Morrigan is an empathetic character with just the right combination of pluck and humility, and her increasing awareness of the importance of friendship, and of her growing sense of self-discovery is a subplot that drives the narrative forward, along with the competition trials and Morrigan’s desperation to find her gift.
Walking Through Walls is just right for around 8-12 year olds (or to read to younger children), providing an engaging, engrossing story with a strong plot, lots of atmosphere, and a positive message that is perfect for young readers, without being preachy. The story is set in the sixteenth century, and is based on an ancient Chinese story “Taoist Master and the Lao Mountain,” also an animated film Lao Mountain Taoist. Cioffi fills the story with details to evoke the setting and timeframe, from the mountains in the distance, lemon lilies, yellow cakes with red berries and tea, and the scents and sounds of rural life.
With these recurring themes and patterns of place, Silver establishes an internal logic to a book that otherwise often appears random and almost too wondrous. But because of her skill with both description and with the larger structure of the work itself, Silver is able to craft a coherent narrative that works both as a fairytale and a question. Little Nothing leaves a reader both entertained and puzzled; like a work of art should,
Obviously Robin Gregory is a well-read writer. Not only does she mimic Homer’s “wine dark sea” with the novel’s opening of “dories…and spider crabs flood[ing] the beach like a ghostly pink tide,” but also refers back to great YA series like A Series of Unfortunate Events through her grim imaginativeness. Gritty magical realism is in vogue, if we account for the non-YA St. Lucy’s Home for Girls Raised By Wolves by Karen Russell and Mr. Fox by Helen Oyeyemi beside which The Improbable Wonders holds its own.
The author of Fourborn Wind and Fire – a new fantasy book series talks about her writing habits, her love for fantasy, ebooks vs print books, traditional vs indie publishing, her ‘real life’ inspirations, her technologies, themes, and lots more.
The Buried Giant is not an easy book. Its simple prose belies the complexity of the narrative, and the multiple layers of meaning as Ishiguro presents us with extremes that are equally unpalatable, and both of which could well be seen as the modern condition. At times, the fog is enough to engulf the reader, and the work seems to be as obscure in its meaning as the location of Beatrice and Axl’s son’s village.
Despite all that, the author makes the story come together and the book is a light fun summer read, especially for those who like dabbling in reincarnation stories. Being a historical fantasy with a spiritual sub-plot the story also brings past social mores, politics, and people from far-flung places to life, as the reader and protagonists rush about from ancient Egypt, through Russia, to other parts unknown.
However, if you let go of preconceptions about what a novel should be and how it’s meant to function, and read the work, instead, as a literary exploration of the unseen, beyond the world of logic and progression, then the work becomes much more powerful, yielding a transcendence that moves beyond the flow of ordered progression. The work moves in pulses; in moments of magic that become “elixirs, life renewed in the laboratory of Arcadia” or humanity’s highest self.
While it might be tempting to contain the magic of the Old Kingdom series under genre classifications like “fantasy,” or “young adult” fiction, I think it’s fair to say that Nix is a writer whose work goes well beyond genre definitions and edges towards the classic. The work will appeal to readers of all tastes – particularly those who want to be transported into a world richly drawn and exotic, and yet so full of a very human verisimilitude of life, coming-of-age, and loss.
The author of Party At The World’s End talks about his book, his inspiration, about genres, his influences, current projects, his greatest challenges, his covers, and lots more.