Tag: Book Reviews

Fantasy Classics: “Kushiel’s Avatar” (by Jacqueline Carey)

KC Winters

The third novel in Jacqueline Carey’s trilogy about the adventures of the courtesan Phédre picks up ten years after the events of Kushiel’s Chosen. In that time, she has struggled to find the key to releasing her beloved childhood companion Hyacinthe from his forced apprenticeship to the Master of the Straits. In the novel, Phédre must go on two separate but related quests: to save Imriel (son of her enemy and lover Melisande) and to find the Name of God that will enable her to free Hyacinthe. In both instances, she will find herself plunged into ancient and dark places, and she will have to give up a great deal in the process.

As with the earlier two entries, Carey conjures up her world with meticulous detail. We are introduced here to the land of Daršanga, whose ruler, the Mahrkagir, practices a perverted form of Zoroastrianism and in doing so hopes to bring about the corruption of the world by the evil Angra Mainyu. We also journey deep into the heart of Carey’s fictional Africa, to the kingdom of Saba, whose residents have remained cut off from the outside world and who have in their custody the keeping of the Ark of the Covenant.

While the earlier books in the series certainly went to some dark places, in this novel Carey takes this to new levels. The sinister realm of Daršanga, ruled over by the mad Mahrkagir, is one of the most compellingly written sequences in any recent fantasy. Carey immerses us in the despair and madness that Phédre endures as she struggles to survive in this world, ad she helps us to see the extent to which the fate of the entire world hinges on her ability to see to it that the ravenous, destructive force of Angra Mainyu isn’t unleashed on the rest of the world. Though she eventually succeeds, one gets the feeling that the damage that has been done will scar all of the characters for the rest of their lives.

Kushiel’s Avatar shows us the extent to which actions have consequences that often go beyond the immediate future. Melisande’s treachery has earned her the harsh mercy of Kushiel, and though it is unfortunate that the innocent Imriel must bear the brunt of his justice, it is also somewhat fitting. What better way to demonstrate the extent of Kushiel’s cruel mercies than by sending an innocent into the very heart of darkness itself? Indeed, had Melisande not done what she had in her own ruthless pursuit of power, it is entirely possible that the ultimate forces of the void would have swept all before them.

All of this feeds into the novel’s epic ambitions. Indeed, Kushiel’s Avatar comes closest to fitting within the narrative conventions of the epic. Here, the consequences of the story are not just about the politics and fates of a nation–though that is still part of the background–but of the very gods themselves. As their chosen avatar, it is up to Phédre to avert a catastrophe.

Kushiel’s Avatar is also about the terrible choices that one must frequently make on the journey to salvation. From the deeply personal–such as Phédre and Hyactinthe deciding that they cannot, in the end, become a couple–to the Phédre decision to embrace the darkness at the heart of Daršanga, these are the times that try the souls of our heroes. None of these choices are easy, and though the novel does have a happy ending, it also makes it clear that no one–not Phédre, not Joscelin, not Imriel, not Hyacinthe–will emerge unscathed from the things that they have endured. There are some wounds that never fully heal, and all one can do is embrace the small joys that life still brings.

I very much enjoyed Kushiel’s Avatar, and the novel once again demonstrates the extent to which Carey definitely deserves her accolades as one of the finest writers of fantasy working today. Her ability to do new things with the epic fantasy genre, particularly her lush prose and explicit sexuality, really does set her apart from almost anyone else working with the form. I can’t wait to see what the next books hold, as we switch from Phédre’s journeys to those of Imriel, the boy born of traitors and saved from the ultimate darkness.

Book Review: “The Lost Queen” (by Signe Pike)

KC Winters

It’s not easy writing a book that offers a new, fresh, and exciting take on the Arthurian legend. After all, it’s one of the most famous legends in the history of English literature. Somehow, though, Signe Pike has managed to do so, and The Lost Queen is an absolute triumph of storytelling.

Languoreth is the daughter of a powerful Scottish king, and her foremost ambition is to be a Wisdom Keeper, one of a select group of men (and a very few women) tasked with maintaining their ancient religion. That fate, however, has been decreed for her brother Lailoken, while she is destined to marry a powerful prince and help bring stability to her world. Though she does ultimately wed a man for the good of her kingdom, her heart will always belong to the dark and brooding Maelgwn, a warrior whose fate lies to the south.

Throughout the book, Languoreth comes across as a fierce and proud woman determined to seize what bits of happiness she can, despite the limits placed upon her because of both her sex and her status. As the daughter of a king and the brother of a man destined to be a Wise One himself, she knows that she has a duty to perform to her people, yet she is also not afraid to follow her own heart when it suits her. The novel allows us to see inside her mind as she struggles to maintain a balance between her own personal desires and the people she has sworn to protect.

I’ve heard some say that The Lost Queen is the new Mists of Avalon, without all of the ugly baggage of Marion Zimmer Bradley, and I think there’s something to that comparison. The Lost Queen depicts a world on the brink of great social, cultural, and political change, as zealous Christians like Mungo will not rest until they have brought the entire edifice of the ancient way crumbling to the ground. Laguoreth, as a passionate believer in the old religion, attempts to keep the Christian forces at bay, even while she also has to accept that politics sometimes makes personal satisfaction in matters of faith impossible. The Lost Queen is full of evocative scenes in which Languoreth immerses herself in the sensual spirituality of her ancestors.

It’s also a world in which the force of arms is often the only thing standing between the remnants of the British tribes and the hordes of Saxons that seem poised to sweep across the island and make it their own. In Pike’s telling, the Pendragon (which here is a title rather than a surname per se), is headquartered near Hadrian’s Wall, where he leads a group of warriors that are descendants of the Sarmatians brought to Britain by the Romans. It’s an interesting theory, and there’s no doubt that Pike paints this world in bright and vivid colors. She’s one of those exceptional historical fiction authors who can, through her exquisite prose, conjure up the experience of living in a particular historical period.

That being said, I’m not entirely sure that I buy the idea that the real Arthurian legends took place in Scotland, though Pyke does make a compelling case for that notion in her author’s note. It’s a fascinating way of looking at the legends of King Arthur, and if nothing else it makes us look anew at these legends and the men and women who inhabit them.

As fascinating as the politics, are, however, the book is essentially about relationships. Languroeth’s fiery passions draw you in and don’t let you go, from the first page to the last. You yearn with her as she encounters Maelgwn, and you weep with her as she realizes that she must choose duty over her own desire. While you may not always agree with what she does–she’s not a flawless heroine, by any means–Pike at least allows you to understand her desires and motivations.

Having now finished The Lost Queen, I’m finding that I’m very excited indeed for the next volume, which is due out in 2020. I daresay that we are in for a treat, and that Pike is fated to become one of the most respected authors of women’s historical fiction writing today.