Monday, September 20, 2010

Book Review: The Usurper by Rowena Cory Daniells

Title: The Usurper
Author: Rowena Cory Daniells
Paperback: 448 pages
Publisher: Solaris (2 Sep 2010)
ISBN 10: 1907519068
ISBN 13: 978-1907519062
Series: Book 3 of King Rolen's Kin trilogy

Now a slave, Piro finds herself in the Merofynian Palace where, if her real identity is discovered, she will be executed.

Meanwhile, Fyn is desperate to help his brother, Bryen, who is now the uncrowned King.

Bryen never sought power but now he finds himself at the centre of a dangerous resistance movement as the people of Rolencia flee vicious invaders. How can Byren defeat the invaders, when half his warriors are women and children, and the other half are untrained boys and old men?


Please find the rest of the review on Speculative Book Review...

Monday, September 13, 2010

Book Review: Century of the Soldier by Paul Kearney

Title: Century of the Soldier
Author: Paul Kearney
Paperback: 814 pages
Publisher: Solaris (2 Sep 2010)
ISBN 10: 1907519084
ISBN 13: 978-1907519086
Series: The Monarchies of God - Volume 2

The time of the wolf is at hand...

Struck down in his moment of victory, Hebrion's young King Abeleyn lies in a coma, his city in ruins and his fiancée and former lover vying for the throne.

Corfe Cear-Inaf, now a colonel, is given a ragtag command of ill-equipped savages and sent on a hopeless mission by a jealous King who expects him to fail.

Richard Hawkwood and Lord Murad return bearing news of horror on a savage new continent, with something terrible lurking in the hold.

The Church is tearing itself apart, even as the champions of truth fight to bring peace between Ramusian and Merduk; but in the far West, a terrible new threat is rearing its head...

The Century of the Soldier collects the final three books in Paul Kearney's explosive The Monarchies of God series, revised and expanded for this edition: The Iron Wars, The Second Empire and Ships From The West.


Please find the rest of the review on Speculative Book Review...

Tuesday, September 7, 2010

Losing Yourself in Malazan? Here's What Erikson Thinks

Even though I haven't read all of the published books of the epic Malazan Book of the Fallen series, I am a big fan of Steven Erikson and Ian Cameron Esslemont's work.

I remember when I started to read Gardens of the Moon, the first book of the series, I stopped after a few chapters and wondered if I had missed a few introductory chapters or a previous book. But I quickly appreciated Erikson's style. And over the years, I've heard how readers love to re-read Malazan books. These topics have been continuously discussed among the fans but now here's a chance to hear what Steven Erikson thinks about them:

I'd like to take you all back more than a few pages, and talk about why these novels seem to thrive in the context of re-reads, and why first-time readers are often left feeling bewildered. I think the two are very much related.

It goes back to how I first started writing fiction. I was in a Master's program in archaeology when I came second in a local short story contest in Winnipeg, a tale called 'Wooden Trucks.' On the weight of this one venture into writing I applied to attend a creative writing program at the University of Victoria. I recall being in a sweaty phone box in Belize, on the phone with my mother back in Winnipeg, as she opened the envelope telling me I'd got in. From that moment onward, my entire world changed.

The writing program at Uvic at that time was at its zenith. When I showed up it was as a wide-eyed neophyte with a secret love of genre fiction (one keeps these things secret if one wants to be taken seriously). What I learned, almost from day one, was that I knew nothing about anything; that my writing to that point had only 'worked' because I was instinctively consistent, with emphasis on the word 'instinctively.'

Uvic taught me the craft of writing; it taught me to be mindful. The key though is this: it made me a short-story writer. Short stories are a particular beasts. In them, not a single word is superfluous. Everything carries extra weight, or at least that's how I saw it.

Track forward a few years and scores of short stories later, and I begin writing novels, only to discover that my 'muscle memory' is now absolute -- the obsessive adherence to multifunctional, multilayered writing (line by line, word by word) is not something I can relax -- when novel writing in fact demands just that: an ease with wandering, with transitive passages, with a gentler hand taking hold of the reader, etc. Instead, novel-writing for me is the building of ever more elaborate structures, designed to carry ever more weight.

A long ramble to get to this: on one level details in making a setting carry the more obvious virtues -- placing the characters somewhere, giving them things with which they can interact; in creating an atmosphere and a tone; and in painting a picture for the reader's imagination. But other levels are possible. Setting as 'animated environment' can feed your sense of the characters in it; can foreshadow elements of plot; can reveal theme.

Take some opening scenes in Gardens as examples, and see how they relate to subsequent scenes for those select characters. Whiskeyjack and Fiddler on Mock's Hold: high above a burning city, in a place of power. There's smoke and the smell of carnage -- they are above it but only moments from descending into it. But we don't see that bit. They are on stonework, but it's cracked, and their backs are to the sea. All of these details shapes the reader's sense of them to some extent. When next we see them, they are on the ground, far away from Malaz City, surrounded in destruction and desolation. It's a different place, but their descent began in the prologue, if you see what I mean. And even then, they were only a short time earlier under the ground itself.

If we look to Kruppe, things get a little more complicated. Kruppe and his city are the same things; just as his language and attitude (and mystery) reflect the exotic, byzantine confusion of Darujhistan, so too his half-mocking smile and spark in the eye invite you into the labyrinthine cityscape (and the literally over-the-top assassin/Crokus chase). Kruppe is both flashy but on close examination somewhat scuffed, stained. He has a cherubic face, but plenty hides behind that. And so on. His voice is the city's voice, and it begins in a dream, as all great cities do.

Where is all this going? It goes here. Three storm clouds converging over Lake Azure, into which Whiskeyjack and co. are headed. A reader comments that I'm too smart to now say that there was deliberate portent in the detail of three clouds warring over the lake. Hmm. It's been too many years since that for me to be more specific than this: I could have written 'there was a storm over the lake,' and left it at that. The foreshadow is obvious enough. But, if I'd written that description, I would have immediately seen the foreshadowing element -- it's almost too cinematic and verges on cliche. I could then have changed it to two storm clouds, but then, that wouldn't have made sense; or rather, it would have been suggestive but inaccurately so. There are three forces converging on the city. Two storm clouds would have been lazy and misleading; careless.

Of course there are three storm-clouds. Of course this detail is relevant. It's how short stories work.

Uh oh. This ain't a short story though, is it? And therein lies the problem. I know what I'm up to; I know how I think and how I write. And to make matters worse, everything I put into a narrative is saying (pleading, begging) 'you can trust me, honest.' But I'm not taking the reader by the hand. I've invited them into a place, left them standing, looking round, wandering a bit but not far, not far at all. And every now and then I tap a shoulder, point, nod to over there, or here. And that's it.

Re-readers will nod and smile. First-timers will blink, bewildered -- and will decide to either trust me or not. I really want them to trust me, but I don't know how to manage that... beyond making sure that everything fits, that everything has meaning.

A virtue or a flaw in my writing? Maybe both. You see, I already know that world, but the only details I show you are the important ones. There's no filler. And that's not fair.

And the structure is such a crazed, manic machine, an engineer's nightmare, a spider's acid trip, it's really no wonder that readers will doubt, and on occasion give up on the effort, on the trust I so desperately ask for.

So, to all you new readers on this, I am ever amazed and slightly astonished to find you staying with me. I tell myself that what is happening is a kind of education process: read me this way, it's the only way. Pay attention! You will be tested on all of this, I guarantee it. Stay with me and in turn I will promise you that it will be a blast.

And even better, then you'll have all those re-reads, when things will really get wild.

You can find the entire article on Tor.com - The Malazan Re-read of the Fallen: Gardens of the Moon, Chapters 16 and 17

Monday, September 6, 2010

Book Review: The Uncrowned King by Rowena Cory Daniells

Title: The Uncrowned King
Author: Rowena Cory Daniells
Paperback: 448 pages
Publisher: Solaris (5 Aug 2010)
ISBN 10: 1907519041
ISBN 13: 978-1907519048
Series: Book 2 of King Rolen's Kin trilogy

Thirteen year old Piro watches powerless as her father’s enemies march on his castle. A traitor whispers poison in the King’s ear, undermining his trust in her brother, Byren.

Determined to prove his loyalty, Byren races across the path of the advancing army, towards the Abbey. Somehow, he must get there in time to convince the Abbot to send his warriors to defend the castle.

Meanwhile, the youngest of King Rolen’s sons, Fyn, has barely begun his training as an Abbey mystic, but he wakes in a cold sweat, haunted by dreams of betrayal...


Please find the rest of the review on Speculative Book Review...