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REVIEW : Endsinger by Jay Kristoff

Readers in the future will be in something of a pickle when it comes to reading “The Lotus War” trilogy. The thing is that all three books in a series present their author in a different stages of development so while “Stormdancer” initially felt like a great book, compared to “Endsinger” it sometimes feels like mere dabbling. In a way, it is like comparing first and last Harry Potter book. As such, Endsinger is more bold, more inventive and more emotionally charged than its predecessor and nowhere is this more evident than in its ending which will leave you gasping for air. But let's not get ahead of ourselves.

As you would imagine, “Endsinger” continues the story and finds Shima Imperium in the grips of civil war. Lotus Guild is using mechanical goliath to spread terror and hopefully bring peace through fear and oppression. Standing in their way are Yukiko and Buruu who are still reeling in the aftermath of Kin's betrayal. Against all odds, they still have to fight because surrendering is simply unthinkable and as the ending marches towards us, all of the big questions are slowly revealed but not in a way you would expect. There's plenty of epic battles and glorious mayhem in these pages but luckily the chaos never completely overwhelms. Kristoff is not big on happy endings and perfectly understands the brutality of war. In “Endsinger”, as in real life war, there are no winners, just different layers of loss. Many will shed a tear upon closing a book.

“Endsinger” is a proper full stop to “The Lotus War” trilogy and apart for occasional novella or short story which I'll always happily read, I don't think anything else needs to be added. It is a book that truly shows the capabilities and potential of Kristoff as an author as well as one of those trilogies where the ending pays off with dividends and respects all the time you've spent reading the story leading up to it. Once you're done, you'll probably feel sad and heavy hearted but that's the beauty of it - Kristoff simply decided to fail to compromise and as a result made a perfect ending. Well done, sir.

Review copy provided by Pan Macmillan / Tor UK
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The story behind The Providence of Fire by Brian Staveley

Reflections of a Snake Wrestler

Writing the first book in an epic fantasy trilogy is like wrestling a giant snake. Writing the second book in an epic fantasy trilogy is like wrestling a giant snake with your hands tied together while people throw money, confetti, and shit at you and you’re also trying to find your way out of the snake-filled swamp before a loudly ticking bomb blows you and the snake into tiny pieces of chum.

Perhaps I should explain.

Writing The Emperor’s Blades was hard for me – snake-wrestling hard. If I got ahold of the beginning, I’d lose track of the end. When I was trying to keep from getting bitten, I got tangled up in the coils. I wasn’t able to hold 500 pages of characters, plot, setting, and backstory in my head all at the same time, and every time I let go of something, something else shifted. That said, there wasn’t really much to concentrate on but the wrestling itself. I had no contract, so I had no deadline. I had no book, so I had no readers or critics. It was a simple fight, if exhausting.

I was warned by both my agent and my editor that book two would be different, but I thought, Nah – I’m a snake wrestler now. A very, very stupid snake wrestler, as it turned out.

For one thing, when it came to The Providence of Fire, my hands were tied by every decision I’d made in the first book, no matter how small. If I’d been writing a single-volume story, I could tinker with the start even as I was working on the end – set up a reveal differently, or change a backstory. Once that first book was in print, however, there was no more tinkering. For example, I would have really liked to move a river a hundred miles to the north to facilitate a plot point. No dice! The map was published with the first book. And there were literally hundreds of tiny issues like this. It’s tough wrestling a snake when you can’t use all your moves.

And then there’s the fact that people were actually responding to the first book. I learned early on to stop reading reviews, but it’s impossible to avoid the echo chamber entirely, impossible to not know there are a lot of people who love the story and a few who hate it and that they’re all peering over your shoulder while you wrestle that second snake, wondering if you’re going to fuck it up.

Even worse, the third book was coming up. Not just the third book, the final book. It’s not enough to write a compelling second book – you’ve got to make damned sure it’s setting you up for the conclusion, especially having learned the hard lesson that there are no take-backs once a book goes to press.

And, of course, there was a deadline. I took seven years (on and off) to write The Emperor’s Blades. I wrote The Providence of Fire in seven months, and it’s twenty-five percent longer. I pride myself on being a person who gets his chores done early, but I handed this book in a whisker before 5 PM on the day it was due.

It was tempting, when the battle was finally finished, to stand up, beat my chest, howl at the moon, but I could already see, moving toward me just below the rippling surface of the water, the great sinuous form of that third snake, the last one, the biggest, meanest, smartest one. So while you’re all enjoying The Providence of Fire, I’ll be over here in the swamp fighting it out again, trying to breathe, trying not to get bitten… and loving every second of it. After all, it’s not everyone who gets to wrestle giant snakes by moonlight for a living.

Brian Staveley
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REVIEW : The Providence of Fire by Brian Staveley

There's no denying the fact that I was embarrassingly gushing about Brian Staveley's debut "The Emperor's Blades". It was one of those rare moments in my reading life when a book surprised me so much that I was even willing to forget and forgive its failings. So you might say that I was impatiently waiting for "The Providence of Fire". Surely, Staveley can't be a one trick pony? Well, of course he's not! While "The Providence of Fire" is not as Earth-shattering revelatory as "The Emperor's Blades" was, it still provides all the elements that made his debut so great in the first place. More crucially, it firmly addresses some of the issues I had with the first novel (mainly gender inequality) so thinking about it, it might be even a better book that its predecessor. But let's not dwell on that at this point and concentrate on the story itself. 

Being second part of the ongoing "Chronicle of the Unhewn Throne" series, "The Providence of Fire" is instantly immersive experience. Story continues straight on from the events depicted at the previous volume and at this point in time, Annurian Empire is a familiar place thrown in the chaos after the assassination of Emperor Sanlitun. Kaden and Valyn are still struggling to cope with their new responsibilities and the realisation that suddenly so many thing rest on their shoulders is weighting heavily on their mings. Kaden with throne and Valyn with Wings - its simply not easy and at one point Valyn simply leaves. However, this time around it is Adere who takes the centerstage. Having learned the identity of her father's assassin, she's trying forge new alliances and turn the tide that threatens to effectively destroy everything she loves. It is her perspective that makes "The Providence of Fire" outstanding. While in "The Empreror's Blades" she was depicted as uninteresting and was largely ignored, here her story comes to light. It's like the disturbing events of the past made her get her act together. Betrayal at the behest of certain someone certainly helped this. Suddenly, she's subversive, intriguing and more organised than ever before. Despite everything she is sadly still not as strong protagonist as she could be and at few times her old insecurities reel their ugly head again. For what it's worth I'm extremely happy that Brian tackled her side of the story. However, the most impressive thing is the way Steveley manipulates the relationship between siblings. While their lives take a distinctively different path together they still feel as a cohesive whole, with their hearts at its right place.

Due to his willingness to embrace those few shortcomings "The Emperor's Blades" had and to improve upon them, and thanks to his ongoing development as a writer, "The Providence of Fire" completely fulfills my very high expectations. As I've mentioned before, while it is certainly not a revolutionary novel it is more importantly a damn good continuation of the story. And not to forget, everything somehow feels more epic, if that makes any sense at all. It'll be interesting seeing where the series goes next. When I consider the ease with which I'm reading and enjoying Staveley's door-stoppers, it'll be a long wait until the sequel arrives.

Review copy provided by Pan / Tor UK
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REVIEW : The Invisible Library by Genevieve Cogman


"Doctor Who with librarian spies" - how good does that sound? Even before I started reading it I was ready to be disappointed with Genevieve Cogman's hyped debut novel "The Invisible Library". There was no way on Earth that it could possibly live up to its promise. As you can guess, it turns out that I was crying wolf. The thing is that I was slowly won over by it, first by her publisher's enthusiasm which more than anything showed that they genuinely believe in it not because it's a good sell but because they feel it's a really good read, and then by Genevieve's prose which hits the spot straight from the opening page. Surprisingly, "The Invisible Library" really does feel like it fell out of pages of some forgotten Doctor Who spin-off novel. It's that strange and that creative but it is also much more playful because it arrives without decades long burden of tradition. The other reference point is one my favourite series of recent times - superb Thursday Next by Jasper Fforde which also places literature in its distilled form as its center point.

"The Invisible Library" revolves around Irene, a professional spy librarian who works for Library, a strange inter-dimensional entity that sucks up works of literature from multiple realities. Irene, together with her mysterious assistant Kai is tasked with traveling to alternative London and retrieving an elusive but very important version of Grimm's Fairy Tales. World of this alternative London turns out to be even stranger than fiction. Laws of nature are turned upside down, magic and all sorts are possible and as the pesky book turns out to be stolen, Irene is facing one of hardest missions of her career. In her way is everything from vampires, werewolves and run of the mill killers.

Over the course of the last decade there has been an endless stream of books set in an alternative Londons of all kind. The appeal of this chaotic and wonderful place is obvious and even has a tendency to provide inspiration in those of us not creatively inclined. Genevieve's London is up there with the best and together with last year's Tony Ballantyne's "Dream London" is one I've enjoyed the most. However, the best thing about "The Invisible Library" is exactly the thing it shares with Doctor Who. Due to its original setup, there's endless potential for sequels and I certainly hope many will follow as "The Invisible Library" is one of the most pleasurable debuts of the year.

Review copy provided by Tor UK / Pan Macmillan.
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The story behind The Invisible Library by Genevieve Cogman

Fantasy fiction is full of libraries that hold vitally important works of non-fiction. Secret records of world-changing prophecies, hidden spellbooks which can alter the very fabric of the universe (money back if not satisfied), dire records of historical facts and secret weaknesses which can help destroy your worst enemy...

Or perhaps the libraries contain more constructive things. Full details of natural laws, equations that govern time and space, medical and anatomical information which can save the lives of millions, or just useful texts about planting and harvest times and animal breeding.

The Invisible Library contains fiction. Stories. Fables. Fantasies. It is not a compendium of human knowledge. It is a compendium of human dreams.

When I started writing the story, with the heroine going in search of a unique copy of Grimm’s Fairy Tales, I had worked out some details of the plot and setting, but others were still undefined. But I was quite clear on the fact that the Library collected fiction, not fact. That was a fundamental aspect of the setting. The books, and the stories in them, were part of the fundamental underpinnings which held all the worlds together.

In the Library setting, there’s chaos at one end of the universe and order at the other end – or, in more practical terms, pure fiction at one end and pure fact at the other end. Books are fictions that have been stabilised in physical form, written down and turned into a factual object. Books are a combination of fantasy and reality.

In fiction, everything is subject to the needs of the story. Rational probability doesn’t have a chance. The hero and the villain will encounter each other at the most narrative-appropriate moment. Everyone gets swept into the most appropriate role for them to play. Robin Hood will always dodge the Sheriff’s men. Sinbad will always find a new land to explore. And since tragedies and bad endings are stories too, Darth Vader will betray the Jedi Order, Faust will be damned, and James Bond will walk into a trap and end up as a brainwashed assassin for the KGB.

At the other end of the universe, brutal reality enforces itself. Luke Skywalker gets shot down by the Empire’s stormtroopers. The villain’s beautiful daughter fails to be seduced by the rakish hero. Things don’t necessarily happen because they should happen by all laws of good narrative. The strong rule, the weak obey, and there is little point believing in stories as more than an idle amusement when stories don’t come true.

Humanity exists across all these worlds, from the cruelly real to the cruelly fantastic, but they may be happiest somewhere in the middle – where stories may sometimes come true, but where effect follows cause and reality has laws that apply. If this sounds reminiscent of Terry Pratchett, it is because I have stood upon the shoulders of giants (or however that quote goes) and he is absolutely one of them. 

And the most important reason that the Library exists is in order to keep the balance and stabilise all the worlds, to stop them from tipping from chaos to order, or order to chaos. Plus, of course, the Librarians get to read a lot. Nobody could argue with that as a good reason to take the job. 

When I first conceived the heroine, I imagined her as a person who’d grown up with the basic tenets of the job being drummed into her by her parents. She never really questioned these beliefs, apart from the casual maunderings of teenage angst, or the slightly more sophisticated university student period of doubting everything that one’s elders say. Beneath it all, however much she might have claimed that she was independent and free-willed and so on, she’d never really thought about it all. She did her job, hunting down unique books, and enjoyed herself with all the fiction she could ever ask for in her free time. Like most people coming from a position of privilege (being the child of two Librarians is a major privilege) there were questions which she’d never thought to ask herself. Part of Irene’s story involves her growing up and thinking about wider consequences, and realising that as a person who has the ability to affect events, she cannot always hide under the umbrella of “just following orders”. 

After all, is the Library the best choice for her to serve?

And if it is, then how far will she go to keep it safe?

Genevieve Cogman
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REVIEW : Halo: Mortal Dictata by Karen Traviss

"Mortal Dictata" is the final novel in Karen Traviss' Kilo-Five Trilogy and as such shouldn't even be attempted before reading first two book in the series ever if you're well versed in the Halo universe. Trilogy, compromised out of 2011 “Glasslands” and 2012 “The Thursday War” follows on from the events depicted in Eric Nylund's novel “Ghosts of Onyx” and is set in the era post Halo 3 and Human-Covenant war. Despite the war being effectively over, the Office of Naval Intelligence still can't let its guard down. With peace on its doorstep, troubles with colonies and personal issues are rearing their ugly heads again. Even Kilo-Five team are not immune after they become embroiled in the situation after human Insurrectionist Staffan Sentzke, mad with grief and hate after his daughter Naomi was abducted by ONI years ago to become part of the SPARTAN-II program decides to take things into his own hands. Spartan Naomi-Zero-One-Zero and her Kilo-Five team are on a mission to retrieve CCS-class battlecruiser Pious Inquisitor when they discover that it is currently owned by Naomi's father. Suddenly they're faced with an interesting moral dilemma. To stop or to help him in his mad crusade which could result in genocide of millions? Either course of action with have far reaching consequences for the world around them. It also poses whether everything that Halo universe rests upon, that is the work of geinous scientist Dr Catherine Halsey, is in fact a war crime of highest order? A controversial and yet very intriguing and important question to ponder upon.

If you haven't read anything by Traviss by now and have researched about her a bit you'll probably notice that she build a large portion of her career around writing tie-ins, most of the set in Star Wars and Gears of War universe. So in a way you would expect Traviss to feel right at home writing about an universe she hasn't created. And for the most of the parts she does. However, as most of her critics like to point out, some of the sections do feel a bit unpersonal. Its almost like she hasn't really immersed herself completely into the Halo universe. Perhaps there's even a chance that she hasn't even played the games or read the previous books. If correct, this is understandable as Halo universe has certainly grown out of proportion lately. The most important thing is that she's a damn good at telling the story and knows how to provoke a reaction. She weaves an interesting plot that perhaps may grate on the purist but will be enjoyed by overwhelming majority of readers. I definitely appreciated that she tried something new and placed an interesting moral dilemma at the heart of the book instead of more gunfights but going against the cannon did feel a bit off putting at times. All in all, together with Greg Bear's Forerunner Saga, this has been my favourite set of Halo novels yet and I certainly hope Traviss will be back for another run around the playground because being able to write good, engrossing story is in my opinion far more important than getting every detail right.

Review copy provided by Pan Macmillan / Tor UK.
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The story behind Silverblind by Tina Connolly

(To win entire IRONSKIN series send an e-mail with your details to info @ [NA Only] )

Silverblind is a stand-alone novel, as well as the third book in the Ironskin series. The first book in the trilogy, Ironskin, loosely follows the story of Jane Eyre. My Jane goes to governess for a young girl named Dorie, who turns out to be half-fey (that’s revealed in the first chapter, so it’s not much of a spoiler!) When I was writing Ironskin, I immediately thought that some day I would love to tell Dorie’s story. 

All three books in the trilogy are linked stand-alones. Ironskin is Jane’s story. Copperhead is set six months later and is her sister Helen’s story. And with Silverblind we skip forward 18 years to tell a grown-up Dorie’s story.

So I’ve been excited about getting to write Dorie’s story for a long time. It is hinted near the end of Copperhead that Dorie is learning about some new shapeshifting powers she has. And in Silverblind we get to see her use them. All Dorie wants to do is hunt down wyverns and basilisks in the forests. But when no one will hire a girl to do dangerous field work, she shapeshifts to disguise herself as a boy and get the job.

One of the things I really enjoyed about writing Silverblind was getting to figure out how to advance my world and characters by 18 years. When we left Copperhead, some of the restrictions placed on women in society were changing. But 18 years later, things have not changed quite as fast as Jane and Helen would have hoped. In many cases, restrictive rules have technically lifted, but “the old boys’ club” mentality lingers. I got to see this through the eyes of Dorie and her friends as they try to make a place for themselves in the world. 

Another piece of Silverblind that I really enjoyed was that I got to write a lot more about friendships this time. Jane and Helen were both alone in different ways (Copperhead is partly about Helen making some real friendships for the first time) but I knew I wanted Dorie to have a couple of good solid friends that she could depend on through the course of the book. She and her best friend, Jack (short for Jacqueline), fight and get cross with each other, but also make up, and are there for each other. Another friend, Stella, is in a fair amount of the book as well, and it was really lovely to get to explore the interwoven friendships between the girls.

Besides being a stand-alone, Silverblind does tie off the larger story arc of the three books. Never say never, but for now, it was bittersweet to close off the world. And yet, it’s always exciting to look forward to the worlds that are coming next!

Tina Connolly
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The story behind Valour by John Gwynne

Valour is book two in a four book series titled ‘the Faithful and the Fallen.’ Malice and Valour are already on the shelves; book three, Ruin, is written and going through the editing process, and at the same time I am writing the fourth and final book (whilst my mind is under attack from ideas for a new series). It’s been an amazing ride, and one that’s swept up my whole family along the way.

It’s a strange feeling, writing the last one, as ‘the Faithful and the Fallen’ has been a huge part of my life for...counts fingers... twelve years now. Crikey, that’s a large chunk of time, during which the characters have grown in my mind to become - almost - real people. (Yes, I am slightly insane, as my wife and children will happily attest).

It’s a bittersweet feeling, writing the last book. It feels really cool to finally be writing scenes that I’ve been imagining for over a decade, and incredibly satisfying, but also sad to see the end, sometimes quite literally, of a lot of characters. People do tend to die in my books. Frequently. But here I am writing about the end when I haven’t told you about the beginning...

I’ve come pretty late to writing, and even then it came about in quite a convoluted manner. My daughter Harriett is profoundly brain injured and needs a high level of round-the-clock care. My wife was her main carer, while I laboured away at university climbing the academic ladder and teaching. Harriett's health deteriorated to a point where it became clear that I was needed at home, so I stepped out of teaching and joined my wife as Harriett’s full-time carer. That’s also when I started writing - prodded by my wife and kids, whom I’ve always told stories to - part over-active imagination, part big-kid syndrome. So for me writing began as a hobby.

I’m forty-six now, so I started writing/working on ‘the Faithful and the Fallen’ when I was thirty-four. I may not have written anything before then (apart from a pile of essays and the odd dissertation at university) but I’ve always read. As far back as my memory functions reading and stories have been part of me. One of my earliest memories is my primary school teacher rounding us all up and opening the first page of ‘The Book of Three,’ by Lloyd Alexander. After that it was a slippery slope of Hobbits and Ring-Wraiths, giant spiders, wooden horses, dragons and minotaurs and knights searching for grails. Mixed into that came a growing love of all things historical.

Once I’d decided that I was going to have a go at this writing malarkey I came to the abrupt realization that I didn’t actually have the faintest idea of how to write a novel. The only way I knew how to write was the way I had learned at university. Read, read and then read some more. So I did - the stuff that I get passionate about - ancient history, especially the Romans and Celts, but also a truck load about the Greeks and the Steppe and Persia, about Boudicca and Attila the Hun, about Remus and Romulus and the rise and fall of the Roman Empire, notes about the theories of Atlantis, about how swords were made 1000 years ago and about wolf-pack behaviour and bears and Komodo dragons and swords and axes and war-hammers and...well, lots. Also world mythologies, again Celtic and Greco-Roman, Norse, Slavic, Eastern. Then of course Beowulf, Milton’s Paradise Lost, some Blake, Dante, Machiavelli, its all gone into the pot. I think I probably researched more than I needed to (about two years!) firstly because I enjoyed it but also if I’m honest towards the end because I’m a procrastinator and was a little anxious about starting and finding out that I couldn’t do it. Eventually, though, with a good deal of prodding from my wife and children, I began to write.

‘Malice’ was my first novel, and because it was the first thing I’ve ever written creatively when I started writing it was for an audience I can count on my fingers - my wife and three boys. And me, of course. So by that logic I tried to write something that would appeal to all of us. In my mind it was a game of two goals; firstly I wanted to write something that was epic, a la Tolkien and Braveheart, (films were almost as influential in my mind as books - films such as Braveheart, Gladiator, Last of the Mohicans, Spartacus), and at the same time I wanted to write something that had a heart, something that felt intimate, built around characters, reminiscent of the multitude of Gemmell books that I’d read as a teenager. So epic and intimate became my mantra.

Once I finished Malice I gave it to my wife and children to read, plus a few mates. Feedback from them was good - but hey, what did I expect from family and friends. So I started googling how you get a book published, and became promptly very disillusioned and resigned to anonymity. Nevertheless I purchased the Writers Handbook and started looking at agents that specialised in fantasy. One chap’s name kept cropping up, both in the Writer’s Handbook and in my online searches.

John Jarrold. He had worked in the business for over three decades, running fantasy imprints such as Orbit and Simon and Schuster, editing authors such as Michael Morcock, Guy Gavriel Kay and Robert Holdstock, as well as representing contemporary writers like Mark Charan Newton and Adam Nevill. He became my ‘dream agent,’ the man always at the top of my list, so it was no surprise that John was the first agent that I approached.

To my surprise and very great pleasure John loved Malice and agreed to represent me. That was a good day. Mead was consumed.

John worked with me editorially for a while and then put ‘Malice’ out to publishers. Soon after there was a pre-emptive offer from Tor UK. This was just before Christmas 2010. Needless to say I accepted and there was much celebrating in the Gwynne household that Christmas, involving more mead drinking and enthusiastic jig-dancing.

Since then it has been a roller-coaster tale of writing and editing - structural edits, copy-edits, page-proof edits - the amount of work and effort from my wonderful editor Julie Crisp and the team at Tor that goes into polishing a book from its submission stage to being ‘on-the-shelf’ came as quite a shock to me - plus many cover-art discussions (now that is great fun, one of my favourite bits) and a very pleasant trip to the David Gemmell Awards where Malice won ‘best fantasy debut of 2012,’ a huge shock and immense joy. After I was picked up off of the floor I have been grinning about that pretty much ever since.

And now I’m writing book four, as well as feverishly writing notes on the new tale that is bombarding my mind. But that’s another story...

John Gwynne
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The story behind Die and Stay Dead by Nicholas Kaufmann

It's always a little weird to talk about the story behind the second book in a series. Really, the story of its genesis is just that it is the next book, the next adventure that the first book's heroes undertake—but of course, that's not the whole story. It never is.

When you're writing the first book in a series—especially when it's a fantasy series—you need to spend a good deal of time building the world in which it takes place. But with the second book, that hurdle is gone. Now, your characters have a chance to fully inhabit and explore the world you've created. That's what I hoped to accomplish with Die and Stay Dead. In the first novel of the series, Dying Is My Business, I created an alternate New York City, one identical to the New York City where I live but with—well, let's call it a few additions. These additions range from magically protected safe houses on the Upper West Side to gargoyles living in a cave in the Palisades, from a dragon living beneath the city's sewer system to the tomb of an ancient, terrible, and not-quite-dead creature buried beneath the Cloisters. I also invented a secret history for this world, one that involves a group of eight, mysterious immortals known as the Guardians, who are tasked with watching over and protecting the world; as well as a terrible cosmic event known as the Shift that has turned magic into something dangerous that can infect, mutate, and drive mad anyone who comes in contact with it.

It was a lot of heavy lifting, but it paid off. It meant that with Die and Stay Dead I could expand upon what I'd already built and give Trent, the series protagonist who has only recently had his eyes opened to this secret world of magic and monsters, a chance to explore and make new discoveries. It allowed me to bring him to secret locales hidden all around the city, even one within the walls of the famous New York Public Library branch on 42nd Street and Fifth Avenue (you know, the one everyone who's not a New Yorker knows from Ghostbusters). It let me open up the world beyond New York City with references to a museum of magical artifacts in England and an international black market for magical items. It gave me an opportunity to introduce other creatures inhabiting this world that we didn't get to see in the first book, including, in one section that a lot of early readers said really stuck with them, a scene where the dryads of Central Park flee from their trees in the face of oncoming danger. Exploring this world also afforded me the opportunity to introduce more characters who live in it, including Jordana Pike, a budding demonologist whom Trent begins dating. (Sorry, Trent and Bethany shippers!)

But what was most exciting—to me, at least, and I hope to the readers as well—is that the ability to explore this world also gave me a chance to explore its secret history, particularly with regard to the Guardians. In Dying Is My Business, they're only mentioned, referred to as the beings who are supposed to be keeping the world in balance but are apparently doing a really bad job of it, choosing to sit on their hands instead of getting involved. In Die and Stay Dead, Trent actually gets to meet them. And the verbal haranguing he gives them about their apathy in the face of centuries of misery, despair, and injustice remains one of my favorite scenes.

So what is the story behind Die and Stay Dead? In a word: expansion. It's an expansion of everything introduced in Dying Is My Business—the world, the creatures, the secret history, even the mystery of who Trent was before he lost his memories. And if I've done it right, I hope I have expanded the readers' enjoyment of the series, too.

Nicholas Kaufmann
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REVIEW : Brian Staveley - The Emperors Blades

The main problem with The Emperor's Blades, debut novel by Brian Staveley, is that it is simply a reviewers worst nightmare. The thing is that the year has just started. It is only couple of days young and here I find myself in the position where I have to make some rather bold claims about a book that I've just read. A book by a completely new author. I have to be sure that I'm prepared to swallow my words if I turn out to be wrong. Ah well. So to finally be done with the dramatics and say the conclusion which is usually placed at the end of the review, The Emperor's Blades is probably the best fantasy novel I'll read this year. It's been months, possibly years, since I've enjoyed a fantasy book this much.

So what makes The Emperor's Blades so special? At first glance it may look like your standard fare epic fantasy. Since this is the opening chapter of “The Chronicles of the Unhewn Throne” we are quickly thrown into the world filled with murky quasi-medieval politics and there's lot of ground to cover. Emperor of Annur has been killed and it's up to his children to pick up the pieces. Kaden is heir apparent and this unfortunate event catches him during his 8 year long education in a remote mountain monastery. On the other hand his sister Adare is already in the capital investigating the murder. She's already an experienced politician and becomes a Minister of Finance while their brother Valyn is doing his best to join Kettral, a elite warriors unit who fly gigantic birds as their transport of choice.

So far so good but what sets The Emperor's Blades head and shoulders above the competition is the pacing and the glorious writing. The story is so intricately woven together that the process of turning each subsequent page provided me with such pleasure. Staveley avoids the trap of excessive world-building by building and enriching his characters instead. And while Adare is one character that should have been explored more, by the end of the book I learned how the rest of the cast breathes and lives. This is an excellent and refreshing approach and on which pays off in so many way.

To conclude, in my opinion, The Emperor's Blades is one of the most important fantasy books of the year and judging by the storm it is causing around the web I'm not the only one who thinks so.

Order "The Emperor's Blades" here:
Amazon US | Amazon UK
Thanks to Pan Macmillan / Tor UK for providing a review copy

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