He leaned closer, resting his elbows on his knees. “Your problem isn’t that you’re stupid. You’re not stupid. But you think that evil is like the Old Man, like Relos Var, like that thing sleeping in the middle of Kharas Gulgoth. You think evil is something you can just slay.”
I scoffed. “Should I point out that none of those are ‘something I can just slay’?”
“Oh, but you would try, wouldn’t you? Except real evil isn’t a demon or a rogue wizard. Real evil is an empire like Quur, a society that feeds on its poor and its oppressed like a mother eating her own children. Demons and monsters are obvious; we’ll always band together to fight them off. But real evil, insidious evil, is what lets us just walk away from another person’s pain and say, well, that’s none of my business.”
In the last couple of years priorities changed, so sitting down to read a book in a regular way became more rare. More recently I’ve tried to retrieve some of that but I decided that rather than resuming one of the many things I left behind, I wanted something fresh. Usually when I order and read a book it comes after a lot of pre-reading, researching both the author and the book. This time I decided to go almost blind. I don’t even remember how I got to this series. I probably saw it mentioned on some forum or twitter and then it came up a couple of times, commented as somewhat complex style of narration. I then looked it up and was surprised to know it was a series of five books, with four of them already out (at the time, now it’s complete), and three already in mass market edition. That’s… quite noteworthy, because it’s something that pops up and is already done. The first book came out in 2019, the fifth a couple of weeks ago. That’s five books in three years. The writer definitely delivered on her side of the bargain, I’d say.
Now that it’s all out we’re looking at slightly more than 1M words, with each book being of a similar size of around 200k or slightly more (the last one being the shortest, by a small margin). There are 90 chapters in the first book, meaning that they come and go fast, and it’s important to consider in light of what this book tries to be and wants to do. The reputation of the complexity of the narration comes for the structure. There are three points of view embedded. Two of them make the bulk of the novel and follow two different points in time. But both of them are about the same character, and the effect of this structure works quite well. Being the chapters themselves fast they create a pattern where even if you’re left at small cliffhangers, the return to this story is only a few pages away. The two points alternate regularly creating a kind of a chain that feels breezy and fun to read. And then you have the third point of view, that comes from the “pretense” of complex reading just because it’s about… footnotes. And footnotes have bad reputation.
For the whole first 100 pages or so (less so) I really didn’t know what to expect. Maybe I was just about to read a bunch of crap, it was in the possibilities. The writing, to me, felt not especially noteworthy, very sparse descriptions, not much setup. Some straightforward events being introduced. And there were these occasional footnotes that… didn’t add anything of value. They were some type of slightly witty commentary or infodump about worldbuilding stuff. Usually if there’s a layer of three different points of view (as I said they two main ones follow the same character, but one of them still counts as separate) I’d expect some ambiguity, unreliable narrators playing around with perceptions, subtlety, sleight of hand, to read between the lines. There isn’t much here, and the footnotes become more a way of explaining some aspects of the setting that wouldn’t be immediately familiar to new readers… Until I found out later in the book that the one compiling these notes isn’t some bystander, but an important character in the novel, that even begins commenting his own actions as they are narrated. This character being more subtle and interesting by himself, so making these footnotes much more an active part of the story, once that perspective is added.
It’s not a spoiler because it should be obvious since the first pages: the two levels of the narrative, chaining each other every other chapter, and following the two different points in time… Eventually converge into one for the last 100 pages, where you expect to find some kind of resolution. The whole book is actually written (within the scope of the story) after those three “points” are already done, the two pasts and “present”, but as I said in the end it’s only done to deliver a well done structure that encourages to keep turning the pages. But… What is it all about, in the end?
I said that I couldn’t have a clear picture when I started reading, and the part I enjoyed the least is the last 100 or so pages. Because after the thing is set up, it played out more or less as I expected. The book returns more within what you get from epic fantasy, so it matches expectations more than defying them. There are plenty of surprises, plot-wise, but they are what they are. But there’s still a whole book before that, and it’s actually very good. What it is about, and why does it work so well? Interactions. It’s well written and interesting to read because of the way characters react to each other. Dialogue. The main character doesn’t promise anything noteworthy, a typically know-nothing handsome guy destined to great things, whether they are good or bad. But he goes from a no one, to deal with important, scheming political figures in a matter of pages, and that initial ingenuity, while genuine, is short lived, nothing more than an illusion. In a similar fashion none of the characters are especially original, and yet all of them end up being so interesting because when it comes to interact with other characters they all seem instantly free of tropes, like they were never there.
I am used to characters brooding in self reflection, there’s very little of that in this book, and in a way that’s quite surprising. Even if it essentially follows very closely the main character, there are many moments where you don’t get what he’s thinking. You get the typical introspection that makes the character familiar, but there are also often moments when you’re only shown the results of some choices he makes. These surprises make the character proactive without being obscure, one step ahead of the reader, surprising in a positive way. And it’s not the main character, all of them receive the same treatment. None of them are strictly original, and none of them are built to defy a trope, turn it upside down. It’s more like the trope is entirely disregarded and these characters just have their novel interactions. There are so many scenes that are set up in a way that makes you feel what’s coming, and then the scene plays out and goes in a way that is just different.
Despite being 200k words, which is medium length epic fantasy, there are no sidetracks with a group of characters going for its separate adventure. The whole book does its thing, very narrowly focused. Not much happens, actually. The world building has some actual depth, but it also doesn’t borrow much space. Just dropped here and there. This might indicate a very slow moving book, but it’s exactly the opposite. It’s a breezy, fun read. So why? Because again it’s all in dialogue and interactions. Characters that shine when they meet each other, and the interaction feeling genuine a freely going. Honestly I could as well read on indefinitely having these characters live their lives, out of any urgency of plot. Why not. All characters surprised me more for their competence than their errors, free of affectation. Characters that I dismiss based on their premise, simply come back proving those premises didn’t exist. The only exception being dragons and demons, that whenever they talk sound like bad comic book caricatures.
What’s the story about? There are dragons and demons, and while being important, they are also very, very marginal in this book. The majority of it turns around some political intrigue and mystery of parentage. The protagonist is being shoved into very unfamiliar and hostile territory, only to prove he can navigate that space with wondrous competence. There are substantial aspects of the Game of Thrones, not strictly the book, but the powerplay, the family intrigue about “who’s the father, who’s the son” type of things. And then this main course gets layered with a more epic fantasy theme of gods meddling, and feisty demons feasting. There is one main gimmick that sustains the whole book. The technical gimmick is very simple to explain, but produces a kind of chaos that is hell to disentangle. And that’s great because it’s what a good gimmick should do. Simple to understand, but with greater implications. A clever trick, and it delivers plenty of surprises. I have a special weakness where it comes to grasp family relations, my brain just crashes, and I can easily say that at some point and some final revelations the book completely lost me.
And beware. I’m a type of reader that scours the book. At the end there’s a glossary with names and things, and a sort of family tree. Both of these massively spoiler many parts of the book. If you, like me, go to check out the glossary as soon something is mentioned, then you will often get a piece of information that in some cases would properly arrive some pages or chapters later, if not the whole book. It’s not a deal breaker. As I said the book thrives in dialogue and interactions of characters, the plot can be interesting, and work better without spoilers. But sometimes a tangle of relationships is even better to handle when you’re given some more pieces of information in advance.
I don’t know how the writer was able to complete the series in such a short span. This might have been a long project in conception, that has only been recently delivered to the publisher. Yet, it seems most of the actual writing happened in these last few years. It’s certainly impressive, and a rare thing to see a whole epic fantasy deliver as promised, ready to be read, without stretching to a different generation of readers because of how much time passed between books. I picked this up because I wanted something fresh, with the worry that I could be completely disappointed. I wasn’t at all. I enjoyed it fully. It’s an extremely consistent book, no ebbs, slow points. I said I didn’t especially like the ending as much of the rest, but it’s because I wanted the book to still tread new ground rather than fall back into epic fantasy norms. It’s as if for 600 pages it went out on a stroll to find its way, only to obediently return to some familiar safety. I like books that take risks, but it didn’t ruin or lessen the experience. The gamble to try something almost at random paid off.
Not really a review of any kind but I’m going to write a few disconnected comments. Here’s the poof that when I don’t actually care about a book I end up reading faster. I read the last 2/3 of this in just a few days, while the first 1/3 I had read a month or two ago before being sidetracked toward JR by Gaddis (that’s just a hint of my erratic patterns).
