Review: A Dance of Death (Shadowdance Book III) by David Dalglish

Rating: 5 out of 5

I love David Dalglish’s books. There, I said it. Everything he’s put out I’ve devoured and raved about. From Weight of Blood, the introduction to his Half-Orcs series, to his new Paladins adventures, each story builds upon the next, further enhancing and enriching the world he’s created and presenting new conspiracies, enemies, and themes.

Now we come to A Dance of Death, the climactic work of the Shadowdance series – which, strangely enough, are really stand-alone novels masquerading as a series. And I will now say, as I seem to after virtually every Dalglish book, that he’s once more raised the bar, making this reviewer swoon, sway, and cheer with each swing of the sword (or thrust of the dagger).

This time around, we find Haern, fully entrenched in his role as King’s Watcher, being led out of Velderan by a copycat killer in the town of Angelport, miles away from home. This mimic kills seemingly indiscriminately, leaving behind Haern’s old calling card, the bloody, traced eye, one he hasn’t used in years.

Haern, along with Alyssa and Zusa, head south. There are other bad things going on in Angelport – a fight with the elves over the woodlands, the proliferation of a new, powerful drug that is spreading through the streets, and the infighting between the merchant lords, who own the boats, and the lord of the land, who is slowly losing control of everything. Into this mix is thrown the Wraith, Haern’s much-too-talented, unwanted protégé, which pitches everything into a great big smorgasbord of murder, conspiracy, deceit, and political intrigue that brings the city to the brink of war – both with the elves and amongst themselves.

For the first time, Dalglish introduces a plot that is truly mysterious and isn’t concluded until the very end. While all of his books possess tremendous character development – and are usually carried by it – this one actually uses the plot itself, the mystery, to drive the story forward, using the previously stated character development to enhance the story, making the characters come to even more life than they already are. We understand Alyssa’s doubt, Zusa’s anger, Haern’s guilt, because each step of the way we’re shown why they feel what they’re feeling.

And they aren’t the only characters spotlighted here. We’re also reintroduced to Torgar, from way back in book one, who serves as the master of the guard for the Keenans, the Trifect members who reside in Angelport. We also get further insight into Madelyn Keenan’s character, who, let’s just say, is one of my favorites in the whole book, maybe the whole series. We also get inside the head of the Wraith, this mirror of a creation whose goals and actions don’t quite match up.

This is a book filled – and I mean filled – with meaning and thematic exploration. Everything from drug trafficking to environmental preservation to the question of how far is too far when it comes to the use of violence in making the world a better place are explored. Haern, for his part, is left to question his own motivations, to doubt his every action. He’s presented with a man much like himself, one that kills ostensibly at random, with no thought given to whether his victims deserve their fate or not. All of which leads Haern to wonder, what makes me so much better than him?

Because of this fact, there are no true heroes in A Dance of Death. What we cheer for when we read are incomplete people – in other words, fantasy representations of actual, real people experiencing the type of trauma – gang violence, drug dealers, vigilantism – that are found in any city across the world. All of which makes me repeat something I’ve said many times before: David Dalglish is not a fantasy author. He’s an author, period; one whose words would mean just as much if they were set in Chicago or Paris or Los Angeles as they do in Velderan…or Angelport.

The bottom line is this: A Dance of Death is a great, great read, a much more than worthy offering to close out a fantastic series. The characters are great, the story even better, and it has enough twists to make your head spin. We even get to see elves portrayed being not-so-elflike – you know wise and mystical and peaceful and all that – which I absolutely loved. There is heartbreak and anger, betrayal and gut-wrenching decisions, as well as some rather inspired deaths. I heartily recommend it, as I would all of the author’s books, and can honestly say I hope he gives us more of Haern’s story in the future, because there has to be more to tell.

Yeah, this is pretty much the perfect novel. You won’t be disappointed. And if you are, that’s on you, not the work.

If you want to read this fantastic work for yourself, buy them in Ebook format at the following sellers:

Review: The Ryel Saga by Carolyn Kephart

Rating: 4.9 out of 5

Verbosity.

Most of the time when I pick up a book and see this in action, I roll my eyes and mutter, “Oh, no.” There are just way too many authors that fall in love with their own words, with their ability to craft clever phrasing. They overdo it and overdo it until you just can’t stand to look at the endlessly droning sequences of words any longer. This is usually the result of a writer who’s trying to emulate “traditional” literature without understand what that is in the first place. I’ve struggled through a few of these types of books, and it never ends well.

However, there is a rare breed of verbosity that stems not from self-indulgence, but the uncanny ability to turn a manuscript into magical, epic poetry. In these instances the words are necessary. They build atmosphere, envelop the mind, and spiral the reader into a world they could’ve never imagined.

That, my friends, is Carolyn Kephart’s The Ryel Saga in a nutshell.

I have to admit that at first I was a little wary of this book. It’s long (twice my usual 120k word count limit), it’s wordy, and the plotline spirals in many different directions, seemingly at once. But what I failed to take into account as I first dove in was that this is the work of an author at the top of her game, a writer who fully understands human emotion, doubt, and yearning, a woman who knows how to build a world and recognizes that there are many, many different types of beauty…even in darkness.

The Ryel Saga is named after its main protagonist, Ryel Mirai, a wysard (aka magician, sorcerer, mage) from the mystical city of Markul. He leaves the city in which he’s been raised since his early teen years (when he was lured from his home in the Steppes by his uncle Edris) when he is offered a vision of his dearly loved mother, stricken with sickness and dying. Being well-trained and powerful in the use of the Arts (the Markulian term for magic), and having been trained to be a healer, Ryel brings it upon himself to save her.

Along the way he discovers that he is being sought by a daemon named Dagar, an old sorcerer of dead magic (I guess you could call him a necromancer) whose soul (or rai, as it’s called in the book) lives on even after his body has been destroyed. It seems Dagar wants Ryel’s body, and he’ll stop at nothing – and stoop as low as he can, making Ryel’s life far beyond miserable – to make that happen.

Ryel has other adventures, as well. He uncovers lost family, finds out information about his beloved uncle Edris that rattles his world and turns him into a man possessed, falls in love, thwarts a revolution, starts a revolution, uncovers the mysteries of his Art and its legacy, suffers an ancient malady, and finally fights in a massive battle to save not just the city of Almancar, but the entire realm, as well.

There. I’ve just compressed seven-hundred pages of plot into three short paragraphs. Of course this isn’t everything there is to it – there are intricacies aplenty woven throughout the story – but if I were to make this an actual recap, the review would be fifty pages long.

And besides that – and though this might be funny to say – the strange thing about The Ryel Saga is that the plot, as complex and well thought out as it is, is almost a secondary aspect of the book. Actually, now that I think about it, it might be third in line.

The first thing that grabbed me about the book was the scenery. I mentioned at the beginning how this reminded me of poetry, and the settings are what made me think of this concept. Each city and realm visited is so vividly described that they come to life in the mind’s eye. But, oddly, there is a lot left to the imagination, as well. This might sound like a contradiction, but it’s not. From the sway of the Steppes grasses to the mists surrounding Markul to the gardens and excesses of Almancar to the filthy, deprived buildings in and around the cursed city of Ormala, most everything is explained…so much so that what is left out feels mystical, such as the feel of the street under foot or the gust of the wind on a character’s face. It’s a strange sensation to have while reading…and a wonderful one.

The second, and most fantastic of all, are the emotional ties that bind the characters, both to each other and themselves. There is love aplenty – between siblings, lovers, old rivals, even enemies. There is hatred, shown the most in disease and the scars that result from a life filled with torment. (Two characters, the brothers Essern, beautifully illustrate this point. Look out for their characters. My two favorites in the entire book, after Ryel, himself.) There is the anguish of loss, and the hope that some how, some way, those lost loves might be returned to you. There is longing, for life, love, and family. There is honor amongst heroes, and none among the religious.

And this, as a matter of fact, might be the most profound aspect of the story. In the world of Destimar, religion is as much a bane on the populace as would be cancer on the human body. Religious leaders use their preaching to motivate, organize, and manipulate their charges. And yet the text does not lose sight of the everyday person’s need for belief. I completely loved and appreciated this facet of author Kephart’s storytelling. She comes across as evenhanded, highlighting the wonders and necessity of faith while at the same time illustrating via her fantasy world the way leaders throughout history have used the peoples’ desire for understanding and salvation to turn one sect against the other, triumphing the longing of the many in order to heighten the gains of the few. She doesn’t form an opinion about this and isn’t preachy; she just presents it as simple fact. Though truth be told this reviewer thinks she tips her hand at the end and lets us know, in the tiniest of ways, how she might actually feel about the subject of spiritualism and conviction. I could be wrong, but that’s the way it seemed to me.

Above all else, The Ryel Saga is the story of faith – faith in one’s self, in one’s principles, in one’s ability to overcome. Ryel is the embodiment of this. He believes in his quest. He may doubt himself at times, but he never truly falters. He knows what he’s capable of and trusts in his Art, his magic, and his capacity to learn. In fact, throughout the whole book he never stops learning. He’s like a giant sponge, an advocate for the quest for knowledge, of the viewpoint that to gain knowledge only leads to the desire for more knowledge, and that in the end, we can never stop, but we’d be damned to a life of slow death if we stopped trying.

In case any reading this review need it spelled out for them, despite my initial misgivings, I fell in love with this book. The Ryel Saga is a poignant, touching, somber, and exhilarating read, all in one. The sentiments are real, the small scenes take priority, and the action sequences are tastefully done. In a lot of ways it’s like going on vacation to the island of St. Thomas. You know it’s ornate, you know it’s a commitment, and yet once you get there you can’t help but sit back and enjoy the experience. Reading this book is just like that – like sitting in the sun, letting the emotion of the moment grab you, and allowing it to take you where it may. To run your eyes over each word is a grand event by every definition of the word grand. Let it capture you, let it overwhelm you. Once you reach the end, you’ll understand that you’ve undergone something rare, something beautiful, something you might only see two or three times in your life.

At least this reviewer did. And it’s definitely an experience I’ll never forget.

(Final note to say I docked a single point from the execution grade because of some minor formatting errors, aka a few missing quotes and some character name confusion. These weren’t major issues, however, so the damage is minimal. Definitely does not take away from the enjoyment of the story. Obviously.)

Plot - 10

Characters - 10

Voice - 10

Execution - 9

Personal Enjoyment – 10

Overall – 4.9/50 (4.9/5)

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Review: The Gods of Dream by Daniel Arenson

Rating: 4.8 out of 5

All my life I’ve held the opinion that fairy tales come to us from the darkest depths of imagination. They are stories of suffering and grief wrapped up in a bundle of cutesy imagery, mythical beasts, and social disorder. They come as warnings: Little Red Riding Hood and Hansel and Gretel against the allure and dangers of child predators, Jack and the Bean Stock against the perils of experimentation and exploration without first understanding the consequences…and these are only a few examples. They are at their core disturbing, grim tales, meant to pass along a necessary social message.

This is what The Gods of Dream, written by Daniel Arenson, accomplishes. In spades.

The Gods of Dream is the tale of Cade and Tasha, twins from a never-disclosed, war-torn country, whose parents were killed during a bombing at a local market. They are forced to leave their home and travel to a new country, where they are alone, afraid, and despondent. Tasha hates life and has tried multiple times to end it. Cade does his best to support and coddle her, his own war-ravaged hands constant reminders of the past they left behind. He does everything he can to give his beloved twin a reason to live.

Well, they have one. For reasons never fully explained (and thankfully so), Cade and Tasha have been granted access to Eloria, the true land of Dream. In this reality they are Talon and Sunflower, children of the illusory wilderness, unscarred (both physically and emotionally) by their guilt, sorrow, and the horrors of their past. When in Dream they cavort like the free youths they should have been, before the real world cruelly tore all that away from them.

This carefree existence is not to last long, however, for it seems that Phobetor, the ruler of Nightmare, obviously the counterpoint to Dream, has set his sights on conquering the sleeping paradise. Cade is recruited into the fight, told he must defeat the evil prince, and heads out on a long, long quest. Tasha, for some reason left out of the original plan (actually there is a reason, though it’s never spoken, and that reason is sublime and necessary), sneaks in and joins her beloved brother on his journey, disguised as a mouse.

Along the way Cade and Tasha meet all sorts of strange and wonderful creatures. They are the gods of Dream, and they’re fantastic creations with roots firmly planted in Native American (or any other naturalistic culture’s) lore. Each resides in (and is master of) a certain location and aspect of Dream. These gods have lived for thousands of years, and they take it upon themselves to assist Cade and Tasha in whatever way they can.

The twins journey for weeks (possibly months) through the landscape of Dream and enter Nightmare. I could go on and on describing every step of their journey, but I won’t. This review would be ten pages long if I did that. Just believe that there are a great many plot points in the book that are worth mentioning, but what interests me more than anything are themes, and that’s what I’m here to discuss right now.

One of the first things I noticed when the chapters started shifting between events happening in Dream and Nightmare, respectively, was the paradigm of these realms. Just as Dream’s gods are constructs of the “real world” – elks, cats, lions, hippos, pandas, etc – so is the landscape. It is filled with earthly trees, grass, rivers, and gardens of flowers. There is a day and night. There are oceans and beluga whales. There is also a natural order to the land, represented in pockets that depict the seasons of Earth. The lands of Nightmare, on the other hand, are cracked and burnt in some places; in others, the ground is covered with what could be skin. The trees there are likewise fleshy, covered with eyeballs. The creatures that inhabit it are gruesome, beasts of fangs, spikes, hooks, fur, and bodies that don’t seem to follow a natural order (aka shark head on a wolf’s body, etc). These unsavory citizens carry themselves with utter hatred and intend to harm, and every emotion is taken to the extreme. To break it down, Dream is the land of balance and healthy imagination; Nightmare of radicalism and brooding darkness. Sure, at first glance one might say, “But doesn’t the existence of Nightmare balance out Dream?” And the answer to that would be no. Some of Nightmare’s inhabitants were born in Dream, and they were born the way they are – wicked, cursed, unsavory – and at least one was told he did not have to leave despite this. That, in and of itself, demonstrates that the world of Dream is evenhanded. Because of this, Nightmare is actually a weight that tips the scales toward darkness.

(Not to mention that Dream exists seemingly of its own accord, while Nightmare needs a motor. It’s powered by a subway system that runs beneath its soil. I won’t explain what this subway system is or how it operates, because I wouldn’t want to give that away, but trust me when I say it’s one of the most inspired and original ideas I’ve ever set my eyes upon.)

The creative inventions of the world aside, the emotional threads are spectacularly done as well, in fact more so. Cade and Tasha really feel like damaged souls. They’re full of doubt and guilt. Tasha is nearly pathetic in her unhappiness, and you pity Cade for how hard he tries, even while he’s doubting his every action. In every way it makes sense that these two were the ones chosen to save Dream, because they needed to be saved just as much. They needed to rediscover beauty even in the face of ugliness and evil. And I think that might be the main point: that there is splendor all around you, that if only you’d take the time to actually deal with the hardships that come upon you, you’d bust out on the other side realizing all you’ve had and all you could have. Tasha, herself, embodies this. She is small in soul and scope at the start of the novel. In this way, it’s no wonder that she chooses to be a mouse when she crosses into Dream. For she is afraid of everything, her fear and sorrow have made her as insignificant as a creature that makes its home in shredded bits of discarded paper. In this case, that discarded paper is her life, both former and present.

All of this is sad yet beautiful to read, and I have to admit that on more than one occasion I found myself getting teary – especially at the beginning and end of the book. The middle is where the action is, and it is wonderful, but let me tell you…the emotions that run through these opening and closing segments are just about perfect. We see Tasha staring at her bandaged, scarred wrists, and we sob for her, when it would be very easy, if the work wasn’t crafted as well as it is, to say, “Just get it over with, already.” The writing helps in this regard, with flowing sentences and vivid description. Really, I can’t say enough good things about it.

So why, one might ask, did it not receive a perfect score? (Yeah, I have to be a little bit critical.) Two reasons. First of all, author Arenson has a habit of repeating things, important points that need to be remembered (such as the reminders that Cade and Tasha have to save Dream…or else.) Now, I get that, but I thought it was done just a tad too much. I understand that this is the author’s style, however, and it really doesn’t distract from the story. The second is the character of Phobetor, the ruler of Nightmare. His repartee his demon wife is eerily similar to the interplay between a pair of characters in another one of Arenson’s books. Now, I almost didn’t mention this, but I felt the need to, if only to assure readers who’ve read the author’s other works that these sections are short and few. In fact, there are only two scenes that actually have both characters in them. However, they’re both towards the beginning of the book, and I want to tell any who might notice that the characters are, in fact, quite different, as the meat of the tale bears out and their interactions cease. I wouldn’t want anyone to put the book down because of something minor such as this.

On a whole, The Gods of Dream is a very impressive, nearly impeccable work of art. It’s The Neverending Story meets The Dark Crystal meets The Odyssey. It surges in parts, lingers in others, and always leaves the reader with the impression that they’re taking in something important. It teaches a lesson about pain and what it takes to withstand it. It shows how important life is, how important love is, how important family is, be them blood or otherwise. It takes you on its journey of imagination and leaves you both panting and sighing at the fantastically bittersweet, yet hopeful, ending.

In other words, it’s magnificent. And I have a sneaking suspicion The Gods of Dream is going to end up being one of the best books I read in 2011. It gets the highest recommendation from me that a single book could possibly ever get.

Plot - 10

Characters - 9

Voice - 10

Execution - 9

Personal Enjoyment – 10

Overall – 48/50 (4.8/5)

Purchase The Gods of Dream in ebook format for the:

JOA Book Of The Day

THE GODS OF DREAM
by Daniel Arenson

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What are dreams? Some think they are figments of our mind. But what if they were wisps of a distant, magical world… a world you could visit?

Twins Cade and Tasha discover Dream, the land dreams come from. It is a realm of misty forests, of verdant mountains, of mysterious gods who send dreams into our sleep. Cade and Tasha seek solace there; they are refugees, scarred and haunted with memories of war. In Dream, they can forget their past, escape the world, and find joy.

Phobetor, the god of Nightmare, was outcast from Dream. Now he seeks to destroy it. He sends his monsters into Dream, and Cade and Tasha find their sanctuary threatened, dying. To save it, the twins must overcome their past, journey into the heart of Nightmare, and face Phobetor himself.

Discover a world of light and darkness, of hope and fear, of dreams and nightmares. Discover The Gods of Dream.

Purchase The Gods of Dream in ebook format at Amazon.com.

ABOUT THE AUTHOR:

Daniel Arenson in an author of fantasy fiction, from epic to dark and surreal. He's written dozens of stories and poems, and is the author of fantasy novels Firefly Island (2007) and Flaming Dove (2010), and aforementioned Gods of Dream. Visit Daniel's website at DanielArenson.com.

NOTE FROM THE JOURNAL:

This book is currently in my TBR pile, and I'm actually quite excited to get to it. As a reviewer who adores Daniel's work, I would recommend this novel to anyone, sight unseen. Be sure to check back in a couple weeks when my review of The Gods of Dream is posted.

Review: The Gift of Fury by Richard Jackson

Rating: 3.3 out of 5

Every once in a while, I run across a book that I can’t help but think, “If there had been just this much more work put into it (or perhaps a little more), it could have been special.”

Ladies and gentlemen, I give you The Gift of Fury by Richard Jackson.

The setup of the book is as follows – Count Albritton (that’s his name, not his title…weird, I know, but it works) is a paranormal investigator working out of New York City. He and his friends (a pair of wizards, a vampire of some sort, and an immortal warrior) run up against a man named Jack Meredith, a wealthy entrepreneur who desires more than simply predicting how to work the stock market in his favor.

It seems that Mr. Meredith has gone to great lengths to awaken the Seven, a powerful group of beings harkening from the “Old Days” of magic. And it turns out that our beloved Count, who holds a special relationship with a magical ring called the Bloodstone, is the only one who can stop him.

I so, so wanted to love this book. The author has a fantastic voice, telling the tale from Count’s viewpoint. He goes in-depth about the workings of the magical world that exists just beneath our own “real” world, explaining things such as the Witching Hour, different types of vampires, and the differentiations of various forms of magical practices. It was honestly quite entertaining to read. Jackson paints a vision of New York that is mysterious as well as mundane, and he takes some well-known (and not so well-known) locations and makes them shine anew. Great job there.

The characters who surround the fabulously sarcastic Count, also have their own distinct voices. Highest on this list is Hagan, the eternal warrior. He’s gruff and strangely carefree, the type of braggart that can’t wait to let everyone around him know of his exploits, whether he should or not. Also intriguing was Scott Dorward, one of the two sorcerers Count associates with. He is wonderfully quirky and straightforward. The few scenes he appears in are some of the best in the whole book.

As for the plot…it’s simple but it works. When it all gets boiled down, this is an adventure story. Its aim is to present a new world and entertain you. The only real theme I could find would be find yourself, young man, as Count doesn’t understand the power he possesses and must constantly work to harness. As I said, it’s simple but enjoyable.

And then we have the problems, which are many. I usually don’t make a huge deal of the editing in books – a few typos don’t bother me – but this one is rife with so many errors it became distracting. Also, it is told in first-person present tense – which is a difficult style to pull off effectively – and even the flashbacks are presented in this way. It completely interrupts the flow of the story. Every time this happened, I had to scroll back to see if what I was reading happened now or then. Change the tense, man!

On the subject of those flashbacks, there were at least two too many. We could’ve done without discovering how Count found the Bloodstone or first met Hagan. These facts could have easily been disclosed organically through conversation or informative snippets, without exposition.

These aspects of the novel came close to ruining it for me. Close, but not quite. I still had a good time with it, and I thought the world author Jackson created seemed fresh and new. It’s too bad there are so many irritants, because were those facets not there, this could’ve been something special.

As presently constructed, it’s a fun rough draft, not a final product.

Which is a shame.

Plot - 7

Characters - 9

Voice - 8

Execution - 3

Personal Enjoyment – 6

Overall – 33/50 (3.3/5)

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Review - Erich's Plea by Tracey Alley

Rating: 2.2 out of 5

Reviewing can be a frustrating game.

You dive into a book. You want to love it. You get to know the author, and they’re a super-nice person. And yet sometimes the reading experience lags behind your expectations. You don’t want to be mean, but you owe it to everyone – yourself, your readers, hell even the writer themselves – to be honest.

That’s where I found myself with Erich’s Plea by Tracey Alley.

In its premise, the book is hopeful. Slade, the son of a king, has abdicated his rights to the throne in order to become a druid. He is eventually thrown in prison for nefarious reasons. He dreams of his father, who’s been captured (or killed), and is left instructions on how he should go about plotting his escape. He eventually does, with the help of the typical rogue’s galley of fantasy characters. And in the background of all this, there is the intrigue of a plot to take over the world by a singular dark entity with seemingly unlimited power.

There were a few problems I ran into with the story. First of all, for a main character, Slade is, honestly, not very interesting. He has no charisma, no charm. It’s almost as if he’s simply there. Secondly, the majority of the plot revolves around the big prison escape, which like Slade isn’t very exciting. The reading is quick, but the action scenes are lacking. The head-hopping between characters can be confusing, and the characters themselves are oftentimes clichéd. There reached a point where I wanted to say, “all right, get out of the prison already!” It drags on through the length of the novel, and I begged this particular storyline to end.

This is where I come to the most frustrating aspect of all in this book. Whereas the main story arc, the prison break, is mundane and tiresome, the peripheral occurrences show so much promise, so much thought. The main protagonist in these (too short) sections is Lord Michael Strong. He, along with the grand wizard (or necromancer – I couldn’t figure out which exactly) Lord Nexus are having clandestine meetings to figure out ways in which they can reunite the different kingdoms that always seem to be at odds with each other, under the poisonous eyes of The Dark One, the seemingly all-powerful evil presence.

Through their conversations, Lords Michael and Nexus reveal the history of the world author Alley has built, and it is wonderful. It is a mirror to our own, in which the xenophobia and racism that exists between the warring factions brings down what had the potential to be an almost utopian society. I greatly appreciated these aspects of the book, along with the descriptions of the different types of magic. I found these threads to be original and inventive, and well worth expanding upon.

However, the author doesn’t, and instead we’re thrust back into the boring escape plan.

There’s something else amiss with the work, however, and this has everything to do with The Dark One, himself. He’s painted as an omnipresent figure, one who knows everything that happens around him, who is tyrannical in his rule. And yet we meet him, face-to-face (first mistake), and he’s more like a caricature than a well-fleshed-out villain. Also, for someone so all-powerful, he’s surrounded by spies (second mistake). This lessens his effectiveness and turns the character into a joke. How could such a dominant being with the power of mind-reading and witchcraft at his disposal not know all these characters in his tight inner circle are plotting against him? It simply doesn’t make sense and, although this is strange to say about a work of fantasy, makes the story much less believable.

The writing style the author uses is brisk, but there is something off about it, as well. The comma usage is all over the place. Many of the sentences are run-ons. There is information that is contradictory or unnecessary to the action. Here are a couple prime examples:

As it always did, on those rare occasions that Luca came to this section of the prison, he found the utter silence unnerving, although, at least it masked the screams of the prisoners.

They could all do with some better supplies Slade knew, apart from Lara, Tares and Darzan, who appeared fully equipped, the rest of them carried only arms and equipment purloined from the dead guards.

(Perhaps these represent differences between Australian and American English...I'm not entirely sure)

Not only this, but the author has a tendency to repeat names over and over and over again when a simple “he” or “she” would suffice. This is distracting and more than a little bit maddening, as well.

And yet, all this aside, I would probably read another of Alley’s work if given the opportunity. She does have a playfulness to her tone that I find intriguing. Some of her characters are inventive and break their tropes. She has a good head for societal themes and world-building. It’s simply not present in this book as much as it should be.

I know there are more novels the series. Perhaps she has matured as a writer since this one was written, perhaps not. But if it doesn’t improve, that would be it for me.

As for Erich’s Plea…I found it middling, at best.

Plot - 3

Characters - 5

Voice - 5

Execution - 4

Personal Enjoyment – 5

Overall – 22/50 (2.2/5)

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Review: Powerless: The Shadowing by Jason Letts

Rating: 4.1 out of 5

“Heroic? The only heroes are the people who happen to get it right when everyone is watching.”

When we talk about heroism, about doing the right thing, are we doing so because it’s honorable or simply to be rewarded for doing something we think to be so? What does it mean when we look inside ourselves and find out we really don’t know who we are, that those we trust are less than trustworthy, that those efforts to gain acceptance through the previously mentioned gallant acts are meaningless? Do we let the pain and suffering define us, or do we rise up against the torrent of doubt and push to define ourselves rather than allow the situations we’ve found ourselves in to define us? And which way is the correct one?

These are some of the core questions asked in “The Shadowing”, the second book of the “Powerless” series by Jason Letts. It is the tale of Mira, the lone girl with no special abilities in a world where every other person has a superpower of one type or another.

This novel begins where the previous book, “The Synthesis”, left off; with the students, fresh off their confrontation with the baddies who attacked Mira’s house, saying goodbye and ready to head off to become “shadows”, or apprentices, in order to further learn to become experts with their powers. (As a side note, I did have a bit of a problem with this method of beginning the story. I felt there should have been at least a month or so gap between events. The way it's written seems a little rushed. Luckily, however, this awkward tone dissipates quickly and the story picks up steam again.) They disperse, heading off to learn their craft and ready themselves to fight in a war that is their mutual destiny.

It is in these training sequences that this particular novel shines. The teachers are all fresh characters, and to see the way the main protagonists – Mira, Aoi, Vern, and Will – change is accomplished with clever plotting and more than a trace of subtlety. The rancher who guides the hotheaded Aoi, for example, is a man of such calm that at times he seems to be a pillar of stone in a raging windstorm. To see his affect on a girl whose temper and angst had previously ruled her life was to witness the birth of a woman from a little girl. It was achieved with sensitivity and respect for the characters, which for a writer is sometimes very hard to do.

But it is the changes that occur within Mira that are the crux (and heart) of this tale. She heads off to find the only individual she thinks can help her – Flip Widget, the author of the science manuals that have guided her life, whose name is both humorous and, as you glance deeper into his character as the story progresses, deeply prophetic.

She is put through trials she barely survives, given information that rocks the core of her world, and in the end discovers a supposed truth about herself that causes her to question her place in the world – which, as for any of us, always comes down to our place within our own families, because when it comes down to it, our families ARE our worlds.

Seeing the change in Mira as this chapter of a much larger tale reaches its climax is heartbreaking. This was a girl of such innocence and drive, and when the innocence is ripped from her, the remaining ambition is driven in murky and sometimes unforgivable directions. And yet we can understand the thoughts that run through her head, the anger she feels, because each and every one of us has been betrayed at some point in our lives. Each of us has felt the slaughter of our self-definition and the desire to lash out at those who’ve wronged us, even if they aren’t around. And by the last page, as Mira is gazing at the sky, crying and wondering whatever she did to deserve the torment forced upon her, we are right there with her; disbelieving, cynical, and, more than anything, sad.

I have to say, for a second installment in a series, this book goes to some unexpectedly dark places. I appreciated it so much. In that way, it’s a step ahead of its predecessor. However, in other ways it lags behind. A sensation of innocence prevailed over everything in the first book, and the dialogue suited that tone. In this one, however, it becomes a bit stilted at times; robotic, almost like reading one of George Lucas’ “Star Wars” scripts. I assume this was because the writer had a difficult time transitioning them from adolescence to young adulthood. It is an awkward transition, and for this reason I am willing to overlook it. Just as the characters are learning about themselves, author Letts is learning about them at the same time. I have a feeling that come the next installment, this issue will have been worked out, and all will flow smoothly. After all, it was simply something I noticed, not a distraction.

One other thing I feel I must mention is the writing style. Once more, this is a book told in third person omniscient. As I’ve stated over and over again, this can be more than a little distracting and maddening, and those who are sticklers for point of view must be forewarned. Now, being that this is my own brain, I can choose to ignore the things that annoy me if I think the story itself is good enough. On the other hand, as a reviewer I have a responsibility to the reader to point out the flaws, and so I will.

Despite this, however, I still loved the book. It’s a wild romp through the treacherous maze of the teenage mind as adulthood lurks right around the corner. It’s about desiring to choose the right path and being able to forgive yourself if you fail to do so. There is pain, there are fleeting moments of joy, and behind it all there’s the growing portent of an evil that will surely swallow these brave young people whole if they don't rise up to the challenges ahead of them.

In all, it’s a book I enjoyed very, very much. I feel adults will get as much out of it as the YA crowd it's written for. I look forward to the next book, and can’t wait to see whether Mira and her friends can overcome the horrors that await them. I have a feeling that the losses will only mount as the series moves onward. In that way, whoever reads this book should cherish those innocent moments that still exist, because in all probability, they aren’t going to last long.

Yes, this books gets a resounding, “Go and buy it!” from this humble reviewer. So do it already!

Plot - 9

Characters - 9

Voice - 7

Execution - 7

Personal Enjoyment – 9

Overall – 41/50 (4.1/5)

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