting them in the ugliest way possible, are described as an “obscene race”. Magic is blasphemy, unclean because it undoes the order of reality. These themes revolving around the idea of purity and its perversion are what the book first and foremost engages with, and if it wants to reach deep it can’t recoil and filter just so the story is more palatable. It goes through an unavoidable path where absolutely no one dares going and conflating this to other books that show and exploit violence and sex is the huge misunderstanding, and the big risk this book takes without resorting to any compromise. “Grimdark” is usually used as a pejorative but it’s the greatest injustice to call this book so. The reason is that it would make this book sit in the center of a genre, but this book couldn’t be less representative of a genre. There’s nothing like it out there, especially in the fantasy genre, and even more specifically the Grimdark genre. The writing has an opposite focus, looks elsewhere. What you can identify as an “act” is instead completely different here.
If anything, Bakker tries to copy the more solemn, scriptural Tolkien (The Silmarillion), and the “vision” of Frank Herbert in Dune. The Prince of Nothing is a direct descendant of those works, maybe even to a fault. But at least it can absolutely stay up to lofty standards. Bakker is radical and takes no sides, including his own. His writing is ruthless, spares no one, carries no prejudices. Its grimdark posture is just that, what it looks from afar but that couldn’t be more alien from it. Look at the moon, not at the finger. Sadly, superficial looks is what books and their writers get most of the times. It is legitimate, and a reader is not to be judged if refusing this book. But there’s more to it than its “act”. So I can only implore, whatever you decide, to still approach this book after leaving behind all prejudices and with an open mind. You will find value, and it’s of a necessary, very rare kind.
To open a book was not only to seize a moment of helplessness, not only to relinquish a jealous handful of heartbeats to the unpredictable mark of another man’s quill, it was to allow oneself to be written. For what was a book if not a long consecutive surrender to the movements of another’s soul?
Characterization is a strong quality. There may be some controversy around this topic but I think that all characters are treated equally, whether Point of View characters or bystanders, women or men, they seem all cared for equally and very precisely characterized. Some choices could appear dubious and sometimes you don’t see the ideal arc of character development being realized, but once again the focus of this book is different and not simply about retracing those ideals. Some characters are described as trapped in their own cages and the reader expects them to eventually get free, to complete that ideal trajectory, but in this case Bakker isn’t interested in going through the standard movements. If you take someone like Martin who’s praised for his strong characterization you can see that every character is bound tightly to his own story, they “make sense” together, drawing an ideal path. There’s a sense of masterful craft in what Martin does, a search for narrative perfection and balance. But for Bakker this kind of idealism is made to be violated, undone. Bakker is an heretical voice, always subversive but never gratuitous. If Martin’s work dances on the edge between beauty and ugliness, Bakker instead explores some dark, bottomless pits where no one dares going and where it’s legitimate a reader refuses to follow. Nudity and shame. Unclean, unclean! He can show beauty too, but it’s often so vulnerable and momentous. Too exposed for the world not to spoil and devour it.
This quality of characterization surprised me not simply because it’s well motivated and coherent or consistent. But because the writer has a very fine attention for the subtler details, the very little gestures or partially hidden reactions that truly make a character into a whole. Bakker’s characters answer directly to the mantra of the book: what they are, the movement of their thoughts, depends on what came before. Who they’ve been, what and how they live determine what they become, the way they think. Being stuck in this middle position ideally constructs this “cage” that represents the universal human condition. So not only Bakker provides the finest characterization I’ve read, as true as possible to the singularity of the personal world of that character, but all this is still facing toward the core of the book, giving it power. He’s true to the small detail without ever forgetting about the sharp intent. The tone and purpose of the book, its direction. And so I admire this mastery where you notice both the sheer quality of the smallest element, yet realize how that element plays the fundamental role within the overall construction. Success on these two levels means reaching a kind of perfection in art, and I think Bakker goes very close.
Yet again this doesn’t mean universal acclaim. The frenzied, extremely lucid, but maybe self-absorbed writing style isn’t ideal to reach a wide public. And it becomes especially easy to misunderstood. Too incomprehensibly bleak and filled with unpleasantries. When Bakker does characterization the focus is on “being”, not “doing”. The cage of being can sometime, with certain characters, become intolerable from the passive position of the reader. After the accuses of misogyny and whatnot I still believe that what happens in the book and what the characters do is always coherent and necessary for this story (if not “opportune”). I do believe that women in the book are treated awfully, and if you reduce the book to this single aspect, everything becomes a catastrophic failure. But doing this is a manipulation, partial, partisan and single-minded. Because I do believe that women are treated equally to the men, it’s just that some readers decide to only see one side while obscuring the rest, and make that one part into the whole. No one is left standing, every single man is made into a pathetic fool and seen through the same lens. Bakker desecrates everything and everyone. Men and women. Offenses are taken personally.
Most, by and large, were born narrow, and cared to see only that which flattered them. Almost without exception, they assumed their hatreds and yearnings to be correct, no matter what the contradictions, simply because they felt correct. Almost all men prized the familiar path over the true. That was the glory of the student, to step from the well-worn path and risk knowledge that oppressed, that horrified.
There’s also to consider the aspect of “worldbuilding”, though I hate to deal with it as a separate thing. As it was with Tolkien, Bakker excels with it. This work is extremely well crafted and lends itself to (and is able to sustain) that type of close examination and speculation the fans love to do, much more than Malazan. Bakker doesn’t quite reach Tolkien’s levels of obsession but I really do believe that right now he absolutely has no rivals in the genre. There’s a great care for all the small details and structure that are only hinted in the background, the idea of a fully realized and consistent world, with its strong personality. And even more than Tolkien this isn’t just pointless detail, but still intricacy that contributes to an unique purpose. Motives that run deep and that aren’t simply scenery and choreography. So the attention for the little things is paid off aplenty, rewarded. For example the way magic works isn’t a “system” that is conceived to be just intriguing, but it engages deeply and meaningfully with the themes of this world, a sustaining force through it. That’s Bakker’s talent at creating a so incredibly complex, yet consistent world where none of its smallest cogs act independently or without reason. No writer I know comes even close, it’s just the way it is.
Lately I’ve heard often the expression “it’s very good at what it does” and I think it applies well to Bakker’s work. What’s most important for me to underline is that there’s no other thing out there like this. It’s epic fantasy, it can be called Grimdark, but there’s absolutely nothing in or outside the genre that does similar things or has a similar ambition (and sheer talent at craft). The only cousins are The Silmarillion and Dune, as I said, but that’s only in tone and as a search for a certain aesthetic, because purpose brings this book into a completely different territory. Bakker can actually channel Tolkien’s epic range and solemnity better than Tolkien himself, but where Tolkien’s world is all completely luminous and ideal, Bakker uses it to shatter the same holiness. To expose the ugly truth under it. The writing in this book feels extremely well measured, always sharp. Erikson can have a more varied tonal range, but Bakker loses that to gain in focus and consistence. In the next years it is likely that we’ll get more good writers in the genre, as it always happens, but Bakker represents exceptionality. Something that will stay unmatched because it goes outside every genre or trend. Books come out every year, in every genre, this is one that isn’t going to be replaced or obscured by anything else.
